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THE DYEING OF WOOLLEN FABRICS
by
FRANKLIN BEECH
Practical Colourist and Chemist;
Author of
"The Dyeing of Cotton Fabrics," Etc,
With Thirty-Three Illustrations
London
Scott, Greenwood & Son
8 Broadway, Ludgate Hill, E.C.
Canada: The Copp Clark Co., Ltd., Toronto
United States: D. Van Nostrand Co., New York
1902
[All rights remain with Scott, Greenwood & Son.]
PREFACE. (p. iii)
In this little book the author has endeavoured to supply the dyer of
woollen fabrics with a conveniently arranged handbook dealing with the
various branches of the wool dyeing industry, and trusts that it will
be found to meet the want which undoubtedly exists for such a book.
The text on which the book is based is expressed in the title "The
Dyeing of Woollen Fabrics," and in enlarging upon it the author has
endeavoured to describe clearly and in some detail the various
processes and operations generally, pointing out the principles
involved and illustrating these by numerous recipes, showing the
applications of a great variety of dyes in the production of the one
thousand and one tints and shades the wool dyer is called upon to
produce on the fabrics with which he is working. In pursuance of this
plan nothing is said of the composition and properties of the various
dyes, mordants, chemicals, etc., which are used. This is information
every wool dyer should possess, but the author believes it is better
dealt with in books devoted to Chemistry proper.
_May, 1902._
CONTENTS. (p. v)
CHAPTER I.
Page
THE WOOL FIBRE--
Structure, Composition and Properties...................... 1
CHAPTER II.
PROCESSES PREPARATORY TO DYEING--
Scouring and Bleaching of Wool............................ 15
CHAPTER III.
DYEING MACHINERY AND DYEING MANIPULATIONS--
Loose Wool Dyeing, Yarn Dyeing and Piece Dyeing
Machinery................................................. 40
CHAPTER IV.
THE PRINCIPLES AND PRACTICE OF WOOL DYEING--
Properties of Wool -- Methods of Wool Dyeing -- Groups
of Dyes --Dyeing with the Direct Dyes -- Dyeing with
Basic Dyes -- Dyeing with Acid Dyes -- Dyeing with
Mordant Dyes -- Level Dyeing -- Blacks on Wool -- Reds
on Wool -- Mordanting of Wool -- Orange Shades on Wool
-- Yellow Shades on Wool -- Green Shades on Wool --
Blue Shades on Wool -- Violet Shades on Wool -- Brown
Shades on Wool -- Mode Colours on Wool.................... 59
CHAPTER V.
DYEING UNION (MIXED COTTON AND WOOL) FABRICS............... 168
CHAPTER VI.
DYEING OF GLORIA........................................... 188
CHAPTER VII. (p. vi)
OPERATIONS FOLLOWING DYEING--
Washing--Soaping--Drying................................. 197
CHAPTER VIII.
EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING............ 211
CHAPTER IX.
TESTING OF THE COLOUR OF DYED FABRICS...................... 218
INDEX...................................................... 225
LIST OF ILLUSTRATIONS. (p. vii)
Fig. Page
1. Microscopical Sketch of Wool Fibre....................... 2
2. Kempy Wool Fibres........................................ 3
3. Sectional View of Wool Fibre............................. 4
4. Wool Fibres Showing Action of Alkalies.................. 10
5. Wool Fibres Showing Action of Acids..................... 11
6. Wool Washing Machine.................................... 20
7. Wool Cloth Washing Machine.............................. 28
8. Woollen Cloth Washing Machine........................... 29
9. Sulphur Bleach House.................................... 29
10. Dyeing Tubs and Vat..................................... 41
11. Section of Dye Vat...................................... 42
12. Delahunty's Dyeing Machine.............................. 44
13. Obermaier Dyeing Machine................................ 44
14. Holliday's Yarn Dyeing Machine.......................... 47
15. Klauder-Weldon Yarn Dyeing Machine...................... 47
16. Dyeing Jiggers for Cloth................................ 51
17. Dyeing Jiggers for Cloth................................ 53
18. Jig Winch Dyeing Machine................................ 53
19. Cloth Dyeing Machine.................................... 54
20. Plush Fabric Dyeing Machine............................. 55
21. Dye Beck for Cloth...................................... 56
22. Hawking Machine......................................... 57
23. Indigo Dye Vat for Cloth............................... 149
24. Squeezing Rollers...................................... 199
25. Yarn Washing Machine................................... 201
26. Cloth Washing Machine.................................. 202 (p. viii)
27. Cloth Washing Machine.................................. 204
28. Soaping and Washing Machine............................ 205
29. Hydro-extractor........................................ 206
30. Hydro-extractor........................................ 207
31. Yarn Drying Apparatus.................................. 208
32. Cloth Drying Machine................................... 208
33. Experimental Dye Apparatus............................. 212
CHAPTER I. (p. 001)
THE WOOL FIBRE.
Wool is one of the most important textile fibres used in the
manufacture of woven fabrics of all kinds. It belongs to the group of
animal fibres of which three kinds are met with in nature, and used in
the manufacture of textile fibres; two of these are derived from
quadruped animals, such as the sheep, goat, etc., while the third
class comprises the products of certain insects, _e.g._, silk.
The skin of all animals is covered with more or less of a fibrous
coat, which serves as a sort of protecting coat from the weather to
the skin underneath. Two different kinds of fibres are found on
animals; one is a stiff kind of fibre varying in length very much and
called hairy fibres, these sometimes grow to a great length. The other
class of animal fibres are the woolly fibres, short, elastic and soft;
they are the most esteemed for the manufacture of textile fabrics, it
is only when the hairy fibres are long that they are serviceable for
this particular purpose. There is a slight difference in the structure
of the two kinds of fibre, woolly fibres having a more scaly structure
than hairy fibres; the latter also differ in being more cylindrical in
form.
#Wool.#--By far the most important of the animal fibres is wool, the
fibre of the domestic sheep. Other animals, the llama or alpaca, the
Angora and Cashmere goats also yield fibres of a similar character,
which are imported under the name of wools. There are many (p. 002)
varieties of wools Which are yielded by the various breeds of sheep,
but they may be roughly divided into two kinds, according to the
length of "staple," as it is called. In the long-stapled wools the
fibres average from 7-1/2 to 9-1/2 inches in length, while the
short-stapled wools vary from 1 to 2 inches long. The diameter varies
very considerably from 0.00033 to 0.0018 of an inch.
[Illustration: Fig. 1.--Wool Fibre under the Microscope.]
Two varieties of thread are spun from wool, one is known as "worsted,"
the other as "woollen" yarns; from these yarns two kinds of cloths are
woven, distinguished as worsted and woollen cloths; the former are in
general not subjected to any milling or felting process, while the
latter invariably are.
#Physical Properties.#--When seen under the microscope the wool fibres
show a rod-like structure covered with broad scales, the edges of
which project from the body of the fibre, and all point in one
direction.
Fig. 1 shows typical wool fibres as viewed under the microscope; the
sketch shows very well the scales.
The shape of the scales varies in different breeds of wool. The (p. 003)
outer scales enclose inner medullary cells, which often contain
pigment matter. A transversed section of the wool fibre shows the
presence of a large number of cells. Sometimes wool fibres are
occasionally met with which have a peculiar white horny appearance;
these do not felt or dye well. They are known as "kempy" fibres. See
figure 2. The microscope shows that they are largely devoid of
structure, and are formed of very horny, impenetrable tissue, which is
difficult to treat in the milling or dyeing process.
[Illustration: Fig. 2.--Kempy Wool Fibres.]
The curly or twisted character of the fibre is caused by the unequal
contraction of the outer scales, and depends in a great measure upon
the hygroscopic nature of the wool. It may be entirely removed for the
time by wetting the wool in hot water, then drying it in a stretched
condition, or the curl may be artificially induced by unequal drying,
a fact which is turned to practical account in the curling of feathers
and of hair.
The amount of curl in different varieties of wool is very variable,
being as a rule greatest in the finer qualities, and diminishing as
the fibre becomes coarser. The diameter of the wool fibre varies (p. 004)
from 1/2000 to 1/5000 of an inch, and the number of curls from about
30 per cent. In fine wool as little as 1 or 2 per cent. in the thicker
fibres.
Elasticity and strength are properties which, in common with silk,
wool possesses in a greater degree than the vegetable fibres. When
submitted to strain the wool fibre exhibits a remarkable strength, and
when the breaking point is reached the fracture always takes place at
the juncture of two rings of the outer scales, the embedded edges of
the lower layer being pulled out of their seat. The scales themselves
are never broken.
[Illustration: Fig. 3.--Wool Fibre showing Medullary Centre.]
When first formed the cells are more or less of a spherical shape, and
contain a nucleus surrounded by the ultimate photoplasmic substance.
Those cells which constitute the core or central portion of the fibre
retain to some extent this original globular form and pulpy condition.
Surrounding this central portion or medulla, as it has been called
(see fig. 3), and forming the main bulk of the fibre, there is a
comparatively thick layer of partially flattened cells, which are also
elongated in the direction of the length of the fibre, and outside
this again there is a thinner stratum which may be compared to the
bark of a tree. This outer covering differs materially from the (p. 005)
rest of the fibre in its physical structure, but is, probably, nearly
identical with it, though possibly not entirely so, in chemical
composition. It consists of a series of flattened horny scales, each
being probably an aggregation of many cells. The scales, which have
been compared to the scales of a fish or to slates on a housetop,
overlap each other, the free edges protruding more or less from the
fibre, while the lower or covered edges are embedded and held in the
inner layer of cells. The free edges always point away from the root
of the fibre, just as do the bracts of a fir cone.
When viewing a section of a wool fibre there is, of course, no sharp
line of division between the three portions above described, but the
change from the central spherical cells to the elongated cellular
portion, and from these again to the flattened horny scales, is quite
gradual, so that the separation into zones, though well marked, is
very indefinite in respect of boundaries.
The scaly structure of wool is of great importance in regard to what
is known as felting property. When woollen fabrics are worked in
boiling water, especially in the presence of soap, they shrink in
length and breadth, but become thicker in substance, while there is a
greater amalgamation of the fibres of the fabric together to form a
more compact and dense cloth; this is due to the scaly structure of
the wool fibres enabling them to become entangled and closely united
together. In the manufacture of felt hats this is a property of very
great value.
#Variations in Physical Structure.#--Wool fibres vary somewhat amongst
themselves; fibres from different breeds of sheep, or even from
different parts of the same animal, vary greatly, not only in
thickness, length, etc., but also in actual structure. A typical wool
fibre, such as may be obtained a good merino or Southdown fleece, will
possess the typical structure described above, but frequently the type
is departed from to such an extent that the central core of (p. 006)
globular cells is entirely absent. Also the serrated character of the
outermost layer of cells reaches a much higher state of development in
some samples of wool than in others.
Wool is a much more hygroscopic fibre than cotton or any of the other
vegetable fibres, usually it contains about 18 per cent. of water, but
much depends upon the atmospheric conditions that prevail. This water
is contained in the wool in two forms: (1) as water of hydration
amounting to about 81 per cent., and (2) as hygroscopic water.
Experiments have shown that when a piece of dried wool is exposed to
an atmosphere saturated with water vapour it will absorb 50 per cent.
of its weight; cotton under the same conditions will take up 23 per
cent.; flax, 27·5 per cent.; jute, 28·5 per cent., and silk, 36·5 per
cent.
Heated to about 100° C. it parts with nearly the whole of its water
and becomes hard, horny and brittle, exposed to the air, the dry wool
again absorbs water and is restored to its former condition. When
heated to 100° C. wool becomes somewhat plastic, so that whatever form
is then imparted to it it will retain when it becomes cold, this
property is very useful in certain processes of finishing wool
fabrics, making hats, etc.
#Chemical Composition.#--In the natural or raw state each wool fibre is
surrounded by a considerable amount of foreign matter, so that in
treating of its chemical constitution it is necessary to distinguish
between pure wool and the raw fibre. The incrusting substance is
technically known as "Yolk," or "Suint," and is principally composed
of a kind of natural soap, consisting of the potash salts of certain
fatty acids, together with some fats which are incapable of
saponification.
The amount of yolk present upon different samples of wool varies
greatly, the finer varieties containing, as a rule, a larger
proportion than the coarser, and less valuable sorts.
The variation in the relative amount of pure fibres and yolk is (p. 007)
well shown in the following analyses which, however, do not by any
means represent extreme cases.
ANALYSES OF RAW MERINO WOOL. DRIED AT 100° C.
No. 1. No. 2.
Moisture 6·26 10·4
Yolk 47·30 27·0
Pure Wool 30·31 59·5
Dirt 11·13 3·1
------ ------
100·00 100·00
Yolk consists very largely of two complex substances which have been
termed wool perspiration and wool fat. The former is composed of the
potash salts of fatty acids, principally oleic and stearic acids; the
latter of the neutral carbohydrate, cholesterine, with other similar
bodies. The wool perspiration may be removed by a simple washing with
water, and on the Continent forms a valuable source of potash salts,
since the ash after ignition contains 70 to 90 per cent. of potassium
carbonate. The wool fat is insoluble in water, but dissolves readily
in ether, benzene, carbon disulphide, etc.
It is also removed from the wool by a treatment with alkali, and it is
not easy to explain the action in the case, since the wool fat is not
a glyceride, and will not form a soap, but is probably emulsified by
the wool perspiration.
#Chemical Composition of the Pure Fibre.#--The following analyses of
purified and dried wool fibre indicate its percentage composition:--
Mulder. Bowman.
Carbon 50·5 per cent. 50·8 per cent.
Hydrogen 6·8 " 7·2 "
Nitrogen 16·8 " 18·5 "
Oxygen 20·5 " 21·2 "
Sulphur 5·4 " 2·3 "
----- -----
100·0 100·0
It is sometimes stated that wool fibre consists of a definite (p. 008)
substance, keratine, but this view cannot now be admitted, since wool
appears to be composed of a mixture or combination of several very
complex substances. It is possible and even probable that the outer
epidermal scales have a somewhat different composition to the bulk of
the fibre, but whether that is the case or not is not known with any
degree of certainty, this much can be asserted, that wool is not a
simple definite chemical compound.
Sulphur is by far the most variable constituent of wool, sometimes as
little as 1·5 and occasionally as much as 5 per cent. being found. It
appears to be always present in two different forms, one portion being
in very feeble combination and easily removed by alkalies, the
remainder, which, according to Knecht, amounts to about 30 per cent.
of the total sulphur, cannot be removed without complete
disintegration of the fibre. This latter portion does not give a black
coloration with plumbite of soda.
The amount of ash left on incinerating dry wool varies from 1 to 2 per
cent., and some have considered this inorganic matter as an essential
constituent. It consists principally of salts of potassium, calcium
and aluminum, with, of course, sulphur.
The chemical composition of the wool fibre is evidently of a most
complicated nature; judging from its behaviour in dyeing it is evident
that it may contain two bodies, one of a basic character which enables
it to combine with the azo and acid series of dyes, the other possessing
acid characters enabling it to combine with the basic dyes of the magenta
and auramine type. Dr. Knecht has isolated from the wool fibre by
extraction with alkalies and precipitation with acids a substance to
which the name of lanuginic acid has been given. It is soluble in hot
water, precipitates both acid and basic colouring matters in the form
of coloured lakes. It yields precipitates with alum, stannous (p. 009)
chloride, chrome alum, silver nitrate, iron salts, copper sulphate. It
appears to be an albuminoid body. From its behaviour with the dyes,
and with tannic acid and metallic salts, it would appear that lanuginic
acid contains both acidic and basic groups. It contains all the
elements, carbon, hydrogen, oxygen, nitrogen and sulphur, found in
wool.
If wool is dyed in a dilute solution of Magenta (hydrochloride of
rosaniline), the whole of the base (rosaniline) is taken up, and the
whole of the acid (HCl) left in the bath, not, however, in the free
state, but probably as NH_{4}Cl, the ammonia being derived from the
wool itself. A further proof of the acid nature of lanuginic acid is
that wool may be dyed a fine magenta colour in a colourless solution
of rosaniline base; for since rosaniline base is colourless, and it
only forms a colour when combined with acids, the fibre has evidently
acted the part of an acid in the combination.
#Chemical Properties. Action of Alkalies.#--Alkalies have a powerful
action on wool, varying, of course, with the nature of the alkali,
strength of solution and temperature at which the action takes place.
An ammoniacal solution of copper hydroxide (Schweizer's reagent), has
comparatively little action in the cold, but when hot it dissolves
wool fairly readily.
The caustic alkalies; sodium hydroxide, NaOH, or potassium hydroxide
KOH, have a most deleterious action on wool. Even when very dilute and
used in the cold they act destructively, and leave the fibre with a
harsh feel and very tender, they cannot therefore be used for scouring
or cleansing wool. Hot solutions, even if weak, have a solvent action
on the wool fibre, producing a liquid of a soapy character from which
the wool is precipitated out on adding acids.
This action of alkalies has an important bearing on the scouring of
wool, for if this operation be not carried out with due care there (p. 010)
is in consequence great liability to impair the lustre and strength of
this fibre. From microscopical examination this effect of alkalies is
seen to be due to the fact that they tend to disintegrate the fibre,
loosen and open the scales, this is shown by contrasting the two
fibres A and B shown in figure 4, A being a normal wool fibre, B one
strongly treated with an alkali.
The alkaline carbonates have but little action on wool, none if used
dilute and at temperatures below 120° F.
[Illustration: Fig. 4.--Showing the Effects of Scouring Agents on the
Wool Fibre. A. Unscoured Fibre. B. Badly Scoured Fibre.]
Soap has practically no action on wool, and is therefore an excellent
scouring material for wool. The carbonate of ammonia is the best and
has the least action of the alkaline carbonates, those of potash and
soda if used too strong or too hot have a tendency to turn the wool
yellow, the carbonate of potash leaves the wool softer and more
lustrous than the carbonate of soda.
The influence of scouring agents on wool will be discussed in the
chapter on cleansing wool fabrics in more detail.
Caustic or quick-lime has a similar injurious action on the wool fibre
as the caustic alkalies.
#Action of Acids.#--Acids when dilute have but little influence on (p. 011)
the wool fibre, their tendency is to cause a separation of the scales
(see fig. 5) of the wool and so make it feel harsher. Strong acids
have a disintegrating action on the wool fibre. There is a very
considerable difference between the action of acids on wool and on
cotton, and this difference of action is taken advantage of in the
woollen industry to separate cotton from wool by the process commonly
known as "carbonising," which consists in treating the fabric with a
weak solution of hydrochloric acid or some other acid, then drying it;
the cotton is disintegrated and falls away in the form of a powder,
while the wool is not affected, sulphuric acid is used very largely in
dyeing wool with the acid- and azo-colouring matters.
[Illustration: Fig. 5.--Wool Fibre Heated with Acid.]
Nitric acid affects wool in a very similar manner to the acids named
above when used in a dilute form; if strong it gives a deep yellow
colour and acts somewhat destructively on the fibre.
Sulphurous acid (sulphur dioxide) has no effect on the actual fibre,
but exercises a bleaching action on the yellow colouring matter which
the wool contains, it is therefore largely used for bleaching (p. 012)
wool, being applied either in the form of gas or in solution in water;
the method will be found described in another chapter. Wool absorbs
sulphur dioxide in large amount, and if present is liable to retard
any subsequent dyeing processes.
#Action of Other Substances.#--Chlorine and the hypochlorites have an
energetic action on wool, and although they exert a bleaching action
they cannot well be used for bleaching wool. Hot solutions bring about
a slight oxidation of the fibre, which causes it to have a greater
affinity for colouring matters; advantage is taken of this fact in the
printing of delaines and woollen fabrics, while the woollen dyer would
occasionally find the treatment of service. A paper by Mr. E. Lodge,
in the _Journal of the Society of Dyers and Colourists_, 1892 (p. 41),
may be consulted with advantage on this subject. Wool treated with
chlorine loses its felting property, and hence becomes unshrinkable, a
fact of which advantage is taken in preparing unshrinkable woollen
fabrics.
When wool is boiled with solutions of metallic salts, such as the
sulphate of iron, chrome, aluminium and copper, the chlorides of tin,
copper and iron, the acetates of the same metals, as well as with some
other salts, decomposition of the salt occurs and a deposit of the
metallic oxide on the wool is obtained with the production of an acid
salt which remains in solution. In some cases this action is
favourably influenced by the presence of some organic acid or organic
salt, as, for examples, oxalic acid and cream of tartar (potassium
tartrate), along with the metallic salt.
On this fact depends the process of mordanting wool with potassium
bichromate, alum, alumina sulphate, ferrous sulphate, copper sulphate,
etc. The exact nature of the action which occurs is not properly
understood, but there is reason for thinking that the wool fibre has
the capacity of assimilating both the acid and the basic constituents
of the salt employed.
Excessive treatment with many metallic salts tends to make the (p. 013)
wool harsh to the feel, partly owing to the scales being opened out and
partly owing to the feel naturally imparted by the absorbed metallic
salt.
The normal salts of the alkaline metals, such as sodium chloride,
potassium sulphate, sodium sulphate, etc., have no action whatever on
the wool fibre.
Wool has a strong affinity for many colouring matters. For some of the
natural colours, turmeric, saffron, anotta, etc., and for the neutral
and basic coal-tar colours it has a direct affinity, and will combine
with them from their aqueous solutions. Wool is of a very permeable
character, so that it is readily penetrated by dye liquors; in the
case of wool fabrics much depends, however, upon the amount of felting
to which the fabric has been subjected.
If wool be boiled in water for a considerable time it will be observed
that it loses much of its beautiful lustre, feels harsher to the
touch, and also becomes felted and matted together. This has to be
carefully guarded against in all dyeing operations, where the handling
or moving of the yarns is apt to produce this unfortunate effect.
After prolonged boiling the fibre shows signs of slight decomposition,
from the traces of sulphuretted hydrogen and ammonia gases which it
evolves.
When wool is dried at 212° F. it assumes a husky, harsh feel, and its
strength is perceptibly impaired. According to Dr. Bowman, the wool
fibre really undergoes a slight chemical change at this temperature,
which becomes more obvious at 230° F., while at about 260° F. the
fibre begins to disintegrate. According to the researches of Persoz,
however, temperatures ranging from 260° F. to 380° F. can be employed
without any harm to the wool, if it has previously been soaked in a 10
per cent. solution of glycerine.
When wool is heated to 212° F. (100° Cent.) it becomes quite (p. 014)
pliant and plastic and may be moulded into almost any shape, which it
still retains when cold. This fact is of much interest in the
processes of finishing various goods, of embossing velvet where
designs are stamped on the woven fabric while hot, and in the crabbing
and steaming of woollen goods, making hats, etc.
CHAPTER II. (p. 015)
PROCESSES PREPARATORY TO DYEING, SCOURING AND
BLEACHING OF WOOL.
Wool scouring takes place at two stages in the process of manufacture
into cloth. First, in the raw state, to free the wool from the large
amount of grease and dirt it naturally contains; second, after being
manufactured into cloth, it is again scoured to free it from the oil
that has been added to the scoured raw wool to enable it to spin
easily. This oiling is generally known as wool batching, and before
the spun yarns or woven fabrics can be dyed it is necessary to remove
it.
Raw wool is a very impure substance, containing comparatively little
wool fibre, rarely more than 50 to 60 per cent. in the cleanest
fleeces, while it may be as low as 25 per cent. in the dirtiest.
First there is a small quantity of dirt; there is what is called the
suint, a kind of soapy matter, which can be removed by washing in hot
water. This soap has for its base potash, while its acids are numerous
and complex. The wool contains a fatty-like substance of the nature of
wax, called cholesterine, and this imparts to the fatty matter, which
be extracted from the wool fibre, very peculiar properties. Besides
these there are several other bodies of minor importance, all of which
have to be removed from the wool before it can be manufactured into
cloth.
Marker and Schulz give the following analysis of a good sample of (p. 016)
raw wool:--
Moisture 23·48 per cent.
Wool fat 7·17 "
Wool soap (suint), soluble in water 21·13 "
Soluble in alcohol 0·35 "
Soluble in ether 0·29 "
Soluble in dilute hydrochloric acid 1·45 "
Wool fibre 43·20 "
Dirt 2·93 "
------
100·00
Two principles underlie the methods which are in use for this purpose.
The first principle and the one on which the oldest method is based is
the abstraction of the whole of the grease, etc., from the wool by
means of an alkaline or soapy liquor at one operation. This cannot
nowadays be considered a scientific method. Although it extracts the
grease, etc., from the wool, and leaves the latter in a good condition
for after processes, yet with it one might almost say that the whole
of the soap or alkali used, as well as the wool grease itself, is lost
as a waste product; whereas any good process should aim at obtaining
the wool grease for use in some form or another. The second principle
which underlies all the most recent methods for extracting the grease
from the wool, consists in treating the fibre with some solvent like
benzol, carbon bisulphide, petroleum spirit, carbon tetrachloride,
etc., which dissolves out the cholesterine and any other free
fatty matter which is in the wool fibre, leaving the latter in such a
condition that by washing with water the rest of the impurities in the
wool can be extracted. By distilling off and recondensing the solvent
can be recovered for future use, while the wool fat can also be
obtained in a condition to use for various purposes. This is rather a
more scientific method than the old one, but it has not as yet come
into extensive use.
#Wool Scouring. Old Methods.#--In the early days of wool scouring (p. 017)
this operation was done in a very primitive fashion, generally in a
few tubs, which could be heated by steam or otherwise, and in which
wool was worked by means of hand forks. These primitive processes are
still in use in some small works, especially where the wool is dyed in
the loose condition, but in all the large works machinery has been
adopted, which machinery has been brought to a high state of
perfection, and does its work very well, and without much attendant
manual labour.
The alkaline substances used in this process of scouring demand some
notice. These comprise soda ash, soda crystals, caustic soda, silicate
of soda, potash, caustic potash, soaps of various kinds, stale urine,
ammoniacal compounds. Which of these may be used in any particular
case depends upon a variety of reasons. Potash is the best alkaline
agent to use. It agrees better with the fibre than any other, leaving
it soft and elastic. Ammonia is the next best, but it does not take
out the grease as well as the potash. Soda does not suit as well as
potash, as it has a tendency to leave the fibre harsh in feel and
somewhat brittle, yet on account of its being so much cheaper it is
the most largely used. The use of silicate of soda cannot be
recommended, as it has a great tendency to leave the fibre hard, which
may be ascribed to the deposition of silica on the fibre.
The caustic alkalies cannot be used as they have too solvent an action
on the fibre. The carbonates, therefore, in the form of soda ash or
potash, or pearl ash, are used, or better still, soap is used as it
has a greater solvent action on the fatty matter of the wool than have
the alkalies, and in this respect a potash soap is better than a soda
soap.
The character of the wool determines the alkali to be used; fine,
long-stapled wools, which are usually very free from grease in excess,
should always be treated with potash, or a potash soap, which will (p. 018)
remove the whole of the grease from the wool, leaving the latter in a
fine, soft, silky condition.
Short-stapled wools can be treated with soap and a little soda ash,
but too much of the latter is to be avoided. Coarse and greasy wools
may be scoured with soap and soda ash, or other alkali which is almost
necessary to remove the large amount of grease these wools contain.
Practically the only alkaline products now in use are the various hard
and soft soaps, and the carbonates of soda and potash in their various
forms of soda ash, soda crystals, potashes, pearl ash, etc. Ammonia
and its compounds are rarely used, while stale urine, which acts in
virtue of the ammonia it contains has practically gone out of use.
#Hand-Scouring.#--Wool scouring by hand is easily done and requires few
appliances, simple tubs or vats of sufficient capacity in which steam
pipes are placed, so that the scouring liquors can be heated up. The
best temperatures to use are about 130° to 140° F., and it is not
advisable to exceed the latter, as there is then some risk that the
alkali may act on the fibre too strongly.
The strength of the scouring liquor necessarily varies with the kind
of wool being treated, and with the kind of alkaline product used; if
soft, fine wools are being treated, then the liquor may be made with 1
to 2 lb. of soap to 10 gallons of water (if a mixture of soap and
alkali is used, then it may contain from 1/4 to 1/2 lb. soda ash, and
1/2 lb. to 1 lb. of soap). For coarse, greasy wools these quantities
may be increased by about one-half. The best plan of scouring by hand
is to treat the wool in a tub with a scouring liquor for about half an
hour, then to squeeze out the surplus liquor and to treat again in a
new liquor for half an hour; this liquor may be used for a new batch
of wool. The wool is often put into nets, and these are lifted up and
down in the liquor so as to cause it to penetrate to every part of the
wool.
It is not advisable to work the wool about too much, otherwise (p. 019)
felting might ensue and this must be avoided. The felting of the wool
is one of the troubles of the wool-scourer and is often difficult to
avoid, it is mostly brought about by excessive working of the wool
during the process, and by the use of too high a temperature in the
scouring bath. The remedies are obvious to the practical man, as
little handling of the wool as possible, and at as low a temperature
as possible. Still it is necessary to see that the scouring liquor
penetrates to every part of the wool which is being treated.
To ensure this, care must be taken not to scour too much at one time,
so that the wool is loosely placed in the scouring tub, if placed
loose in the latter, the workmen can by means of forks work it to and
fro while in process of treatment. After the wool has been through
these scouring liquors it is thrown on a scray to drain, and is next
placed in cisterns which have perforated false bottoms. In these
cisterns it is washed with cold water two or three times, the water
being run off from the wool between each washing; it is then spread
out in a room to dry. As a rule, a man can wash from 500 lb. to
600 lb. of wool in a day by this method. Another plan which is
sometimes adopted so as to avoid handling the wool as much as
possible, and thus prevent felting, is to place the wool in cages
having perforated sides which will hold about 1 cwt. of wool. They are
lowered by means of cranes into the washing liquors, and the wool in
them is then worked for a quarter of an hour, when the cages and their
contents are lifted out and the surplus liquor allowed to drain off.
They are then lowered into the next bath, treated or worked in this,
again lifted out and dropped into the wash waters.
There is by this plan a saving of handling, and more wool can be got
through in the same time, but it requires two men to work it. These
hand processes are only in use in small works, having been (p. 020)
replaced in all large works by mechanical methods described below.
#Machine Scouring.#--Wool-scouring machinery has been brought to a high
state of perfection by the successive efforts of many inventors, and
by their means wool washing has been much simplified and improved.
Wool-washing machinery is made by several firms, among whom may be
mentioned Messrs. J. & W. McNaught, and John Petrie, Junior, Limited,
both of Rochdale.
[Illustration: Fig. 6.--Wool-washing Machine.]
Fig. 6 shows one form of wool-washing machine. It consists of a long
trough which contains the scouring liquor. In this machine the wool
enters at the left-hand end, and is seized by a fork or rake and
carried forward by it a short distance, then another rake seizes it
and carries it further forward to another rake, and this to the last
rake of the machine, which draws it out of the machine to a pair of
squeezing rollers which press out the surplus liquor, and from these
rollers the scoured wool passes to a travelling band for delivery from
the machine. Sometimes the wool is not entered into the trough direct,
but is put on a travelling apron which opens it and delivers it in a
more open form into the trough. The movement of the forks causes some
degree of agitation in the scouring liquor which facilitates the
penetration of the liquor through the wool, and thus brings about a
better scouring.
After the wool has passed through the machine it is taken and run once
more through the machine. Some scourers use the same liquor, but it is
better to use fresh liquors, after which it is washed in the same
machine with water two or three times. With a single machine there is
some time and labour lost in transferring the wool from one end to the
other between the separate treatments, and in large works where a
great deal of wool is scoured it is usual to place three or four of
these machines end to end.
The first is filled with strong scouring liquor, the second with (p. 022)
a weaker liquor, while the third and fourth contains wash waters, and
the wool is gradually passed by the action of the machine through the
series without requiring any manual aid. Between each machine it is
passed through squeezing rollers as before, and finally emerges
thoroughly scoured. A good plan of working in connection with such a
series of machines is to have four as above, two washing machines and
two soaping machines, the soap liquor is run through these in a
continuous stream, entering in at the delivery end of the second
soaper and passing out at the entering end of the first soaper. The
wool as it first enters the machine comes into contact with rather
dirty soap liquor, but this suffices to rid it of a good deal of loose
dirt; as it passes along the machine it comes in contact with cleaner
and fresher soap liquor, which gradually takes all grease and dirt out
of it, and, finally, when it passes out it comes in contact with fresh
liquor, which removes out the last traces of dirt and grease. In the
same way it passes through the washers, being treated at the last with
clean water. By this plan the scouring is better done, while there is
some saving of soap liquor and wash water, for of these rather less is
required than by the usual system. These are matters of consideration
for wool scourers. The wool-washing liquors after using should be
stored in tanks to be treated for recovery of the grease which they
contain.
The temperature of the scouring liquors should be about 100° F.,
certainly not more than 120° F., high temperatures are very liable to
bring about felting, while tending to increase the harshness of the
wool, particularly when soda is the agent used. By this method all the
wool fat, suint, etc., of the wool find their way into the soap
liquors. These were formerly thrown away, but they are generally
treated with acid and the fat of the soap and wool recovered, under
the name of wool grease or Yorkshire grease. (_Vide_ G. H. Hurst, (p. 023)
"Yorkshire Grease," _Jour. Soc. Chem. Ind._, February, 1889.)
The wool fat consists largely of a peculiar fat-like body known as
cholesterine. This, however, is unsaponifiable, and cannot be made
into soap; at the same time when it gets into, as it does, the
recovered wool grease it spoils the latter for soap-making purposes.
Cholesterine has some properties which make it valuable for other
purposes; it is a stable body not prone to decomposition, it is
capable of absorbing a large quantity of water, and it is on these
accounts useful for medicinal purposes in the production of ointments,
and it might be useful in candle-making. When it gets into recovered
grease it cannot be extracted from it in an economical manner. The
wool suint consists largely of the potash soaps of oleic and stearic
acids. These two fatty acids find their way into the recovered wool
grease but the potash salts are lost, while they would be valuable for
various purposes if they could be recovered.
Another form of wool-washing machine has a frame carrying a number of
forks arranged transversely to the machine. The forks are by suitable
gearing given a motion which consists of the following cycle of
movements. The forks are driven forwards in the trough of the machine,
carrying the wool along with them, they are then lifted out, carried
back, and again allowed to drop into the machine, when they are ready
to go forward again. Thus the forks continually push the wool from one
end of the machine to the other.
It is a common plan to have three machines placed end to end, so that
the wool passes from one to the other; in a set of this kind the first
machine should have a capacity of 1,500 gallons or thereabouts, the
second 1,000 gallons, and the third 750 gallons.
#Wool Scouring by Solvents.#--Of late years processes have been (p. 024)
invented for the scouring of wool, either raw or spun by means of
solvents, like carbon bisulphide, benzol, petroleum spirit, etc. Such
processes are in a sense rather more scientific than the alkali
processes, for whereas in the latter the grease, etc., of the wool and
the oil used in batching it are practically lost for further use, and
therefore wasted, being thrown away very often, although they may be
partially recovered from the used scouring liquors, in the solvent
processes the grease and oil may be recovered for future use for some
purpose or other.
The great objection to these processes is the danger that attends
their use, owing to the inflammable character of the solvents. Several
other objections may be raised, some of which are mechanical, and due
to the want of proper machinery for carrying out the processes. There
are many ways in which solvents may be applied, some are the subject
of patents. It is not possible to describe the details of all these,
but two of the most recent will be mentioned.
In Singer's process, which was described in detail by Mr. Watson Smith
some time ago before the Society of Dyers and Colourists, carbon
bisulphide is used. The raw wool is placed between two endless bands
of wire, and it is carried through a series of troughs containing
bisulphide of carbon; during its passage through the troughs the
solvent takes out the grease, and loosens the other constituents of
the wool. After going through the bisulphide the wool is dried and
passed through water which completes the process. The carbon
bisulphide that has been used is placed in steam-heated stills,
distilled off from the grease, condensed in suitable condensers, and
used over again. In this process, with care, there is very little loss
of solvent. The grease which is recovered can be used for various
purposes, one of which is the manufacture of ointments, pomades, etc.
The disadvantages of bisulphide are: (1) It tends after some time (p. 025)
to cause the wool to acquire a yellow cast, due to the free
sulphur which it contains, and which being left in the wool gradually
causes it to turn yellow. By using redistilled bisulphide this defect
may be avoided. (2) Another defect is the evil odour of the solvent.
This, however, is less with redistilled bisulphide than with the
ordinary quality, and with suitable apparatus is not insuperable. (3)
Another defect is the volatility and inflammability of carbon
bisulphide. On the other hand, bisulphide possesses the very great
advantage of being at once heavier than, and insoluble in, water, and
it can be, therefore, stored under water very much more safely than
can any of the other solvents which are used.
Burnell's machine has two troughs filled with benzoline. In these are
arranged a large central roller round which are some smaller rollers.
The wool passes round the large roller and is subjected to a number of
squeezings in passing the smaller rollers. A current of the benzoline
is continually passing through the machine. The whole is enclosed in a
hood to avoid loss of solvent as far as possible. After passing
through the benzoline trough the wool passes through a similar trough
filled with water. Benzoline is better than carbon bisulphide in that
there is no tendency on the part of the wool to turn yellow after its
use, on the other hand it is more inflammable, and when it does take
fire is more dangerous, and being lighter than water is not so readily
and safely stored. Another feature is that it is not so completely
volatile at steam temperatures, so that a little may be left in the
grease and thus tend to deteriorate it. Coal-tar benzol, the quality
known as 90's, would be better to use.
The solvent processes are well worth the attention of wool scourers,
all that is required for their proper development being the production
and use of suitable machinery.
After the raw wool has been scoured it is batched, _i.e._, it is (p. 026)
mixed with a quantity of oil for the purpose of lubricating the
wool to enable it more easily to stand the friction to which it is
subjected in the subsequent processes of spinning and weaving by
giving it greater pliability.
For this purpose various kinds of oil are used. Olive oil is the
principal favourite, the variety mostly used being Gallipoli oil.
Ground-nut oil is also extensively employed, and is cheaper than
olive. Oleic acid a by-product of the candle industry, is extensively
used under the name of cloth oil, there is also used oleine, or wool
oil, obtained by the distillation of Yorkshire grease.
So far as merely oiling the wool is concerned there is not much to
choose between these different oils, olive perhaps works the best and
agrees best with the wool. Mineral oils have been and can be used
either alone or mixed with the oils above mentioned, and so far as
lubricating the wool is concerned do very well and are much cheaper
than the fatty oils named above.
The following are some analyses of various oils used as cloth oils
which the author has had occasion to analyse.
1. 2. 3. 4.
Specific gravity at 60° F. 0·9031 0·9091 0·6909 0·8904
Free fatty acid 55·02 64·42 51·52 68·05
Unsaponifiable oil 34·56 9·95 32·80 9·52
Saponifiable oil 10·32 25·32 15·68 12·43
------ ------ ------ ------
100·00 100·00 100·00 100·00
Nos. 1 and 2 are prepared from Yorkshire grease. The unsaponifiable
matter in these is purely natural, it will be seen it varies within
wide limits. Nos. 3 and 4 are made from the oleic acid of the candle
factories, and the unsaponifiable matter is due to their containing
mineral oil which has been added to them.
So far as regards the object for which the wool is oiled, the mineral
oils will answer almost as well as the fatty oils and with most (p. 027)
satisfactory results from an economical point of view, for they are
much cheaper. But this is not the only point to be considered. The oil
has to be got out of the wool before the latter can be dyed. Now while
the fatty oils can be easily removed, by treatment with soap, and they
can be recovered along with the fat of the soap, mineral oils cannot
be entirely removed from the wool, what remains in will interfere very
much with the satisfactory dyeing of the wool, and what is got out
finding its way into the covered wool grease, spoils this for soap
making and other uses, so that on the whole what is gained in lessened
cost of oiling is lost by the increased liability to defects in dyeing
and consequently depreciation in value of the wool, and to decrease in
value of the recovered grease.
The amount of oil used varies from 7 per cent. with the best wools to
15 per cent. with shoddy wools. The scouring agents generally used are
the same as those used in loose wool scouring, namely, carbonate of
soda for coarse woollen yarns, soap and soda for medium yarns, and
soap and ammonia for fine yarns. Prior to treating the yarns it is
best to allow them to steep in hot water at about 170° F. for twenty
minutes, then to allow them to cool. The actual scouring is often done
in large wooden tubs, across which rods can be put on which to hang
the hanks of yarn, and in which are placed steam pipes for heating up
the bath. The best temperature to treat the yarn at is about 150° F.;
too high a temperature must be avoided, as with increased heat the
tendency to felt is materially augmented, and felting must be avoided.
The hanks are treated for about twenty minutes in the liquor, and are
then wrung out, drained, and again treated in new scouring liquor for
the same length of time. After rinsing in cold water they are dried
and finished.
When the oiled wool has been spun into yarns, whether worsted or (p. 028)
woollen, and passes into the hands of the dyer, it is necessary to
remove from it all the oil before any dyeing operations can be
satisfactorily carried out. This oil is removed by the use of soap and
weak alkaline liquors, using these at about 110° to 120° F. The most
common way is to have the liquor in a rectangular wooden tank, and
hang the hank of yarn in by sticks resting on the edges of the tank;
from time to time the hanks are turned over until all the oil has been
washed out, then they are wrung out and passed into a tank of clean
water to wash out the soap, after which the yarn is ready for dyeing.
When the yarn is of such a character that it is liable to curl up,
shrink and become entangled, it is necessary that it be stretched
while it is being treated with the soap liquor; this is effected by a
stretching apparatus consisting of two sets of rollers connected
together by a screw attachment, so that the distance between the two
sets of rollers can be varied. The hanks are hung between each pair of
rollers, and can be stretched tightly as may be required.
For pressing out the surplus liquor from the hanks of yarn a pair of
squeezing rollers is used.
#Scouring Woollen Piece Goods.#--Very often before weaving the yarns are
not scoured to remove the oil they contain, as the weaving is more
conveniently done with oily yarn than with a scoured yarn. Before
dyeing the oil must be taken out of the pieces, and this can be
conveniently done by scouring in a washing machine such as is shown in
figures 7 and 8, using soap and soda liquors as before, and following
up with a good rinse with water.
[Illustration: Fig. 7.--Cloth-washing Machine.]
The soap liquors used in scouring yarns and pieces become charged with
oil, and they should be kept, and the oil recovered from them together
with the fatty matter of the soap, by treatment with sulphuric acid.
By subjecting the grease or fatty matter so obtained to a boil with
caustic soda soap is obtained which may be again used in scouring (p. 029)
wool.
[Illustration: Fig. 8.--Cloth-washing Machine.]
#Bleaching Wool.#--The wool fibre has to be treated very differently
from cotton fibre. It will not stand the action of as powerful
bleaching agents, and, consequently, weaker ones must be used. This is
a decided disadvantage, for whereas with cotton the colouring matter
is effectually destroyed, so that the bleached cotton never regains
its original colour, the same is not the case with wool, especially
with sulphur-bleached wool, here the colouring matter of the fibre is,
as it were, only hidden, and will under certain circumstances return.
The two materials chiefly used for bleaching wool are sulphur and
peroxide of hydrogen.
[Illustration: Fig. 9.--Sulphur Bleach House.]
#Sulphur Bleaching.#--Bleaching wool by sulphur is a comparatively (p. 030)
simple process. A sulphur house is built, the usual size being 12 feet
high by 12 feet broad, and about 17 feet long. Brick is the most suitable
material. The house should have well-fitting windows on two sides,
and good tight doors at the ends (see fig. 9). Some houses have a (p. 031)
small furnace at each corner for burning the sulphur, two of these
furnaces are fitted with hoods, so that the sulphur gases can be
conveyed to the upper part of the chamber, but a better plan, and one
mostly adopted where the chamber is used for bleaching pieces, is to
construct a false perforated bottom above the real bottom of the chamber,
the sulphur being burnt in the space between the two floors. If yarn
is being bleached the hanks are hung on wooden rods or poles in (p. 032)
the chamber, while with pieces an arrangement is constructed so that the
pieces which are stitched together are passed in a continuous manner
through the chamber.
When all is ready the chamber doors are closed, and the furnaces are
heated, some sulphur thrown upon them, which burning evolves sulphur
dioxide gas, sulphurous acid, and this acting upon the wool bleaches
it. The great thing is to cause a thorough circulation of the gas
through every part of the chamber, so that the yarn or pieces are
entirely exposed in every part to the bleaching action of the gas.
This is effected by causing the gas to pass into the chamber at
several points, and, seeing that it passes upwards, to the ventilator
in the roof of the chamber. Generally speaking, a certain quantity of
sulphur depending upon the quantity of goods being treated is placed
in the chamber and allowed to burn itself out; the quantity used being
about 6 to 8 per cent. of the weight of the goods. After the
sulphuring the goods are simply rinsed in water and dried.
Sulphur bleaching is not an effective process, the colouring matter is
not actually destroyed, having only entered into a chemical
combination with the sulphur dioxide to form a colourless compound,
and it only requires that the wool be treated with some material which
will destroy this combination to bring the colour back again in all
its original strength; washing in weak alkalies or in soap and water
will do this. Another defect of the process lies in sulphur being
volatilised in the free form, and settling upon the wool causes it to
turn yellow, and this yellow colour cannot be got rid of.
The goods must be thoroughly rinsed with water after the bleaching,
the object being to rid the wool of traces of sulphuric acid, which it
often contains, and which if left in would in time cause the
disintegration of the wool.
Sometimes the wool is washed in a little weak ammonia or soda (p. 033)
liquor, but this is not advisable, as there is too much tendency for
the colour of the wool to come back again, owing to the neutralising
of the sulphur dioxide by the alkali.
Instead of using the gas, the sulphur dioxide may be applied in the
form of a solution in water. The goods are then simply steeped for
some hours in a solution of the gas in water until they are bleached,
then they are rinsed in water and dried. In this method it is
important that the solution of the gas be freshly made, otherwise it
is liable to contain but little sulphurous acid, and plenty of
sulphuric acid which has no bleaching properties, but, on the other
hand, is liable to lead to damage of the goods if it be not washed out
afterwards.
A better method of utilising the bleaching action of sulphur in a
liquid form is to prepare a bath of bisulphite of soda, and acidify it
with hydrochloric acid, then to enter the wool, stirring well for some
time, and allowing it to steep for some hours, next to expose to the
air for a while, and rinse as before.
It is better to allow the wool to steep for about an hour in a simple
bath of bisulphite, then enter into a weak hydrochloric acid bath for
a few hours. The acid liberates sulphur dioxide in a nascent
condition, which then exerts a more powerful bleaching action than if
it were already free.
Even with liquid bleaching the bleach is not any more perfect than it
is with the gas bleaching; the colour is liable to come back again on
being washed with soap or alkali, although there is a freedom from the
defect of yellow stains being produced.
Goods properly bleached will stand exposure to air for some
considerable time, but those imperfectly bleached exhibit a tendency
to regain their yellow colour on exposure to air. One fault which is
sometimes met with in sulphur bleaching is a want of softness in (p. 034)
the wool, the process seeming to render the fibre harsh.
Washing in a little weak soft soap or in weak soda will remedy this
and restore the suppleness of the wool; at the same time care must be
taken that the alkaline treatment is not too strong, or otherwise the
bleaching effect of the sulphur will be neutralised as pointed out
above.
#Bleaching Wool by Peroxide of Hydrogen.#--During recent years there has
come into use for bleaching the animal fibres peroxide of hydrogen,
or, as the French call it, oxygenated water. This body is a near
relation to water, being composed of the same two elements, oxygen and
hydrogen; in different proportions in water these elements are
combined in the proportion of 1 part of hydrogen to 8 parts of oxygen,
while in the peroxide the proportions are 1 of hydrogen to 16 of
oxygen. These proportions are by weight, and are expressed by the
chemical formulæ for water H_{2}O, and for hydrogen peroxide
H_{2}O_{2}. Water, as is well known, is a very stable body, and
although it can be decomposed, yet it requires some considerable power
to effect it. Now the extra quantity of oxygen which may be considered
to have been introduced into water to convert it into peroxide has
also introduced an element of instability, the extra quantity of
oxygen being ever ready to combine with some other body for which it
has a greater affinity than for the water. This property can be
utilised in the bleaching industry with great advantage, true
bleaching being essentially a process of oxidation. The colouring
matter of the fibre, which has to be destroyed so that the fibre shall
appear white, is best destroyed by oxidation, but the process must not
be carried out too strongly, otherwise the oxidation will not be
confined to the colouring matter, but will extend to the fibre itself
and disintegrate it, with the result that the fibre will become
tendered and be rendered useless.
Peroxide of hydrogen is a weak oxidiser, and therefore, although (p. 035)
strong enough to destroy the colouring matter of the fibre is not
strong enough to decompose the fibre itself. Hydrogen peroxide is sold
as a water-white liquid, without any odour or taste. Its strength is
measured by the quantity of oxygen which is evolved when one volume of
the liquid is treated with potassium permanganate; the most common
strength is 10 volume peroxide, but 30 and 40 volume peroxide is made.
On keeping it loses its oxygen, so that it is always advisable to use
a supply up as quickly as possible.
Articles of all kinds can be bleached by simply placing them in a weak
solution of the peroxide, leaving them there for a short time, then
taking out and exposing to the air for some time. The best plan of
applying peroxide of hydrogen is the following: Prepare the bleaching
bath by mixing 1 part of peroxide with 4 parts of water. The strength
can be varied; for those goods that only require a very slight bleach
the proportions may be 1 to 12, while for dark goods the proportions
first given may be used. This bath must be used in either a wooden or
earthenware vessel. Metals of all kinds must be avoided, as they lead
to a decomposition of the peroxide, and therefore a loss of material.
To the bath so prepared just enough ammonia should be added to make it
alkaline, a condition that may be ascertained by using a red litmus
paper, which must just turn blue. Into the bath so prepared the
well-scoured goods are entered and worked well, so that they become
thoroughly saturated. They are then lightly wrung and exposed to the
air for some hours, but must not be allowed to get dry, because only
so long as they are moist is the bleaching going on; if they get dry
the goods should be re-entered into the bath and again exposed to the
air.
If one treatment is not sufficient the process should be repeated. The
peroxide bath is not exhausted, and only requires new material to (p. 036)
be added to it in sufficient quantity to enable the goods to be
readily and easily worked in the liquor. Any degree of whiteness may
be obtained with a sufficient number of workings. No further treatment
is necessary. It is found in practice that an alkaline bath gives the
best results.
Another plan of preparing the bleaching bath is to prepare a bath with
peroxide and water as before, then add to a sufficient quantity of a
solution of silicate of soda 4 parts of water to 1 of silicate of soda
at 100° Tw., to make the bath alkaline. Into this bath the goods are
entered and are then exposed to the air as before, after which they
may be passed through a weak bath of sulphurous acid, being next well
washed in water and dried.
The advantage of bleaching with peroxide is that, as it leaves only
water in the goods as the result of action, there is no danger of
their becoming tendered by an after development of acid due to
defective washing, as is the case with the sulphur bleach. The goods
never alter in colour afterwards, because there is nothing left in
that will change colour. Some bleachers add a little magnesia to the
bath, but this is not at all necessary.
#Bleaching with Peroxide of Soda.#--Peroxide of soda has come to the
front of late for bleaching wool. With it a stronger bleaching bath
can be made, while the product itself is more stable than peroxide of
hydrogen, only it is needful to keep it in tightly closed metal
vessels, free from any possibility of coming in contact with water or
organic matter of any kind, or accidents may happen. In order to
bleach 100 lb. of wool, a bath of water is prepared, and to this is
added 6 lb. of sulphuric acid and then slowly 4 lb. of peroxide of
sodium in small quantities at a time. Make the bath slightly alkaline
by adding ammonia. Heat the bath to 150° F., enter the wool and allow
to remain five to six hours, then rinse well and dry. If the (p. 037)
colour does not come out sufficiently white repeat the process.
THE CHLORINATION OF WOOL.
The employment of chlorine in wool dyeing and wool printing has of
late years received an impetus in directions previously little thought
of. The addition of a little chlorine to the decoction of logwood has
been recommended as increasing the dyeing power of the wool. Treating
the wool with chlorine has a material influence in increasing its
capacity for taking dye-stuffs, and although but little attention has
been paid to this circumstance by wool dyers, yet among wool printers
it has come largely into use, and enables them to produce fuller and
faster shades than would otherwise be possible.
The method involves the treatment of the wool first with an acid, then
with a solution of a hypochlorite. The staple becomes soft and supple
and assumes a silky character; in dyeing it shows a greater affinity
for the dyes than it did previously. Although not deteriorated in
strength, it almost entirely loses its felting properties. On account
of this feature the process cannot be adopted for wool which has to be
fulled, but it is of service where felting of the goods is to be
avoided, for worsteds, underwear, woollen and half woollen hosiery,
etc., in which the felting property that occurs on washing is rather
objectionable.
By the chloring of the wool the intensity of the shade dyed is
increased to such a degree that when dyeing with Acid black, Naphthol
black, Naphthol green, Nigrosine, Fast blue, Water blue, and some
others dyed in an acid bath, but little more than half the dye used on
unchlored wool is required, while with Induline, more even and intense
shades are obtained than is otherwise possible.
The operation of chlorination can be done either in one or two (p. 038)
baths. The choice depends upon circumstances and the judgment of the
dyer. The process by the two-bath method, with subsequent dyeing in
the second or separate bath is (for 100 lb. of wool), as follows. The
first bath contains, for light cloths, yarn, etc., from 3 to 4 lb.
sulphuric acid, 168° Tw., and for heavier cloths and felt, where the
penetration and equalisation of the colour is difficult, from 8 lb. to
10 lb. of acid. Generally speaking, a temperature of 170° to 175° F.
is sufficient, although for heavy wool and for wool with poor dyeing
qualities it is well to use the bath at the boil. The treatment lasts
for half an hour, in which time the acid is almost completely
absorbed.
The second bath contains a clear solution of 10 lb. bleaching powder,
which solution is prepared as follows. Dry bleaching powder of the
best quality is stirred in a wooden vat with 70 gallons of water, the
mass is allowed to stand, the clear, supernatant liquor is run into
the vat and the sediment stirred up and again allowed to settle, the
clear liquor being run off as before, and 5 gallons more water is run
in. The clear liquors of these three treatments are then mixed
together to form the chloring bath. Special care should be taken that
no undissolved particles of the bleaching powder should be left in,
for if these settle on the wool they result in too great a development
of chlorine, which injures the wool.
The goods after being in the acid bath are entered in this chlorine
bath at a temperature of 70° F., which is then raised to the boil. If
the acid bath has been strong, or been used at the boil, it is perhaps
best to rinse the goods before entering into the chlorine bath. The
hypochlorous acid disappears so completely from this bath that it may
at once be used as the dye-bath, for which purpose it is only necessary
to lift the goods, add the required amount of dye-stuff, re-enter the
goods and work until the bath is exhausted, which generally happens when
acid dyes are used. If a separate dye-bath be preferred, this is (p. 039)
made and used as is ordinarily done.
To perform all the operations in one bath the acid bath is made with
from 3 to 4 lb. sulphuric acid, and the wool is treated therein for
thirty minutes at 170° F., until all the acid has been absorbed. Then
the bath is allowed to cool down to 70° or 80° F., the clear bleaching
powder solution is added, the goods are re-entered, and the bath is
heated to the boil. When all the chlorine has disappeared add the
dye-stuff, and dye as directed above.
In printing on wool the chlorination of the wool is a most important
preliminary operation. For this purpose the cloth is passed for
fifteen minutes at 170° F. through a bath containing 3/4 oz. sulphuric
acid per gallon of water. Then it is passed through a cold bath of 3/4
oz. bleaching powder per gallon of water, after which the cloth is
rinsed and dried and is then ready for printing.
Another method of chloring the wool is to pass the goods through a
bath made with 100 gallons of water, 2 gallons hydrochloric acid and 2
gallons bleaching powder solution of 16° Tw. As some chlorine is given
off it is best to use this in a well-ventilated place.
CHAPTER III. (p. 040)
DYEING MACHINERY AND DYEING MANIPULATIONS.
Wool is dyed in a variety of forms, raw, loose wool; partly
manufactured fibre in the form of slubbing or sliver; spun fibres or
yarns, in hanks or skeins and in warps, and lastly in the form of
woven pieces. These different forms necessitate the employment of
different forms of machinery and different modes of handling, it is
evident to the least unobservant that it would be quite impossible to
subject slubbing or sliver to the same treatment as yarn or cloth,
otherwise the slubbing would be destroyed and rendered valueless.
In the early days all dyeing was done by hand in the simplest possible
contrivances, but during the last quarter of a century there has been
a great development in the quantity of dyeing that has been done, and
this has really necessitated the application of machinery, for hand
work could not possibly cope with the amount of dyeing now done.
Consequently there has been devised during the past two decades a
great variety of machines for dyeing every description of textile
fabrics, some have not been found a practical success for a variety of
reasons and have gone out of use, others have been successful and are
in use in dye-works.
#Hand Dyeing.#--Dyeing by hand is carried on in the simplest possible
appliances, much depends upon whether the work can be done at the
ordinary temperature or at the boil. Figure 10 shows round and oval
tubs and a rectangular vat much in use in dye-houses. These are (p. 041)
made of wood, but copper dye-vats are also made, these may be used
for all kinds of material--loose fibre, yarns or cloth. In the case of
loose fibre this is stirred about either with poles or with rakes,
care being taken to turn every part over and over and open out the
masses of fibre as much as possible in order to avoid matting or
clotting together. In the case of yarns or skeins, these are hung on
sticks resting on the edges of the tub or vat. These sticks are best
made of hickory, but ash or beech or any hard wood that can be worked
smooth and which does not swell much when treated with water may be
used. The usual method of working is to hang the skein on the stick,
spreading it out as much as possible, then immerse the yarn in the
liquor, lift it up and down two or three times to fully wet out the
yarn, then turn the yarn over on the stick and repeat the dipping
processes, then allow to steep in the dye-liquor. This is done with
all the batch of yarn that is to be dyed at a time. When all the yarn
has been entered into the dye-bath, the first stickful is lifted out,
the yarn turned over and re-entered in the dye-liquor; this operation
is carried out with all the sticks of yarn until the wool has become
dyed of the required depth. In the case of long rectangular vats it is
customary for two men, one on each side of the vat, to turn the yarns,
each man taking charge of the yarn which is nearest to him.
[Illustration: Fig. 10.--Dyeing-tubs and Vat.]
Woven goods may be dyed in the tub or vat, the pieces being drawn in
and out by poles, but the results are not altogether satisfactory, (p. 042)
and it is preferable to use machines for dyeing piece goods.
[Illustration: Fig. 11.--Dye-vat with Steam-pipe.]
Plain tubs or vats, such as those shown in figure 10, are used for
dyeing and otherwise treating goods in the cold, or at a lukewarm
heat, when the supply of hot water can be drawn from a separate
boiler. When, however, it is necessary to work at the boil, then the
vat must be fitted with a steam coil. This is best laid along the
bottom in a serpentine form. Above the pipe should be an open
lattice-work bottom, which, while it permits the free circulation of
boiling water in the vat, prevents the material being dyed from coming
in contact with the steam pipe. This is important if uniform shades
are to be dyed, for any excessive heating of any portion of the bath
leads to stains being produced on the material in that part of the
bath. Figure 11 shows a vat fitted with a steam pipe. That portion (p. 043)
of the steam pipe which passes down at the end of the vat is in a
small compartment boxed off from the main body of the vat, so that no
part of the material which is being dyed can come in contact with it.
A closed steam coil will, on the whole, give the best results, as then
no weakening of the dye-liquor can take place through dilution by the
condensation of the steam. Many dye-vats are, however, fitted with
perforated, or as they are called, open steam coils, in which case
there is, perhaps, better circulation of the liquor in the dye-vat,
but as some of the steam must condense there is a little dilution of
it.
DYEING MACHINES.
Dye-tubs and vats, such as those described above, have been largely
superseded by machines in which the handling or working of the
materials being dyed is effected by mechanical means. There have been
a large number of dyeing machines invented, some of these have not
been found to be very practical, and so they have gone out of use.
Space will not admit of a detailed account of every kind of machine,
but only of those which are in constant use in dye-works.
#Dyeing Loose or Raw Wool and Cotton.#--Few machines have been designed
for this purpose, and about the only successful one is
_Delahunty's Dyeing Machine._--This is illustrated in figure 12. It
consists of a drum made of lattice work which can revolve inside an
outer wooden casing. The interior of the revolving drum is fitted with
hooks or fingers, whose action is to keep the material open. One
segment of the drum is made to open so that the loose cotton or wool
to be dyed can be inserted. By suitable gearing the drum can be
revolved, and the dye-liquor, which is in the lower half of the wooden
casing, penetrates through the lattice work of the drum, and dyes (p. 044)
the material contained in it. The construction of the machine is well
shown in the drawing, while the mode of working is obvious from it and
the description just given. The machine is very successful, and well
adapted for dyeing loose or raw wool and cotton. The material may be
scoured, bleached, dyed or otherwise treated in this machine.
[Illustration: Fig. 12.--Delahunty's Dyeing Machine.]
The Obermaier Machine, presently to be described, may also be used for
dyeing loose cotton or wool.
[Illustration: Fig. 13.--Obermaier Dyeing Machine.]
#Dyeing Slubbing, Sliver or Carded Wool.#--It is found in practice that
the dyeing of loose wool is not altogether satisfactory, the
impurities they naturally contain interfere with the purity of the (p. 045)
shade they will take. Then again the dyes and mordants used in dyeing
them are found to have some action on the wire of the carding engine
through which they are passed; at any rate, a card does not last as
long when working dyed wools as when used on undyed cotton or wool
fibres. Yet for the production of certain fancy yarns for weaving some
special classes of fabrics it is desirable to dye the wool before it
is spun into thread. The best plan is undoubtedly to dye the fibre
after it has been carded and partly spun into what is known as
slubbing, or sliver. All the impurities have been removed, the wool
fibres are laid straight, and so it becomes much easier to dye. On the
other hand, as it is necessary to keep the sliver or slubbing straight
and level, no working about in the dye-liquors can be allowed to take
place, and so such must be dyed in specially constructed machines, and
one of the best of these is the
_Obermaier Dyeing Machine_, which is illustrated in figure 13.--In (p. 046)
the Obermaier apparatus dye-vat, A, is placed a cage consisting of an
inner perforated metal cylinder, C, and an outer perforated metal
cylinder, D; between these two is placed the material to be dyed. C is
in contact with the suction end of a centrifugal pump, P, the delivery
end of which discharges into the dye-vat A. The working of the machine
is as follows: the slubbing or sliver is placed in the space between C
and D rather tightly, so that it will not move about. Then the inner
cage is placed in the dye-vat as shown. The vat is filled with the
dye-liquor, which can be heated up by a steam pipe. The pump is set in
motion, the dye-liquor is drawn from A to C, and in so doing passes
through the material packed in B and dyes it. The circulation of the
liquor is carried on as long as experience shows to be necessary. The
dye-liquor is run off, hot water is run in to wash the dyed material,
and the pump is kept running for some time to ensure thorough rinsing,
then the water is run off, and by keeping the pump running and air
going through a certain amount of drying can be effected. This machine
works very well, and with a little experience constant results can (p. 047)
be obtained. The slubbing or sliver may be scoured, bleached, rinsed,
dyed, washed, soaped, or otherwise treated without removing it from
the machine, which is a most decided advantage.
[Illustration: Fig. 14.--Read Holliday's Yarn-dyeing Machine.]
#Yarn Dyeing Machines.#--In figure 14 is given an illustration of a
machine for dyeing yarn in the hank form, made by Messrs. Read
Holliday & Sons, of Huddersfield. The illustration gives a very good
idea of the machine. It consists of a wooden dye-vat, which can be
heated by steam pipes in the usual way. Extending over the vat are a
number of reels or bobbins, these are best made of wood or enamelled
iron. These reels are in connection with suitable gearing, so that
they can be revolved. There is also an arrangement by means of which
the reels can be lifted bodily in and out of the dye-vat for the
purpose of taking on and off the hanks of yarn. A reel will hold about
2 lb. of yarn. The working of the machine is simple. The vat is filled
with the requisite dye-liquor. The reels which are lifted out of the
vat are then charged with the yarn, which has been previously wetted
out. They are then set in revolution and dropped into the dye-vat, and
kept there until it is seen that the yarn has acquired the desired
shade. The reels are lifted out and the hanks removed when the machine
is ready for another lot of yarn.
There are several makers of hank-dyeing machines of this type, and as
a rule they work very well. The only source of trouble is a slight
tendency for the yarn on one reel if hung loosely of becoming
entangled with the yarn on other reels. This is to some extent
obviated by hanging in the bottom of the hank a roller, which acts as
a weight and keeps the yarn stretched and so prevents it flying about.
To some makes of these machines a hank wringer is attached.
[Illustration: Fig. 15.--Klauder-Weldon Dyeing Machine.]
_Klauder-Weldon Hank-dyeing Machine._--This is illustrated in (p. 048)
figure 15, which shows the latest form. It consists of a
half-cylindrical dye-vat built of wood. On a central axis is built two
discs or rod carriers, which can revolve in the dye-vat, the
revolution being given by suitable gearing which is shown at the side
of the machine. On the outer edge of the discs are clips for carrying
rods on which one end of the hanks of yarn is hung, while the other
end is placed on a similar rod carrier near the axle. The revolution
of the discs carries the yarn through the dye-liquor contained in the
lower semi-cylindrical part of the machine previously alluded to. (p. 049)
At a certain point in every revolution of the discs the rods carrying
the yarns are turned a little; this causes the yarn to move on the
rods, and this motion helps to bring about greater evenness of dyeing.
The most modern form of this machine is provided with an arrangement
by means of which the whole batch of yarn can be lifted out of the
dye-liquor. Arrangements are made by which from time to time fresh
quantities of dyes can be added if required to bring up the dyed yarn
to any desired shade. This machine works well and gives good results.
Beyond the necessary labour in charging and discharging, and a little
attention from time to time as the operation proceeds, to see if the
dyeing is coming up to shade, the machine requires little attention.
Many other forms of hank-dyeing machine have been devised. There is
Corron's, in which an ordinary rectangular dye-vat is used. Round this
is a framework which carries a lifting and falling arrangement that
travels to and fro along the vat. The hanks of yarn are hung on rods
of a special construction designed to open them out in a manner as
nearly approaching hand work as is possible. The machine works in this
way. The lifting arrangement is at one end of the vat, the hanks are
hung on the rods and placed in the vat. Then the lifter is set in
motion and moves along the vat; as it does so it lifts up each rod
full of yarn, turns it over, opening out the yarn in so doing, then it
drops it again in the vat. When it has travelled to the end of the vat
it returns, packing up the rods of yarn in so doing, and this motion
is kept up until the dyeing is completed. This machine is very
ingenious.
A type of machine which has been made by several makers consists of an
ordinary rectangular dye-vat surrounded with a framework carrying a
number of sets of endless chains, the links of which carry fingers.
The hanks of yarn are hung on rods at one end of which is a tooth (p. 050)
wheel that when in position fits into a rack on the side of the vat.
The action of the machine is this, the hanks are hung on the rods and
placed at the entrance end of the vat, by the moving of the chains it
is carried along the vat and at the same time revolves, thus turning
over the yarn, which hangs in the dye-liquor; when it reaches the
opposite end of the vat, the rod full of yarn is lifted out, carried
upwards and then towards the other end of the vat when it is again
dropped into the dye-vat to go through the same cycle of movements
which is continued until the yarn is properly dyed.
#Piece Dyeing Machines.#--Wherever it is possible it is far more
preferable to dye textile fabrics in the form of woven pieces rather
than in the yarn from which they are woven. During the process of
weaving it is quite impossible to avoid the material getting dirty and
somewhat greasy, and the operations of scouring necessary to remove
this dirt and grease has an impairing action on the colour if dyed
yarns have been used in weaving it. This is avoided when the pieces
are woven first and dyed afterwards, and this can always be done when
the cloths are dyed in one colour only. Of course when the goods are
fancy goods containing several colours they have to be woven from dyed
yarns.
The most common form of machine in which pieces are dyed is the
jigger, commonly called the jig, this is shown in figure 16. It
consists of a dye-vessel made long, sufficiently so to take the piece
full width, wide at the top, narrow at the bottom. At the top on each
side is placed a large winding roller on which the cloth is wound. At
the bottom of the jig is placed a guide roller round which passes the
cloth. In some makes of jigs there are two guide rollers at the bottom
and one at the top as shown in the illustration, so that the cloth
passes several times through the dye-liquor. In working the cloth is
first wound on one of the rollers then threaded through the guide (p. 051)
rollers and attached to the other winding roller. When this is done
dye-liquor is run into the jig, and the gearing set in motion, and the
cloth wound from the full on to the empty roller. With the object of
keeping the piece tight a heavy press roller is arranged to bear on
the cloth on the full roller. When all the cloth has passed from one
roller to the other it is said to have been given "one end". The
direction of motion is now changed and the cloth sent in the opposite
direction through the jig and the piece has now received another
"end". This alternation from one roller to the other is continued as
long as is deemed necessary, much depending on the depth of colour
which is being dyed, some pale shades may only take two or three ends,
deeper shades may take more. When dyeing wool with acid colours which
are all absorbed from the dye-liquor, or the bath is exhausted, it is
a good plan to run the pieces several ends so as to ensure thorough
fixation of the dye on the cloth.
[Illustration: Fig. 16.--Dye-jiggers.]
It is not advisable in working these jigs to add the whole of the dye
to the liquor at the commencement, but only a part of it, then when
one end is given another portion of the dye may be added, such (p. 052)
portions being always in the form of solution. Adding dyes in powder
form inevitably leads to the production of colour specks on the
finished goods. The reason for thus adding the dye-stuff in portions
is that with some dyes the affinity for the fibre is so great that if
all were added at once it would be absorbed before the cloth had been
given one end, and, further, the cloth would be very deep at the front
end while it would shade off to no colour at the other end. By adding
the dye in portions this difficulty is overcome and more level shades
are obtained, but it is met with in all cases of jigger dyeing. It is
most common in dyeing wool with basic dyes like Magenta, Auramine, (p. 053)
Methyl Violet or Brilliant Green, and with acid dyes like Acid Green,
Formyl Violets, Azo Scarlet or Acid Yellow.
[Illustration: Fig. 17.--Dye-jigger in Section.]
Some attempts have been made to make jiggers automatic in their
reversing action, but they have not been successful owing to the
greatly varying conditions of length of pieces, their thickness, etc.,
which have to be dyed, and it is next to impossible to make all
allowances for such varying conditions.
[Illustration: Fig. 18.--Wince Dye Beck.]
In figure 17 is shown the jig in section, when the working of the
machine can be more easily traced.
#The Jig Wince or Wince Dye Beck.#--This dyeing machine is very largely
used, particularly in the dyeing of woollen cloths. It is made by many
makers, and varies somewhat in form accordingly. Figures 18 to 21 show
three forms by different makers. In any make the jig wince or wince
dye beck consists of a large rectangular, or in some cases (p. 054)
semi-cylindrical, dye-vat. Probably the best shape would be to have a
vat with one straight side at the front, and one curved side at the
back.
[Illustration: Fig. 19.--Wince Dye Beck.]
In some a small guide roller is fitted at the bottom, under which the
pieces to be dyed pass. Steam pipes are provided for heating the
dye-liquors. The beck should be fitted with a false bottom, made of
wood, perforated with holes, or of wooden lattice work, and under
which the steam pipes are placed. The object being to prevent the
pieces from coming in contact with the steam pipes, and so (p. 055)
preventing the production of stains. Above the dye-vat and towards the
back is the wince, a revolving skeleton wheel, which draws the pieces
out of the dye-vat at the front, and delivers them into it again at
the back. The construction of this wince is well shown in the
drawings. The wince will take the pieces full breadth, but often they
are somewhat folded, and so several pieces, four, five or six, can be
dealt with at one time. In this case a guide rail is provided in the
front part of the machine. In this rail are pegs which serve to keep
the pieces of cloth separate, and so prevent entanglements. The pieces
are stitched end to end so as to form an endless band. When running
through the vat they fall down in folds at the back part of the beck,
and are drawn out from the bottom and up in the front. Each part thus
remains for some time in the dye-liquor, during which it necessarily
takes up the dye.
[Illustration: Fig. 20.--Plush Fabric Dyeing Machine.]
Figures 18 and 19 show forms of these wince dyeing machines,
constructed of wood, and very largely used in the dyeing of woollen
cloths. They are serviceable forms, and give very good results, being
suitable for all dyes.
Figure 20 is a form of machine better adapted than the preceding (p. 056)
for the dyeing of plush fabrics. In this kind of cloth it is important
that the pile should not be interfered with in any way, and experience
has shown that the winces of the form shown in figures 18 and 19 are
rather apt to spoil the pile; further, of course, plush fabrics are
dyed full breadth or open. In the wince now shown all troubles are (p. 057)
avoided, and plush fabrics can be satisfactorily dyed in them.
[Illustration: Fig. 21.--Copper Cased Dye Beck. Mather & Platt.]
Figure 21 shows a dye-bath built of iron, cased with copper, suitable
for dyeing most colours on woollen cloths.
[Illustration: Fig. 22.--Read Holliday's Hawking Machine.]
In the jig and wince dyeing machines the pieces necessarily are for a
part of the time, longer in the case of the jigger than in that of the
wince, out of the dye-liquor and exposed to the air. In the case of
some dyes, indigo especially, this is not desirable, and yet it is
advisable to run the cloth open for some time in the liquor so as to
get thoroughly impregnated with the dye-liquor.
The so-called hawking machine, figure 22, is an illustration of Read
Holliday's hawking machine, made by Messrs. Read Holliday & Sons, of
Huddersfield. There is the dye-vat as usual; in this is suspended the
drawing mechanism, whose construction is well shown in the drawing.
This is a pair of rollers driven by suitable gearing, between which
the cloth passes, and by which it is drawn through the machine. A
small roller ensures the cloth properly leaving the large rollers, (p. 058)
then there is a lattice-work arrangement over the pieces are drawn. In
actual work the whole of this arrangement is below the surface of the
dye-liquor in the vat. The piece to be dyed is threaded through the
machine the ends stitched together, then the arrangement is lowered
into the dye-vat and set in motion, whereby the cloth is drawn
continuously in the open form through the dye-liquor, this being done
as long as experience shows to be necessary. This hawking machine will
be found useful in dyeing indigo on wool, in mordanting and dyeing
wool with the Alizarine series of dyes.
CHAPTER IV. (p. 059)
THE PRINCIPLES AND PRACTICE OF WOOL DYEING.
The various methods which are used in dyeing wool have, of course,
underlying them certain principles on which they are based, and on the
observance of which much of the success of the process depends.
Sometimes these principles are overlooked by dyers, with the result
that they do not get good results from their work. It must be obvious
to any person with any technical knowledge that all processes of
dyeing either wool or silk, or cotton or any other fibre, must take
into consideration the properties of the fibre on the one hand, and
that of the dye-stuff on the other. Wool must be treated differently
from cotton, a process of dyeing which gives good results with the
latter fibre would lead to nothing but disastrous effects with wool or
silk; on the other hand, processes are used in the dyeing of wool
which could not be possibly used for cotton on account of the very
different properties of the fibre.
A few words as to the properties of wool as far as they relate to the
methods of dyeing may be of use. Wool has the property of resisting
the action of acids in a great degree, so that it may be treated with
even strong acids with impunity. On the other hand, alkalies and
alkaline solutions have strong action on it; the caustic alkalies
rapidly dissolve wool, and their use must be avoided in all cases of
dyeing this fibre. The carbonates of the alkalies have not so strong
an action, and therefore may be used in moderation; nevertheless, (p. 060)
too strong solutions of these should not be used. Soap has no
disintegrating action on wool, and soap solutions may be used whenever
necessary for cleansing or dyeing wool. Ammonia has no action on wool,
and it may be used in place of soap if desired. There is one feature
of wool that must be alluded to here, and that is its felting
property. When wool is boiled with water and is handled a good deal,
the fibres clot or felt together into a firm coherent mass. This
should be avoided as much as possible, and when wool is cleansed and
dyed in the loose condition it is absolutely necessary that every care
be taken to avoid felting. This condition is much influenced by the
temperature and the condition of the bath in which the wool is being
treated, too high a temperature or too prolonged a treatment tends to
increase the felting, therefore in dyeing wool prolonged treatment at
the boil must be avoided.
Further, the condition of the bath has some influence on this point;
it is found that an alkaline bath tends to considerably increase the
felting properties of the wool, and on this account dyers invariably
avoid the use of both the caustic and carbonated alkalies. Strong soap
liquors have also some influence in the direction of increasing the
felting, therefore soap should not be used if it can possibly be done
without. Ammonia has not so strong a felting action as the other
alkalies. Acids, on the other hand, exert a retarding action on the
felting of the wool, and this is a matter of some interest and
importance in the dyeing of wool, as an acid condition of the bath is
necessary for dyeing by far the great majority of colouring matters on
this fibre. Alkaline salts, such as Glauber's salt and common salt,
exert little or no influence on this felting property, and can be
added to dye-baths with impunity, and in many cases with good effect,
so far as the quality of dyeing is concerned.
So far as the properties of the wool are concerned, it is seen (p. 061)
that an acid condition of the dye-bath will work better than an
alkaline condition, and wherever it is possible to use acids such
should be added.
What has been said in regard to wool is equally true of all fibres
derived from animals in the same way as wool is, such as horse-hair,
fur of rabbits, hares and other animals, although, of course, there
are some minor differences between different furs in their resistance
to the action of acids and alkalies.
The next feature that influences the methods of dyeing wool is the
varying properties of the dye-stuffs, or colouring matters. It is
obvious that those which, like Magenta or Saffranine, have a strong
affinity for the wool fibre must be dyed differently from those which,
like Alizarine and Gambine, have no direct affinity for the wool
fibre, and, further, which require the aid of mordants before they can
be dyed, and on the character of which mordants the colour that is
fixed on the fibre depends.
The dye-stuffs, independently of the question whether they be derived
from natural sources or be of artificial origin, may be roughly
divided into five groups, some of which may also be subdivided again
as will be shown later on. These groups may be named the (1) Neutral,
(2) Basic, (3) Acid, (4) Mordant, and (5) Indigo dye-stuffs. The first
two classes are practically dyed in the same way; but as there is a
great difference in the chemical composition of the colouring matters
comprised in them, it will be best to consider them separately.
_First Method_.--This method is used in applying the now large and
increasing group of azo dye-stuffs, which are characterised by being
able to dye unmordanted cotton from a simple boiling bath. The
dye-stuffs that are applied by the method now to be described include
such as Benzopurpurine, Chrysamine, Chrysophenine, Titan red, Titan
yellow, Benzo brown, Diamine red, Diamine brown, Diamine blue, (p. 062)
Congo blue, Congo red, etc. The dyeing is done in a bath at the boil.
If the bath contained only the dye-stuffs there would be a liability
for the dyeing to be uneven, to prevent which a saline compound, such
as salt, is added. Taking it all round, salt is the best body to add
as it suits all colours very well indeed. Then come Glauber's salts;
borax and phosphate of soda can also be used, but, owing to their
slight alkaline properties, they are not so good as the neutral salts,
like the two first named. When these colouring matters are dyed on
cotton some of them dye best in a bath containing potash or soda, but
these bodies, for reasons previously pointed out, are not available in
wool dyeing, and should never be used. Wool dyes best in a slightly
acid bath, and this may be taken advantage of in dyeing the yellows
and blues of this group by adding a small quantity of acetic acid. The
reds, as a rule, are affected by acids, and, therefore, it is not
possible to use an acid bath with Benzopurpurine, Congo red, with the
possible exception of the Titan reds and scarlets, Diamine scarlet,
Benzo fast scarlet, Purpuramine, which are faster to acetic acid than
the other reds of this class of dye-stuffs.
Probably the best plan of dyeing these colours is to first heat the
bath to about 160° F., then enter the goods, and turn over two or
three times to ensure that they are thoroughly impregnated with
dye-liquor. The bath is now raised to the boil, and, steam being
turned off, the goods are handled without further steam until the
desired shade is obtained. Another plan is to enter the goods when the
bath is at about 150° F., and, after raising to the boil, to work for
half to one hour at that heat; but the plan first described gives
rather better results, and is far preferable. The dye-baths, as a
rule, are not completely exhausted, except when very pale shades are
being dyed; in no case is it necessary to throw the dye-bath away, but
simply to add the required amount of dye-stuff for a new batch; (p. 063)
with those colouring matters which are not entirely exhausted from the
bath a smaller amount, generally about three-fourths only, is required
to be added, with about one-third the quantity of salt which was added
to the first bath. Of course it is not advisable to keep the same bath
or liquor in work always, but after about twenty or thirty batches of
goods are dyed to throw it away and start a fresh liquor.
As a rule it will be found that these dye-stuffs are more thoroughly
taken up from the bath than is the case in dyeing cotton; thus often
with the same amount of dye-stuff in proportion to the material used
the wool will dye rather a deeper shade than will cotton. In some
cases, especially with the blues and violets, the shade is greatly
different on wool from what it is on cotton, being generally redder
and much stronger. (See the chapter on Union Dyeing.) While the shades
are somewhat faster to light on wool than they are on cotton, they are
no faster to soaping and in some cases not so fast. What may be the
function of the salt, or other such added substance, is not very
clear, probably it plays the same part as to similar bodies in dyeing
the basic dye-stuffs. The dye-stuffs which are referred to above are
all derived from coal-tar, and in the recipes which follow many
examples of their use will be found.
There are but few natural dye-stuffs that have any direct affinity for
wool. Turmeric, saffron, anotta, are about the only representatives,
and these are not of much importance in wool dyeing by themselves,
although they are sometimes used in conjunction with other natural
dye-stuffs, when they are applied by a process which is adapted more
especially for the other dye-stuff which is used.
_Second Method_.--The method of wool dyeing now being dealt with does
not differ essentially from that described above, but as it is applied
to quite a different class of dye-stuffs it is thought better to
consider it as a second method. The dye-stuffs made use of in (p. 064)
this method are what are called the basic coal-tar colours, and it may
be remarked in passing that there are no natural colouring matters
having the same properties. These dye-stuffs are derived from a number
of so-called colour bases, such as Rosaniline, Pararosaniline,
Methylrosaniline, Phenyl-rosaniline, and Auramine base. Many of these
are colourless bodies containing the Amidogen group NH_{2}, which
imparts to them basic properties enabling them to combine with solids
to form salts, and these salts have a strong colouring power. They
form the commercial dye-stuffs Magenta, Saffranine, Thioflavine T,
Auramine, Benzoflavine, Brilliant green, Methyl violet, etc., and
these are salts (usually the hydrochloride) of colour bases. All these
basic dye-stuffs have strong affinity for the wool fibre, and will
immediately combine with it, dyeing it in colours which resist
washing, etc., to a considerable extent, although there are great
differences between the various members of the group in this respect.
It has been shown that what takes place in dying wool with these
colouring matters is that the colour base combines with the fibre the
acid of the dye-stuff remaining in the dye-liquor.
Although it is possible to dye wool with the basic dyes from a plain
bath containing water only, yet the results are not satisfactory,
especially when working on a large scale; and for dyeing pale shades
especially, the affinity of the dye-stuff for the fibre is so great
that the first portions of the goods which are entered into the
dye-bath have a great tendency to absorb all the dye-stuff, or the
larger proportion of it, so that uneven dyeing is the result, one end
of the piece of cloth being darker than the other end. This defect is
particularly accentuated when pale tints are being dyed, the colouring
matter being completely absorbed before all the goods are entered into
the bath, but it may be remedied by adding the dye-stuff to the bath
in small quantities at intervals during the process of dyeing. The (p. 065)
best and most satisfactory method, however, is to add to the bath 10
per cent. of the weight of the wool of Glauber's salt, or some other
neutral alkaline salt, which addition almost entirely prevents any
defect of uneven dyeing. How these assistant mordants act is somewhat
uncertain, the explanation generally given is that they exert a
slightly solvent action on the dye-stuff, and so prevent it from going
upon the fibre too readily. This is scarcely an adequate explanation,
but in want of a better it will have to stand.
The affinity of the basic dyes for wool increases with increase of
temperature. This is a property that has an important bearing on the
method of dyeing, and to any person who pays some attention to theory
in its practical applications it indicates the most rational method of
working, which is to enter the goods into the bath cold, or, at the
most, at a hand heat, then, after working a short time to get the
goods thoroughly impregnated with the dye-stuff, to gradually raise
the temperature to the boil and work for from half an hour to an hour
longer, even if before this time the dye-bath be exhausted. The reason
for giving a fair length of time in the bath is to get the colour
properly fixed on the fibre. The combination of the dye-stuff and the
fibre is a chemical one, and, as stated above, the dye-stuff has to be
decomposed so that the base may combine with the essential constituent
of the wool fibre, while it is obvious that this decomposition and
then the union of the colour base with the wool must take time, and as
it is effected more easily and completely at the boiling point, it is
advisable to work the goods in the bath so as to fully insure that
they are given the necessary time for the chemical change to take
place.
The dye-bath is generally completely exhausted of colour, but if
fairly clean it need not be thrown away, but used for another batch of
wool by simply adding more Glauber's salt and dye-stuff. After a (p. 066)
time the bath gets too dirty to used, when it may be thrown away, and a
new dye-liquor made up.
In dyeing for pale shades it is best to add the dye-stuff in small
quantities at intervals during the process of dyeing, and to run the
goods quickly through the bath, so as not to give the dye-stuff too
much opportunity to become absorbed by a portion of the goods only.
Working according to the hints given above, the dyeing of wool with
the basic coal-tar colours may be carried out in a very satisfactory
manner.
_Third Method_.--This method consists in dyeing the wool in a bath
containing the dye-stuff, a little acid (usually sulphuric) with the
addition of Glauber's salt, or some other alkaline salt, the essential
feature or principle being that the bath is an acid one. This method
is applicable to the large group of azo dye-stuffs derived from coal
tar, and also to the acid dyes prepared from the basic coal-tar
colours by the process of sulphonation.
It is also used to apply indigo carmine to wool, probably the only
good example of a natural dye-stuff applied by this process. Most of
the natural colouring matters, such as logwood and fustic, belong to
another group of dye-stuffs.
The simple azo dyes are combinations of two or more organic bases,
united together by a peculiar and characteristic group of nitrogen
atoms. Such azo colours are, however, insoluble in water, and
therefore they cannot be used in dyeing and textile colouring,
although the firm of Messrs. Read Holliday & Sons years ago patented a
process whereby these insoluble azo colours could be developed on the
cotton fibre direct, and thus fabrics made from that fibre could be
dyed in fast colours. When these insoluble azo colours are treated
with sulphuric acid they are converted into sulpho acids, undergoing
what is called sulphonation, an operation of the greatest (p. 067)
importance and value in the preparation of dye-stuffs. The preparation
of indigo extract or indigo carmine from indigo is also a case of
sulphonation. The sulpho-acids of the azo colours, of the basic dyes,
and of indigo are usually insoluble in water, although there are great
differences in their properties in this respect. They will combine
with bases such as soda, calcium and potash to form salts which are
soluble in water, and it is usually in the form of sodium salts that
these azo and acid dye-stuffs are sold to the dyer and calico printer.
It is this power of combination with bases that makes them of value in
wool dyeing. As Knecht and other authorities have pointed out, the
wool fibre contains a basic principle capable of combining with acid
bodies, and in wool dyeing with the colouring matters under
discussion, this combination occurs between the sulpho-acid of the
dye-stuff and the basic principle of the wool fibre.
This points to the fact that the dye-stuffs of this class do not
combine with the wool in the form in which they are supplied to the
dyer as sodium salts, which is shown by a property that many if not
all of them possess, of not dyeing the wool fibre in a neutral bath.
If a piece of wool be immersed in a solution of, say, a scarlet or
indigo extract, which is neutral it is not dyed. The dye-liquor may
penetrate thoroughly throughout the fabric, but if the piece of wool
be lifted out, and allowed to drain, nearly all the liquor will drain
away, and leave the wool nearly if not quite white, showing that the
dye-stuff in the form in which it is sold has no affinity for the wool
fibre. If now a few drops of sulphuric acid be added to the dye-liquor
the wool will become dyed. The sulphuric acid liberates the free
sulpho-acid of the dye-stuff, and this is now in a form to combine
with the wool fibre, which it does. This is the fundamental principle
underlying the acid method for dyeing wool with the acid group of
colouring matters.
The practical application of the principle laid down above is a (p. 068)
matter of simplicity compared with the other methods of dyeing. The
composition of the bath is given above. It is best to enter the wool
at from 150° to 160° F. and then to raise the temperature slowly to
the boil. This method of proceeding gives time for the free colour
acid of the dye to be liberated from the dye-stuff on the one hand,
and for its combination with the wool fibre on the other. In dyeing
pale tints with acid dye-stuffs it is a good plan not to add the acid
until after the goods have been entered into the bath and worked for a
short time to enable them to become impregnated with the dye-liquor;
the acid may be then added, and the dyeing may be finished as usual.
By this plan of working more even dyeings can be obtained than by
simply entering the goods direct into an acidified dye-liquor.
Any kind of acid may be employed, but generally sulphuric acid is
used, partly because it is cheap, and partly because it is the
commonest acid known. Acetic acid is also used in many cases.
_Fourth Method_.--We now come to the fourth method of dyeing wool.
Strictly, perhaps, it is not a single method, but a group of methods,
which are used to supply a certain class of dye-stuffs to the wool
fibre; but as the governing principle depends upon the peculiar
property of the dye-stuffs now to be noticed, which underlies all the
variations of the process of dyeing, it has been thought better to
speak of the fourth method rather than to subdivide further, in which
case the fundamental principle might be lost sight of.
The class of dye-stuffs included in the fourth group was named by
Bancroft the "adjective" group, because they require the aid of a
second body, named the mordant, to properly develop and to fix the
colour of the dye-stuff on the wool. It is sometimes known as the
"mordant dye-stuff" class, and this is perhaps its best name. This (p. 069)
group of colouring matters comprises dye-stuffs of both natural and
artificial origin, the latter of which are getting very numerous and
valuable, and bid fair to displace the natural members of the group.
With but few exceptions the adjective dye-stuffs are not colouring
matters of themselves, _i.e._, they will not dye wool or other fibres
by themselves. Some are coloured bodies, such as fustic, logwood,
Persian berries, Anthracene yellow, etc., but many are not so, and
some possess but little colour, which, moreover, gives no clue to the
colours that can be developed therefrom.
All the colouring matters of this class possess either a distinctively
acid character, or belong to the class of phenols, which, while not
being true acids, still possess weak acid functions that enable them
to combine with bases like acids. These bodies have the property of
combining with bases and metallic oxides, such as soda, potash, iron,
alumina, chrome, tin, nickel, cobalt, etc., forming a series of salts.
Those of soda and potash are usually soluble in water, while those of
the other metals are insoluble, and are usually of strong colour. It
is on this property of forming these insoluble coloured bodies, colour
lakes, as they are called, that the value of the adjective dye-stuffs
in dyeing depends.
The group of adjective colouring matters may be subdivided into two
divisions, not depending upon any differences in the mode of
application, but upon certain differences in the results they give.
Perhaps the best example of an adjective dye-stuff is Alizarine. This
body has a faint red colour, but of itself possesses absolutely no
colouring power. When, however, it is brought into combination with
such metallic oxide as alumina, iron and chrome, then it forms
coloured bodies, the colour of which varies with the metal with which
it is in union, thus with alumina, it is a bright red; with iron, a
dark violet, almost black; with chrome, a deep red; with tin, a (p. 070)
scarlet; and so on. This is a representative of the true adjective
dyes, which comprise most of the so-called Alizarine dye-stuffs, and
logwood, fustic, and most of the natural dye-stuffs. Another division
of the group includes a few colouring matters of recent introduction,
like Azo green, Alizarine yellow, Galloflavine, Anthracene yellow,
Flavazol, etc., which, while forming insoluble colour lakes with
metallic oxides, do not give different colours with different metals.
This class of dye-stuffs, owing to their forming these insoluble
colours, gives really fast colours, capable of resisting lengthened
exposure to light and air, and resisting washing, acids and alkalies.
Of course there are differences between the various members of the
group in this respect, and even the resisting power of an individual
member depends a good deal on the metal with which it is combined, and
the care with which the process of dyeing has been carried out.
In the dyeing of these adjective dye-stuffs, upon the various fibres,
and on wool in any particular, the object is to bring about in any
convenient way the formation on the fibre of the metallic combination
of the colouring principle and the mordant, and it is obvious that if
a satisfactory result is to be obtained, then this must be done in a
very thorough manner. There are three ways in which this combination
of colouring principle and mordant may be brought about in dyeing wool
with these bodies, we may either mordant the wool first, and then
apply the dye-stuff, or we may impregnate the wool with the dye-stuff
first, and then fix or develop the colour afterwards, or, lastly, we
may carry on both operations in one process. Each of these methods
will now be discussed, and their relative advantages pointed out.
The mordanting method is one of the most generally useful. It consists
in first causing a combination of the metal with the wool fibre. (p. 071)
This is carried out by boiling the wool in a solution of the metal,
such as bichromate of potash, chrome alum or chrome fluoride when
chrome is to be used as a mordant, with alum or sulphate of alumina
when alumina is required to be deposited on the fibre, and with
copperas when iron is to be the mordant. It is best to add a little
oxalic acid, cream of tartar, or tartaric acid to the mordanting bath,
which addition helps in the decomposition of the metallic salt by the
wool fibre, and the deposition of the metallic oxide on the wool. With
bichromate of potash, sulphuric acid is often used, much depending
upon the character of the mordant required. Some dye-stuffs, such as
logwood for blacks, work best when the wool is mordanted with chromic
acid, which is effected when sulphuric acid is the assistant mordant.
Other dye-stuffs, such as fustic, Persian berries and Alizarine
yellow, are best dyed on a basic chrome mordant, which is effected
when tartar or oxalic acid is the assistant mordant used, or when some
other form of chrome compound than bichrome is employed.
The actual mordanting is done by boiling the wool in a bath of the
mordant, the quantity of which should be varied according to the
particular mordant that is being employed and to the quantity of
dye-stuffs which is to be used. It is obvious that for a fixing deep
shade of, say, Alizarine on the wool, a larger quantity of mordant
will be required than to fix a pale shade; sometimes this point is
overlooked and the same amount of mordant employed for pale or deep
shades. The best plan of carrying out the mordanting is to enter the
wool in the cold bath or at a hand heat, and then raise to the boil
and continue the boiling for one hour; of course the goods should be
kept turned over during the process to facilitate the even mordanting
of the wool. A great deal of the success of dyeing with the dye-stuffs
now under consideration depends upon the efficiency with which the (p. 072)
mordanting has been carried out. If this is at all unevenly done then
no amount of care in the succeeding dyeing process will lead to the
development of an even dyeing. After the mordanting is finished the
goods should be rinsed with water, but it is not necessary to dry
them.
The next stage in the process is the actual dyeing operations, which
is done by immersing the mordanted wool in a bath of the dye-stuff or
mixture of dye-stuffs.
The fundamental principle is to bring about the combination between
the colouring principle of the dye-stuff and the metallic oxide which
has been deposited on the wool in the previous mordanting process. As
neither of these bodies, however, is very energetic it follows that
the action must be a slow one, and, therefore, time is a highly
important factor in the dyeing of wool by the mordanting process. The
combination between the dye-stuff and the mordant is influenced also
by temperature, and is most active at the boiling point of water. It
is, therefore, needful to conduct this operation at that temperature,
but it would be a wrong way to introduce the mordanted material into a
boiling bath of the dye-stuff; nothing would conduce to uneven dyeing
so much as that course. The best method of working, which, moreover,
is most particularly applicable to the series of Alizarine dye-stuffs,
is to enter the goods in a cold bath of the dye-stuff, and to work
them for a short time to get them thoroughly impregnated, a condition
which is essential if even dyeing is the goal aimed at, then to raise
the temperature of the bath gradually to the boil, the goods being in
the meantime well worked. The dyeing is continued for from one to one
and a half hours at the boil.
It is important in dyeing by this process, especially when using
Alizarine, to keep the temperature of the bath as uniform as possible,
and the goods well worked. Alizarine, and some other members of (p. 073)
this class, are rather sensitive to heat, and if a dye-vat be hot at
the bottom and cold at the top uneven dyeing is sure to be the result;
this is due to the greater affinity of the Alizarine for the mordant
at the high than at the low temperature, and thus more is fixed on to
the wool. The remedy for this is to so construct the heating
arrangements of the vat that the temperature shall be as uniform as
possible, while the goods should be kept continually turned over, and
every portion of them brought into intimate contact with the
dye-liquor. The continuance of the dyeing operations for one and a
half to two hours after the vat has reached the boil is necessary to
properly develop and fix the colour on the fibre; a short boil leaves
the goods of a poor shade, without any solidity about it, and the
colour is loose, while a longer boil brings up a solid shade and a
fast colour.
Although it is not absolutely necessary to add any acid to the
dye-bath during the dyeing operations, yet as the Alizarines and most
of this class of dye-stuffs dye better in a slightly acid bath it is
advisable to add a small quantity of acetic acid, say about one pint
to every 100 lb. of goods; this serves to correct any alkalinity of
the water, which may be due to its containing any lime. Dye-stuffs of
the acid class, such as indigo extract, Cloth red, Acid magenta, etc.,
may be used along with the Alizarine dye-stuffs, in which case the
addition of acid to the dye-bath becomes necessary, but too great an
excess of acid should be avoided, as it interferes somewhat with the
dyeing of the mordant dyes.
This is by far the best and most generally used method of applying
these mordant dyes. It is not a costly process, being indeed economical,
as it only requires just the right amounts of drugs and dye-stuffs,
and there is the minimum loss of material in the mordanting and
dye-baths. Shades can be brought up with the greatest ease, although
it is well in the dyeing to add rather less dye-stuff than is (p. 074)
actually required, and to add more when it is seen how the shade is
coming up. The labour is the most important item in the mordanting and
dyeing method.
The proportions of material used to the weight of the wool are: Of
bichromate of potash, 3 per cent. for full shades, and 1 per cent. for
pale shades; of fluoride of chrome, the same quantities; of acetate of
chrome, according to the strength of the solution used; of alum, 10 to
20 per cent.; of sulphate of alumina, 5 to 10 per cent.; of copperas,
5 to 10 per cent.; of tartar, 1-1/2 to 2-1/2 per cent.; of oxalic
acid, 1 to 1-1/2 per cent.; of sulphuric acid, 1 per cent.; of argol,
2-1/2 to 5 per cent.; of tartaric acid, 1 to 1-1/2 per cent.; but of
course in an article like this it is impossible to give definite
quantities.
_Second Method_. #Stuffing and Saddening.#--This method consists in
first treating the wool with a solution of the dye-stuff, and then
with a solution of the mordant required to develop and fix the colour.
This method is more particularly applicable to such dye-stuffs as
camwood, cutch, logwood, madder, fustic, etc., the colouring
principles of which have some affinity for the wool fibre and will
directly combine with it. It is not suitable for the application of
the Alizarine colours. The saddening may be and is commonly done in
the same bath, that is, after the wool has been stuffed it is lifted,
the mordant--copperas, bluestone, bichrome, or alum--is added, and the
wool is re-entered into the bath. This cannot be considered a good
method of working; the shades obtained are full and deep and fairly
fast, but there is usually a considerable loss of colouring matter, as
the wool in no case abstracts the whole of the dye-stuff from the
bath; what excess is left combines with the mordant when the latter is
added, forming an insoluble colour lake, which falls down to the
bottom of the dye-vat and is wasted, or it may go upon the wool in (p. 075)
a loose, unfixed form, and cause it to rub badly and come off in
milling. Then it is rather difficult to dye to shade, much of the
result depending on conditions over which the dyer has little control.
Working as he does with dye-stuffs of unknown colouring power, which
may vary from time to time with every fresh batch of material, it is
evident that, although the same quantities may be used at all times,
at one time a deeper shade may be obtained than at another, and as it
is impossible to see what is going to be the result, and if by
mischance the shade does not come deep enough it cannot well be
rectified by adding a quantity of dye-wood to the bath, because the
mordant in the latter will prevent the colouring matter from being
properly extracted, and only a part of that which is extracted is
fixed on the wool, the rest being thrown away in the dye-bath, and
partly on the particles of wood themselves, when logwood, camwood,
etc., are used in the form of chips or powder. Dyers being well aware
of this, are in the habit when mistakes occur of bringing up to shade
with soluble dye-stuffs--archil, indigo extract, and such like.
This method, as stated above, is very wasteful, not only of
dye-stuffs, but of mordants. In no case does the wool absorb the whole
of the colouring matter from the bath, the unabsorbed portion goes
down to the bottom of the bath when the mordant is added, so that when
the dyeing is finished, the dye-bath is charged with a large quantity
of colouring matter in an unusable form which has to be thrown away,
thus at once adding to the pollution of the river into which it is
run, and to the cost of the process of dyeing. As attention is being
directed more and more to the question of the prevention of pollution
of rivers, and as the waste liquors from dye-works add to the apparent
pollution to a very considerable extent, dyers will have to develop
other modes of dyeing than that of stuffing and saddening in one bath.
The principle of dyeing by stuffing and saddening may be carried (p. 076)
out by the use of two separate baths; in fact, it is done in the case
of dyeing a cutch brown from cutch and bichromate of potash. The goods
are first treated in a bath of the dye-wood for a short time, then
rinsed, and the colour is developed by padding into a saddening bath
of the mordant. By this method the baths, which are never quite
exhausted, can be retained for future use, only requiring about 1/2 to
3/4 of the original quantities to be added for each succeeding batch
of the goods, in fact, in some cases, as in cutch, old baths work
better than new ones.
The advantage attached to this method of working is that arising from
economy of dye-stuff and mordant, and the reduction of the pollution
of the stream on which the works are situated. The disadvantages are
that the cost of labour is increased by there being two baths instead
of one, and that the shades obtained are not always so full as with
the one-bath method. This, of course, can be remedied by running the
goods through the baths again, which, however, adds to the cost of the
process, but there is this much to be said, the shade can be better
brought up than by the one-bath process. In some cases the methods of
mordanting, dyeing and saddening are combined together in the dyeing
of wool, thus, for instance, a brown can be dyed by first mordanting
with bichrome, then dyeing with camwood and saddening in the same bath
with copperas. The shades obtained are fairly fast and will stand
milling. The disadvantages of this process are the same as those
attached to the dyeing and saddening in one bath.
Now we come to the last method of dyeing wool with mordant and colours,
that in which the operation is carried out in one bath. This can only
be done in those cases where the colour lake that is formed is somewhat
soluble in dye-liquors, which usually have slightly acid properties; or
where the affinity between the two bodies (colouring matter and (p. 077)
mordant) is too great. This method can be carried out in, for instance,
dyeing a cochineal scarlet with tin crystals, a yellow from fustic and
alum, a black from logwood and copperas and bluestone, a red from
madder and bichrome, and the dyeing of the Alizarine colours by the
use of chrome fluoride, etc.
The shades obtained are usually not so deep as those got by the
mordanting and dyeing process, but are frequently nearly so. In some
cases, as in dyeing with fustic or logwood, it gives rather brighter
colours, due to the fact that the tanning matters present in the
dye-stuffs is not fixed on the wool, as is the case with the
mordanting method, but is retained in the dye-bath. For dyeing with
logwood and copperas or bluestone the process is not a good one, as it
does not give as full shades as by the ordinary process. For dyeing
with the Alizarine colours, using chrome fluoride as the mordant, it
can be applied with fair success. There are advantages in the saving
of time and labour and in the amount of steam required, all of which
are important items in dyeing.
It is rather troublesome to match off by this process, but it can be
done. For light shades the process will be found very useful, as these
cost less than by any other process. The dye-baths may be retained for
future use, although in process of time they become too dirty for use,
when they must be thrown away.
#Level Dyeing.#--The first condition for successful dyeing is that the
fibres to be treated are absolutely clean. A careful washing is not
enough for this purpose. Cleanliness is undoubtedly the condition
which the fibre must possess to enable the dye to hold on and not to
come off the fibre, this latter causes a loss of dye-stuff, soils the
whites, and gives rise to trouble between the dyer and finisher; it is
also the condition for making the dye go on the wool evenly. The (p. 078)
washing must be done at the boil, so that the fibre is well wetted
out and all the air bubbles adhering to it are driven out. But this is
not enough; it must be accompanied by a scouring operation, not only
in the case of fibres of which the dyer does not know whether they
have been scoured, but also when they have already been scoured and
bleached. The kind of scouring that the fibres receive in this case
need only be of a comparatively light character, but it must never be
omitted, even for dark shades, as the traces of grease which the fibre
contains are the causes of nearly irremediable stains in the dyeing
operations. Even in dyeing black wool it is of the greatest importance
to have the fibre suitably scoured.
The fatty matters which the fibre contains may belong to the
components of the fibre itself and be natural matters, but in the case
of wool yarns and cloths they are mostly dressing oils, from which the
dyer cannot be too anxious to free the wool before dyeing. Some
practical methods of preparatory treatment of the fibres before dyeing
may therefore be described here with advantage.
Cotton is boiled off at actual boiling heat for two hours, with 8 per
cent. of its weight of carbonate of soda and a little soft soap, which
treatment is sufficient for dark colours.
For light colours it is necessary that the cotton be bleached. Wool is
scoured with soda and soap in the proportion of 10 lb. soda and 2 lb.
Marseilles soap for 100 lb. wool. Silk is scoured by boiling for one
and a half hours in a boiling bath with 30 per cent. of its weight of
soap. For light colours a second boiling should be given, with 15 per
cent.
The careful cleaning of wool previous to dyeing is of exceptional
importance. Raw wool is cleaned with carbonate of soda and ammonia. For
50 lb. wool to be cleaned 6 lb. carbonate of soda and 1-1/2 lb. (p. 079)
ammonia are added to a bath of 150 gallons water. The wool is laid
down in it for twenty minutes at 35° C., taken up, squeezed, treated
for fifteen minutes in another bath, with 5 lb. carbonate of soda and
then rinsed. The first bath must be renewed as often as possible,
because it contains all the impurities. In the case of woollen yarn
30 lb. require two tubs of 40 gallons capacity. The first tub is to
contain 35 gallons water and 2 lb. ammonia at 10° Be. After working
the skeins for three minutes in it they are left to stand for fifteen
minutes, then wrung out, and the operation is repeated in the second
tub. Finally, the yarn is rinsed several times in soft water.
Woollen piece goods are treated in a large wooden tub at 40° C. with
4 lb. carbonate of soda and 2 lb. carbonate of ammonia for 80 lb.
material. The pieces are moved about for twenty minutes, laid down in
the bath overnight, again turned for ten minutes and hydro-extracted.
They may also be handled for forty minutes in a bath of 2 oz. ammonia
for 100 lb. wool at 60° C., and then for twenty minutes in clear water
at 60° C.
After wetting or preparatory treatment, it will be best to proceed
immediately to dyeing; if the fibres be left in a heap for too long a
time, there is danger that they may become heated, or at least that
the moisture may be irregularly distributed by the occurrence of
partial drying, causing an uneven fixation of the colour in the first
stages of dyeing. The first two conditions of successful dyeing are,
therefore, a suitable wetting out and scouring. The dyer, however,
must not be less careful to see that the dye-bath is what it ought to
be.
Whenever possible the dye-stuff must be dissolved separately, or at
least the bath not entered before the dye-stuff is well dissolved.
Artificial dye-stuffs require particular attention to this point,
because the presence of undissolved particles is the cause of (p. 080)
irregularities, such as streaks, or, at least, specks. The solution is
mostly made hot as follows: After pouring water at 180° F. upon the
dye-stuff, stir gently, strain through flannel or through a very fine
sieve, and pour more water upon the residue until nothing more is
dissolved. As is well known, the artificial dye-stuffs often contain
insoluble matter, resins, etc. It is therefore advisable to use only
soft water for this operation.
The solutions of artificial dye-stuffs are ordinarily made at the rate
of 1 to 5 lb. per 10 gallons of water, 2 lb. being the proportion
mostly employed. This depends more or less on the solubility of the
dye-stuff. Old solutions sometimes contain crystals of the dye-stuff
which have separated out. These should be redissolved by heating
before the solution is used. But it is best to make only such a
quantity of solution as will suffice for immediate requirements.
With paste colours care should be taken to keep them in closed vessels
in such a manner that they will not become hard by evaporation, and
they should not be kept in any place where they are likely to freeze
in winter time. In such an event it is not an uncommon circumstance
for the casks or other vessels containing them to burst, with a
consequent loss of dye-stuff. Before any of the paste is withdrawn
from the cask, it is advisable to stir well up with a wooden stirrer.
In adding dye-stuff during the actual dyeing operation, it is
advisable to add the dye-stuff to the bath in two or three portions,
always taking out the goods before adding each lot of dye-stuff, and
stirring up the contents of the bath before re-entering the goods.
Another important condition of obtaining a level dyeing is to proceed
slowly, beginning with a weak bath at a moderate temperature, and
rising gradually to a boil. If necessary to retard the dyeing from the
commencement, then an assistant mordant is added to the dye-bath, in
the shape of soda crystals or phosphate of soda for the benzidine (p. 081)
colours on cotton; bisulphate of soda or Glauber's salt in dyeing with
azo colours or acid colours on wool; or tartar may be used in most
cases with good effect, causing the wool to have a softer feel. Finally,
the evenness of the dyeing is much increased by the frequent turning
over of the material in the dye-bath, so managing this in the case of
wool as to avoid felting.
When dyeing with a mordant, the dyer should see that the mordanting
operation is thoroughly well done, for as much care is required for
the mordanting as for the actual dyeing; in fact, if anything, the
mordanting should be done with rather more care, as if it be at all
defective no amount of care in the following dyeing operations will
ensure a level dyeing. Chrome mordanted wool should be dyed without
delay, as it is rather sensitive to light, especially the yellow sort,
which gradually changes into the green sort of chromed wool.
One peculiarity of dyed wool is that it will continue to take up
colour after it is removed from the dye-bath, especially if it
contains any of the hot dye-liquor, therefore it is very desirable to
wash the wool as soon as possible after its removal from the dye-bath.
It is best, however, not to take the wool out of the hot bath, but to
leave it in until the bath becomes cool, and then to take it out, by
this means the colour becomes deeper and more solid looking, and is
faster on the wool.
One cause of irregular dyeing may be mentioned, as it is occasionally
met with, namely, the presence of foreign fibres in the goods, cotton
in wool fabrics, and even of different varieties of the same fibre.
All dyers know that dead or immature cotton will not dye up properly,
a fact or defect more especially met with in indigo dyeing than probably
in any other colour. Then wools from different breeds of sheep vary
considerably in their dyeing power. Fine wools take up more colour (p. 082)
than coarse, and, consequently, even from the same bath, will come out a
deeper shade; if a fabric, therefore, contains the two kinds of cotton,
or the two kinds of wool, they will not dye up evenly.
In the preceding sections brief notes have been given about the
principal methods of dyeing wool, with some indications of the dyes
which can be used under each method. In the succeeding sections will
be given a number of recipes showing how, and with what dye-stuffs,
various colours, shades and tints can be dyed upon wool. It will be
understood that these recipes are applicable to all kinds of woollen
fabrics, loose wool, slubbing, yarns in any form, woven worsted or
woollen cloths, felts of any kind, etc., all these different forms
require handling in a different way; it would not do, for instance, to
treat a quantity of slubbing in the same way as a piece of worsted
cloth, while hanks of yarn require a different mode of handling to a
quantity of hat bodies. The different kinds of woollen fabrics require
to be dealt with in different kinds of machines, and this has already
been dealt with in the chapter on Dyeing Machinery and Dyeing
Manipulations.
To describe and illustrate the application of all the various woollen
dye-stuffs, whether of natural or artificial origin, and to show the
great variety of shades, etc., which can be obtained with them, either
all one or in combination, would require not one, but many volumes of
the size that this present work is intended to be. Therefore, it
becomes necessary to make a selection from the best-known and most
used of the various dyes, and illustrate their application by a number
of recipes, all of which, unless otherwise stated, are intended to be
for 100 lb. weight of woollen material of any kind. It may also be
pointed out that, as a rule, the recipes may be applied to the dyeing
of fabrics made with other animal fibres than the wool of the sheep,
as, for alpaca, cashmere, camel-hair, hare or rabbit fur, etc., (p. 083)
inasmuch, as, with the exception of silk, all animal fibres practically
possess the same dyeing properties.
It will be convenient to point out here that a very large proportion
of the shades dyed on wool and other fabrics are obtained, not by the
use of a single dye-stuff, although this should always be done,
whenever possible, but by the combination of two or more dye-stuffs
together in various proportions. It is truly astonishing what a great
range of shades can thus be dyed by using two or three dyes suitably
mixed together, and one of the things which go to making a successful
dyer and colourist is the grasping of this fact by careful
observation, and working accordingly. Dyers will find much assistance
in acquiring a knowledge of colour and colour mixing from the two
little books on _Colour_, by Mr. George H. Hurst, and the _Science of
Colour Mixing_, by Mr. David Paterson, both issued by Messrs. Scott,
Greenwood & Co., the publishers of the present work.
#Black on Wool.#--Until within a comparatively recent time black was
dyed on wool solely by the use of logwood, combined with a few other
natural dye-stuffs, such as fustic, indigo, etc., but of late the
researches of colour chemists have resulted in the production of a
large number of black dyes obtained from various coal-tar products.
These have come largely into use, but still, so far they have not been
able to entirely displace logwood, chiefly on the score of greater
cost, the use of the natural dye still remaining the cheapest way of
producing a black on wool; although the blacks yielded by some of the
coal-tar black dyes are superior to it in point of intensity of colour
and fastness to scouring, acids and light, as well as being easier to
dye.
Blacks may be obtained from logwood by several methods, either by
previous mordanting of the wool or by the stuffing and saddening
methods, or by the one-bath process. The following recipes will (p. 084)
show how these various methods are carried out in practice:--
_Chrome Logwood Black_.--The wool is first mordanted by boiling for
one and a half hours with 3 lb. bichromate of potash and 1 lb. of
sulphuric acid, working well the whole of the time. It is not
advisable to exceed the amounts of either the bichromate or the acid
here given, these quantities will result in a full bloomy black being
obtained, but any excess gives rise to greyish dull blacks, which are
undesirable. After mordanting rinse well with water, when the goods
will be quite ready for the dye-bath.
The dyeing is done in a bath made from a decoction of 40 lb. of good
logwood. It is perhaps preferable to start cold or only lukewarm,
raise to the boil and work for one hour, then lift, rinse well, and
pass into a boiling bath made from 1 lb. of bichromate of potash and
1/4 lb. of sulphuric acid for half an hour. This extra chrome bath
fixes any colouring matter which may have been absorbed by the wool
but not properly fixed by the mordant already on, it leads to fuller
shades which are faster to rubbing and milling.
The mordanting bath may be kept standing and used again for fresh lots
of wool, in which case it is only necessary to add 2-1/2 lb. of
bichromate of potash and 1 lb. sulphuric acid to the bath for each
additional lot of wool that is being dealt with. Old mordant baths
work rather better than new ones, but the use cannot be prolonged
indefinitely, there comes a time when the bath gets too dirty to use
and then it must be thrown away.
During the operation the bichromate of potash becomes more or less
decomposed and there is formed on the wool fibre a deposit of chromic
acid and chromic oxide, this deposit forms the mordant that in the
subsequent dye-bath combines with and fixes the colouring matter, the
hæmatoxylin of the logwood, and develops the black on the wool.
In place of sulphuric acid, hydrochloric acid can be used with (p. 085)
some advantage as regards the proportion of bichromate decomposed, and
therefore an increase in the amount of chromium oxide deposited on the
wool.
This gives a deep blue black, somewhat wanting in bloom. The following
recipe gives a much bloomier black, but is rather more expensive to
dye.
_Chrome Logwood Black_.--Mordant by boiling in a bath containing 3 lb.
bichromate of potash and 7 lb. tartar. Dye and otherwise treat as in
the last recipe; 4 lb. of tartaric acid used in place of the tartar,
gives rather brighter and bloomier shades. The use of so-called tartar
substitutes is not to be recommended, they give no better results than
does sulphuric acid and are much dearer to use.
A somewhat greener shade of black than is yielded by either of the
above two recipes is the following:--
_Chrome Logwood Black_.--Mordant the wool in a bath containing 4 lb.
oxalic acid and 3 lb. bichromate of potash, afterwards dyeing as in
the first recipe.
All the above recipes give blacks of a bluish tone, which on the whole
have a good bloomy and solid appearance. Often what is called a jet
black is wanted, this can be obtained by following the recipe given
below.
_Chrome Logwood Jet Black_.--Mordant the wool by any of the methods
given above. The dyeing is done in a bath made from 40 lb. logwood and
5 lb. fustic, working as described in the first recipe. Using these
properties a good jet black is obtained, which is quite satisfactory
on the score of solidity and fastness. It is not advisable to exceed
the quantity of fustic here given, or otherwise the black will have a
tendency to assume a greenish tone that is not at all desirable. This
greening becomes more marked when from 7-1/2 to 10 lb. of fustic is
used, or if alum be added to the mordant along with the bichromate of
potash.
Chrome blacks are the best blacks which can be obtained from (p. 086)
logwood. They have, however, a tendency to turn green on exposure to
the weather, which tendency seems to be most prevalent in those blacks
in which sulphuric acid has been used as the acid constituent of the
mordanting bath. The greening may be reduced to a minimum by adding to
the dye-bath about 1 to 2 lb. of Alizarine. Another plan which has
been followed is to give the wool a bottom with 5 to 6 lb. of camwood
or peachwood, then mordanting and dyeing us usual.
_Logwood Black on Wool_.--Boil first for one hour with a decoction of
8 lb. camwood, then lay down for fifty minutes in a boiling bath of
3 lb. bichromate of potash, 1 lb. alum, 1 lb. tartar. It is a good
plan to allow the goods to hang overnight.
The dye-bath is prepared with 45 lb. logwood, 8 lb. fustic, 4 lb.
sumac. Dye one hour at the boil, wash and dry.
_Indigo Black_.--This is sometimes called woaded black, and has an
excellent reputation as a fast black. It is dyed by first giving the
wool a medium blue bottom in the indigo vat by the method of vat
dyeing, which will be described later on, and then dyeing by either
the second or third recipe given above. The use of sulphuric acid is
rather to be avoided in dyeing an indigo vat with chrome and logwood,
as the chromic acid set free during the process is likely to attack
and by destroying the indigo to materially reduce the intensity of the
blue bottom. Or, after blueing in the vat, the black may be dyed or
topped on by the process with copperas, which will be described below.
_Iron Logwood Black_.--Mordant the wool by boiling one and a half to
two hours in a bath made with 5 lb. copperas, 2 lb. bluestone, 2 lb.
alum, and 10 lb. argol. The dyeing is done in a bath of 50 lb.
logwood.
It is not advisable to use more argol than is here given, for (p. 087)
although a little excess will not materially affect the beauty or
brilliancy of the resulting shade, yet such excess is wasteful, and
makes the dyeing cost more than it otherwise would. On the other hand,
too little will cause the shade to become greyish in tone and wanting
in solidity. The copper sulphate (bluestone) added increases the
fastness of the finished black to light, the best proportions to add
are from 2 lb. to 4 lb. for 100 lb. of wool. The shade obtained in the
above recipe is of a bluish-violet hue, if a jet black be wanted, add
5 lb. of fustic to the dye-bath. Another and very common method of
working is the "stuffing and saddening" process, given in the next
recipe.
_Iron Logwood Black_.--Make a bath of 50 lb. logwood, 6 lb. fustic,
and 1 lb. sumac. Work the wool in this for one hour at the boil, lift,
allow the bath to become cool, then add 6 lb. of copperas (ferrous
sulphate) and 2 lb. bluestone; re-enter the wool, raise the
temperature to the boil, and work half an hour, then lift, wash and
dry. On the whole the first method is the most economical and yields
the best blacks, fastest to rubbing.
The iron-copper-logwood blacks are not so fast to acids as the
chrome-logwood blacks, but they are rather faster to light and air,
and equally so to scouring and milling.
One-bath methods of dyeing blacks are sometimes preferred by wool
dyers. Of these the following is an example.
_Logwood Black_.--Make a dye-bath with 50 lb. logwood, 5 lb. fustic,
6 lb. copperas, 2 lb. copper sulphate, and 4 lb. oxalic acid. Enter
the goods and work at the boil to shade. The oxalic acid is added for
the purpose of retaining the logwood-iron-copper black lake, which is
formed on mixing the various ingredients together in solution. On
boiling the wool in the liquor the fibre gradually extracts out the
dye matter and becomes dyed. The use of some of the so-called (p. 088)
"direct blacks" (_noir reduit_, Bonsor's black) is based on the same
principle.
These dyes are mixtures of logwood, fustic or other dye-stuff with
copperas, bluestone and oxalic acid, and only require adding to water
to make the dye-bath. This method of working enables logwood to be
used in conjunction with dihydroxynaphthalene and some other coal-tar
derivatives to obtain blacks of good solidity and much faster to
light, air, acids and scouring than the ordinary logwood blacks.
Another recipe for a one-bath logwood black, using the extracts in
place of the dye-wood itself, is the following:--
_Logwood Black_.--Prepare a dye-bath with 12 lb. logwood extract,
2 lb. fustic extract, 6 lb. copperas, 4 lb. bluestone, 3 lb. oxalic
acid, 2 lb. tartar. Boil the goods in this for one hour.
Some dyers use the dye-woods and prepare from them a decoction by
boiling in water; in some respects this is the most economical plan,
only the dyer has to get rid of the spent dye-wood from which the
colouring matter has been extracted, and this is not always an easy
matter. Some dyeing machines (Smithson's) have been devised which
contain as one of their features a dye-wood extractor, in which the
extraction of the colouring matter of the wood proceeds at the same
time as the dyeing. Good results are got with such machines, although
they leave something to be desired.
Many dyers use the dye-wood extracts which are now made on a large
scale. These are for the dyer much more convenient to use, although
naturally rather more costly. They are approximately five times the
strength of the dye-wood, but they vary very greatly in this respect.
Logwood blacks can be readily distinguished from nearly all other
blacks, in that by treatment with moderately strong hydrochloric acid
they turn a bright red.
No other natural dye-stuff is used in the dyeing of black than these
here given.
Of late years many black dyes derived from coal tar have been (p. 089)
placed on the market. Among these may be enumerated the Acid Blacks of
Messrs. Bead Holliday & Sons; the Naphthol and Naphthylamine Blacks of
Leopold Cassella & Co.; the Victoria Blacks of the Farbenfabriken
vorm, Fr. Bayer & Co.; the Wool Blacks of the Actiengesellschaft für
Anilin Fabrikation; the Azo Blacks of the Farbwerke vorm, Meister,
Lucius & Bruning; and one or two other blacks. These blacks are dyed
very simply, as will be seen from the recipes given below, showing
their application in the production of blacks of a great variety of
tone. None of them dye a true jet black, but generally a bluish black
or a violet black, but the tone may be readily changed to a jet or
dead black by the addition of a little orange, yellow or green
dye-stuff.
They give blacks of a very solid appearance and very bright in tone,
and have the advantage over the logwood blacks of leaving the wool
more supple and less liable to be felted. Moreover, as a rule they are
faster to acids, alkalies and milling than are the logwood blacks, and
as regards fastness to light they excel that dye-stuff. Unfortunately
they are more costly to use, which tells against their entirely
displacing logwood in dyeing blacks on wool.
Still, year by year their use is increasing, and as their price
becomes less their employment will yet further extend. They may be
combined with logwood, as they will dye with equal facility on
mordanted and unmordanted wool.
_Violet Black on Wool_.--Make the dye-bath with 4 lb. Acid Black B, or
Acid Black B B, 3 lb. sulphuric acid, and 10 lb. Glauber's salt. Work
at the boil for one hour. The B brand of these blacks gives shades
slightly redder in tone than the B B. The blacks are quite fast to
light and acids, but not to soaping.
_Blue Black on Wool_.--Dye as in the last recipe, but use Acid (p. 090)
Black S. This dye-stuff produces bluer shades of black than either B or
B B, and they are faster to soaping.
_Jet Black on Wool_.--Make the dye-bath with 4-1/2 lb. Acid Black S,
1/2 lb. Fast Yellow F Y, 3 lb. sulphuric acid, and 10 lb. Glauber's
salt. This shows how, by the addition of a little yellow dye-stuff,
the blue shade may be changed to a full jet black.
_Blue Black on Wool_.--The dye-bath is made with 4-1/2 lb. Naphthol
Black B (or 6 lb. Naphthol Black 3 B), 4 lb. sulphuric acid, and
10 lb. Glauber's salt. Work at the boil for one hour, then lift, wash
and dry. The Naphthol Blacks have long been used in wool dyeing, and
give excellent results, the 3 B brand dyeing much bluer shades than
the B brand. There is also a 4 R brand giving violet blacks. These
blacks are quite fast to acids and alkalies, are fast to light, and
resist washing very well, the B brand being the fastest. The following
recipe shows how a full jet shade can be obtained for these blacks:--
_Jet Black on Wool_.--Prepare the dye-bath with 4-1/2 lb, Naphthol
Black B, 1 lb. Naphthol Green B, 1/4 lb. Indian Yellow, 4 lb.
sulphuric acid, and 10 lb. Glauber's salt.
_Blue Black on Wool_.--Make the dye-bath with 5 lb. Anthracite Black
B, 10 lb. Glauber's salt, and 5 lb. bisulphate of soda, working at the
boil for one hour. Anthracite Black does not require a bath so acid as
do some other coal-tar blacks. The shade obtained is a full blue
black, which is fast to acids; alkalies turn it a little bluer, and
soaping causes some loss of colour.
_Violet Black on Wool_.--Make the dye-bath with 5 lb. Anthracite
Black R, and 10 lb. bisulphate of soda. The black thus obtained is a
good one, fairly fast to acids, alkalies and soaping.
_Dead Black on Wool_.--Make the dye-bath with 6 lb. Anthracite Black R,
1 lb. Anthracene Yellow C, and 10 lb. bisulphate of soda. Work at (p. 091)
the boil for one hour, then lift, add 3 lb. fluoride of chrome and work
again at the boil for twenty minutes. This black is a very fine one, and
is very fast.
_Violet Black on Wool_.--Make the dye-bath with 4 lb. Naphthylamine
Black D, 10 lb. Glauber's salt, and 5 lb. acetic acid. This black is
pretty fast to acids, alkalies and light, but is somewhat loose to
soaping, and, therefore, cannot be used for black goods that have to
be strongly milled. Naphthylamine Black 4 B dyes somewhat bluer shades
than the B brand.
_Blue Black on Wool_.--Prepare the dye-bath with 6 lb. Victoria Blue
Black, 20 lb. Glauber's salt, and 1-1/2 lb. acetic acid, working at
the boil for one hour. A fine blue black, is obtained which is quite
fast to acids, washing and light.
_Greenish Black on Wool_.--The dye-bath is made with 3 lb. Victoria
Black Blue, 2 lb. Fast Yellow F Y, 20 lb. Glauber's, salt, and
1/1-2 lb. acetic acid. The dyeing is done at the boil and takes about
an hour. This shade has a good full tone, and is fast.
_Jet Black on Wool_.--Make the dye-bath with 4 lb. Victoria Black B,
1/2 lb. Fast Yellow F Y, 10 lb. Glauber's salt, and 2 lb. sulphuric
acid, working at the boil for one hour. A very fine shade is thus
obtained, which is fast to acids, alkalies and soaping. By omitting
the Fast Yellow a blue black is obtained, while by using Acid Green
instead a greener tone is given to the black. In place of the Victoria
Black B the two other brands, 5 G, and G, of these blacks may be used.
These give equally fast blacks of a deeper and more jet black.
_Black on Wool_.--Prepare a bath with 5 lb. acetic acid, 9° Tw.; enter
the wool for one hour, then lift and add 5lb. Naphthol Black 3 B, and
1/4 lb. Indian Yellow. Re-enter the goods and boil for one hour, wash
and dry.
Many of the black dyes--Naphthol Black, Naphthylamine Blacks, (p. 092)
Naphthyl Blue Black N, Acid Black B, etc.--are capable of slowly dyeing
wool from neutral baths, that is, containing only Glauber's salt, or
rather more quickly if a little acetic acid be present. Such dyes are
very useful for dyeing heavily milled or felted fabrics, such as hat
bodies for instance, as then the dye possesses greater penetrative
properties and passes more into the substance of the fabric, which is,
therefore, better dyed through. Also they are suitable for dyeing
half-wool fabrics as will be seen on referring to the chapter dealing
with the dyeing of union or cotton-wool fabrics.
It is quite possible to dye a black on wool by using a combination of
acid and azo dye-stuffs, and below is given a recipe illustrating this
method; it is one, however, rarely adopted.
_Blue-Black on Wool_.--Prepare the dye-bath with 10 lb. Glauber's
salt, 2 lb. Patent Blue, 6 oz. Brilliant Orange, 4 oz. Amaranth, 4 oz.
Acid Violet N, 4 lb. sulphuric acid. Enter the goods at about 150° F.,
raise to the boil and work to shade; lift, wash and dry. It may be of
interest to note that by using a mixture of Azo Rubine and Acid green
good blacks can be got.
There is a range of Acid and Azo dyes which are capable of dyeing from
the usual acid baths on to wool, and yet can be developed and fixed on
the fibre to good, full blacks. Types of such dyes are Anthracene
Chrome Black F F, Diamond Black F, Chrome Patent Black D G and D G G,
Fast Chrome Black, etc. Generally the blacks dyed on wool with these
dyes are very fine, have a full, bloomy appearance, and are very fast.
They are much used in dyeing hat bodies and fine cloths which have to
be very fast to the weather.
The method of application will be gleaned from the recipes given
below.
_Black_.--Prepare a dye-bath with 5 lb. Chromotrop S, 1/4 lb. Azo (p. 093)
Yellow, 50 lb. Glauber's salt. Work for one and a half hours at the
boil, then add 4 lb. sulphuric acid. Work at the boil for another half
hour, then lift. Add to the same dye-bath 3 lb. bichromate of potash.
Re-enter the goods and work at the boil for half an hour, then lift,
rinse and dry.
_Jet Black_.--Mordant the wool by boiling for one hour in a bath made
from 4 lb. bichromate of potash and 3 lb. of tartar. Then rinse, and
dye in a bath containing 3-1/2 lb. Diamond Black, 1-1/4 lb. Alizarine
Cyanine R R R double, and 1 lb. Gambine Yellow, working at the boil
for from one to one and a half hours.
_Diamond Black on Wool_.--Mordant by boiling for one hour with 3 lb.
bichromate of potash, 1 lb. oxalic acid. Wash and dry in a bath made
with 2 lb. Diamond Black, 2 lb. acetic acid. Work at 120° F. for one
hour, then heat to boil, and work until the dye is fully fixed. Lift,
wash and dry.
A more common method of using the Diamond Black is given in the
following recipe.
_Diamond Black_.--Prepare a dye-bath with 10 lb. Glauber's salt,
2-1/2 lb. Diamond Black, 1/2 lb. Diamond Green. Boil for an hour, then
pass through a fresh bath of 2 lb. bichromate of potash for
three-quarters of an hour at the boil; wash and dry.
This gives a fine jet shade of black, quite fast to a strong milling,
and to light, alkalies and acids. Diamond Black by itself gives bluish
shades. This dye is much used in the hat-dyeing trade.
_Violet Black_.--Mordant the wool by boiling for one and a half hours
in a bath made with 3 lb. fluoride of chrome and 1 lb. oxalic acid,
then rinse and dye in a bath containing 25 lb. Alizarine Cyanine
Black G, 5 lb. acetate of ammonia, and 1 lb. acetic acid, working at
the boil for one and a half hours. A fine full shade is obtained (p. 094)
which is quite fast to acids, milling and light.
_Brown Black_.--Mordant the wool as in the last recipe, then dye in a
new bath 25 lb. Alizarine Cyanine Black G, 3 lb. Anthracene Brown,
5 lb. acetate of ammonia, and 1 lb. acetic acid, working at the boil
for one to one and a half hours.
_Jet Black_.--Mordant as in either of the above recipes, then dye in a
bath containing 20 lb. Alizarine Black S W, and 2 lb. acetic acid.
This black possesses a great degree of resistance to acid, alkali,
milling and light, and is one of the best blacks at the disposal of
the dyer.
_Reddish Black on Wool_.--Prepare the dye-bath containing 5 lb.
Chromotrop 2 B, 10 lb. Glauber's salt, and 4 lb. sulphuric acid, work
at the boil for one hour, then lift. Add to the same bath 3 lb.
bichromate of potash and 1 lb. sulphuric acid, and work half an hour
longer.
_Blue Black_.--Make the dye-bath with 6 lb. Chromotrop 10 B and 4 lb.
sulphuric acid; dye, and develop the black by adding to the same bath
3 lb. bichromate of potash and 1 lb. sulphuric acid.
_Jet Black_.--Prepare the dye-bath with 5-1/2 lb. Chromotrop S,
1/4 lb. Alizarine Yellow G G W, 10 lb. Glauber's salt, and 4 lb.
sulphuric acid. Slowly raise to the boil and work for one hour, then
add to the same dye-bath 3 lb. bichromate of potash, and 1 lb.
sulphuric acid, working at the boil for one hour.
These are but a few examples of how the Chromotrops (one of the most
interesting series of dye-stuffs at the service of the dyer) may be
used to dye blacks. They of themselves dye brilliant reds, from bright
scarlet (2 R), crimson (6 B), and purple (8 B and 10 B), to maroon and
clarets (S and S B). These being turned black on being chromed, give
various shades--blue blacks, violet blacks, and jet blacks, which have
the merit of being fast to acids, strong milling, and light in a
great degree. The blue and violet blacks may be converted to jet (p. 095)
shades by adding to the dye-bath some yellow dye-stuff, such as Azo
Yellow, Alizarine Yellow, or Gambine Yellow, which will resist the
action of the bichrome in the developing bath.
Chromotrop blacks while so very fast have the disadvantage of being
expensive, but by combining them with logwood it is possible to obtain
blacks that have a great degree of resistance to light, acids and
milling. They are in this respect much superior to pure logwood
blacks, while the cost is not prohibitive.
The following recipe will serve as an example of how these two
dye-stuffs may be combined:--
_Jet Black_.--Make a bath with 2 lb. Chromotrop S, 15 lb. Glauber's
salt, and 5 lb. hydrochloric acid. Work in this bath for one hour,
then add 2-1/2 lb. bichromate of potash, and work again for half an
hour, at the boil. Lift, rinse and dye in a new bath containing 25 lb.
logwood, 1 lb. fustic extract and 1/4 lb. sulphuric acid, working at
the boil for an hour.
_Violet Black on Wool_.--Dye the wool in the Chromotrop bath, and
develop as in the last recipe. The final dye-bath is made with 6 lb.
logwood, 8 oz. Patent Blue B, and 4 lb. sulphuric acid. By using
logwood alone blue blacks can be dyed, by increasing the proportion of
fustic a greener tone can be obtained, while by the use of a larger
proportion of Chromotrop a redder tone of black is the result.
_Jet Black_.--Make the dye-bath with 20 lb. Glauber's salt, and 6 lb.
Nyanza Black; when obtained is a good one and of solid appearance.
Alkalies turn it red, but it is fast to dilute acid and soaping.
_Black_.--Prepare the dye-bath with 10 lb. Glauber's salt, 5 lb.
oxalate of ammonia, 5 lb. acetic acid and 6 lb. Anthracene Chrome
Black F. Work at the boil for three-quarters of an hour, or until (p. 096)
the bath is exhausted of dye-stuff, then add 1-1/2 lb. bichromate of
potash and 2 lb. hydrochloric acid to the same bath and work for half
an hour longer.
The Anthracene Chrome Blacks, of which there are three brands, F, 5 B
and F E, are excellent dyes, producing very fine blacks, and owing to
the slowness of dyeing and great penetrative properties are very
suitable for dyeing hat felts and other closely woven fabrics. The 5 B
dyes more bluish shades than the F, while the F E brand gives full
black. By combining these with Anthracene Yellow B N, Anthracene Acid
Brown G, or other similar dyes, jet blacks can be got as per the
following recipe:--
_Jet Black_.--Make the dye-bath with 6 lb. Anthracene Chrome
Black F E, 5 oz. Anthracene Yellow B N, 10 lb. Glauber's salt, 2 lb.
oxalate of ammonia and 5 lb. acetic acid, after dyeing, and the
dye-bath, is exhausted of colour, add 1-1/2 lb. bichromate of potash
and 3 lb. hydrochloric acid, and boil again for half an hour. Finish
in the usual way.
One of the reasons for adding the oxalate of ammonia, is to
precipitate out any lime which may be in the water in such a form that
it will not react with the dye-stuff.
_Fast Black_.--Mordant the yarn with copperas (sulphate of iron). Dye
in a bath with 5 lb. Gambine Y, 2 lb. Acid Mauve, 2 lb. bisulphate of
soda. Proceed as described for full green.
_Blue Black_.--3-1/2 lb. Naphthylamine Black S, 10 lb. Glauber's salt,
and 5 lb. acetic acid; to fully exhaust the dye-bath add 8 lb.
bisulphate of soda.
_Jet Black_.--5 lb. Naphthylamine Black S, 1/4 lb. Fast Acid
Green B N, 10 lb. Glauber's salt, and 5 lb. acetic acid, adding 8 lb.
bisulphate of soda to exhaust the bath.
_Blue Black_.--Give a deep blue bottom in the indigo vat and dye with
2 lb. Anthracite Black B, 10 lb. Glauber's salt and 2 lb. acetic acid.
#Greys on Wool.#--The dyeing of greys follows very naturally after (p. 097)
the dyeing of blacks, for from a broad point of view greys are simply
light blacks, and any dye-stuffs that will dye black will if used in
smaller proportions give greys. There is a great variety of tone among
greys: reddish greys, bluish greys, greenish greys, and so on. They
may be dyed in a considerable variety of ways from a large number of
dye-stuffs, both natural and artificial. Of these two classes the
latter gives the best result as far as regards brightness of tone, and
as regards other properties the greys obtained from the artificial
coal-tar colours are fully equal to those from natural dyes.
A large number of recipes are in use by dyers for the production of
greys, so many that it becomes almost an impossibility to do more than
give a mere fraction of them here. However, a number of representative
recipes will be given, covering all classes of dye-stuffs capable of
being used for the purpose, and thus forming a guide to the methods of
dyeing and the proportions of dye-stuffs to be used.
_Light Grey_.--Dye at the boil for three-quarters of an hour, in a
bath containing 1 lb. perchloride of tin, 3 lb. alum, 3 oz. indigo
extract, and 2 oz. cochineal.
_Slate Grey_.--Mordant by boiling with 4 lb. alum and 1 lb. argol,
then dye with 6 lb. logwood, 6 oz. cudbear and 3 oz. indigo extract.
_Slate Grey_.--Another method is to boil the wool with 10 lb. logwood,
2 lb. Glauber's salt and 1 lb. sulphuric acid for three-quarters of an
hour, then lift, add 1 lb. copperas, and re-enter the wool, working at
the boil for three-quarters of an hour, then lift, wash and dry.
_Reddish Grey_.--Boil for an hour with 10 lb. fustic, 11 lb. cutch,
1/2 lb. bichromate of potash and 1-1/2 lb. copperas.
_Pearl Grey_.--Give a light blue ground in the indigo vat, then dye in
a new bath with 2 lb. muriate of tin and 3/4 lb. cochineal, working at
the boil to shade.
_Silver Grey_.--Prepare a bath with 3/4 lb. tannic acid; work for (p. 098)
an hour in a warm bath, then sadden with 3 lb. nitrate of iron to shade,
then lift, wash and dry.
_Pearl Grey_.--Prepare a bath with 3 lb. fluoride of chrome and 4 lb.
Alizarine Bordeaux B. Enter into the bath when cold, then heat to the
boil and work for one and a half hours, then lift, wash and dry.
_Silver Grey_.--The dye-bath is made with 3 lb. fluoride of chrome and
6-1/2 oz. Alizarine Cyanine G G, the dyeing being done as in the last
recipe.
_Greenish Grey_.--A good shade is dyed with 3 lb. fluoride of chrome,
4 oz. Alizarine Bordeaux B, and 4 oz. Diamond Flavine G, working as
given in the above recipe.
_Grey_.--Give a pale blue bottom with an indigo vat, then dye in a
bath containing 1 lb. fluoride of chrome, 1/2 oz. Diamine Fast Red F,
and 3/4 oz. Anthracene Yellow C; work at the boil for one hour, lift,
wash, and dry.
_Dark Grey_.--A very fine dark grey, almost approaching a black is
obtained by the following plan: bottom the wool with a medium blue by
means of the indigo vat, dye in a bath containing 1 lb. fluoride of
chrome, 3 oz. Diamine Fast Red F, and 3 oz. Anthracene Yellow C.
_Slate Grey_.--A good slate grey of a slightly greenish tone can be
dyed in a bath of 5 lb. acetate of ammonia, 3/4 lb. Acid Blue 4 S, and
1/4 lb. Titan Brown R, working at the boil to shade.
_Pale Slate Grey_.--The dyeing is done in a bath made with 5 lb.
acetate of ammonia, 5 oz. Acid Blue 4 S, and 1-1/2 oz. Titan Brown R,
working at the boil for one hour.
_Silver Grey_.--A very nice shade is dyed with 3 oz. Acid Blue 4 S,
1/4 oz. Titan Red, and 5 oz. acetate of ammonia.
_Silver Grey_.--A shade similar to the last is dyed in a bath
containing 10 lb. Glauber's salt, 5 lb. bisulphate of soda, and
3/4 oz. Anthracite Black R. By adding a little Thiocarmine R the (p. 099)
shade can be turned bluer in tone, while the addition of a little
Milling Yellow O, or Titan Yellow, turns it to the green side.
_Pearl Grey_.--Make the dye-bath with 10 lb. Glauber's salt, 5 lb.
acetic acid, and 3/4 lb. Naphthylamine Black D. This gives fine shades
of pearl grey.
_Bluish Grey_.--Mordant the wool by boiling in a bath made with 2 lb.
bichromate of potash, 1 lb. tartar, and 1 lb. sulphuric acid. Dye in a
bath containing 2 oz. Diamine Black (or 3/4 oz. Diamond Black and
1-1/2 oz. Alizarine Cyanine R), working at the boil for an hour and a
half.
_Grey_.--This can be dyed with 3 oz. Nyanza Black B, and 10 lb.
Glauber's salt, working at the boil.
_Reddish Grey_.--A good full shade is dyed with 1-1/2 oz. Cyanole
extra, 1/4 oz. Orange extra, 3/4 oz. Archil Substitute N, 10 lb.
Glauber's salt and 3 lb. sulphuric acid.
_Slate Grey_.--The dye-bath is made with 3 oz. Cyanole extra, 1/2 oz.
Archil Substitute N, 3/4 oz. Orange extra, 10 lb. Glauber's salt and
2 lb. sulphuric acid.
_Bright Pearl Grey_.--Prepare a dye-bath with 3/4 oz. Patent Blue,
1/2 oz. Acid Violet N, 3/4 oz. Orange G, 10 lb. Glauber's salt and
2 lb. sulphuric acid.
_Stone Grey on Wool_.--The dye-bath is made with 1/2 oz.
Chromotrop 2 R, 3/4 oz. Cyanole extra, 1-1/2 oz. Fast Acid Blue R,
3/4 oz. Acid Yellow, 20 lb. Glauber's salt, 3 lb. acetic acid. Enter
at 80° F., then warm slowly and work to shade, lift, wash and dry.
These recipes will probably be sufficient to show the lines on which
greys may be obtained in wool dyeing. It may be added that from the
Acid Blacks B, B B, and S, good greys of a violet tone may be
obtained, using from 1/2 to 3/4 oz. dye-stuff. The Naphthol Blacks
will also be found useful in the same way, while the greys from
Anthracene Chrome Blacks and the Alizarine blacks are very good and
fast.
#Red Shades on Wool.#--The number of red shades that may be dyed (p. 100)
on wool is infinite. They range over every variety of tint of red, from
the palest blush-rose to the deepest crimson, and from the most brilliant
pink to the dullest grenat shade.
It is quite impossible here to describe the dyeing of every imaginable
shade of red, while the great variety of red dye-stuffs, both natural
and artificial, adds to the difficulty of dealing in the space at
command with all the various methods and dyes that may be used in the
dyeing of reds on wool.
The methods that may be adopted for dyeing red shades on wool are many
and various, depending not only on the particular dye-stuff used, but
often on the particular shade that is being dyed. One method, which
will yield a pale and useful tint with a particular dye-stuff, would
fail if a full shade were necessary.
The greater number of red shades are now dyed by means of the
artificial dye-stuffs, as these are much easier to dye than are the
natural dyes, and they give, on the whole, more even and brilliant
shades, while as regards fastness to milling, acids, and light they
are fully equal, and in most cases superior, to the natural dyes.
#The Direct Red Dyes.#--Of this group of red dye-stuffs, Benzopurpurine,
Titan Scarlet, Diamine Fast Red F, and Benzo Fast Red are types; many
of them have been found to be very serviceable in wool dyeing. They
may be dyed either from plain baths containing common salt or
Glauber's salt, or from baths containing common salt or Glauber's salt
and a little acetic acid.
Alkaline or soap baths do not work well as a rule, and must be avoided
in wool dyeing. Generally the dye-bath is exhausted of colour, and
full shades are easily obtained, while these reds are in general
remarkable for the evenness and uniformity of tint which can be (p. 101)
produced. The reds so dyed are, on the whole, fairly fast to soaping,
and can be used for dyeing goods that have to be milled, while their
resistance to light and air is fairly good. Benzopurpurine and Diamine
Red are more or less affected by acids, but the Titan Red and some of
the more modern reds, Diamine Brilliant Scarlet, Benzo Fast Scarlets,
are all fast to acids. The fastness to washing and light of some of
them, Benzo Fast Red, Diamine Fast Red F, Titan Red, is much increased
by adding, after the wool has been dyed, 3 per cent. of fluoride of
chromium to the dye-bath, and working a little longer.
The dyeing with these colours is done at the boil, and the goods may
be entered direct into the boiling bath without fear of uneven shades
being produced. This bath may be kept as a standing one, simply adding
as each lot is dyed the necessary quantity of dye-stuff, a little
fresh water to bring the bath up to its original volume, and a
corresponding quantity of the salt originally added. The wool can then
be entered and dyed.
In place of using salt or Glauber's salt, acetate of ammonia is an
excellent assistant for this class of dyes.
The following are some recipes for dyeing various shades of red on
wool with this class of dyes.
_Scarlet_.--The dye-bath is made with 3 lb. Titan Scarlet C B, and
10 lb. acetate of ammonia. This gives a good bright shade of scarlet,
which is fast to acids and soaping, although not fast to light.
_Scarlet_.--Dye in a bath made with 3 lb. Diamine Scarlet B and 10 lb.
Glauber's salt. This yields a light shade, not so fast to acids as the
last, but equally fast to soaping and light.
_Scarlet_.--Make the dye-bath with 3 lb. Benzopurpurine 4 B, and
10 lb. Glauber's salt. This also gives a good shade of Scarlet fast to
soaping. It is turned dark blue by acids, and is not fast to (p. 102)
light. It is very largely used on underwear goods, but is not so
satisfactory for this as the Titan Scarlet C B, or Benzo Fast
Scarlet B S.
_Scarlet_.--The dye-bath may be made with 3 lb. Brilliant Congo G,
10 lb. Glauber's salt and 2 lb. acetate of ammonia. This gives a
satisfactory shade of scarlet.
_Bright Scarlet_.--The dye-bath prepared with 2 lb. Geranine G, 5 lb.
sulphate of soda, 5 lb. acetate of ammonia. Work at the boil for one
hour, then wash and dry.
_Dark Crimson_.--Prepare a dye-bath with 1-1/2 lb. Chrysophenine,
1-1/2 lb. Hessian Violet, 25 lb. salt. Heat to 150° F., enter the
goods, heat to boil and dye boiling for one hour, take out, rinse and
wash.
_Scarlet_.--A brilliant shade of scarlet can be dyed in a bath of
3 lb. Benzo Fast Red, 1 lb. Chrysophenine, 10 lb. Glauber's salt and
2 lb. acetic acid.
_Fast Red_.--Dye the wool in a bath boiling, containing 1 lb. Diamine
Fast Red F, 10 lb. Glauber's salt, and 2 lb. acetic acid, until the
bath is exhausted, then add 3 lb. fluoride of Chrome and work half an
hour longer at the boil.
_Bordeaux_.--Dye with 3 lb. Diamine Bordeaux, and 10 lb. Glauber's
salt.
_Pink_.--Dye with 2 lb. Diamine Rose B D, 10 lb. Glauber's salt and
1 lb. acetic acid.
The basic red dyes are not very numerous, and comprise Magenta,
Saffranine, Acridine Reds, Acridine Scarlets, Rhoduline Reds,
Rhodamine and Neutral Beds. For successful dyeing they require a
perfectly neutral bath. This bath should contain 10 per cent. of
Glauber's salt, and is started cold and not too strong; when all the
material has been entered the steam may be turned on and the
temperature slowly raised, the material being turned over and over.
The operation is continued only until the bath has been exhausted of
colour, when it is stopped, and the wool taken out, and washed (p. 103)
and dried. The liquor in the dye-baths may be allowed to cool down,
and then it may be used for making the dye-bath for a second lot of
goods, or it may be run away. It is best not to add the dye to the
bath all at once, but in several portions as the work proceeds. The
affinity of the wool for the basic dyes is usually so strong that if
all were added to the dye-bath at the start, then the first portion of
the goods entered might take up all, or nearly all, the colour,
leaving but little for the last portion; the consequence being that
the goods are dyed of an uneven colour, deeper in some parts than
others. This defect is remedied by adding the dye in portions,
entering the goods rather quickly, working cold, or by adding a little
acetic acid and plenty of Glauber's salt. Notwithstanding all these
precautions it is quite possible for the shades to come up somewhat
uneven. These remarks are applicable not only to the basic reds but to
the whole range of basic dyes, hence this class of dye-stuffs is but
little used in the dyeing of wool.
_Crimson_.--Make the dye-bath with 2 lb. Magenta, and 15 lb. Glauber's
salt, working as described above. This gives a fine crimson shade
which, however, is not fast to soaping or to light. The quantity of
dye-stuff given above should not be exceeded or the shades may come up
bronzy, this may be avoided if a trace of acetic acid is added to the
dye-bath.
_Crimson_.--Dye with 2-1/2 lb. of Saffranine and 15 lb. Glauber's
salt. This dyes a fine Crimson shade.
_Deep Red_.--Use 3 lb. Rhoduline Red and 10 lb. Glauber's salt.
_Scarlet_.--The dye-bath is made with 1 lb. Saffranine Prima, 1 lb.
Auramine, and 10 lb. Glauber's salt. The goods are entered into the
dye-bath at about 120° F., and well worked about, then the temperature
is raised slowly. When the dye-bath is exhausted the goods are lifted,
washed and dried. There are no pure basic scarlets, and the above and
similar combinations of a basic red and a basic yellow are the (p. 104)
only ways in which a scarlet can be dyed on wool with basic coal-tar
colours.
The basic colours are, in general, the hydrochlorides of some colour
base, and in the process of dyeing the acid constituent of the wool
fibre unites with the colour base, while the hydrochloric acid which
is liberated passes into the dye-bath.
The acid reds are a very large group of red dyes, of somewhat varied
chemical composition, which all have the property of dyeing from baths
containing Glauber's salt and sulphuric acid or acetic acid, the usual
proportions being 10 per cent. of the former, and 2 to 5 per cent. of
the acid. Some are best dyed from a bath containing bisulphate of
soda. The dyeing should be started cold, or at a lukewarm heat, then
steam should be turned on and the temperature raised to the boil, at
which it is maintained for an hour; this boiling serving to more
intimately fix the dye-stuff on the woollen fibre.
The Eosine reds, of which Eosine in its various brands, Rose Bengale,
Phloxine, Saffrosine and Erythrosine, are examples, are best dyed upon
wool from a bath containing Glauber's salt and a little acetic acid.
They do not require a very acid bath, hence the reason of using acetic
acid. The method of dyeing is that given above as for basic reds,
namely, enter into cold, or at most lukewarm bath, and raise the heat
slowly, continuing the work until the shade required has been
obtained. It is a good plan to start work in a neutral bath, and then
when the material has become thoroughly impregnated with the
dye-liquor to add the acetic acid. The shades obtained from these
Eosine reds are remarkable for their brilliance, but unfortunately
their fastness to light, washing, etc., is but slight, although it may
be increased by treating the dyed wool in a bath of alum or acetate of
lead.
Some of the acid reds, _e.g._, Acid Magenta, Acid Violet, belong (p. 105)
to the group of sulphonated basic dyes. The vast majority belong to the
group of azo dyes, which can be employed to dye from palest pinks to
the deepest crimson reds. Some dye very brilliant shades, others only
yield dull reds. Some dye shades remarkable for their fastness to all
agencies, soap, acids, alkalies, light and air; others dye shades
which may be fast to soap, but loose to acids and light. Generally
even shades are readily obtained on any kind of woollen fabric. It is
practically impossible to name all the acid reds that are known and
that may be used, but a fairly representative series of recipes will
be given.
_Ponceau_.--Wet out, then prepare a bath with 2 lb. Ponceau R, 10 lb.
Glauber's salt, 2 lb. sulphuric acid. Enter the wool in the cold,
bring to a boil and work to shade, wash and dry.
_Crushed Strawberry_.--Prepare a bath containing 10 lb. Glauber's
salt, 4 oz. Scarlet R S, 9 oz. Indigo extract, 2 oz. Orange Y, 4 oz.
sulphuric acid. Enter wool at 160° F., give four turns, raise
temperature slowly to a boil, and turn to shade, lift and wash.
_Scarlet_.--Prepare a dye-bath with 2 lb. Azo cochineal, 10 lb.
Glauber's salt, 4 lb. sulphuric acid. Work at the boil until the full
shade is obtained, then lift, wash and dry.
_Terra Cotta Red_.--The dye-bath is made from 2-1/2 lb. Fast Acid
Magenta B, 2-1/2 lb. Fast Yellow F Y, 10 lb. Glauber's salt, 2 lb.
sulphuric acid. Work at the boil to shade.
_Fast Scarlet_.--Prepare a dye-bath with 3 lb. Glauber's salt,
1-1/4 lb. sulphuric acid, 2-1/2 lb. Brilliant Scarlet 4 R. Work at the
boil for one and a half hours.
_Scarlet_.--Make the dye-bath with 2 lb. Scarlet 2 R J, 10 lb.
Glauber's salt and 2 lb. sulphuric acid. The goods may be entered at
about 150° F., and the temperature raised at the boil and maintained
at that heat for one hour, then the goods are lifted, rinsed and
dried.
The method given in the above recipes is that usually followed (p. 106)
with the acid colours. When closely woven or thick goods are being
dyed, where it is desired that the colour should penetrate well into
the substance of the goods, the following modification of working may
be adopted:--
The dye-bath is made up with the dye-stuff and Glauber's salt only,
and the goods are worked in this at the boil until they are thoroughly
impregnated with the dye-stuff liquor, then the acid is added in small
quantities at a time, and the dyeing is continued for one hour to fix
the colouring matter on the wool fibre. The goods may then be lifted
out, washed and dried.
_Scarlet_.--Make the dye-bath with 2 lb. Scarlet F R, 10 lb. Glauber's
salt and 2 lb. sulphuric acid. In place of scarlet F R, the F 2 R or
F 3 R brands may be used, the latter giving the reddest shades.
_Scarlet_.--Make the dye-bath with 2 lb. Scarlet O O, 10 lb. Glauber's
salt and 2 lb. sulphuric acid. Scarlet O dyes a yellower shade of
scarlet, while scarlets O O and O O O dye slightly redder shades.
_Scarlet_.--The dye-bath is made with 3 lb. Brilliant Ponceau 2 R,
10 lb. Glauber's salt and 10 lb. bisulphate of soda. This gives a
brilliant shade of scarlet. Brilliant Ponceau G, used in the same way,
gives a much yellower tone of scarlet, the R gives a slightly yellower
tone, while the 3 and 4 R brands dye redder shades.
_Bluish Red_.--The dye-bath is made with 2 lb. Brilliant Croceine B,
10 lb. Glauber's salt, and 10 lb. bisulphate of soda. Brilliant
croceine B B and the brand M dye redder shades of scarlet.
_Red_.--Make the dye-bath with 3 lb. Milling Red R, 20 lb. Glauber's
salt, and 5 lb. acetic acid. This is a good bright shade, and is quite
fast to soaping and milling.
_Deep Scarlet_.--Dye with 3 lb. Chromotrop R, 10 lb. Glauber's (p. 107)
salt, and 2 lb. sulphuric acid. This scarlet is very fast to milling,
acid and light.
_Red_.--Make the dye-bath with 2 lb. Victoria Scarlet R, 1 lb.
Victoria Rubine O, 10 lb. Glauber's salt, and 4 lb. sulphuric acid. A
fine deep scarlet red is obtained.
_Scarlet_.--Dye with 2 lb. Brilliant Orseille C, 10 lb. Glauber's
salt, and 3 lb. sulphuric acid. This gives a bright bluish shade of
scarlet.
_Red_.--Dye with 1 lb. Emin Red and 5 lb. bisulphate of soda.
_Scarlet_.--Make the dye-bath with 3 lb. Croceine Scarlet 3 R, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid.
_Fawn Red_.--Make the dye-bath with 1-1/2 oz. Cyanole, 1-1/2 oz.
Orange extra, 2-1/2 oz. Archil Substitute N, 10 lb. Glauber's salt,
and 2 lb. sulphuric acid. This gives a nice light tint of fawn red, of
a somewhat bluish tone.
_Deep Fawn Red_.--A very deep shade of fawn red is dyed with 4-1/2 oz.
Cyanole, 2-1/4 lb. Orange extra, 1-1/4 lb. Archil Substitute N, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid. The same dye-stuffs are used
as in the last, but the result is a deeper shade, of a yellow tone.
_Crushed Strawberry Red_.--Use 4 oz. Chromotrop 2 R, 2 oz. Cyanine B,
1 oz. Azo yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric acid.
_Pale Lilac Rose_.--Dye with 1 oz. Chromotrop 2 R, 1/2 oz. Cyanine B,
1/2 oz. Azo yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric acid.
_Deep Fawn_.--Dye with 3-1/4 oz. Chromotrop 2 R, 1-1/2 oz. Orange G,
2 oz. Cyanine B, 4 oz. Fast Acid Blue R, 10 lb. acetic acid, and
20 lb. Glauber's salt.
_Crimson_.--Make the dye-bath with 3 lb. Titan Red 6 B, 20 lb. salt,
with a little acetic acid, and work at the boil. This gives a fine
shade of crimson, fast to acids and capable of standing milling very
well.
_Deep Crimson_.--A bright and deep crimson is dyed with 4 lb. Fast (p. 108)
Acid Magenta B, 10 lb. Glauber's salt, and 3 lb. sulphuric acid, working
at the boil.
_Pale Crimson_.--Make the dye-bath with 2 lb. Fast Acid Magenta B,
10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil.
Level shades are readily obtained, and the dye is fast to washing.
_Deep Crimson_.--Make the dye-bath with 4 lb. Azo Fuchsine G, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid. This gives a very deep shade
of crimson, of a bluish tone.
_Bluish Crimson_.--Use in the dye-bath 2 lb. Azo Fuchsine G, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid.
_Pale Bluish Crimson_.--Use in the dye-bath 1 lb. Azo Fuchsine G,
10 lb. Glauber's salt, and 2 lb. sulphuric acid. This gives a very
bright shade of pale crimson. The B brand of the Azo Fuchsines gives
slightly bluer shades than the above.
_Deep Crimson_.--A very solid crimson is dyed in a bath containing
3 lb. Azo Red A, 2 oz. Orange extra, 2 oz. Cyanole extra, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid. Work at the boil.
_Bright Crimson_.--A fine bluish crimson can be dyed on wool with
4 lb. Azo Red A, 10 lb. Glauber's salt, and 10 lb. bisulphate of soda.
Work at the boil.
_Deep Crimson_.--A good shade can be dyed with 6 lb. Amaranth, 10 lb.
Glauber's salt, and 10 lb. bisulphate of soda, working at the boil.
_Brilliant Pale Bluish Crimson_.--A really brilliant shade, bordering
on a violet red, is dyed in a bath containing 1-1/2 lb. Fast Acid
Violet R, 10 lb. Glauber's salt, and 2 lb. sulphuric acid.
_Bluish Crimson_.--Make the dye-bath with 3 lb. Croceine Scarlet,
10 lb. Glauber's salt, and 2 lb. sulphuric acid. This gives a good
full shade of a bluish tone and very bright.
_Bluish Crimson_.--Dye with 3 lb. Chromotrop 6 B, 10 lb.
Glauber's salt, and 3 lb. sulphuric acid. This gives a fine tint, (p. 109)
very fast to acids, milling and light.
_Purple_.--Make the dye-bath with 3 lb. Chromotrop 10 B, 10 lb.
Glauber's salt, and 3 lb. sulphuric acid.
The Chromotrops are remarkable for the fulness of the shades they dye,
the brightness of their tint, and their fastness to acids, washing and
light.
_Purple_.--Use 4 lb. Azo Fuchsine B, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid.
_Bluish Purple_.--A very dark shade of purple is dyed with 4 lb. Azo
Acid Violet 4 R, 10 lb. Glauber's salt, and 2 lb. sulphuric acid.
#Bordeaux Reds#.--These are shades that lie intermediately between the
scarlets and the crimsons. They are in general duller than the
scarlets, and have a more solid and fuller look; while they are less
blue in tone than the crimson. They can be obtained from a large
variety of dye-stuffs, and the recipes given below may be regarded as
typical examples.
_Bright Bordeaux Red_.--Make the dye-bath with 1 lb. Azo Bordeaux,
10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil
to shade. This is a very bright shade, of a somewhat bluish tone.
_Cherry Red_.--Make the dye-bath with 2-1/2 lb. Fast Acid Magenta B,
2-1/2 lb. Fast Yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric
acid. This gives a fine deep shade.
_Bright Cherry Red_.--A very yellow shade of red, fast to milling, is
dyed by making a dye-bath with 1-1/2 lb. Anthracene Yellow C, 3 lb.
Diamine Fast Red F, 10 lb. Glauber's salt, 5 lb. acetate of soda, and
2 lb. bisulphate of soda. Work at the boil for one hour, then lift,
add 3 lb. fluoride of chrome, re-enter the wool and work half an hour
longer; wash and dry.
_Deep Bordeaux Red_.--The dye-bath is made with 4 lb. Diamine Fast
Red F, 5 lb. acetate of soda, and 3 lb. bisulphate of soda. Work (p. 110)
at the boil for one hour, then lift, add to the bath 3 lb. fluoride of
chrome, re-enter the goods and work again for half an hour; lift, wash
and dry.
_Bright Cherry Red_.--Make a dye-bath with 4 lb. Benzo Fast Red,
10 lb. Glauber's salt, and 2 lb. acetic acid. Work at the boil for one
hour, then lift, add 3 lb. fluoride of chrome, re-enter the goods and
work for half an hour longer; wash and dry.
_Cherry Red_.--Make the dye-bath with 2 lb. Azo Fuchsine G, 1-1/2 lb.
Fast Yellow, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. Work at
the boil for one hour.
_Bluish Bordeaux Red_.--For a very fast shade use 8 oz. Fast Acid
Violet R, 8 oz. Orange G, 3/4 oz. Patent Blue B, 10 lb. Glauber's
salt, and 2 lb. sulphuric acid. Work at the boil for one hour.
_Bright Bordeaux Red_.--A good bright and fast shade of red is dyed
with 3-1/2 lb. Emin Red and 7 lb. bisulphate of soda. Work at the boil
for one hour, then lift, add 3 lb. fluoride of chrome, work for
three-quarters of an hour, then lift, wash and dry.
_Bordeaux Red_.--Use 3 lb. Titan Scarlet D, 1/4 lb. Titan Brown O, and
20 lb. salt. Work at the boil for one hour, then lift, wash and dry.
#Claret Reds.#--Claret reds are very useful shades and are great
favourites of the dress-loving public. They are dark reds of a yellow
tone, and can be dyed upon wool in a variety of ways, of which the
following recipes just indicate a few.
_Claret_.--Make the dye-bath with 4 lb. Milling red R, 10 lb.
Glauber's salt, and 4 lb. sulphuric acid.
_Claret_.--Use 4 lb. Archil Substitute N, 10 lb. Glauber's salt, and
2 lb. sulphuric acid.
_Claret_.--Make the dye-bath with 2 lb. Bordeaux B L, 10 lb. Glauber's
salt, and 2 lb. sulphuric acid.
_Claret_.--A deep shade is dyed with 2-1/2 lb. Victoria Scarlet R, (p. 111)
2 lb. Victoria Rubine O, 1 oz. Cyanine Scarlet R, 2 lb. Victoria
Rubine O, 1 oz. Cyanine B, 10 lb. Glauber's salt, and 2 lb. sulphuric
acid.
_Claret_.--A fine deep shade is dyed with 2 lb. Azo Red A, 1/4 lb.
Orange extra, 1/4 lb. Cyanole, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid.
#Maroon Reds.#--From clarets to maroons is not a wide interval, they are
both dark shade reds, the former tending to a yellow tone, the latter
to a more bluish shade of red. A few recipes will be given to show
some of the best methods of dyeing maroons.
_Maroon_.--Use 6 lb. Amaranth B, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid. This gives a fine bright shade.
_Deep Maroon_.--Make the dye-bath with 4-1/2 lb. Fast Acid
Violet 10 B, 80 lb. Glauber's salt, and 3 lb. sulphuric acid. This
gives a fine blue shade of maroon of great depth.
_Maroon_.--The dye-bath is made with 3 lb. Azo acid violet 4 R, 1 lb.
Fast Yellow S, 1-1/2 oz. Fast Green Bluish, 10 lb. Glauber's salt, and
2 lb. sulphuric acid.
_Deep Maroon_.--Make the dye-bath with 2 lb. Acid Magenta, 1/2 lb.
Orange O, 1/2 lb. Patent Blue V, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid.
_Deep Maroon_.--Make a dye-bath with 3 lb. Azo Acid Rubine, 1-1/2 oz.
Acid Black B B, 10 lb. Glauber's salt, and 2 lb. sulphuric acid.
_Maroon_.--The dye-bath is made with 3 lb. Milling Red B, 1-1/2 oz.
Naphthol Black 4 R, 10 lb. Glauber's salt, and 3 lb. sulphuric acid.
_Deep Maroon_.--Make the dye-bath with 1-1/2 lb. Victoria Scarlet R,
13 oz. Victoria Rubine O, 1/2 lb. Victoria Yellow, 2 lb. Keton Blue G,
10 lb. Glauber's salt, and 3 lb. sulphuric acid.
_Bright Red_.--A good shade is dyed with 4 lb. Lanafuchsine S G, and
10 lb. bisulphate of soda. Lanafuchsine S B dyes somewhat bluer
shades.
_Fast Red_.--Dye with 4 lb. Milling Red B, 10 lb. Glauber's salt, (p. 112)
and 2 lb. sulphuric acid.
_Bright Scarlet_.--Dye with 3 lb. Brilliant Cochineal 2 R, 10 lb.
Glauber's salt, and 3 lb. sulphuric acid.
_Deep Scarlet_.--Dye with 3 lb. Brilliant Ponceau 4 R, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid.
#Pinks.#--_Pink_.--Use 1-1/2 oz. Erythesine D, and 5 lb. acetic acid.
These two pinks are very much alike and are very bright.
_Bluish Pink_.--Use 1-1/2 oz. Rose Bengale and 5 lb. acetic acid.
_Pink_.--Make the dye-bath with 3 oz. Azo Cochineal, 10 lb. Glauber's
salt, and 2 lb. sulphuric acid.
_Bluish Pink_.--Make the dye-bath with 3/4 to 1 oz. Fast Acid Violet R
and a little Orange G, 10 lb. Glauber's salt, and 2 lb. sulphuric
acid.
_Pink_.--By using 1-1/2 oz. Fast Acid Violet R, 3/4 oz. Orange G,
10 lb. Glauber's salt, and 2 lb. sulphuric acid, a good full pink is
obtained.
_Bluish Pink_.--Use 2 oz. Fast Acid Violet R, 10 lb. Glauber's salt,
and 2 lb. sulphuric acid.
Many of the other acid reds may be used for dyeing pinks if from 2 to
4 oz. of dye-stuff be used.
_Pink_.--Use in the dye-bath 1-1/2 oz. Diamine Fast Red F, 5 lb.
acetate of soda, and 3 lb. bisulphate of soda.
_Coral Red_.--Make the dye-bath with 1/2 lb. Diamine Scarlet B, 10 lb.
Glauber's salt, and 1 lb. acetic acid.
_Dark Cherry Red_.--The dye-bath is made with 2-1/2 lb. Orange G G,
1 lb. Brilliant Orseille C, 3/4 oz. Cyanole extra, 10 lb. Glauber's
salt, and 2 lb. sulphuric acid.
_Deep Crimson_.--Use in the dye-bath 4 lb. Brilliant Orseille C,
1-1/2 oz. Cyanole extra, 3 oz. Orange G G, 10 lb. Glauber's salt, and
2 lb. sulphuric acid.
_Scarlet_.--Make the dye-bath with 4 lb. Lanafuchsine S G, and 10 lb.
bisulphate of soda. Work at the boil to shade.
_Crimson_.--Make the dye-bath with 4 lb. Lanafuchsine S B, and (p. 113)
10 lb. bisulphate of soda. Work at the boil to shade.
The Lanafuchsines, of which there are three brands, S G, S B, and 6 B,
dye very good level shades of red from scarlet to crimson, which are
of good fastness to milling, acids and light.
_Salmon_.--Use 1/2 lb. Rhodamine B, 1/4 oz. Naphthol Yellow S, 10 lb.
Glauber's salt, and 2 lb. acetic acid.
_Rose Red_.--Use 1/4 lb. Lanafuchsine S B, 3 oz. Lanafuchsine S G,
10 lb. Glauber's salt, and 1 lb. sulphuric acid.
_Salmon Red_.--Use 1-1/2 oz. Lanafuchsine S G, 1/4 oz. Fast Yellow S,
10 lb. Glauber's salt, and 1/2 lb. sulphuric acid.
_Deep Crimson_.--The dye-bath is made with 2 lb. Naphthol Red C, 9 oz.
Acid Magenta, 3/4 oz. Cyanole extra, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid.
_Purple Red_.--Dye with 2-1/2 lb. Naphthol Red C, 3/4 lb. Acid
Magenta, 1 oz. Cyanole extra, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid.
_Bordeaux Red_.--Dye with 4 lb. Lanafuchsine S B, 1 oz. Orange extra,
10 lb. Glauber's salt, and 2 lb. sulphuric acid.
_Fawn Red_.--Dye with 1/4 lb. Orange G G, 3 oz. Lanafuchsine S B,
1/2 oz. Cyanole extra, 10 lb. Glauber's salt, and 2 lb. sulphuric
acid.
_Salmon_.--Prepare the dye-bath with 1/4 oz. Fast Acid Violet R,
1/2 oz. Orange G, 10 lb. Glauber's salt, 1 lb. sulphuric acid. Work at
the boil to shade.
The mordant reds are fairly numerous, and include both natural and
artificial red dye-stuffs. The principle or property on which the
application of this group of dye-stuffs to the dyeing of textile
fabrics depends is that they are of an acid character and combine with
metallic oxides, like those of iron, aluminium, or chromium to form
insoluble coloured bodies, or "colour lakes" as they are called. The
shade or tint of these colour lakes depends, firstly, upon the (p. 114)
dye-stuff, and, secondly, upon the metallic oxide. Thus Alizarine with
alumina gives a scarlet, with chrome a dark red, and with iron a dull
violet. Alumina and chrome are the metallic mordants most commonly
used in the dyeing of reds; sometimes tin is used, but never iron.
The coal-tar colour makers have placed at the service of dyers a great
variety of mordant dyes, which may be classified somewhat roughly into
groups, according to their chemical composition. The first group is
called phenolic colours. These contain the group, or radical OH,
hydroxyl, once or oftener. It is to the presence of this group that
they owe their acid character and the property of combination with
metallic oxides. To this group of dye-stuffs belong such dyes as
Alizarine, Alizarine Cyanine, Anthragallol, Gambine, Coerulein, and
some others. The natural red dye-stuffs, Cochineal, Brazil-wood,
madder, etc., probably belong to this class.
None of these are essentially dyes of themselves, and used alone will
not dye any fibre, it is only when they are brought into combination
with the mordant that they will dye the wool fibre.
The next group may be called hydroxy-azo dyes, and are quite of modern
introduction. They are azo dyes, one of whose constituents is a body
like salicylic acid, amido-benzoic acid, dihydroxy-naphthalene-sulpho
acid, which contain the group OH, hydroxyl with carboxyl COOH. The
first group imparts phenolic characters, while the second gives true
acid properties, and both of these acting together cause the dyes to
be able to form colour lakes with metallic oxides. There is one point
of difference between the two groups of dyes, the phenolic dyes are as
a rule not dyes of themselves, some of them are practically free from
colour, and it is only when brought into combination with the metallic
oxide or mordant that they form a colour and dye a fibre. On the (p. 115)
other hand the azo mordants are in general colouring matters, and can
be used to dye wool without the aid of a mordant, the latter only
serving to make the colour faster to light, acids, milling, etc., and
it often has no material effect on the shade or tone of colour being
dyed. Alizarine Yellow G G, Gambine Yellow, Anthracene Yellow, Chrome
Violet, are examples of such dyes.
There are, however, some dyes (such as the Chromotrops, Azofuchsine,
Anthracene Acid Browns, etc.) on which the mordant has a marked
effect.
The methods adopted in practice for the application of this class of
dyes are many and varied. The mordants used are alum, alumina
sulphate, acetate of chrome, chrome alum, fluoride of chrome, ferrous
sulphate and tin chloride, while, in addition, along with these true
mordanting materials, assistant mordants are used, such as argol,
tartar, tartaric acid, lactic acid, lignorosine, oxalic acid and
sulphuric acid.
The mordanting may be done either before or after the dyeing, the
first plan being that commonly adopted with the phenolic colours,
while the second method may be used and is the best to use with
azo-mordant dyes. Sometimes the mordanting and dyeing may be done in
one bath, but this method is one which leads to a loss of colouring
matter and often to the production of colours which are loose to
rubbing, and cannot, therefore, be recommended.
#Mordanting.#--This operation is carried out in the same way in all
cases. The goods are entered into the bath at a temperature of about
150° F. The heat is raised to the boil, and is then maintained for one
and a half hours, after which the mordanted wool is lifted and well
rinsed, when it is ready for the dye-bath. As mordanting materials
bichromate of potash and fluoride of chrome are chiefly used when
chrome mordants are required, sometimes chrome alum. With these (p. 116)
are used sulphuric acid, oxalic acid, cream of tartar or argol, lactic
acid, etc.
Which of these are used depends entirely on the results which are to
be got and the dye-stuff to be used, more particularly is this the
case when bichromate of potash is the mordanting material. When
sulphuric acid is used as the assistant along with the bichrome, then
there is formed on the wool fibre a deposit of chromic acid and
chromium oxide, and this exerts an oxidising effect on the colouring
matter or dye-stuff, which in some cases, as the Alizarine Blue,
Alizarine Yellow, etc., leads to a destructive effect, and, therefore,
the production of weak shades, so that it is not possible always to
use an oxidising mordant. When tartar, argol, oxalic acid, lactic
acids and other assistants of an organic nature are used, then a
different effect is obtained, the bichromate is completely decomposed,
and a deposit of chromium oxide formed on the wool. This does not
exert any action on the colouring matter, and hence this mordant is
known as the non-oxidising mordant. It may be pointed out that when
wool is mordanted with potassium or sodium bichromate and sulphuric
acid (oxidising mordant) it has a deep yellow colour, while when
mordanted with bichromate or other chrome salt, and the organic
assistants enumerated above (non-oxidising mordant), it has a green
colour, and one sign of a well-mordanted wool is when it has a good
bright tone free from yellowness.
Of the organic assistants tartar is undoubtedly the best in general
use, and, although slow in its action, leaves a good deposit of oxide
of chrome on the wool in a suitable condition to develop the best
results on dyeing. Argols are only an impure tartar. They can only be
used when dark shades are to be dyed. Oxalic acid does not work as
well as tartar, and there is not so much chrome oxide deposited on the
wool, while there is a slight tendency for a small proportion of this
to be in the form of chromic acid. Of late years lactic acid and (p. 117)
lignorosine have been added to the list of assistant mordants; both
these give excellent results, they lead to a more complete and more
uniform decomposition of the bichromate, and therefore the mordanting
baths are more completely exhausted, so that rather less bichromate is
required; the shades which are obtained are in general fuller and
brighter. Examples of the use of these assistants will be found among
the recipes given below.
With fluoride of chrome either oxalic acid or tartar is used, and a
deposit of chromium oxide is formed on the wool, the general effect
being the same as when bichromate of potash is used with oxalic acid
or tartar.
Alumina is applied either in the form of alum or of sulphate of
alumina, argol or tartar being used as the assistant, oxide of alumina
being deposited on the fibre.
When ferrous sulphate (copperas) is used then tartar is almost
invariably used as the assistant mordant, oxalic acid only rarely.
The dyeing with mordant dyes must be done in a special way and with
great care, if uniform, level shades and fast colours are to be
obtained.
The dye-bath must be started cold, and the wool be entered and worked
for twenty to thirty minutes, the object being to cause the dye-stuffs
to penetrate well into the substance of the fibre, then the
temperature is slowly raised to the boil, not less than three-quarters
of an hour being taken in doing so; the temperature is maintained at
the boil for fully one and a half hours longer. During the boiling
operation the mordant and dye-stuff combine together, and form the
characteristic colour lake, and the boiling fixes this firmly on to
the wool.
The water used plays a very important part. If too hard in character,
the lime it contains shows a tendency to combine with the (p. 118)
dye-stuff and form a colour lake, which is deposited in a loose form
on the wool or in the bath, tending to make the shades dull and loose
to rubbing. This defect can be remedied by adding a little acetic acid
to the dye-bath, say about 3 lb. to 100 gallons of the water. It
combines with and neutralises the influence of the lime, in so far as
the formation of a loose colour lake is concerned; still the lime does
unite with the dye-stuff, but the combination is formed more slowly,
and in or on the wool fibre so that it is fast.
By working in the manner laid down above very fast shades can be dyed
on wool with mordant dyes, and the following recipes will give the
other details as to tints, shades, quantities, etc., not noted above.
_Claret_.--Mordant, 2 lb. bichromate of potash and 2 lb. tartar; dye,
8 lb. Alizarine Claret R.
_Fawn_.--Mordant, 3 lb. bichromate of potash and 1-1/2 lb. tartar;
dye, 3 lb. Alizarine Orange N.
_Maroon_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb. tartar;
dye, 15 lb. Alizarine Orange N.
_Deep Crimson_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb.
tartar; dye, 8 lb. Alizarine Red 1 W S.
_Lilac Rose_.--Mordant, 1-1/2 lb. bichromate of potash and 1-1/2 lb.
tartar; dye, 1 lb. Alizarine Red 1 W S.
_Crushed Strawberry Tint_.--Mordant, 2 lb. bichromate of potash and
1-1/2 lb. tartar; dye, 3 lb. Alizarine Red 2 W S.
_Deep Claret_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb.
tartar; dye, 5 lb. Alizarine Red 1 W S.
_Bright Fawn Red_.--Mordant, 2 lb. bichromate of potash and 1-1/2 lb.
tartar; dye, 1 lb. Alizarine Red 5 W S.
_Scarlet_.--Mordant, 10 lb. alum and 6 lb. tartar; dye, 4 lb.
Alizarine Red 5 W S.
_Rose_.--Mordant, 6 lb. alum and 4 lb. tartar; dye, 1 lb. Alizarine
Red 1 W S.
_Deep Scarlet_.--Mordant, 10 lb. alum and 6 lb. tartar; dye, (p. 119)
4 lb. Alizarine Red 1 W S.
_Deep Maroon_.--Mordant, 3 lb. bichromate of potash and 1 lb.
sulphuric acid; dye, 5 lb. Alizarine Red 3 W S.
_Bright Maroon_.--Mordant, 3 lb. bichromate of potash and 2 lb.
tartar; dye, 5 lb. Alizarine Red S W, 10 lb. Mordant Yellow.
_Deep Fawn Red_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb.
tartar; dye, 10 lb. Alizarine Orange W and 1 lb. Mordant Yellow.
These typical recipes are here given to show what tints may be
obtained from the alizarine and the quantity of dye-stuffs required.
By using other proportions of dye-stuffs than those given a variety of
other tints may be dyed.
The method of working described above is applicable to other mordant
dyeing colours besides the alizarine reds, such as Alizarine Orange,
Alizarine Blue, Anthracene Brown, Alizarine Cyanine, Galloflavine,
Gambine, Chrome Violet, etc. It will therefore not be required to
repeat this description of the process when the use of mordant colours
for producing other colours, such as blues, navies, drabs, browns,
etc., is dealt with.
Although the shades dyed with the alizarines and allied colouring
matters are lacking in the brilliance characteristic of the azo
scarlets, yet they have the very great advantage of being quite fast
to washing, acids and light.
There is another method of using those alizarine reds that are sold in
the form of powder, and which are distinguished by the letter S. They
are of some value in dyeing heavy woollen cloths, and the method is
indicated in the two recipes which follow:--
_Brilliant Scarlet_.--Prepare a dye-bath with 20 lb. Glauber's salt
and 4 lb. Alizarine Red 1 W S, boil the wool in this for
three-quarters of an hour; then lift, add to the same bath 4 lb. (p. 120)
sulphuric acid, again work at the boil for three-quarters of an hour;
then lift, add 10 lb. alum, re-enter the goods, and work
three-quarters of an hour longer; then lift, wash and dry.
_Claret_.--Prepare a bath with 20 lb. Glauber's salt and 4 lb.
Alizarine Red 1 W S, boil for three-quarters of an hour; then lift,
add 4 lb. sulphuric acid, re-enter the wool, boil for three-quarters
of an hour; then lift, add 3 lb. bichromate of potash, re-enter the
wool, and boil for three-quarters of an hour longer; then lift, wash
and dry.
_Bluish Red_.--Mordant, 2 lb. bichromate of potash and 2 lb. lactic
acid; dye, 2 lb. Alizarine Red S. In this recipe there is used lactic
acid as the assistant, and a very fine shade results.
_Red_.--Mordant, 3 lb. lignorosine, 2 lb. bichromate of soda and 1 lb.
sulphuric acid; dye with 12 lb. Alizarine Orange 2 G.
_Dark Bordeaux Red_.--Mordant, 3 lb. lignorosine, 3 lb. bichromate of
soda and 1-1/2 lb. sulphuric acid; dye, 12 lb. Alizarine S X.
_Dark Red_.--Mordant, 3 lb. lignorosine, 2-1/2 lb. bichromate of soda
and 1-1/4 lb. sulphuric acid; dye, 6 lb. Alizarine Orange 2 G and
4 lb. Alizarine S X.
Lignorosine used as the assistant mordant in the above recipes works
very well, and gives bright shades.
_Fast Bordeaux_.--Prepare a bath with 4 lb. Chromogene I, 1-1/2 lb.
Alizarine Red 1 W S, 1 lb. Alizarine Red 5 W S, 1/2 lb. Fast Acid
Violet R, 10 lb. Glauber's salt and 3 lb. sulphuric acid. Work at the
boil for one hour, then lift; add to the same bath 3 lb. bichromate of
potash and 1-1/2 lb. sulphuric acid. Re-enter the goods and work to
shade, then lift, wash and dry.
_Terra Cotta_.--Make a dye-bath of 30 lb. Fustic, 8 lb. Turmeric,
30 lb. Sanders and 10 lb. Sumac. Boil the goods in this for one (p. 121)
hour, then add 3 lb. sulphate of copper, previously dissolved in
water, boil for one hour; cool, sadden with Copperas, using about
3-1/2 lb. or less if required; then rinse and dry.
Another method is to mordant the goods at a boil for one and a half
hours in 2 lb. bichromate of potash and 2 lb. tartar. Drain and wash.
Dye in a fresh bath with 8 lb. sanders and 10 lb. fustic; afterwards
sadden with 1/4 lb. copperas; allow to stand one hour; wash and dry.
ORANGE SHADES ON WOOL.
#With Direct Dyes.# Make a dye-bath with 2 lb. Titan Orange, 20 lb.
Glauber's salt, and 1/2 lb. acetic acid. Work at the boil for one and
a half hours, then lift, wash and dry.
_Bright Orange_.--Dye with 1-1/2 lb. Benzo Orange R, 10 lb. salt, and
1 lb. acetic acid, working at the boil for one hour.
_Orange_.--Dye with 2 lb. Chloramine Orange, 20 lb. salt, and a little
acetic acid, working at the boil for one hour.
_Orange_.--Dye with 2 lb. Diamine Orange G C, and 20 lb. Glauber's
salt.
_Pale Orange_.--Dye with 3 lb. Diamine Gold, 10 lb. Glauber's salt,
and 5 lb. ammonium acetate.
_Reddish Orange_.--Dye with 3 lb. Diamine Orange D C and 20 lb.
Glauber's salt.
_Orange_.--Dye with 2 lb. Diamine Scarlet B, 1 lb. Thioflavine S, and
20 lb. Glauber's salt.
_Dark Orange_.--Dye with 1 lb. Diamine Red 5 B, 1 lb. Thioflavine S,
and 20 lb. Glauber's salt.
#With Acid Colours.# _Orange_.--Dye with 2 lb. Ponceau 3 G, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid.
_Bright Orange_.--Dye with 2 lb. Mandarine G, 10 lb. Glauber's salt,
and 2 lb. sulphuric acid.
_Orange_.--Dye with 2 lb. Croceine Orange, 10 lb. Glauber's salt, and
2 lb. sulphuric acid.
_Bright Orange_.--Use 3 lb. Orange G G, 10 lb. Glauber's salt, and (p. 122)
2 lb. sulphuric acid, boiling for one hour.
_Orange_.--Use 3 lb. Orange R, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid. Work at the boil. Orange Extra will give a slightly
less red tone of orange, Croceine orange gives a good bright shade of
a yellowish tone.
There are several brands of Orange dyes which can be used; they differ
but little in shade from one another. In general they give fast
colours. The Tropæolines also dye orange shades, but they are not so
fast as the other dyes which have been named.
_Gold Orange_.--Make a dye-bath with 1/2 lb. Diamine scarlet B, 2 lb.
Anthracene Yellow C, 50 lb. Glauber's salt, 5 lb. acetate of ammonia.
Enter the wool, work for half an hour, then add 3 lb. bisulphate of
soda. Boil again for half an hour, then lift. Add 3 lb. fluoride of
chrome, re-enter the wool, boil again for half an hour, then lift,
wash and dry. This gives a very fast orange.
#With Mordant Dyes.# _Old Gold_.--Mordant with 3 lb. bichromate of
potash and 1 lb. sulphuric acid; dye with 6 lb. Alizarine Yellow R W.
_Pale Orange_.--Mordant with 6 lb. alum and 4 lb. tartar; dye with
1 lb. Alizarine Orange G G.
_Deep Orange_.--Mordant with 10 lb. alum and 6 lb. tartar; dye with
10 lb. Alizarine Orange N. This last dye-stuff gives a slightly redder
shade of Orange than does the Alizarine Orange G.
_Deep Orange_.--Dye in a bath with 1-3/4 lb. Azo Alizarine Orange R R,
10 lb. Glauber's salt, and 2 lb. sulphuric acid, and fix in the same
bath with 1 lb. bichromate of potash.
_Orange_.--Dye in a bath with 1 lb. Alizarine Red 1 W S, 2 lb. Mordant
Yellow O, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, then fix
with 1-1/2 lb. bichromate of potash.
_Orange_.--Dye in a bath with 1 lb. Anthracene Red, 2 lb. (p. 123)
Alizarine Yellow, 10 lb. Glauber's salt and 2 lb. sulphuric acid.
After dyeing fix with 2 lb. fluoride of chrome.
_Gold Orange_. Mordant with 3 lb. bichromate of potash, and 2 lb.
tartar, for one and a half hours at the boil; rinse. Then dye in a new
bath with 1 lb. Alizarine Orange, 17 lb. Fustic extract. Work at
100° F. for half an hour, then heat gradually to the boil and dye for
one and a half hours at that temperature; lift, rinse and wash.
#Olive Yellow on Worsted Yarn.#--Mordant the yarn by boiling for one
hour or one and a half hours in a bath of 3 lb. bichromate of potash;
then dye in a bath of 1-1/2 lb. Gambine Yellow and 10 lb. of fustic
chips.
Red and orange form a kind of group of colours which shade off one
into the other almost imperceptibly by using a range of dyes such as
Croceine A Z, Brilliant Croceine 9 B, Brilliant Croceine 7 B,
Brilliant Croceine 5 B, Brilliant Croceine 3 B, Brilliant Croceine
M O O, Crystal Scarlet 6 R, Brilliant Cochineal 4 R, Brilliant
Croceine B, Brilliant Cochineal 2 R, Orange E N Z, and Croceine Orange
E N. It is possible to dye shades from a scarlet crimson to a bright
orange.
YELLOW SHADES ON WOOL.
The number of yellow dye-stuffs is very great, and the variety of
tints infinite. Yellow may be dyed with both natural and artificial
dye-stuffs, and the recipes given will include examples showing the
use of both kinds. Speaking generally, yellow dye-stuffs include
amongst them some of the fastest colours known, and there is a larger
proportion of fast yellow colouring matters than of any other class of
dye-stuffs.
#With Acid Yellows.# _Bright Yellow_.--Make the dye-bath with 1 lb. Fast
Yellow F Y, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, working
at the boil to shade.
_Olive Yellow_.--Prepare the dye-bath with 1 lb. Azo Carmine, (p. 124)
1-1/2 oz. indigo carmine, 1/2 lb. Fast Yellow, 10 lb. Glauber's salt,
and 2 lb. sulphuric acid, working at the boil to shade.
_Maize Yellow_.--Prepare a dye-bath with 5 lb. acetate of ammonia,
3 oz. Anthracene Yellow C, 1/4 oz. Diamine Fast Red F. Work for twenty
minutes at the boil, then add 3 lb. bisulphate of soda; work half an
hour longer, and then wash and dry.
_Bright Canary_.--Prepare a dye-bath with 4 lb. bisulphate of soda,
1/2 lb. Nitrazine Yellow. Heat the bath to about 120° F., enter the
goods and heat up to the boil, and work till the bath is exhausted,
then lift; add to the dye-bath 3 lb. alum, 3 lb. tin spirits; re-enter
the goods, and boil for twenty minutes longer; lift, wash and dry.
_Bright Straw_.--Dye with 3 oz. Phenoflavine and 20 lb. bisulphate of
soda.
_Straw_.--Make the dye-bath with 1-1/4 oz. Azo Yellow, 1 dr.
Cyanine B, 1 dr. Chromotrop 2 R, 10 lb. Glauber's salt, and 1 lb.
sulphuric acid.
_Greenish Straw_.--Dye with 1/4 oz. Cyanine B, 1 oz. Victoria Yellow,
1/4 oz. Chromotrop 2 B, 10 lb. Glauber's salt, and 1 lb. sulphuric
acid.
_Olive Yellow_.--Mordant with 3 lb. bichromate of potash and 1 lb.
sulphuric acid; dye with 3 lb. Milling yellow O and 1 lb. acetic acid.
_Bright Yellow_.--A good shade is dyed in a bath of 2 lb. Milling
yellow O, 10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at
the boil.
_Olive Yellow_.--Dye with 1-1/2 lb. Titan Yellow R, 10 lb. common
salt, and 1 lb. acetic acid; after the colour has fully gone on to the
wool, add to the bath 1-1/2 lb. fluoride of chrome and maintain at the
boil for half an hour; then lift, wash and dry.
_Deep Yellow_.--The dye-bath is made with 1-1/2 lb. Titan (p. 125)
Yellow R, 10 lb. common salt, and 1 lb. acetic acid, working at the
boil to shade.
_Yellow_.--A good shade is dyed with 1-1/2 lb. Titan Yellow Y, 10 lb.
common salt, and 1/2 lb. acetic acid, working at the boil to shade.
_Golden Yellow_.--Mordant with 3 lb. bichromate of potash and 2 lb.
tartar; dye with 1 lb. Anthracene Yellow C.
_Deep Golden Yellow_.--Make the dye-bath with 3 lb. Anthracene
Yellow C, and 3 lb. bisulphate of soda. Work at the boil for half an
hour, then lift; add 3 lb. fluoride of chrome, re-enter the wool and
work at the boil for another half-hour, then wash and dry.
_Deep Olive Yellow_.--Mordant with 3 lb. bichromate of potash and
2 lb. tartar; dye with 20 lb. fustic extract. This gives a very deep
shade of olive Yellow.
_Bright Lemon Yellow_.--Make the dye-bath with 10 lb. Gambine Yellow,
7 lb. alum, and 2 lb. oxalic acid. Enter cold, then slowly heat to the
boil and work to shade; then lift, wash and dry.
_Leaf Yellow_.--Mordant with 3 lb. bichromate of potash and 1/2 lb.
sulphuric acid; then dye with 2 lb. Gambine Y and 1 lb. Yellow N.
_Deep Leaf Yellow_.--A somewhat deeper shade than the last is dyed by
first mordanting with 2 lb. bichromate of potash and 1/2 lb. sulphuric
acid, then dyeing with 2 lb. Gambine R and 1 lb. Yellow N.
_Lemon Yellow_.--Prepare a bath with 40 lb. fustic, 6 lb. alum, 6 lb.
tartar, and 3/4 lb. tin crystals; enter the wool and work at the boil
for one and a half hours, then lift, wash and dry.
_Olive Yellow_.--Mordant, 3 lb. bichromate of potash and 2 lb. tartar;
dye, 3 lb. extract of fustic.
_Deep Lemon_.--Mordant, 3 lb. bichromate of potash and 2 lb. tartar;
dye, 1 lb. Alizarine Yellow G G W.
_Golden Yellow_.--Mordant, 3 lb. bichromate of potash and 1 lb. (p. 126)
sulphuric acid; dye, 10 lb. Alizarine Yellow G G W.
_Light Straw_.--Make the dye-bath with 3 oz. Anthracene Yellow B N,
5 lb. acetate of ammonia, and 3 lb. bisulphate of soda; work at the
boil to shade, then lift, wash and dry.
_Old Gold_.--A very fine shade of old gold is obtained by dyeing in a
bath of 3 lb. Anthracene Yellow C, 5 lb. acetate of ammonia, and 3 lb.
bisulphate of soda. Work at the boil for three-quarters of an hour,
then lift; add to the dye-bath 3 lb. fluoride of chrome, re-enter the
wool, and work for one and a half hours longer at the boil; lift, wash
and dry.
_Deep Yellow_.--Mordant, 3 lb. bichromate of potash and 2-1/2 lb.
tartar; dye, 2 lb. Mordant Yellow D.
_Pale Olive Yellow_.--Dye with 3 lb. Anthracene Yellow G G, 10 lb.
Glauber's salt, and 2 lb. acetic acid; after the dye-bath is exhausted
of colour add 3 lb. fluoride of chrome, and work at the boil half an
hour longer.
_Gold Yellow_.--Dye with 3 lb. Anthracene Yellow B N, 10 lb. Glauber's
salt, and 3 lb. acetic acid; after half an hour's boil, add 1-1/2 lb.
bichromate of potash, work for half an hour longer.
_Gold Yellow_.--Dye with 2 lb. Indian Yellow R, 10 lb. Glauber's salt,
and 2 lb. sulphuric acid.
GREEN SHADES ON WOOL.
Of green shades there is an infinite variety, and these can be dyed in
several ways. Either a simple green dye-stuff may be used or mixtures
of blue and yellow dye-stuffs may be employed, this latter method
being extremely common. It is somewhat interesting to notice that,
notwithstanding the great prevalence of green in Nature, the dyer has
at his command no natural green dye-stuff, but must, if he prefers to
adopt natural dye-stuffs, use a mixture of blue and yellow dye-stuffs
to produce green shades. There are but few green colouring (p. 127)
matters derived from coal tar: Gambine, Dinitroso-resorcine, Alizarine
Green, Brilliant Green, Malachite Green, Azo Green, Fast Green,
Naphthol Green, Acid Green, Diamine Green, Benzo Green almost exhaust
the list. Compared with the numerous red and blue dyes which are
obtained from coal-tar products, green dyes are conspicuous by their
fewness. On the other hand, the dyer has in the blue and yellow dyes
from coal tar a means of producing any tint or shade of green he may
require.
Members of all the classes of basic, direct, acid, azo and mordant
dyes, can be found among the dye-stuffs which can be used in dyeing
green, and the methods and principles of their application have been
fully described in previous pages. The following recipes contain all
the practical information that is needed:--
#With Direct Dyes.# _Dark Green_.--The dye-bath is made with 1 lb. Titan
Blue 3 B, 1 lb. Titan Yellow Y, 2 lb. salt, and 1/2 lb. acetic acid.
_Bright Green_.--Prepare a dye-bath with 1 lb. Titan Yellow G, 1 lb.
Titan Blue 3 B, 20 lb. salt, and 1/2 lb. acetic acid, working at the
boil for one hour.
_Dark Green_.--Make a dye-bath with 4 lb. Acid Blue 4 S, 2 lb. Titan
Yellow Y, and 5 lb. acetate of ammonia, working at the boil to shade.
_Blue Green_.--Make the dye-bath with 6 lb. Acid Blue 4 S, 2-1/2 lb.
Titan Yellow Y, and 5 lb. acetate of ammonia, working at the boil to
shade.
_Bottle Green_.--The dye-bath is made with 5 lb. Acid Blue 4 S,
2-1/2 lb. Titan Yellow Y, and 5 lb. acetate of ammonia, working at the
boil to shade. The greens shown in the last three recipes are of a
very satisfactory character, and show how, by the use of acetate of
ammonia in the dye-bath, the direct dyeing Titan colours can be
combined with acid colours.
_Green_.--Make the dye-bath with 5 lb. Glauber's salt, 5 lb. (p. 128)
acetate of ammonia, 2 lb. Sulphon Cyanine, and 1-1/2 lb. Chrysophenine.
_Dark Green_.--The dye-bath is made with 2 lb. Sulphon Cyanine,
3/4 lb. Chrysophenine, 5 lb. Glauber's salt, and 5 lb. acetate of
ammonia.
_Pale Russian Green_.--Make the dye-bath with 1/2 lb. Sulphon Cyanine,
2-1/2 oz. Chrysophenine, and 10 lb. Glauber's salt.
The last three shades have the merit of being fast to milling, and
fairly so to light.
_Olive_.--Make a dye-bath with 1 lb. Nyanza Black B, 1 lb. Chrysamine,
and 20 lb. Glauber's salt. Work at the boil to shade, lift, wash and
dry.
#With Acid Dyes.# _Blue Green_.--Make a dye-bath with 10 lb. Glauber's
salt, 2 lb. sulphuric acid, 2 lb. Patent Blue N, and 1 lb. Azo Yellow,
working at the boil.
_Sage Green_.--The dye-bath is made with 10 lb. Glauber's salt, 2 lb.
sulphuric acid, 2 lb. Azo Yellow, and 1 lb. Patent Blue N, working at
the boil.
_Olive Green_.--Make the dye-bath with 3 lb. Naphthol Green B, 10 lb.
Glauber's salt, 15 lb. bisulphate of soda, and 1 lb. copperas, working
at the boil to shade.
_Bright Green_.--Make the dye-bath with 10 lb. Glauber's salt, 5 lb.
bisulphate of soda, and 1-1/2 lb. Acid Green B, working at the boil to
shade.
_Emerald Green_.--The dye-bath is made with 1/2 lb. Acid Green B,
10 lb. Glauber's salt, and 2 lb. sulphuric acid. The wool might also
be previously mordanted with 15 lb. hyposulphite of soda, and 5 lb.
sulphuric acid at the boil for one and a half hours, when it will give
a bright shade of emerald green.
_Grass Green_.--Dye a medium indigo bottom on the wool from the vat,
then dye in a bath with 1 lb. Milling Yellow O, 5 lb. Glauber's salt,
and 5 lb. bisulphate of soda; lift, wash and dry.
The last recipe shows the use of the indigo vat in giving the blue (p. 129)
constituent in dyeing greens and other compound colours on wool. This,
while being a very effective method of dyeing, yet necessitates two
operations which add very materially to the cost of dyeing such
shades, hence it is not used for dyeing low class woollen fabrics, but
for better class goods it is frequently adopted, fast colours being
thus obtained.
In thus using the indigo vat as a bottom dye regard to the properties
of indigo must be paid in carrying out any subsequent dyeing
operation, so that the indigo on the fibre be not destroyed. As a
rule, the indigo will resist any ordinary baths made with Glauber's
salt, acetate of ammonia, sulphuric or acetic acids, but it will not
resist mordanting operations with bichromate of potash, for the latter
salt destroys the indigo. Fluoride of chrome, chrome acetate, or alum,
may be used as mordants if necessary.
_Pale Sea Green_.--The dye-bath contains 1 oz. Cyanine B, 1 oz. Azo
Yellow, 5 lb. Glauber's salt, and 1 lb. sulphuric acid.
_Moss Green_.--The dye-bath is made with 1/2 oz. Chromotrop 2 R, 2 oz.
Cyanine B, 4 oz. Fast Acid Blue R, 3-1/4 oz. Azo Yellow, 5 lb. acetic
acid, and 10 lb. Glauber's salt.
_Deep Moss Green_.--Prepare the dye-bath with 4-1/2 oz. Cyanine B,
9 oz. Fast Acid Blue R, 4-1/2 oz. Azo yellow, 1/2 oz. Chromotrop 2 R,
5 lb. acetic acid, and 10 lb. Glauber's salt.
_Blue Green_.--A very fine shade of blue green is dyed with 9-1/2 oz.
Cyanine B, 1-1/4 lb. Fast Acid Blue R, 4 oz. Azo Yellow, 5 lb. acetic
acid, and 10 lb. Glauber's salt.
_Emerald Green_.--A pale, but brilliant shade of green is dyed with
1-1/4 oz. Patent Blue V, 4-1/4 oz. Azo Yellow, 10 lb. Glauber's salt,
and 2 lb. sulphuric acid.
_Bright Leaf Green_.--Dye in a bath with 13 oz. Victoria Yellow, (p. 130)
1/2 lb. Patent Blue V, 1/2 oz. Chromotrop 2 R, 10 lb. Glauber's
salt, and 2 lb. sulphuric acid.
_Deep Leaf Green_.--The dye-bath is made with 22 oz. Cyanine B, 1 lb.
Azo Yellow, 2-1/2 oz. Chromotrop 2 R, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid.
_Bright Peacock Green_.--The dye-bath is made with 5 oz. Chromotrop
6 B, 4 oz. Patent Blue V, 7 oz. Azo Yellow, 10 lb. Glauber's salt, and
2 lb. sulphuric acid.
_Dark Beige Green_.--Make the dye-bath with 1/2 lb. Fast Green Bluish,
6 oz. Fast Yellow F Y, 4-1/2 oz. Azo Fuchsine G, 10 lb. Glauber's salt
and 2 lb. sulphuric acid.
_Invisible Green_.--Make the dye-bath with 1-1/2 lb. Fast Green
Bluish, 1-1/4 lb. Fast Yellow F Y, 1 lb. Azo Fuchsine G, 10 lb.
Glauber's salt and 2 lb. sulphuric acid.
_Pale Sage Green_.--Make the dye-bath with 1 lb. Azo Acid Brown,
1/2 lb. Fast Acid Violet 10 B, 10 lb. Glauber's salt and 2 lb.
sulphuric acid.
_Bright Grass Green_.--Make a dye-bath with 10 lb. Glauber's salt,
2 lb. sulphuric acid, 3/4 lb. Phenoflavine, 3/4 lb. Azo Carmine B, and
5-3/4 lb. extract of indigo.
_Moss Green_.--Prepare a dye-bath with 1 lb. Azo Acid Brown, 1/4 lb.
Fast Acid Violet 10 B, 10 lb. Glauber's salt and 2 lb. sulphuric acid.
_Dark Sage Green_.--Make the dye-bath with 3 lb. Azo Acid Brown,
1/2 lb. Fast Acid Violet 10 B, 10 lb. Glauber's salt and 2 lb.
sulphuric acid.
_Emerald Green_.--A fine shade of emerald green can be dyed in a bath
which is made from 1/2 lb. Fast Green Bluish, 1 lb. Fast Yellow F Y,
1 lb. Acid Violet 6 B, 10 lb. Glauber's salt and 2 lb. sulphuric acid.
_Bottle Green_.--Make a dye-bath with 1-1/2 lb. Victoria Violet 8 B S,
3/4 lb. Victoria Yellow, 2 oz. Naphthol Yellow S, 1 oz. Fast Acid
Violet R, 1/2 oz. Cyanine B, 10 lb. Glauber's salt and 2 lb. sulphuric
acid. Work for one hour at the boil, then lift; add 3 lb. fluoride (p. 131)
of chrome, re-enter the wool, and work for half an hour at the boil.
_Pale Pea Green_.--A fine bright shade is dyed in a bath containing
1-1/2 oz. Cyanole, 3/4 oz. Naphthol Yellow and 10 lb. bisulphate of
soda. By increasing the quantity of dye-stuff in proportion to the
material, fine deep shades of green can be dyed.
_Deep Electric Green_.--Make the dye-bath with 2 lb. Cyanole, 1 lb.
Indian Yellow G and 10 lb. bisulphate of soda, working at the boil for
one hour; then lift, wash and dry.
#With Mordant Dyes.# _Green_.--Mordant with 10 lb. alum, 1 lb.
bichromate of potash and 16 lb. tartar. Dye with 10 lb. indigo
extract, 2 lb. fustic extract and 3 lb. alum, working at the boil;
lift, wash and dry.
_Dark Green_.--Mordant with 3 lb. bichromate of potash, 8 lb. alum and
3 lb. tartar. Dye with 10 lb. extract of indigo, 2 lb. extract of
fustic and 3 lb. alum, working at the boil.
_Sea Green_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb.
tartar at the boil for one and a half hours. Dye with 1-1/4 lb.
Alizarine Blue D N W, 3-3/4 lb. Alizarine Yellow and 5 oz. Alizarine
Brown, at the boil for two hours.
_Bronze Green_.--Make a dye-bath with 2 lb. Cyanole extra, 2 lb.
Tropeoline O, 1 lb. Archil Substitute N and 10 lb. bisulphate of soda,
working at the boil to shade.
_Green_.--A very fine shade of green is dyed as follows: Mordant with
3 lb. bichromate of potash and 2-1/2 lb. tartar. Dye with 4 lb.
Alizarine Blue D N W, 1-1/2 lb. Patent Blue A and 2-3/4 lb. Alizarine
Yellow.
_Blue Green_.--Mordant as in the last recipe. Dye with 6 lb. Alizarine
Blue D N W, 1-1/2 lb. Patent Blue A, and 1-1/4 lb. Alizarine Yellow
G G W.
_Bright Pale Sage Green_.--Mordant with 3 lb. bichromate of potash and
2 lb. sulphuric acid. Dye with 5 lb. Alizarine Yellow G G W, (p. 132)
3/4 lb. Alizarine Brown and 1-1/4 lb. Alizarine Blue D N W.
_Deep Sage Green_.--Mordant with 3 lb. bichromate of potash and
2-1/2 lb. tartar. Dye with 4 lb. Alizarine Yellow G G W, 3-1/4 lb.
Anthracene Brown and 2-1/4 lb. Alizarine Blue D N W.
_Pale Sea Green_.--Mordant with 2 lb. bichromate of potash and
1-1/2 lb. tartar. Dye with 1 lb. Coeruleine B.
_Bottle Green_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb.
tartar. Dye with 20 lb. Coeruleine S W.
_Slate Green_.--Mordant with 2 lb. bichromate of potash and 1-1/2 lb.
tartar. Dye with 3 lb. Alizarine Green S.
_Invisible Green_.--Mordant with 3 lb. bichromate of potash and
2-1/2 lb. tartar. Dye with 17-1/2 lb. Alizarine Green S.
_Peacock Green_.--Mordant with 3 lb. bichromate of potash and
2-1/2 lb. tartar. Dye with 8 lb. Alizarine Green S.
_Dark Bottle Green_.--Mordant with 4 lb. bichromate of potash and
3 lb. tartar. Dye with 15 lb. Anthracene Blue W G, and 1-1/2 lb.
Mordant Yellow.
_Invisible Green_.--Mordant with 3-1/2 lb. bichromate of potash and
2-1/2 lb. tartar, working at the boil for one and a half hours. Dye
with 20 lb. Alizarine Green S W, and 1 lb. acetic acid.
_Sage Green_.--Give a medium indigo ground to the wool in a vat, then
dye for one hour at the boil in a vat containing 1/2 lb. Anthracite
Black B, 2 lb. Anthracene Yellow C, 2 oz. Diamine Fast Red F, and
5 lb. acetate of ammonia; then lift, add 3 lb. fluoride of chrome,
re-enter into the dye-bath and work half an hour longer at the boil;
lift, wash and dry.
_Peacock Green_.--Give a medium indigo bottom on the vat, then dye for
one hour at the boil in a dye-bath made with 1/2 lb. Anthracene
Yellow C, 2 oz. Diamine Fast Red F, and 5 lb. acetic acid; then lift,
add 3 lb. fluoride of chrome, work for half an hour longer at the
boil, then lift, wash and dry.
_Bottle Green_.--Mordant by boiling in a bath of 3 lb. copperas (p. 133)
and 1 lb. oxalic acid. Dye in a bath with 15 lb. Gambine R.
_Light Green_.--Mordant with 3 lb. copperas and 1 lb. oxalic acid. Dye
with 2-1/2 lb. Gambine Y.
_Medium Green_.--Mordant as in the last dye with 10 lb. Gambine Y.
_Deep Grass Green_.--Mordant with 3 lb. bichromate of potash and
2-1/2 lb. tartar. Dye with 9 lb. Coerulein and 1-3/4 lb.
Galloflavine.
_Bright Grass Green_.--Mordant with 4 lb. copperas and 1 lb. oxalic
acid. Dye with 5 lb. Gambine Y, 1/2 lb. Yellow N, and 2 lb. bisulphate
of soda.
Shades dyed with Gambine are very fast to milling and light.
_Pale Sage Green_.--Mordant with 3 lb. bichromate of potash and 1 lb.
tartar. Dye with 1/2 lb. Milling Yellow O, 2 lb. Alizarine Black S W,
and 2 lb. acetic acid.
_Medium Green_.--Mordant with 2-1/2 lb. bichromate of potash and
1-1/2 lb. oxalic acid. Dye with 1-1/2 lb. Diamond Yellow B, 3-1/2 lb.
Brilliant Alizarine Blue G, and 1 lb. acetic acid.
_Invisible Bronze Green_.--Give a medium bottom on the indigo vat and
then mordant with 3 lb. fluoride of chrome and 2 lb. tartar. Finally
dye with 3 lb. Alizarine Bordeaux S, and 4 lb. Diamond Flavine,
working at the boil for two hours.
_Pale Slate Green_.--Mordant with 3 lb. bichromate of potash and
2-1/2 lb. tartar, and then dye with 1 lb. Alizarine Blue D N W,
Alizarine Yellow and 5 oz. Alizarine Brown.
_Light Green_.--Mordant in the usual way with 2-1/2 lb. bichromate of
potash and 2 lb. tartar. Dye with 1 lb. Methylene Blue and 1 lb.
fustic extract, working at the boil.
_Fast Green_.--Mordant with 8 lb. alum, 2 lb. bichromate of potash,
2 lb. sulphuric acid and 3/4 lb. tin salt. Dye with 20 lb. indigo (p. 134)
extract and 10 oz. fustic extract, working at the boil for one and a
half hours.
_Bottle Green_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb.
tartar. Dye with 4 lb. extract of fustic, 1 lb. extract of logwood,
and 2 oz. Anthracene Red. Work for one and a half hours, then add
3/4 lb. copperas, and work for half an hour longer.
_Dark Green_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb.
tartar. Dye with 1-1/2 lb. Methylene Blue, 1-1/2 lb. extract of
logwood, and 4 lb. extract of fustic, working at the boil for two
hours.
_Olive_.--Prepare a dye-bath with 1-1/2 lb. Yellow N, 1/4 lb. Archil
Substitute, 4 lb. extract of indigo, 10 lb. Glauber's salt, 2 lb.
sulphuric acid, and 2 lb. alum, working at the boil to shade.
_Bright Green_.--Prepare a dye-bath containing 8 oz. Acid Green Extra
and 10 per cent. bisulphate of soda. Enter at 130° F., raise to the
boil, boil for three-quarters of an hour, and rinse.
_Bluish Green_.--Prepare a dye-bath containing 8 oz. Fast Acid Green
B N and 10 lb. bisulphate of soda. Enter at 130° F., raise to the
boil, boil for three-quarters of an hour, and rinse.
_Bluish Green_.--Prepare a dye-bath containing 8 oz. Cyanole Green 6 G
and 10 lb. bisulphate of soda. Enter at 130° F., raise to the boil,
boil for three-quarters of an hour, and rinse.
_Turquoise Green_.--Prepare a dye-bath containing 8 oz. Cyanole
Green B and 10 lb. bisulphate of soda. Enter at 130° F., raise to the
boil, boil for three-quarters of an hour, and rinse.
_Slate Green_.--Mordant the wool by boiling for one and a half (p. 135)
hours in a bath containing 3 lb. bichromate of potash, 1-1/4 lb.
Copper sulphate and 2-1/4 lb. tartar; then rinse well, and dye in a
bath containing 2-1/2 lb. Logwood Extract (dry), 1-1/4 lb. Fustic
Extract (dry), and 3 lb. Sumac. Enter the goods in a warm bath, work
for half an hour, then raise to the boil and work for three-quarters
of an hour; lift, and sadden by adding 6 oz. Copperas. After
re-entering the goods, work to shade.
_Olive_.--Boil two hours in a bath consisting of 1-1/2 lb. tin salt,
2-1/2 lb. bichromate of potash, 10 lb. alum and 2-1/2 lb. sulphuric
acid. Then enter in a boiling dye-bath containing 1-1/2 lb. alum,
4 lb. fustic extract and 3-1/2 lb. indigo extract.
_Fulling Fast Olive_.--For one hour upon a bath containing 50 lb.
Fustic, 5 lb. Bluestone, 2 lb. Tartar, 4 lb. Sumac, 1 lb. Copperas;
lift and wash.
_Fast Bright Olive_.--Boil for one hour upon a bath of 50 lb. Fustic,
3 lb. Bluestone, 2 lb. tartar, 1 lb. copperas, 2 oz. indigo extract.
_Yellow Olive_.--Prepare a bath containing 10 lb. Glauber's salt,
1-1/2 lb. Anthracene Yellow B N, 2 lb. extract of indigo, 3 oz. Orange
E N Z, 4 lb. sulphuric acid. Enter yarn at 160° F., give three turns,
raise the temperature slowly to the boil, turn to shade; lift, and
wash.
_Olive Green_.--Mordant with 2 lb. potash bichromate, 1-1/2 lb.
sulphate of copper, 1/2 lb. sulphuric acid. Boil for an hour and a
half. Dye in a bath with 8 lb. Fustic extract, 5 lb. Sumac, 5 lb.
Logwood, at the boil for an hour and a half.
_Olive Bronze_.--Make the dye-bath with 10 oz. Fast Yellow S, 5 lb.
Indigo extract, 5 oz. Orange E N Z, 4 lb. sulphuric acid, 10 lb.
Glauber's salt. Enter yarn at 140° F., work for a few minutes, then
bring slowly to the boil and work to shade.
_Emerald Green_.--Prepare the dye-bath with 1 lb. Acid Green B N, (p. 136)
2 oz. Naphthol Yellow S, 10 lb. Glauber's salt, 2 lb. sulphuric
acid. Enter cold, then raise to the boil and work for a quarter of an
hour; wash and dry.
_Invisible Green_.--First mordant the wool in a bath containing 3 lb.
bichromate of potash, 1-1/2 lb. copper sulphate, 1 lb. sulphuric acid.
Work at the boil for one and a half hours, then dye in a fresh bath
containing 2 lb. Milling Yellow O, 2 lb. Logwood extract, 20 lb.
Glauber's salt. Work at the boil for one and a half hours, then lift,
wash and dry.
_Sea Green_.--Prepare a dye-bath with 5 lb. Glauber's salt, 2 lb.
sulphuric acid, 2 lb. indigo extract, 1/2 per cent. Acid Green blue
shade. Dye as usual.
Cyprus Green B, and Cyprus Blue B, belong to a new group of dyes that
owe their value in wool dyeing to the fact that the dyeings after
being treated with copper sulphate become very fast to light and
washing. Three per cent. of each gives very full shades of bluish
green or dark blue. The dyeing is done with Glauber's salt and acetic
acid when reddish shades are got; these in a bath of copper sulphate
turn green or blue.
BLUE SHADES ON WOOL.
There are a very large number of blue artificial dyes of every class,
but only a few natural ones, indigo and logwood, and with these every
imaginable tint and shade of blue from the palest sky tints to the
darkest navy blue or blue black can be produced.
While some of the blue colouring matters possess no great powers of
resistance to light, air, washing, etc., the great majority are
remarkable for their fastness to those destructive agencies.
There are but two natural dye-stuffs, indigo and logwood, from which
blue tints can be dyed. With the former, a great variety of shades can
be dyed of a satisfactory character as regards fastness; with the (p. 137)
latter, only dark blues can be dyed, these are fairly fast to milling,
but only moderately so to light.
The artificial blues derived from coal tar are very numerous, and
representatives of all classes, direct, basic, acid and mordant of
dye-stuffs may be found among them. The direct blue dyes do not work
very well on wool. They are apt to dye very red, and somewhat dull
shades, which are, however, fairly fast to washing and light. The
basic blue dyes are fairly numerous, and may be used to dye from pale
sky to deep navy tints. They are apt to work somewhat unevenly on to
wool, owing to their great affinity for the fibre. They give shades
possessing some degree of resistance to light, but which are not very
fast to washing and milling, although, in this respect, there are very
great differences among them. The acid dyeing blues are fairly
numerous, but they dye a great variety of tints, usually fairly fast
to washing, milling and light. The mordant blues are pretty numerous
and of great value for dyeing wool, as they give shades which are
remarkable for their fastness to light, acids and milling, hence they
are most extensively used, especially for dyeing fabrics that are
subject to very hard wear.
#Indigo Dyeing.#--It will be most convenient to begin the description of
the methods of dyeing blues by showing how, and in what manner, indigo
is applied in wool dyeing.
The dyeing of indigo on wool is effected in two ways, either in the
usual way with acid baths, as with acid scarlets, when the so-called
indigo extract is used, or in vats, when indigo itself forms the
dye-stuff.
Indigo is, as all dyers know, or should know, a natural dye-stuff,
prepared from the leaves and twigs of the indigo plant by a species of
fermentation which produces the indigo in a soluble form from the
indigo substance in the plant, followed by oxidation which results in
the separation of the indigo from this solution.
It comes into this country in the form of lumps, which have a dark (p. 138)
blue to bronze blue colour. The dye-stuff is insoluble in water, cold
alcohol, alkalies or weak acids. When heated with strong and fuming
sulphuric acid it dissolves, forming a blue liquor from which the
colouring matter may be obtained on addition of soda in the form of a
paste, which is used in wool and silk dyeing under the name of indigo
extract. But dissolving in sulphuric acid materially affects the
properties of indigo as a dye-stuff, as will be seen later on.
By the action of reducing agents the insoluble blue indigo is
converted into a soluble white indigo. This body is rather unstable,
and on exposure to the air it rapidly becomes oxidised and converted
back again into the blue indigo. Upon this principle is based the
application of indigo in dyeing by means of the vat.
Various methods may be adopted to cause the indigo to become
dissolved. These may be divided into two groups: (1) Fermentation
vats, in which the action of reducing agents is brought about through
the influences of the fermentation of organic bodies, such as woad,
bran, treacle, etc; (2) Chemical vats in which the reducing effect is
brought about by the reaction of various agents on one another.
Of such vats the copperas and lime and the hydrosulphite vats are
examples. The fermentation vats, when in good order, work well and
give good results, but they are most difficult to prepare or set. The
chemical vats are the easiest to work, and (especially the
hydrosulphite vats) are coming to the fore, and are gradually driving
out the fermentation vats.
The actual method of dyeing with the indigo vat is the same with all
methods of preparation. The material to be dyed is well wetted or
wrung out in water. It is then dipped into the vat, handled a few
minutes to ensure its thorough impregnation, then lifted out, the
surplus liquor wrung out, and the material exposed to the air, (p. 139)
when the indigo white on it soon absorbs oxygen and turns into blue
indigo.
With these few preliminary remarks the methods of setting the various
indigo vats will now be described in detail.
#Woad Indigo Vats.#--This is one of the most difficult of the various
methods of setting vats. There are so many opportunities for it to go
wrong, and to be able to set a woad vat successfully will go far to
make a man a successful indigo dyer. No two woad vat dyers use exactly
the same recipe in setting a woad vat, and each considers he has a
secret art by means of which he ensures the successful working of this
vat, and this he jealously guards. All these differences in the manner
of setting the vat are brought about not by any radical differences in
the materials used, but by some unnoticed differences in other
surroundings; differences in the mean temperature of the water used,
in the general conditions of the atmosphere of the indigo shed and in
other similar circumstances, all of which have a material influence on
the development of the vat, but which are, in the majority of cases,
overlooked by the indigo dyer, the result being that a method of
working which is successful in one place would not be so in another.
The fermentation processes depend upon the reducing action brought
about by certain organisms of the nature of the yeast plant which grow
and develop in such vats.
To ensure the proper growth and development of these organisms every
condition must be perfect, correct temperature, proper proportions of
food for them to live on, and a certain degree of alkalinity or
acidity of the vat, and these points are most difficult to regulate as
they will vary very much from time to time.
A successful vat maker is one who closely observes his vats, and the
way in which they are working, and who, as the result of such (p. 140)
observations, is able to tell in what way his vats are deficient,
so that he may know how to supply that deficiency.
The following method of setting a woad vat may be adopted. It is
calculated for 100 gallons of liquor. The vat is filled with hot
water, and 80 lb. of woad are allowed to steep overnight in it, having
first been well stirred into the water, so as to ensure that every
part is wetted out. The next morning there is added 8 lb. madder,
12 lb. bran, 5 lb. quick-lime (previously slaked with water), and
2-1/2 lb. soda. These are thoroughly stirred together, then from 5 to
7-1/2 lb. indigo is stirred in. The indigo should have been previously
ground into a fine paste with water. The temperature of the vat should
now be maintained at from 115° to 125° F. for two to three days, at
the end of which time it ought to be in a state of quiet working.
Should it be found that the fermentation is going on too rapidly, a
little lime may be thrown in, which will retard it. On the other hand,
if it should not be going on with sufficient energy, this may be
remedied by adding a little bran, or better, a little treacle.
When in perfect condition the vat should have a slight smell of
ammonia. If this is not noticed it indicates that the vat is deficient
in alkalinity, and a little more lime should be added. Soda may be
used in the place of lime, but it is so much more energetic in
character that any additions of it have to be made with great care, or
the vat will become too alkaline in character, and the fermentation
will go on too rapidly, the ammoniacal odour is lost, and a peculiar
putrid smell takes its place. As soon as this is noticed, lime ought
to be added to retard the fermentation and to develop the ammoniacal
smell. The colour of a good well-set vat is olive brown.
When all the indigo is dissolved and the colour of the vat is a (p. 141)
clear olive yellow to brown the vat is then ready for dyeing, and
may be used for a long time, until, in fact, the deposit gets too
large and the wool becomes dirtied. But it must not be continually
worked, or it will give bad shades and loose colours. When in a bad
condition it will usually turn of a dark brown colour, and give dull
greenish shades. To remedy this there should be added some bran,
treacle, and a little madder, as well as indigo, and the vat should be
left for a day, at a temperature of 130° F., to get up to full
strength again. Every night when in work indigo ought to be added to
the vat in proportion to that consumed during the day, with bran and
lime, the latter in not too great amount, just sufficient to keep it
of the necessary alkalinity.
#Hydrosulphite Vat.#--This is one of the best vats to use in dyeing with
indigo on wool, or, indeed, on any textile fabric. It is easy to
prepare and cleanly to work. While depending solely on chemical action
for its preparation and use, it is freer from those peculiar defects
to which organic vats, like the woad vats, are liable.
There is a further advantage about this vat, it is not necessary to
prepare each individual vat separately, but a strong mother liquor or
concentrated indigo solution may be prepared, and this only requires
letting down with water to produce a vat of any required strength.
In the preparation of this vat, which was devised by Schutzenberger
and Lalande, bisulphite of soda and zinc dust are used with either
quick-lime or caustic soda. The bisulphite of soda is allowed to act
on the zinc as will be detailed when an acid solution of sodium
hydrosulphite NaHSO_{2}, more strictly hydrogen sodium hydrosulphite,
is obtained. The acid solution of hydrosulphite has the property of
rapidly reducing and dissolving indigo, and this solution may be used
in dyeing. To prepare the hydrosulphite a vessel which is fitted (p. 142)
with an agitator and can be closed is filled with zinc, either in the
form of dust, foils, or granules. Then bisulphite of soda of 50° to
60° Tw. strength is poured over the zinc in sufficient quantity to
cover it. All access of air should be avoided as much as possible, as
it leads to oxidation. In the case of using zinc powder the action is
often so rapid as to lead to heating, which also should be avoided.
The operation takes from an hour to two hours, when the liquor may be
drawn off. It must be used immediately to dissolve the indigo; or
otherwise, as it is a very unstable body, it is liable to decompose
and become oxidised, when it loses its solvent properties. If more
hydrosulphite is required, fresh bisulphite may be poured over the
zinc which is left unused in the vessel; if no more is wanted the zinc
which is left should be well rinsed in water and the vessel filled
with water, so as to prevent any oxidation of the zinc, and so keep it
ready for use when required. The liquor thus made will usually have a
specific gravity of 62° Tw. The zinc which is used up in the
preparation of the liquor is replaced by fresh zinc from time to time.
The liquor so obtained is, as stated above, rather unstable, and
contains acid sodium hydrosulphite. By mixing with milk of lime, the
acidity is neutralised, zinc oxide and calcium sulphite are thrown
down, and a solution of neutral sodium hydrosulphite is obtained which
is more stable and can be kept longer without decomposition. To
prepare this, take 10 gallons of the acid liquor, as prepared in the
manner described above, and mix it with 48 lb. of milk of lime, which
is made from 2 lb. good quick-lime. Stir well together, allow all
sediment to settle, or better, filter-press the mass. A liquor of
36° Tw. strength will usually be obtained. Do not let it stand too
long before use, make it alkaline by adding a little lime.
To make the mother or stock indigo, the following method of (p. 143)
procedure may be adopted. Indigo, say 10 lb., is ground into as fine a
paste as possible with 13 lb. milk of lime, of such a strength that 1
gallon shall contain 30 oz. quick-lime. To this is then added so much
of either the acid or the neutral sodium hydrosulphite as can be made
from 90 lb. of bisulphite of soda, the mixture being kept at 150° F.,
until a comparatively clear, greenish yellow solution is obtained,
this will contain about 1 lb. of indigo per gallon.
This mother liquor may be used in setting the vat as follows. The vat
is filled with water which is heated to 120° F., about 200 gallons
being used. To this is then added 1 gallon of either hydrosulphite or
bisulphite of soda to destroy the free oxygen it contains, and prevent
it from oxidising the indigo solution, which is next added. The
quantity of the latter is solely regulated by the depth of shade it is
desired to dye, and as soon as the requisite quantity has been added
the dyeing may be proceeded with at once, and the first portion of
goods put through will soon show the dyer whether too much or too
little of the mother indigo has been added.
Continued use and the consequent agitation of the vat thereby
generated causes it to become oxidised, and the vat acquires a
greenish colour, and does not give fast colours. When this is noticed
the use of the vat is stopped; it is heated to about 160° F., and a
little lime and hydrosulphite added, when all the oxidised indigo in
the vat will speedily be reduced, and the vat put into a workable
condition again. By use this vat tends to become alkaline, and
consequently will spoil the wool, making it harsh and brittle. This is
remedied by adding a little hydrochloric acid.
#Holliday's Patent Indigo Vat.#--Messrs. Read Holliday & Sons have
patented an improved method of making an indigo solution and the
method of using it. They supply the indigo in the form of solution in
two strengths, ordinary and concentrated. Both are used in the same
way, only of the latter less, about one-fourth to one-third, is (p. 144)
required than of the former. For those who would wish to buy their
indigo ready prepared for use these are very convenient forms.
The best way of working the vat for wool is the following: 40 gallons
of water heated to about 50° C., add 1/4 lb. of a mixture of 1-1/4
gallons bisulphite of soda, 52° Tw., and 1 lb. zinc dust, and, say,
1/2 gallon to 2 gallons, of the patent indigo solution, according to
the depth of shade required. The boiled out wool is worked below the
surface of the liquor for about three minutes, then taken out, and the
excess of liquor squeezed back into the vat, the whole operation is
repeated until the shade is arrived at. After dyeing, rinse in an acid
bath of 1° to 2° Tw.
The advantages of this new vat are that brighter shades are obtained
and the darker shades with fewer dips, while the goods are dyed
cleaner and the shades are more quickly obtained, and, we think,
somewhat faster than by the other process.
There is also the advantage that no lime or other alkali is used with
this new indigo vat. The wool should be boiled out before dipping, if
the best results and even shades are desired.
#Potash-Indigo Vat.#--This is also a fermentation vat, and is set in the
following manner: 5 lb. of madder and 4 lb. of bran are mixed with 50
gallons of water and heated for from three to four hours, until a
temperature of from 180° to 212° F. is attained. Then 15 lb. of
carbonate of potash are added and the liquor is allowed to cool down
to about 120° F. Next 10 lb., more or less according to shade
required, of finely ground indigo is added, and the whole is left for
from forty-eight to sixty hours to ferment, being stirred up at
intervals of twelve hours. This vat ferments in much the same way as
the woad vat, and presents the same general appearances. It is not so
liable to get out of order as the woad vat, and in consequence is (p. 145)
much more easily managed. It does not, however, give such bright
shades as either of the vats previously described, but it dyes a
little quicker, and deeper shades can be produced. It is the best vat
to use where indigo dyeing is carried on at irregular intervals, also
for dyeing dark shades of navy blue and for giving an indigo bottom
for dark blues, browns and greens. Such shades stand milling and
alkalies very well.
#Soda-Indigo Vat.#--The soda-indigo vat is set in the following manner:
100 lb. bran is boiled with 200 gallons of water for three hours, then
the liquor is allowed to cool from 100° to 120° F. Then 20 lb. of soda
crystals, 5 lb. slaked lime, and 10 to 15 lb. ground indigo are added,
the mixture being left for two or three days to ferment, and stirred
up at intervals.
Sometimes a little more soda or a little lime is added, as may be
judged from the appearance of the vat, these appearances being
practically the same as those met with in the woad vat, which have
already been described in detail.
The soda vat closely resembles the potash vat, but is cheaper to
produce. It keeps its dyeing power longer, but is somewhat more liable
to get out of order. It is like the potash vat, easier to manage than
the woad vat, as with all the woad vats it is necessary after working
them for a day to replenish them with a little indigo, soda, or
potash, as the case may be, and a little bran.
Cleaner vats are obtained if treacle be substituted for the bran, but
the latter ferments better, and gives better results in working.
#Urine-Indigo Vat.#--This vat has almost, if not quite, gone out of use,
being a rather unpleasant vat to work with, with few advantages over
other vats. One advantage it possesses over the woad and potash vats
is that it is the best for working on a small scale, but the modern
zinc reduction vats run it very close in this respect. The vat is (p. 146)
made as follows: To 50 gallons of stale urine 4 lb. of common salt are
added, and the mixture heated to from 120° F. to 140° F. Then 1 lb.
madder and 1 lb. ground indigo are added, and the mass is well
stirred. Then the mixture is allowed to stand until the indigo is
completely reduced, when the vat is ready for dyeing.
#Indigo-Indophenol Vat.#--Messrs. Durand, Huguenin & Co. have introduced
the use of Indophenol along with indigo in wool dyeing. Indophenol can
be reduced in the same way as indigo, and fibres dipped in this
reduced product on exposure to air turn blue in the same way as if
dipped in an indigo vat.
By itself indophenol has not met with much favour from dyers for a
variety of reasons, but it has been found that, mixed with indigo, it
can be used in dyeing with some advantage on the score of cheapness.
The newly mixed vat is made in the following manner:--
In a convenient vessel 26 gallons of water, 15 lb. zinc dust, ground
into a paste with 6 gallons of water, and 7 gallons bisulphite of soda
of 55° Tw. strong are mixed. Then 8 pints caustic soda lye of 72° Tw.,
and 16 pints liquor ammonia are added, and the whole mass is well
stirred up; 22 lb. good indigo of about 70 per cent. indigotine and
7-1/4 lb. Indophenol are thoroughly ground into a paste with 7 gallons
of water and 2 pints caustic soda lye of 72° Tw. The paste is added to
the previous mixture, and, after being well stirred in, sufficient
water is added to make the total volume of liquor up to 100 gallons.
The mass is stirred up from time to time during a period of from
thirty-six to forty-eight hours, by which time, as a rule, the indigo
and Indophenol will have been completely reduced, and the vat have
acquired a canary-yellow colour; if it has not, add a little more zinc
dust and bisulphite of soda. It is ready for use when it has a good
yellow colour.
This forms what may be called a "mother," or stock vat, from which (p. 147)
the dyeing vat is made in the following manner: Take a sufficient
quantity of water to make the dyeing vat, add some hydrosulphite of
soda (see below) to destroy any oxidising action the vat liquor may
have, then add sufficient of the stock vat to give the required shade,
this point is one which must be determined by experience. The vat is
now quite ready for use, and the wool is entered and treated in the
usual manner.
After dyeing each lot of wool it is advisable to add some of the stock
vat to replace the indigo abstracted by the goods. When a number of
dyeings have been done, it is possible that the vat may become charged
with oxidised indigo and lose its clean, yellow colour. It may be
restored to its former conditions by adding some hydrosulphite of
soda. Of course, after considerable use this, like all other indigo
vats, becomes too highly charged with sediment, etc., to give
excellent results, in which case the only thing that can be done is to
throw the old vat away and start a new one.
The hydrosulphite of soda referred to above is made in the following
way: 4-1/2 lb. zinc dust are ground into a paste with 5-1/2 gallons of
water and then mixed with 4 gallons bisulphite of soda at 55° Tw.,
stirring well so as to keep the temperature down. Then add 3 pints
caustic soda lye of 72° Tw., and 3-1/2 pints liquor ammonia. Finally,
add sufficient water to make 13 gallons. After standing for two or
three days the preparation is ready for use. It should be alkaline in
property; if not, add a little ammonia to make it so. This vat gives
very good bright shades, from sky blue to dark navy, which are equally
as fast as pure indigo shades.
Sometimes woollen goods dyed with indigo rub badly. The causes of this
defect vary from time to time, and in many instances are often obscure
in their origin. All goods intended for indigo dyeing, and more
especially when shades fast to rubbing are desired, should be (p. 148)
thoroughly cleansed, and before passing into the indigo vat should be
thoroughly freed from any soap which may have been used in the boiling
out. Then, after dyeing, they ought to be well rinsed in water and
passed through a sour made with sulphuric acid (2 lb. in 10 gallons),
and then washed again. Vats highly charged with sedimentary matter, or
with zinc or lime, are often the cause of loose shades. The remedy is
obvious, _viz_., the discarding of such vats and the preparation of
new ones, in fact old vats are perhaps more fruitful sources of loose
shades than any other cause. Soft water suits indigo dyeing better
than hard water, and is to be preferred.
It is not advisable to attempt to get full or deep shades of indigo at
one dip, for such would necessitate the use of strong baths. Dyeings
produced in this way are liable to rub badly, because the indigo lies
mostly on the surface, to which it is more or less mechanically
attached. Light shades of indigo are fast to rubbing, and by repeated
dippings in a light vat or a medium shade vat deep shades of fair
fastness to rubbing can be got.
As repeatedly stated, no indigo vat can be worked continuously with
good results; the continual agitation induced by the passage of the
yarns or cloths into the liquor brings the liquor into contact with
the air, and oxidation sets in, resulting in the indigo being thrown
out of the liquor in its original form. When this happens the vat
loses its original clear yellow or yellowish-brown colour and becomes
greenish, a sure sign that the vat is getting out of condition to give
good results. The remedy has been pointed out in dealing with each
kind of vat, and consists essentially in adding to the vat more of the
active reducing agent and allowing the vat to rest a while.
The dye-vats may be either round tubs or square wooden tanks; for yarn
in hanks, when cloths or warps are being dyed, these may be fitted (p. 149)
with winces and guide rollers so as to draw materials through the liquor.
The hawking machine shown in figure 22 is also very good for indigo
cloth dyeing, and is largely used for this purpose.
[Illustration: Fig. 23.--Indigo Dye-vat.]
Figure 23 also shows an excellent machine for indigo dyeing on cloth.
In this the vat has a frame carrying guide rollers, round which the
cloth passes, so that it travels several times through the vat liquor
in its passage from one end of the vat to the other, the amount of
liquor in the vat being so arranged that the cloth is entirely
immersed the whole time. After going through the liquor the cloth
passes between a pair of squeezing rollers, in order to have any
surplus liquor taken out, then it traverses the space between sets of
guide rollers arranged over the vat, during which time the indigo
becomes oxidised and the blue develops, while finally it is (p. 150)
plaited down on a table. The illustration clearly shows the working of
the machine.
#Dyeing Wool with Indigo Extract.#--Sulphonated indigo, prepared by
dissolving indigo in sulphuric acid, is sold under the name of "indigo
extract," or "indigo carmine," in two forms--paste (containing,
perhaps, 25 to 30 per cent. actual colour) and powder. Both forms are
freely soluble in water, although some makes are more so than others.
This quality of solubility is dependent upon the proportion of
sulphuric acid which may have been used in the preparation of the
extract. When this is small, what is termed indigo monosulphonic acid
only is formed, which is but slightly soluble in water, and gives red
shades. If a larger proportion of acid be used, then the indigo
disulphonic acid is formed, which is fairly easily soluble in water,
and gives bluer shades than the former.
As all forms of indigo extract are regular articles of commerce,
details for their preparation will not be given here. It will suffice
to say that indigo is heated with strong sulphuric acid until test
samples show that the indigo has been completely dissolved, and it is
then diluted with water and filtered. Sometimes it is sold in this
condition under the term "chemic," but if this be used in dyeing wool
it gives rather unsatisfactory results. When "sour extract" is
required, the liquor filtered out is next treated with salt until all
the colour has been precipitated out, when it is filtered off,
drained, pressed and sold. Should "neutral" or "sweet" extract be
required, then the acid liquor is neutralised with soda, and the
product is salted out as before, drained and pressed to a suitable
consistence. It is then sold as "indigo extract," or dried, at
150° F., to a powder, which is known as "indigo carmine".
All forms of indigo extract are dyed on wool from baths of (p. 151)
Glauber's salt and sulphuric acid, and therefore they can be classed
with the acid-dyeing coal-tar colours. Indigo extract is notable for
its level dyeing and penetrative properties, but it is not fast to
light or milling.
Messrs. Read Holliday & Sons have a powder form of indigo extract
which will be found very useful and to give better shades than the
usual run of paste extract, while it only takes about one-fifth the
quantity to give a similar shade. Working at the boil should be
avoided with indigo extract, as tending to make the shades greenish in
tone; from 170° to 180° F. will usually be found hot enough to dye
good shades.
Indigo extract is not much used by itself in dyeing blues on wool, but
it is extensively employed along with other dye-stuffs to produce an
immense variety of shades--drabs, greens, fawns, greys, lilacs, etc.,
of which some examples will be given later on.
_Indigo Blue_.--Prepare a bath with 10 lb. indigo extract, 5 lb.
sulphuric acid, and 10 lb. Glauber's salt. Work just under the boil to
shade.
_Sky Blue_.--The dye-bath contains 1 lb. indigo extract, 2 lb.
sulphuric acid, and 10 lb. Glauber's salt. Work at about 160° F. to
shade.
#Dyeing Wool Blue with Logwood.#--This method of dyeing blue on wool has
lost much of its importance since the introduction of the artificial
dyes, but it is still employed when a blue fast to milling is wanted.
Logwood gives dark navy blue shades. The process is as follows: The
wool is first mordanted by boiling for one and a half hours in a bath
of 3 lb. bichromate of potash and 2-1/2 lb. of tartar. The operation
must be so carried out that the non-oxidising green chrome mordant is
developed on the fibre, and therefore the boiling must be thorough. In
place of tartar, argols and oxalic acid are frequently used, while
lactic acid or lignorosine might be employed. The dyeing is done (p. 152)
in a bath of 20 to 25 lb. logwood, or 5 to 8 lb. logwood extract;
the bath is started cold, heated slowly to the boil, and kept at that
heat for one to one and a half hours. Between the mordanting and
dyeing the wool should be well rinsed.
DYEING BLUE WITH COAL-TAR DYES.
The blue dyes derived from coal tar are very numerous, direct, basic,
acid and mordant blues being known. The direct and basic dyes are very
little used, but the acid and mordant dyes are extensively employed,
as is indicated in the following recipes.
#Dyeing with Direct Dyes.# _Pale Blue_.--Prepare a dye-bath with 1/2 lb.
Sulphon Cyanine and 10 lb. Glauber's salt. Enter the goods, and work
at the boil for one hour, then lift, wash and dry.
_Black Blue_.--Prepare a dye-bath with 3 lb. Sulphon Cyanine, 5 lb.
Glauber's salt, and 5 lb. acetate of ammonia; work at the boil for one
hour. Sulphon cyanine works well with other dye-stuffs, and gives
shades which are fast to milling.
#Dyeing with Acid Dyes.# _Bright Blue_.--Prepare a bath with 2 lb. borax
and 1 lb. Alkali Blue B. Enter the wool at about 170° F., then heat to
the boil, and work for half an hour; then lift, rinse lightly, and
pass into a weak sour bath, with sulphuric acid to raise to the
colour.
Soda may be used in place of borax, but the latter salt maintains the
softness of the wool fibre better.
By using various brands of Alkali Blue (3 R to 7 B), various shades of
blue from a reddish with the 3 R to a pure blue with the 6 B and 7 B
brands may be dyed. The Alkali Blues are fairly fast to light.
_Dark Blue_.--Prepare a dye-bath with 2 lb. Serge Blue, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid, working at the boil (p. 153)
for one hour. This is a very common way of dyeing blues on serges,
cashmeres and worsted goods. In place of serge blue, what are known as
Blackley blues, or Dewsbury blues, may be employed. These have a
similar composition, but vary a little in the tint of blue they give.
_Navy Blue_.--Prepare a dye-bath with 2 lb. Induline A, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid, working at the boil for one
hour.
The Indulines are very useful colouring matters for dyeing navy or
dark blues on wool. They have the defect of being liable to give
uneven shades. This may be remedied by omitting the acid when first
making up the bath, entering the wool, working for half an hour to
thoroughly impregnate the material with the dye-liquor, then adding
the acid, and continuing the working for another half-hour. Or the
wool may be treated to a weak chlorine bath before it is dyed, by
first passing it through a weak hydrochloric acid bath and then
through a bath of bleaching powder. By using acetic acid in place of
sulphuric acid more even shades are obtained.
_Blue_.--Prepare a dye-bath with 1 lb. Acid Blue 1 V, 9 oz. Acid
Violet 1 V, 10 lb. Glauber's salt and 2 lb. sulphuric acid, working at
the boil for one hour.
_Blue Black_.--For this the dye-bath is made with 8 lb. Acid Blue 1 V,
10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil
for one hour.
_Deep Navy Blue_.--A very good shade is dyed with 5 lb. Acid Blue 1 V,
3 lb. Acid violet 1 V, 10 lb. Glauber's salt, and 2 lb. sulphuric
acid, working at the boil for one hour.
_Deep Navy_.--Prepare a dye-bath with 1 lb. Fast acid Magenta B, 3 lb.
Wool Blue B X, 4-3/4 oz. Orange I I, 5 lb. sulphuric acid, and 10 lb.
Glauber's salt, working at the boil for one hour.
The Patent Blues work exceedingly well on wool, giving good bright
shades of a fair degree of fastness. The following recipes will (p. 154)
give some idea of the nature of the shades which may be obtained
from them, while later on their use in combination with other dyes for
the production of compound shades will be shown.
_Bright Blue_.--Prepare a dye-bath with 2 lb. Patent Blue N, or Patent
Blue superior, 10 lb. Glauber's salt, and 2 lb. sulphuric acid,
working at the boil for one hour.
_Bright Greenish Blue_.--Use 2 lb. Patent Blue V, 10 lb. Glauber's
salt, and 2 lb. sulphuric acid.
_Royal Blue_.--Use 2 lb. Patent Blue B, or 2 lb. Patent Blue J (No.
3), 10 lb. Glauber's salt, and 2 lb. sulphuric acid. Patent Blue J
(No. 3) gives slightly more violet shades than Patent Blue N, but
there is not much difference between them.
_Saxony Blue_.--Use 2 lb. Patent Blue J (No. 00), 2 lb. sulphuric
acid, and 10 lb. Glauber's salt. Patent Blue J (No. 00) dyes shades
very closely resembling those dyed with indigo extract, and where the
latter is used in the dyeing of compound shades the former might be
substituted.
_Brilliant Royal Blue_.--Prepare a bath with 1-1/2 lb. New Victoria
Blue B, and 10 lb. Glauber's salt. Enter at about 100° F., then raise
to the boil and work for one hour. This gives a very brilliant shade
of blue of a violet tone.
_Sky Blue_.--Prepare a dye-bath with 1-1/2 oz. New Victoria Blue B and
2 lb. Glauber's salt, working in the manner described in the last
recipe.
_Dark Blue_.--Prepare a dye-bath with 1-1/2 oz. Acid Violet 5 B, and
1-1/2 lb. Fast Green Bluish, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid, working at the boil to shade; then lift, wash and dry.
_Deep Blue_.--Make a dye-bath with 4 lb. Chromotrop 6 B, 10 lb.
Glauber's salt, and 4 lb. acetic acid. Work for one hour at the boil;
then lift, add 2 lb. bichromate of potash and 3 lb. acetic acid,
re-enter the goods and work for one hour longer; lift, wash and dry.
The blues produced from the Chromotrops according to the last (p. 155)
recipe are full, solid-looking shades, and have a great degree of
fastness to milling and light. Some other examples showing the
production of blue shades from the Chromotrops will be given later on.
_Violet Blue_.--Prepare a dye-bath with 2 lb. Victoria Violet 8 B S,
10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil
to shade; then lift, wash and dry.
_Deep Blue_.--A fine deep blue is dyed on wool from a bath containing
6 lb. Victoria Violet 8 B S, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid, working at the boil to shade.
_Deep Sky Blue_.--A fine shade is dyed in a bath containing 4 oz.
Cyanole extra, 10 lb. Glauber's salt and 2 lb. acetic acid.
_Electric Blue_.--Make the dye-bath with 4 oz. Cyanole extra, 1 oz.
Acid Green extra, and 10 lb. bisulphate of soda.
_Bright Blue_.--A very fine shade of blue can be dyed in a bath
containing 3 lb. Cyanole extra and 10 lb. bisulphate of soda.
_Dark Navy Blue_.--Prepare the dye-bath with 4 lb. Cyanole extra,
9 oz. Archil Substitute N, and 10 lb. bisulphate of soda.
_Dark Navy_.--Prepare the dye-bath with 5 lb. Black Blue O, 1-3/4 oz.
Formyl Violet S 4 B, 4 oz. Patent Blue V, 25 lb. Glauber's salt, and
4 lb. bisulphate of soda, adding 1 lb. sulphuric acid when the dyeing
is about half done.
The navy blues given in the last few recipes possess the merit of
considerable resistance to light, air and milling.
_Pale Blue_.--Make the dye-bath with 1/2 oz. Chromotrop 2 R, 4 oz.
Cyanine B, 7-1/2 oz. Fast Acid Blue R, 1/2 oz. Azo Yellow, 10 lb.
acetic acid, and 15 lb. Glauber's salt.
_Peacock Blue_.--A fine shade is dyed with 14 oz. Cyanine B, 1-1/2 lb.
Fast Acid Blue R, 2 oz. Azo Yellow, 10 lb. acetic acid, and 15 lb.
Glauber's salt.
_Dark Invisible Blue_.--Make the dye-bath with 2 lb. Victoria (p. 156)
Black Blue, 10 lb. Glauber's salt, and 3 lb. sulphuric acid.
_Bright Blue_.--A very fine shade of blue, not, however, fast to
light, is dyed from a bath containing 1/2 lb. Victoria Blue B, and
10 lb. Glauber's salt.
_Bright Electric Blue_.--Prepare a dye-bath with 3/4 lb. Glacier Blue,
10 lb. Glauber's salt and 3 lb. sulphuric acid, working at the boil.
This gives a very bright green shade of blue.
_Dark Peacock Blue_.--Make the dye-bath with 1 lb. Naphthol Blue
Black, 10 lb. Glauber's salt, and 3 lb. sulphuric acid.
Peri Wool Blues B & G dye wool in very fast dark blue shades from
baths of Glauber's salt and acetic acid. They are dye-stuffs which
form with copper blue colour lakes of some fastness. The copper is
amalgamated with the dye-stuffs as put on the market.
_Pale Navy Blue_.--Mordant, 4 lb. bichromate of potash and 1-1/2 lb.
oxalic acid. Dye, 2-1/2 lb. Alizarine Bordeaux B.
_Navy Blue_.--Mordant, 4 lb. bichromate of potash and 2 lb. oxalic
acid. Dye, 7 lb. Alizarine Bordeaux G.
_Bright Violet Blue_.--Mordant, 3 lb. fluoride of chrome and 2 lb.
oxalic acid. Dye, 3/4 lb. Celestine Blue B.
_Navy Blue_.--A reddish shade of navy blue is dyed by mordanting with
3 lb. fluoride of chrome and 2 lb. oxalic acid, and dyeing with 3 lb.
Celestine Blue B and 3/4 lb. Diamond Black.
The Alizarine Cyanines are excellent dye-stuffs for giving dark blue
and navy blue shades on wool. They dye fairly easily, and uniform
shades are readily obtained, while they possess some considerable
penetrative power, so that they are well adapted for dyeing heavy
piece goods. The following recipes show their use and indicate the
character of the shades the various brands yield. It may be added (p. 157)
that the shades are fast to light and milling.
_Red Navy Blue_.--Mordant, 4 lb. bichromate of potash, 2 lb. tartar,
and 1-1/2 oz. sulphuric acid. Dye, 6 lb. Alizarine Cyanine R R R
double. By using a mordant of 4 lb. fluoride of chrome and 2 lb.
oxalic acid the shade is made brighter and not so red in tone.
_Dark Blue_.--A red shade of blue almost approaching a navy is
obtained by mordanting with bichromate of potash, as in the last
recipe, and dyeing with 12 lb. Alizarine Cyanine R R, or with 13 lb.
Alizarine Cyanine R. The shade with the latter dye-stuff is scarcely
so red as with the former.
_Dark Blue_.--Mordant with 4 lb. fluoride of chrome and 2 lb. oxalic
acid and dye with 13 lb. Alizarine Cyanine R.
_Dark Blue_.--A somewhat brighter and less red shade than is obtained
by working as in the last recipe is given by mordanting with 3 lb.
bichromate of potash, 2 lb. tartar, and 2-1/2 oz. sulphuric acid, and
then dyeing with 17 lb. Alizarine Cyanine G extra.
_Dark Blue_.--Mordant with 3-1/2 lb. bichromate of potash, 2 lb.
tartar, and 3 oz. sulphuric acid. Dye with 18 lb. Alizarine Cyanine
G G.
_Peacock Blue_.--Mordant with 4 lb. fluoride of chrome and 2 lb.
oxalic acid. Dye with 18 lb. Alizarine Cyanine G G.
The addition of from 2 lb. to 5 lb. acetate of ammonia in working with
the Alizarine Cyanines is a considerable advantage, by causing the
dye-stuff to penetrate the fibre better and to give more uniform
shades.
_Medium Blue_.--Mordant with 3 lb. bichromate of potash and 2 lb.
oxalic acid. Dye with 5 lb. Brilliant Alizarine Blue G, and 2 lb.
acetic acid.
_Black Blue_.--Mordant as in the last. Dye with 20 lb. Brilliant
Alizarine Blue G and 2 lb. acetic acid.
_Dark Navy_.--Mordant as in the last recipe and dye with 5 lb. (p. 158)
Alizarine Cyanine 3 R double, 5 lb. Alizarine Blue G W, 2 lb.
Brilliant Alizarine Blue G, and 2 lb. acetic acid.
_Medium Blue_.--Mordant as in the last. Dye with 5 lb. Alizarine Blue
G W, 2-1/2 lb. Brilliant Alizarine Blue G, and 2 lb. acetic acid.
_Lavender Blue_.--Mordant with 3 lb. bichromate of potash and
2-1/4 lb. tartar. Dye with 2 lb. Alizarine Blue A.
_Navy_.--Mordant as in the last recipe, and dye with 20 lb. Alizarine
Blue A.
_Deep Sky Blue_.--Mordant with 3 lb. bichromate of potash and 1 lb.
oxalic acid, then dye with 2-1/2 lb. Chrome Blue.
_Bright Blue_.--A very fine bright shade is obtained by mordanting as
in the last, and then dyeing with 10 lb. Chrome Blue.
_Lilac Blue_.--Mordant with 2 lb. bichromate of potash and 1-1/2 lb.
tartar. Dye with 4 lb. Alizarine Blue D N W. Alizarine Blue R gives
somewhat bluer shades than the D N W brand.
_Slate Blue_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb.
tartar. Dye with 2-1/2 lb. Alizarine Blue D N W, 4 oz. Alizarine
Brown, and 1-2/3 oz. Alizarine Yellow.
_Peacock Blue_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb.
tartar. Dye with 6 lb. Alizarine Blue D N W, 3 lb. Alizarine Yellow,
and 1-1/2 lb. Patent Blue A, adding a little acetic acid to the
dye-bath.
_Paris Blue_.--Mordant as in the last recipe. Dye with 3 lb. Galleine,
1 lb. Alizarine Blue D N W, and 1 lb. Patent Blue A, adding a little
acetic acid.
_Grey Blue_.--Mordant as above and dye with 4-1/2 lb. Alizarine Blue
D N W, and 1 lb. Alizarine Brown.
_Blue_.--Mordant with 10 lb. alum, 3 lb. tartar, and 2 lb. oxalic
acid. Dye with 15 lb. Anthracene Blue W G, 3 lb. acetate of lime, and
1 lb. tannic acid.
_Red Navy_.--Mordant as in the last recipe and dye with 15 lb. (p. 159)
Anthracene Blue B W, 3 lb. acetate of lime, and 3/4 lb. tannic acid.
_Dark Blue_.--Mordant with 1 lb. bichromate of potash and 2 lb.
tartar. Then dye with 20 lb. Anthracene Blue W B. Anthracene Blue W G
gives slightly greener shades than the W B brand, while the W R blue
gives redder shades.
Grounding wool with various tints of indigo is a favourite method of
producing many useful shades on wool. In general it is a good plan, as
the bottom so given is a fast and permanent one, and is not in any way
affected (so far as the stability of the colour is concerned) by the
subsequent dyeing operations, care of course being taken that these
are the usual acid or mordanting baths. The only drawback against
bottoming with indigo is the increased cost of dyeing necessitated by
the extra labour, and materials required to dye the bottom. As to the
methods and materials required, they are just those usually employed
in indigo dyeing, and these have been described. The hydrosulphite
vat, or Messrs. Holliday's patent indigo, is, perhaps, the most
convenient method to adopt.
_Dark Slate_.--Give a medium indigo bottom, then mordant with 3 lb.
fluoride of chrome and 1 lb. oxalic acid, and dye with 1-1/2 lb.
Anthracene Brown W, 1/2 lb. Alizarine Bordeaux G, and 1 oz. Diamond
Flavine.
_Dark Navy_.--Give a medium indigo bottom in the vat, then mordant
with 3 lb. fluoride of chrome and 1-1/2 lb. tartar, finally dyeing
with 6-1/2 lb. Alizarine Cyanine G, and 1-1/2 lb. Alizarine
Bordeaux G.
_Dark Blue_.--Give a medium indigo bottom, then mordant with 6 lb.
fluoride of chrome and 2 lb. oxalic acid, finally dyeing with 14 lb.
Alizarine Cyanine Black.
_Blue Black_.--Give a deep indigo bottom in the vat, then mordant with
3 lb. bichromate of potash and 2 lb. tartar, finally dyeing with (p. 160)
6 lb. Alizarine Cyanine Black and 1-1/2 lb. Alizarine Cyanine 3 R double.
VIOLET SHADES ON WOOL.
Violet shades can only be obtained from the coal-tar colours, and of
these there are not many. The recipes which are given below will serve
to show what dye-stuffs are available, and will give some idea of the
tints they dye.
#With Direct Dyes.# _Pale Violet_.--Prepare the dye-bath with 1/2 lb.
Sulphon Cyanine, 1/4 lb. Geranine B, 5 lb. Glauber's salt, and 5 lb.
acetate of ammonia, working at the boil for one hour.
#With Basic Dyes.# _Violet_.--The dye-bath is made with 1 lb. Methyl
Violet 3 B, and 10 lb. Glauber's salt. A fine pure shade of violet is
obtained. Methyl Violet is made in many brands, distinguished as B,
B B, 2 B, 4 B, etc. By using either one or the other of these, a
variety of tints of violet, from a red shade with Methyl Violet R
through violet (B) to a violet blue with Methyl Violet 7 B, can be
dyed.
#Puce.#--A very bright shade of puce is dyed by using Methyl Violet R,
and 10 lb. Glauber's salt.
#With Acid Dyes.# _Violet_.--Make the dye-bath with 2 lb. Acid Violet
4 B S, 10 lb. Glauber's salt, and 2 lb. sulphuric acid. This gives a
pure violet shade. If Acid Violet 6 B S be used a bluer shade is
obtained.
_Reddish Puce_.--A very bright red tint of puce is obtained by using
2 lb. Acid Violet 4 R S, 10 lb. Glauber's salt, and 2 lb. sulphuric
acid.
_Bluish Violet_.--Make the dye-bath with 3 lb. Acid Violet 5 B, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid, working at the boil for one
hour.
_Lavender_.--Use 4 oz. Acid Violet 5 B, 1 oz. Azo Fuchsine G, 1/16 oz.
Fast Green bluish, 10 lb. Glauber's salt and 2 lb. sulphuric acid.
_Deep Violet_.--A fine deep shade is obtained by using 2-3/4 lb.
Chromotrop 6 R, 2-1/2 lb. Cyanine B, 10 lb. Glauber's salt, and (p. 161)
2 lb. sulphuric acid, working at the boil for one hour.
_Mauve_.--Use 2 lb. Acid Mauve B, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid.
_Bright Violet_.--Use 2 lb. Formyl Violet S 4 B, 10 lb. Glauber's
salt, and 2 lb. sulphuric acid.
_Bright Violet_.--Use 2 lb. Acid Violet 6 B N, 10 lb. Glauber's salt,
and 2 lb. sulphuric acid.
_Violet_.--Use 2 lb. Acid Violet N, 2 lb. sulphuric acid, and 10 lb.
Glauber's salt.
#With Mordant Dyes.# _Violet_.--Mordant the wool with 3 lb. bichromate
of potash and 2 lb. tartar, and dye with 10 lb. Chrome Violet.
_Dark Violet_.--Mordant as in the last recipe. Then dye with 3 lb.
Chrome Bordeaux 6 B double and 2 lb. Brilliant Alizarine blue G.
BROWN SHADES ON WOOL.
Brown is a very important colour, of which there is an infinite
variety of shades and it can be dyed in a great variety of ways and
from a variety of dye-stuffs, as will be seen on looking through the
recipes which follow, although these do not by any means exhaust the
methods by which browns may be dyed on woollen goods, but they may be
taken as representative and will serve to show by what combinations of
dyes various tints of browns may be obtained.
#With Direct Dyes.# _Brown_.--Make the dye-bath with 1 lb. Nyanza
Black B, 2 lb. Congo Brown R, and 20 lb. Glauber's salt, working at
the boil for one hour; then lift, wash and dry.
#With Acid Dyes.# _Yellow Brown_.--Make the dye-bath with 1 lb. Azo
Carmine, 1 lb. Fast Yellow, 1 lb. Indigo Carmine D, 10 lb. Glauber's
salt, and 2 lb. sulphuric acid. A good shade is thus obtained.
_Olive Brown_.--Use 3/4 lb. Azo Acid Violet 4 R, 2 lb. Fast (p. 162)
Yellow, 3 oz. Fast Green bluish, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid, working at the boil for one hour; then lift, wash and
dry.
_Dark Chestnut_.--Dye in a bath containing 6-1/2 oz. Patent Blue V,
3-1/4 oz. Acid Violet V, 1 lb. Azo Yellow, 2 lb. Orange No. 2, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid, working at the boil for one
hour; then lift, wash and dry.
_Mouse_.--Make the dye-bath with 4 oz. Patent Blue V, 1-2/3 oz. Acid
Violet N, 13 oz. Orange G, 10 lb. Glauber's salt, and 2 lb. sulphuric
acid.
_Deep Seal_.--Dye in a bath containing 1 lb. Orange G G, 1/2 lb.
Patent Blue J 3, 1/2 lb. Azo Yellow, 3-1/4 oz. Acid Violet N, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid.
_Deep Brown_.--Make the dye-bath with 1-3/4 lb. Chromotrop 2 R,
1-1/4 lb. Victoria Yellow, 4 lb. Keton Blue G, 2-1/2 oz. Acid Violet
5 B E, 25 lb. Glauber's salt, and 4 lb. sulphuric acid, working at the
boil for one hour.
_Walnut_.--A fine shade can be dyed with 1-3/4 lb. Azo Acid Magenta G,
14-1/2 oz. Patent Blue V, 3/4 lb. Victoria Yellow, 15 lb. Glauber's
salt and 2 lb. sulphuric acid.
_Olive Brown_.--Make a dye-bath with 2 lb. sulphuric acid, 10 lb.
Glauber's salt, 1 lb. Azo Fuchsine G, 1/2 lb. Fast Yellow, and 1/2 lb.
Fast Green extra bluish.
_Dark Olive Brown_.--A very fine shade can be dyed with 1 lb. Fast
Acid Violet 10 B, 1-1/2 lb. Orange 11, 1/2 lb. Fast Green bluish,
7 oz. Fast Yellow, 20 lb. Glauber's salt, and 3 lb. sulphuric acid.
_Walnut_.--Use 1 lb. Cyanole, 1 lb. Orange extra, 1/2 lb. Archil
Substitute N, 10 lb. Glauber's salt and 2 lb. sulphuric acid, working
at the boil for one hour.
_Dark Seal_.--Use 1 lb. Cyanole, 1 lb. Orange extra, 10 lb. Glauber's
salt and 2 lb. sulphuric acid.
_Golden Brown_.--A fine shade is dyed with 1-1/4 lb. Victoria (p. 163)
Yellow, 9-1/2 oz. Chromotrop 2 R, 3-1/2 oz. Patent Blue V, 10 lb.
Glauber's salt and 2 lb. sulphuric acid.
#With Mordant Dyes.# _Golden Brown_.--Make the dye-bath with 1 lb.
Diamine Fast Red F, 1-1/2 lb. Anthracene Yellow C, and 5 lb. acetate
of ammonia. Work for half an hour; then add 5 lb. bisulphate of soda
and work for half an hour longer, then add 3 lb. fluoride of chrome,
and work for half an hour at the boil.
_Bright Golden Brown_.--Use 3/4 lb. Diamine Fast Red F, 1-1/2 lb.
Anthracene Yellow C, 5 lb. bisulphate of soda, as indicated in the
last recipe. The shades so obtained are very fine, and have the merit
of being fast to washing and light.
_Chestnut_.--Give a medium indigo bottom in the vat, then dye in a
bath containing 1-3/4 lb. Anthracene Yellow C, 1 lb. Diamine Fast
Red F, and 5 lb. bisulphate of soda. Work again for half an hour, then
add 3 lb. fluoride of chrome, and work again for another half hour;
lift, wash and dry.
_Dark Brown_.--Use a dye-bath containing 1-1/4 lb. Diamine Fast Red F,
3/4 lb. Anthracene Yellow C, 1-1/2 lb. Anthracite Black B, and 5 lb.
acetate of ammonia. After half an hour's boiling, add 5 lb. bisulphate
of soda, work half an hour longer, add 3 lb. fluoride of chrome, and
work together another half hour; then lift, wash and dry.
_Brown_.--A very fine shade can be dyed in the following way: First
give a medium indigo bottom in the vat, then mordant in a bath
containing 3 lb. bichromate of potash and 2-1/2 lb. tartar, and
finally dye in a bath made from 1-1/2 lb. Alizarine Orange R, 4 lb.
Diamond Flavine, and 2 lb. acetic acid.
_Dark Seal_.--Give a medium indigo bottom in the vat, and Mordant with
3 lb. bichromate of potash and 2-1/2 lb. tartar, and finally dye in a
bath containing 3-1/2 lb. Alizarine Orange R, 1 lb. Anthracene
Brown R, 2 lb. Diamond Flavine, and 2 lb. acetic acid.
_Brown_.--A full shade is dyed by first mordanting with 3 lb. (p. 164)
bichromate of potash and 2 lb. tartar, and then dyeing with 10 lb.
Anthracene Brown W, and 1 lb. Mordant Yellow.
_Buff_.--Mordant as in the last, and dye with 5 lb. Anthracene
Brown W, and 1/4 lb. Mordant Yellow O.
_Nut_.--Mordant with 3 lb. bichromate of potash and 1 lb. oxalic acid,
and dye with 20 lb. Diamond Brown.
_Pale Old Gold Brown_.--Mordant as in the last, and dye with 5 lb.
Diamond Brown.
_Dark Violet Brown_.--Mordant as in the last recipes, and dye with
30 lb. Chrome Brown R.
_Bright Chestnut_.--Mordant with 3 lb. bichromate of potash and 1 lb.
sulphuric acid, and dye with 30 lb. Gambine R.
_Pale Chestnut_.--Mordant as in the last recipes, and dye with 20 lb.
Gambine Y.
_Olive Brown_.--Mordant as in the last recipes, and dye with 10 lb.
Gambine B. The browns dyed with Gambine have the merit of being fast
to milling and light.
_Dark Brown_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb.
tartar; then dye with 15 lb. Alizarine Brown.
_Bright Buff_.--Mordant as in the last recipe; then dye with 4-3/4 lb.
Alizarine Brown, 4 lb. Alizarine Yellow, 1-3/4 oz. Alizarine Blue
D N W, and 2 lb. acetic acid.
_Dark Violet Brown_.--Mordant with 3 lb. bichromate of potash and
2-1/2 lb. tartar. Then dye with 18 lb. Alizarine Brown, 6 lb.
Alizarine Orange H, and 2 lb. acetic acid.
_Dark Walnut_.--Mordant with 3 lb. bichromate of potash and 1 lb.
sulphuric acid; then dye with 8 lb. Alizarine Brown, 2 lb. Alizarine
Red 3 W S, and 2 lb. Alizarine Yellow G G W.
MODE COLOURS ON WOOL.
Under the general designation of "mode colours" are included a great
variety of tints or shades unusually described more specifically (p. 165)
as drabs, buffs, greys, fawns, slates, etc. It is impossible here to
do more than give a few recipes for their production.
#With Direct Dyes.# _Drab_.--Make a dye-bath with 3 oz. Nyanza Black B,
1-1/2 oz. Chrysamine G, 2 oz. Congo orange R, and 20 lb. Glauber's
salt, working at the boil for one hour; then lift, wash and dry.
#With Acid Dyes.# _Bright Buff_.--Dye in a bath containing 3/4 oz. each
Cyanole, Orange extra, and Indian Yellow R, 10 lb. Glauber's salt, and
2 lb. sulphuric acid.
_Slate_.--Use a dye-bath containing 3 oz. Cyanole, 1/4 oz. Archil
Substitute N, 1/2 oz. Orange extra, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid.
_Silver Grey_.--Use 1-1/4 oz. Orange extra, 3/4 oz. Archil
Substitute N, 10 lb. Glauber's salt and 2 lb. sulphuric acid.
_Pale Drab_.--Make the dye-bath with 1/2 oz. Cyanine B, 3/4 oz. Azo
Yellow, 1/4 oz. Chromotrop 2 R, 10 lb. Glauber's salt and 2 lb.
sulphuric acid.
_Grey_.--Make the dye-bath with 1 oz. Chromotrop 2 R, 1-1/4 oz.
Cyanine B, 2-1/2 oz. Fast Acid Blue R, 2 oz. Azo Yellow, 10 lb.
Glauber's salt and 5 lb. acetic acid.
_Bright Fawn_.--The dye-bath is made with 2 oz. Chromotrop 2 R, 8 oz.
Orange G, 2-1/4 oz. Fast Acid Blue R, 1-1/4 oz. Cyanine B, 10 lb.
Glauber's salt and 5 lb. acetic acid.
_Dark Buff_.--Use 2 oz. Cyanine B, 5 oz. Azo Yellow, 2-1/2 oz.
Chromotrop 2 R, 10 lb. Glauber's salt and 2 lb. sulphuric acid.
_Lilac Grey_.--Use 3 oz. each Fast Acid Violet 10 B, Fast Green
bluish, and Fast Yellow, 10 lb. Glauber's salt and 2 lb. sulphuric
acid.
_Pale Fawn Drab_.--Use 1 oz. Patent Blue V, 1 oz. Rhodamine, 1-3/4 oz.
Orange G, 10 lb. Glauber's salt and 2 lb. sulphuric acid.
_Dark Grey_.--Use 1 lb. Wool Grey R, 10 lb. Glauber's salt and (p. 166)
2 lb. sulphuric acid.
_Stone_.--Use 1 oz. Patent Blue J B, 1-3/4 oz. Orange G, 10 lb.
Glauber's salt and 2 lb. sulphuric acid.
_Pale Fawn Brown_.--Use 4 oz. Fast Acid Violet R, 2 oz. Patent Blue
J O O, 3 oz. Orange G, 10 lb. Glauber's salt and 3 lb. sulphuric acid.
_Drab_.--Use 3 oz. Azo Carmine, 1-1/2 oz. Fast Yellow, 1-1/4 oz.
Indigo Carmine D, 10 lb. Glauber's salt and 2 lb. sulphuric acid.
_Lilac_.--Use 1/2 lb. Azo carmine, 1/2 lb. Indigo Carmine D, 1-1/2 oz.
Fast Yellow, 10 lb. Glauber's salt and 2 lb. sulphuric acid.
#With Mordant Dyes.# _Pale Drab_.--Mordant with 2 lb. bichromate of
potash and 1-1/2 lb. tartar. Dye with 1 lb. Alizarine Brown paste.
_Violet Grey_.--Mordant as in the last recipe, and dye with 1 lb.
Alizarine Grey B.
_Pale Fawn_.--Mordant with 3 lb. bichromate of potash and 2-1/2 lb.
tartar, and dye with 4-1/2 lb. Alizarine Yellow, 13 oz. Alizarine
Brown, 11-1/2 oz. Alizarine Orange N, and 2 lb. acetic acid.
_Pale Stone_.--Mordant with 2 lb. bichromate of potash and 1-1/2 lb.
tartar. Dye with 13 oz. Alizarine Yellow and 1-1/4 lb. Alizarine
Brown.
_Dark Slate_.--Mordant with 3 lb. bichromate of potash and 2 lb.
tartar. Dye with 2-1/2 lb. Alizarine Blue D N W, and 10 oz. Alizarine
Yellow.
_Lavender Grey_.--Mordant with 2 lb. bichromate of potash and
1-1/2 lb. tartar. Dye with 13 oz. Alizarine Blue D N W, and 2 oz.
Galleine.
_Drab_.--Mordant as in the last recipe; then dye with 4 oz. Alizarine
Blue, 1-1/2 lb. Alizarine Yellow and 14 oz. Alizarine Brown.
_Drab_.--Mordant with 3 lb. bichromate of potash and 1 lb. (p. 167)
sulphuric acid, and dye with 1 lb. Gambine R.
_Dark Grey_.--Give a light indigo bottom in the vat, and then dye in a
bath containing 3/4 oz. Diamine Fast Red F, 3/4 oz. Anthracene
Yellow C, and 5 lb. acetate of ammonia. Work at the boil for half an
hour, then add 5 lb. bisulphate of soda, work half an hour longer,
then add 1 lb. fluoride of chrome, and work for another half hour at
the boil; then lift, wash and dry.
CHAPTER V. (p. 168)
DYEING UNION (MIXED COTTON AND WOOL) FABRICS.
There is now produced a great variety of textile fabrics of every
conceivable texture by combining the two fibres, cotton and wool, in a
number of ways. The variety of these fabrics has of late years
considerably increased, which increase may be largely ascribed to the
introduction of the direct dyeing colouring matters--the Diamine dyes,
the Benzo dyes, the Congo and the Zambesi dyes; for in the dyeing of
wool-cotton fabrics they have made a revolution. The dyer of union
fabrics, that is fabrics composed of wool and cotton, was formerly put
to great straits to obtain uniform shades on the fabrics supplied to
him owing to the difference in the affinity of the fibres for the
dye-stuffs then known. Now the direct dyes afford him a means of
easily dyeing a piece of cotton-wool cloth in any colour of a uniform
shade, while the production of two-coloured effects is much more under
his control, and has led to the increased production of figured dress
fabrics with the ground in one fibre (wool) and colour, and the design
in another fibre (cotton) and colour. The number of direct dyes issued
by the various colour manufacturers is so great that it would take a
fairly considerable space to discuss them all.
To obtain good results it is needful that the dyer of union fabrics
should be a man of keen observation and have a thorough knowledge of
the dyes he is using, for each dye makes a rule to itself as regards
its power of dyeing wool and cotton; some go better on to the (p. 169)
cotton than on to the wool, and _vice versa_. Some dye wool best
at the boil, others equally well below that heat; some go on the
cotton at a moderate temperature, others require the dye-bath to be
boiling; some will go to the cotton only and appear to ignore the
wool.
The presence or absence in the dye-bath of such bodies as carbonate of
soda, Glauber's salt, etc., has a material influence on the degree of
the affinity of the dye-stuff for the two fibres, as will perhaps be
noted hereafter. Again, while some of the dyes produce equal colours
on both fibres, there are others where the tone is different. With all
these peculiarities of the Diamine and other direct dyes the union
dyer must make himself familiar. These dyes are used in neutral baths,
that is, along with the dye-stuff. It is often convenient to use along
with the direct dyes some azo or acid dyes which have the property of
dyeing the wool from neutral baths; many examples of such will be
found in the practical recipes given below. The dyes now under
consideration may be conveniently classed into five groups.
(1) _Those dyes which dye the cotton and wool from the same bath to
the same shade, or nearly so._--Among such are Thioflavine S, Diamine
Fast Yellow B, Diamine Orange B, Diamine Rose B D, Diamine Reds 4 B,
5 B, 6 B and 10 B, Diamine Fast Red F, Diamine Bordeaux B, Diamine
Brown N, Diamine Brown 3 G, B and G W, Diamine Blue R W, B X, Diamine
Blue G, Diamine Greens G and B, Diamine Black H W, Diamine Dark
Blue B, Union Black B and S, Oxydiamine Blacks B, M, D and A, Diamine
Catechine G, Union Blue B B, Oxyphenine, Chloramine Yellow,
Thioflavine S, Alkali Yellow R, Chromine G, Titan Scarlet S, Mimosa,
Primuline, Auroline, Congo Corinth B, Thiazol Yellow, Columbia Yellow,
Oxydiamine Yellow G G, Oxydiamine Oranges G and R, Diamine (p. 170)
Orange O, Oxydiamine Red S.
(2) _Dyes which dye the cotton a deeper shade than the wool._--The
following belong to this group. Diamine Fast Yellow A, Diamine
Orange G and D, Diamine Catechine G, Diamine Catechine B, Diamine sky
Blue, Diamine Blues 2 B, Diamine Blue 3 B, Diamine Blue B G, Diamine
Brilliant Blue G, Diamine New Blue R, Diamine Steel Blue L, Diamine
Black R O, Diamine Black B O, Diamine Black B H, and Oxydiamine Black
S O O O, Diamine Nitrazol Brown G, Diamine Catechine B, Diamine Sky
Blue F F, Diamine Dark Blue B, Diamine Bordeaux B, Diamine Violet N,
Oxydiamine Violet B, Columbia Black B and F B, Zambesi Black B, Congo
Brown G, Direct Yellow G, Direct Orange R, Clayton Yellow, Cotton
Yellow, Orange T A, Benzopurpurine B, Brilliant Congo R, Chicago
Blues B, 4 B and 6 B.
(3) _Dyes which dye wool a deeper shade than the cotton._--The dyes in
this group are not numerous. They are Diamine Gold, Diamine Scarlet B,
Diamine Scarlet 3 B, Diamine Bordeaux S, Diamine Blue R W, and Diamine
Green G, Diamine Red N O and B, Chicago Blue G and R R W, Brilliant
Purpurine R, Diamine Scarlet B, Deltapurpurine 5 B, Chrysamine, Titan
Blue, Titan Pink, Congo Oranges G and R, Erie Blue 2 G, Congo R,
Brilliant Congo R, Erika B N, Benzopurpurine 4 B and 10 B,
Chrysophenine, Titan Yellow, Titan Brown Y, R and O, Congo Brown G,
Sulphon Azurine B, Zambesi Black D.
(4) _Dyes which produce different shades on the two fibres._--Diamine
Brown G and Diamine Blue 3 R, Diamine Brown V, Diamine Brown S,
Diamine Nitrazol Brown B, Diamine Blue B X and 3 R, Diamine Blue
Black E, Benzo Blue Black G, Benzopurpurine 10 B, Benzo Azurine R G
and 3 G, Columbia Red S B, Brilliant Azurine 5 G, Titan Marine (p. 171)
Blue, Congo Corinths G and B, Azo Blue, Hessian Violet, Titan
Blue, Azo Mauve, Congo Brown, Diamine Bronze G, Zambesi Browns G and
2 G, Zambesi Black F.
(5) _Azo acid dyes which dye wool from neutral baths, and are
therefore suitable for shading up the wool to the cotton in union
fabric dyeing._--Among the dyes thus available may be enumerated
Naphthol Blue G and E, Naphthol Blue Black, Formyl Violet 10 B,
Lanacyl Blue B B, Lanacyl Blue R, Alkaline Blue, Formyl Violet S 4 B
and 6 B, Rocceleine, Azo Red A, Croceine A Z, Brilliant Scarlet,
Orange extra, Orange E N Z, Indian Yellow G, Indian Yellow R,
Tropæoline O O, Naphthylamine Black 4 B, and Naphthol Blue Black,
Brilliant Scarlet G, Lanacyl Violet B, Brilliant Milling Green B,
Thiocarmine R, Formyl Blue B, Naphthylamine Blacks D, 4 B and 6 B, Azo
Acid Yellow, Curcumine Extra, Mandarine G, Ponceau 3 R B, Acid Violet
6 B, Guinea Violet 4 B, Guinea Green B, Wool Black 6 B.
Regarding the best methods of dyeing, that in neutral baths yields the
most satisfactory results in practical working. It is done in a
boiling hot or in a slightly boiling bath with the addition of
6-1/4 oz. crystallised Glauber's salt per gallon water for the first
bath, and when the baths are kept standing 20 per cent. crystallised
Glauber's salt reckoned upon the weight of the goods for each
succeeding lot.
In dyeing unions, the dye-baths must be as concentrated as possible
and must not contain more than from 25 to 30 as much water as the
goods weigh. In this respect it serve as a guide that concentrated
baths are best used dyeing dark shades while light shades can be dyed
in more dilute baths. The most important factor for producing uniform
dyeings is the appropriate regulation of the temperature of the
dye-bath. Concerning this the dyer must bear in mind that the direct
colours possess a greater affinity for cotton if dyed below the
boiling-point, and only go on the wool when the bath is boiling, (p. 172)
especially so the longer and more intensely the goods are boiled.
The following method of dyeing is perhaps the best one. Charge the
dye-bath with the requisite dye-stuff and Glauber's salt, boil up,
shut off the steam, enter the goods and let run for half an hour,
without steam, then sample. If the shade of both cotton and wool is
too light, add some more of the dye-stuffs used for both fibres, boil
up once more, and boil for a quarter to half an hour. If the wool only
is too light, or its shade different from that of the cotton, add some
more of the dye-stuff used for shading the wool and bring them again
to the boil. If, however, the cotton turns out too light or does not
correspond in shade to the wool, add some more of the dye-stuffs used
for dyeing the cotton, without, however, raising the temperature.
Prolonged boiling is necessary only very rarely, and generally only if
the goods to be dyed are difficult to penetrate or contain qualities
of wool which only with difficulty take up the dye-stuff. In such
cases, in making up the bath, dye-stuffs are to be selected some of
which go only on the wool and others which go only on the cotton
(those belonging to the second group).
The goods can then be boiled for some time, and perfect penetration
and level shades will result. If the wool takes up the dye-stuff
easily (as is frequently the case with goods manufactured from shoddy)
and are therefore dyed too dark a shade, then dye-stuffs have to be
used which principally dye the cotton, and a too high temperature is
to be avoided. In such cases it is advisable to diminish the affinity
of the wool by the addition of one-fifth of the original quantity of
Glauber's salt (about 3/8 oz. per gallon of water), and from
three-quarters to four-fifths of the dye-stuff used for the first lot.
Care has to be taken that not much of the dye-liquor is lost when
taking out the dyed goods, otherwise the quantities of Glauber's salt
and dye-stuff will have to be increased proportionately. Wooden (p. 173)
vats such as are generally used for piece dyeing have proved the
most suitable, they are heated with direct or still better with
indirect steam. The method which has proved most advantageous is to
let the steam run into a space separated from the vat by a perforated
wall into which space the required dye-stuffs and salt are placed.
The mode of working is influenced by the character of the goods, and
the following notes will be found useful by the union dyer.
Very little difficulty will be met with in dyeing such light fabrics
as Italians, cashmeres, serges and similar thin textiles lightly woven
from cotton warp and woollen weft. When deep shades (blacks, dark
blues, browns and greens) are being dyed it is not advisable to make
up the dye-bath with the whole of the dyes at once. It is much better
to add these in quantities of about one-fourth at a time at intervals
during the dyeing of the piece. It is found that the affinity of the
wool for the dyes at the boil is so much greater than is that of the
cotton that it would, if the whole of the dye were used, take up too
much of the colour and then would come up too deep in shade. Never
give a strong boil with such fabrics, but keep the bath just under the
boil which results in the wool dyeing much more nearly like to cotton.
#On Union Flannels.#--In this class of goods it is important that the
soft open feel of the goods be retained as much as possible, and for
this purpose no class of dyes offers so many advantages as the direct
colours. Only one bath being required, there is not the same amount of
manipulation needed in the dyeing operation, hence there is less risk
that the soft feel and woolly structure will be affected. As no
mordants are needed there is nothing to impart a harsh feel to the
fabrics.
#On Dress Goods, Suitings and Coatings.#--A large quantity of fabrics
for gentlemen's suits, coats and cloths in general are now made (p. 174)
from wool and cotton. Formerly the dyeing of these offered many
difficulties before the application of the direct dyes was properly
understood. Now, however the ease with which such dyes may be applied
has given considerable impetus to this class of goods, and the trade
has grown by leaps and bounds during recent years, and has been one
cause of the great cheapening of clothes which has occurred in the
same period. The dyeing of the goods with the direct colours offers
very little difficulty, and only requires that a little attention be
paid, particularly to goods in which the cotton either appears on the
surface forming a design, or is spun or twisted together with the
wool.
A good deal of shoddy is used in making the cheaper class of these
goods, and it is quite natural that such "artificial wool" behaves
differently from pure wool, not only with regard to its shade
resulting from mixing and working together differently dyed waste
wools, but also on account of its possessing a greater affinity for
all kinds of dye-stuff than raw wool; this in consequence of the
carbonisation and washing processes it has undergone, and also of the
mordants which the material may retain from previous processes.
Therefore (and especially in dyeing light shades on goods manufactured
of shoddy) only a small quantity of soda or borax is to be added to
the dye-bath and severe boiling is to be avoided. Wherever it is
possible goods which are to be dyed in light shades should be made
from the palest materials, and the dark qualities only used for goods
which are to be dyed in dark shades.
This rule can, of course, not always be adhered to. Quite often a
light and bright shade is to be dyed on comparatively dark material.
This cannot be achieved by simply dyeing it, the goods must be
stripped or bleached before dyeing. For this purpose either
energetically reacting, oxidising reducing agents are applied. Of the
former, bichromate of potassium is principally used. Boil the (p. 175)
goods for half to three-quarters of an hour with 3 to 5 per cent.
bichromate of potassium, 2 to 4 per cent. oxalic acid, and 3 to 5 per
cent. sulphuric acid, wash in a fresh warm bath charged with soda in
order to entirely neutralise the acid which has remained in the goods,
or else the wool would be dyed too deep a shade. In some cases
hydrosulphite has proved a useful reducing agent; it can be easily
prepared from ordinary bisulphite of soda in the following manner. Add
10 oz. ammonia (0·9 specific gravity) to a gallon of bisulphite of
soda, 32° Tw.; then add slowly under a brisk stirring 10 oz.
zinc-dust, and let the entire mixture settle well, using only the
clear solution. Treat the goods from fifteen to twenty minutes in a
bath of 140° F., to which first add at the boil 3/4 oz. acetic acid,
10° Tw., per gallon water, and then 4 to 6 gallons clear hydrosulphite
solution per 100 gallons liquor. Then rinse very well and dye in the
usual manner; avoiding, however, too high a temperature. As on this
class of goods dark shades are mostly dyed, the goods need only very
rarely be stripped.
_Bright Yellow_.--Use 2 lb. Thioflavine S in a bath which contains
4 lb. Glauber's salt per 10 gallons of dye-liquor.
_Good Yellow_.--A very fine deep shade is dyed with 2-1/2 lb. Diamine
Gold, and 24 lb. Diamine Fast Yellow A in the same way as the last.
Here advantage is taken of the fact that while the Diamine Gold dyes
the wool better than the cotton the Diamine Yellow dyes the cotton the
deepest shade, and between the two a uniform shade of yellow is got.
_Pale Gold Yellow_.--Use a dye-liquor containing 4 lb. Glauber's salt
in every 10 gallons, 2-1/2 lb. Diamine Fast Yellow A, 2 oz. Indian
Yellow G, and 3-1/2 oz. Indian Yellow R. In this recipe we use in the
two last dyes purely wool yellows, which dye the wool the same tint as
the Fast Yellow A dyes the cotton.
_Bright Yellow_.--Use in the same way as the last 2-1/2 lb Diamine (p. 176)
Fast Yellow B and 3 oz. Indian Yellow G.
_Gold Orange_.--Use as above 2 lb. Diamine orange G, 3-1/2 oz. Indian
Yellow R, and 1-1/2 oz. Orange E N Z.
_Deep Orange_.--Use 2-1/2 lb. Diamine Orange D C, 6-1/2 oz. Orange
E N Z, and 3-1/4 oz. Indian Yellow R.
_Black_.--Use 4-1/2 lb. Union Black S, 2 oz. Diamine Fast Yellow A,
5 oz. Naphthol Blue Black, 3-1/4 oz. Formyl Violet S 4 B, and 4 lb.
Glauber's salt in 10 gallons dye-liquor.
The goods are treated at the boil in this bath for one hour, Italian
cloths have frequently if not always to pass through a finishing
process to give them lustre. This treatment, especially with blues and
blacks, has a tendency to affect the shades, reddening them. With some
dye the colour comes back on the goods becoming cold again, but with
others this is not the case. If desired the goods may be subjected
after dyeing to a treatment with alum or, better, bichromate of
potash. The goods after being dyed are rinsed and then passed into a
bath at a temperature of 140° F., containing 3 lb. bichromate of
potash and 1-1/2 to 2 oz. sulphuric acid. After being chromed in this
for about half an hour they are well washed. This chroming thoroughly
fixes the colour on the cotton and it will not change while being
finished, either by crabbing, steaming or hot pressing.
_Gold Brown_.--Use 1-1/2 lb. Diamine Cutch, 6-1/2 oz. Diamine Fast
Yellow B, 1 oz. each Union Black, Naphthol Blue Black and Azo Red A.
_Walnut Brown_.--A fine shade is got with 1-1/4 lb. Union Black S,
1-1/4 lb. Diamine Brown M, 3-1/4 oz. Diamine Fast Yellow B, 13 oz.
Indian Yellow G, and 1 oz. Naphthol Blue Black. After dyeing the goods
should be chromed with 3 lb. bichromate of potash and 2 oz. sulphuric
acid.
_Dark Blue_.--A good full shade is got with 2-1/4 lb. Union Black S,
9-1/2 oz. Diamine Brilliant Blue G, 6-1/2 oz. Alkaline Violet (p. 177)
C A, and 1/4 lb. Alkaline Blue F. Treatment in a bath of 1/2 lb. alum
and 1/2 oz. soda at 130° F. will fix the colour against finishing.
_Silver Grey_.--A fine grey can be got from 1-3/4 oz. Diamine Black
B H, 1/2 oz. Diamine Orange B, 1/2 oz. Naphthol Blue Black, and
1/2 oz. Formyl Violet.
_Navy Blue_.--Use 1-1/4 lb. Union Black S, 3 lb. Diamine Black B H,
1/2 oz. Naphthol Blue Black, 1/2 lb. Formyl Violet S 4 B, and
2-1/2 oz. Alkaline Blue B.
_Red Plum_.--Use a dye-bath containing 2-1/2 lb. Oxydiamine Violet B
and 3-1/4 oz. Formyl Violet S 4 B.
_Dark Green_.--A fine shade can be dyed in a bath containing 3 lb.
Diamine Green B and 1-1/2 lb. Diamine Black H W.
_Dark Slate_.--Use 4 lb. Diamine Black H W, 2 oz. Naphthol Blue Black,
and 3 oz. Azo Red A.
_Sage_.--Use a dye-bath containing 4 lb. Diamine Bronze G and
1-1/4 oz. Naphthol Blue Black.
_Dark Brown_.--A fine dark shade is got from 2-1/2 lb. Diamine
Brown V, and 2 oz. Naphthol Blue Black.
_Peacock Green_.--Use 3-3/4 lb. Diamine Steel Blue L, 13 oz. Diamine
Fast Yellow B, 14-1/2 oz. Thiocarmine R, and 2-1/4 oz. Indian Yellow G
in a bath of 4 lb. Glauber's salt per gallon of dye-liquor.
_Dark Sea Green_.--Use 9 oz. Diamine Steel Blue L, 3-3/4 oz. Diamine
Fast Yellow B, 1/2 oz. Diamine Orange G, 1-1/4 oz. Naphthol Blue
Black, and 3/4 oz. Indian Yellow G.
_Dark Brown_.--Use 1 lb. Diamine Orange B, 1 lb. Diamine Fast
Yellow B, 13-3/4 oz. Union Black S, 1 lb. Diamine Brown M, and 1/2 lb.
Indian Yellow G. Fix in an alum bath after dyeing.
_Dark Stone_.--Use 1/2 lb. Diamine Orange B, 3-3/4 oz. Union Black,
1/4 oz. Diamine Bordeaux B, 1-1/2 oz. Azo Red A, and 3/4 oz. Naphthol
Blue Black.
_Black_.--A very fine black can be got from 3-1/2 lb. Oxydiamine
Black R M, 2 lb. Union Black S, 9-1/2 oz. Naphthol Blue Black and (p. 178)
4 oz. Formyl Violet S 4 B, chroming after dyeing as described above.
_Dark Grey_.--A fine bluish, shade of grey is got from 7 oz. Diamine
Black B H, 2-1/4 oz. Diamine Orange G, 2-1/2 oz. Naphthol Blue Black,
and 1 oz. Orange E N Z.
_Dark Blue_.--A fine shade is got by using 2 lb. Diamine Black B H,
1/2 lb. Diamine Black H W and 3-1/2 oz. Alkaline Blue 6 B.
_Drab_.--Use 3-1/2 oz. Diamine Orange B, 3/4 oz. Union Black, 1/8 oz.
Diamine Bordeaux B, 3/4 oz. Azo Red A, and 1/4 oz. Naphthol Blue
Black.
_Plum_.--Use 2-1/2 lb. Diamine Violet N, 9-1/2 oz. Union Black, and
1 lb. Formyl Violet S 4 B.
_Bright Yellow_.--Use a dye-bath containing 4 lb. Thioflavine S, 2 lb.
Naphthol Yellow S, 10 lb. Glauber's salt, and 2 lb, acetic acid.
_Pink_.--Use 1/6 oz. Diamine Rose B D, 1/4 oz. Diamine Scarlet B,
1/2 oz. Rhodamine B and 20 lb. Glauber's salt.
_Scarlet_.--A fine shade is got from 1-1/2 lb. Diamine Scarlet B,
1/2 oz. Diamine Red 5 B and 20 lb. Glauber's salt.
_Orange_.--Use a dye-bath containing 3-1/2 lb. Diamine Orange G,
14-1/2 oz. Tropæoline O O, and 2-3/4 oz. Orange extra.
_Sky Blue_.--Use 1-1/2 oz. Diamine Sky Blue and 1-1/4 oz. Alkaline
Blue B.
_Bright Blue_.--A fine shade similar to that formerly known as Royal
Blue is got by using 1-1/2 lb. Diamine Brilliant Blue G, and 9-1/4 oz.
Alkaline Blue 6 B.
_Maroon_.--Use 3 lb. Diamine Bordeaux B, 2 lb. Diamine Violet N, and
3-1/4 oz. Formyl Violet S 4 B.
_Green_.--A fine green similar in shade to that used for
billiard-table cloth is got from 2 lb. Diamine Fast Yellow B, 2 lb.
Diamine Steel Blue L, 14-1/2 oz. Thiocarmine R and 7-1/4 oz. Indian
Yellow G.
_Gold Brown_.--A fine brown is got from 3 lb. Diamine Orange B, (p. 179)
1/2 lb. Union Black, 2-1/2 oz. Diamine Brown, 3/4 oz. Naphthol Blue
Black, and 1/2 lb. Indian Yellow G.
_Navy Blue_.--Use 3-1/4 lb. Diamine Black B H, 1-1/2 lb. Diamine
Brilliant Blue G, and 1/2 lb. Alkaline Blue.
_Fawn Drab_.--A fine shade is got by dyeing in a bath containing
6-3/4 oz. Diamine Orange B, 1-3/4 lb. Union Black, 1/4 oz. Naphthol
Blue Black, 1/4 oz. Diamine Bordeaux B, and 1 oz. Azo Red A.
In all these colours the dye-baths contain Glauber's salt at the rate
of 4 lb. per 10 gallons.
_Dark Brown_.--2-1/2 lb. Diamine Orange B, 13 oz. Diamine Bordeaux B,
1-1/2 lb. Diamine Fast Yellow B, 1-3/4 lb. Union Black, and 3-1/2 oz.
Naphthol Black.
_Drab_.--1-3/4 lb. Diamine Fast Yellow R, 3-1/4 oz. Diamine
Bordeaux B, 2-1/2 oz. Union Black, 1/2 oz. Naphthol Blue Black, and
1-1/4 oz. Indian Yellow G.
_Dark Blue_.--Use in the dye-bath 4-1/4 lb. Diamine Dark Blue B,
1-1/2 lb. Diamine Brilliant Blue G, 3/4 lb. Formyl Violet S 4 B, and
5 oz. Naphthol Blue Black.
_Blue Black_.--Use 3-1/4 lb. Union Black S, 1-1/2 lb. Oxydiamine Black
B M, 6-1/2 oz. Naphthol Blue Black, and 1/4 lb. Formyl violet S 4 B.
_Dark Walnut_.--2-3/4 lb. Diamine Brown M, 1-1/2 lb. Union Black S,
and 11-1/4 oz. Indian Yellow G.
_Peacock Green_.--Use in the dye-bath 3-1/2 lb. Diamine Black H W,
5-1/6 oz. Diamine Fast Yellow B, 1-1/2 lb. Thiocarmine R, and
1-1/6 oz. Indian Yellow G.
_Slate Blue_.--Use in the dye-bath 6-1/2 oz. Diamine Catechine B,
4-3/4 oz. Diamine Orange B, 2-1/2 oz. Union Black, 2-3/4 oz. Orange
E N Z, and 1-3/4 oz. Naphthol Blue Black.
_Dark Sage_.--A good shade is dyed with 1 lb. Diamine Orange B,
6-1/2 oz. Union Black, 1-3/4 oz. Diamine Brown M, 3-1/4 oz. Azo Red A,
and 2-1/4 oz. Naphthol Blue Black.
_Navy Blue_.--Use 2 lb. Diamine Dark Blue B, 1-1/4 lb. Lanacyl (p. 180)
Violet B, and 7 oz. Naphthol Blue Black.
_Bronze Green_.--A good shade is dyed with 2 lb. Diamine Orange B,
5 oz. Diamine Brown N, 3/4 lb. Union Black S, 1 lb. Indian Yellow G,
and 2 oz. Naphthol Blue Black.
_Black_.--Use 2-1/2 lb. Oxydiamine Black B M and 1-1/2 lb.
Naphthylamine Black 6 B. Another recipe, 2-1/4 lb. Oxydiamine Black
B M, 1 lb. Diamine Brown M, 1 lb. Orange E N Z, and 2 oz. Naphthol
Blue Black.
_Dark Brown_.--Use 1-1/2 lb. Oxydiamine Black B M, 15-1/2 oz. Diamine
Brown M, 1-3/4 lb. Indian Yellow G, and 2-3/4 oz. Naphthol Blue Black.
Another combination, 1-1/2 lb. Oxydiamine Black B M, 1-1/2 lb. Orange
E N Z, 1 lb. Indian Yellow G, and 5 oz. Naphthol Blue Black.
_Scarlet_.--3 lb. Benzopurpurine 4 B, 3/4 oz. Ponceau 3 R B, and
1/2 lb. Curcumine S.
_Crimson_.--1/2 lb. Congo Corinth G, 2 lb. Benzopurpurine 10 B, and
1/2 lb. Curcumine S.
_Bright Blue_.--2 lb. Chicago Blue 6 B, 3 oz. Alkali Blue 6 B,
1-1/2 oz. Zambesi Blue R X. After dyeing, rinse and develop in a bath
of 8 oz. sulphuric acid in 10 gallons water, then rinse well.
_Dark Blue_.--2-1/2 lb. Columbia Fast Blue 2 G, 3 oz. Sulphon
Azurine D, 3 oz. Alkali Blue 6 B. After dyeing, rinse and develop in a
bath of 8 oz. sulphuric acid in 20 gallons of water.
_Orange_.--9 oz. Congo Brown G, 1-1/2 lb. Mikado Orange 4 R O, and
1-1/2 oz. Mandarine G.
_Dark Green_.--2 lb. Columbia Green, 1/2 lb. Sulphon Azurine D,
1/2 lb. Zambesi Blue B X, 1-1/2 oz. Curcumine S.
_Black_.--4 lb. Columbia Black F B, and 2 lb. Wool Black 6 B.
_Pale Sage Green_.--5 oz. Zambesi Black D, 3/4 lb. Chrysophenine G,
and 1-1/2 lb. Curcumine S.
_Slate_.--1/2 lb. Zambesi Black D, 3/4 oz. Zambesi Blue R X, (p. 181)
1/2 oz. Mikado Orange 4 R O, and 1-1/2 oz. Acid Violet 6 B.
_Dark Grey_.--1 lb. Columbia Black F B, 3 oz. Zambesi Black B, and
3/4 oz. Sulphon Azurine D.
_Drab_.--1-1/2 oz. Zambesi Black D, 3/4 oz. Mandarine G extra, 1/4 oz.
Curcumine extra, and 3 oz. Mikado Orange 4 R O.
_Brown_.--5 oz. Zambesi Black D, 3/4 oz. Mandarine G extra, 1-1/2 oz.
Orange T A, and 2 oz. Mikado Orange 4 R O.
_Nut Brown_.--3/4 lb. Congo Brown G, 1/4 lb. Chicago Blue R W, and
3/4 lb. Mikado Orange 4 R O.
_Dark Brown_.--1 lb. Congo Brown G, 1-1/2 lb. Benzopurpurine 4 B,
1-1/2 lb. Zambesi Black F, and 1/2 lb. Wool Black 6 B.
_Stone_.--1 oz. Zambesi Black D, 1/4 oz. Mandarine G, 1/4 oz.
Curcumine extra, and 1-1/4 oz. Mikado Orange 4 R O.
_Slate Green_.--3 oz. Zambesi Black D, 1-1/2 oz. Guinea Green B.
_Sage Brown_.--1/2 lb. Zambesi Black D, 1-1/2 oz. Mandarine G extra,
3 oz. Curcumine extra, 3 oz. Acid Violet 6 B, 6 oz. Mikado Orange
4 R O, and 4-1/2 oz. Curcumine S.
_Cornflower Blue_.--3 oz. Chicago Blue 4 R, 1/4 lb. Zambesi Blue R X,
1/4 lb. Acid Violet 6 B, and 3/4 oz. Zambesi Brown G.
_Dark Brown_.--1-1/2 lb. Brilliant Orange G, 1/2 lb. Orange T A, 1 lb.
Columbia Black F B, and 1/4 lb. Wool Black 6 B.
_Dark Blue_.--2 lb. Chicago Blue R W, 1 lb. Zambesi Blue R X, 1/2 lb.
Columbia Black F B, 10 oz. Guinea Green B, and 1/2 lb. Guinea Violet
4 B.
The Janus dyes may be used for the dyeing of half wool union fabrics.
The best plan of working is to prepare a bath with 5 lb. of sulphate
of zinc. In this the goods are worked at the boil for five minutes,
then there is added the dyes (previously dissolved in water), and the
working continued for a quarter of an hour; then there is added 20 lb.
Glauber's salt and the working at the boil continued for one hour, (p. 182)
at the end of which time the dye-bath will be fairly well exhausted of
colour. The goods are now taken out and put into a fixing bath of
sumac or tannin, in which they are treated for fifteen minutes. To
this same bath there is next added tartar emetic and 1 lb. sulphuric
acid, and the working continued for a quarter of an hour; then the
bath is heated to 160° F., when the goods are lifted, rinsed and
dried. In the recipes the quantities of dyes, sumac or tannin, and
tartar emetic only are given, the other ingredients and processes are
the same in all.
_Dark Blue_.--2-1/4 lb. Janus Dark Blue B, and 1/2 lb. Janus Green B,
in the dye-bath; 16 lb. sumac extract and 2 lb. tartar emetic in the
fixing bath.
_Blue Black_.--3-1/2 lb Janus Black I and 1/3 lb. Janus Black I I in
the dye-bath, and 16 lb. sumac extract and 2 lb. tartar emetic in the
fixing bath.
_Dark Brown_.--2-1/2 lb. Janus Brown B, 1 lb. Janus Black I, 3-1/2 oz.
Janus Yellow G, and 5 oz. Janus Red B in the dye-bath, with 16 lb.
sumac extract and 2 lb. tartar emetic in the fixing bath.
_Drab_.--1-1/2 oz. Janus Yellow R, 1/4 oz. Janus Red B, 1 oz. Janus
Blue R, and 1/4 oz. Janus Grey B B, in the dye-bath, and 4 lb. sumac
extract and 1 lb. tartar emetic in the fixing-bath.
_Grey_.--5 oz. Janus Blue R, 3-1/4 oz. Janus Grey B, 1-1/2 oz. Janus
Yellow R, and 1/4 oz. Janus Red B in the dye-bath, with 4 lb. sumac
extract and 1 lb. tartar emetic in the fixing-bath.
_Nut Brown_.--1 lb. Janus Brown R, 8 oz. Janus Yellow R, and 1-1/2 oz.
Janus Blue B in the dye-bath, and 8 lb. sumac extract and 1 lb. tartar
emetic in the fixing-bath.
_Walnut Brown_.--3 lb. Janus Brown B, 1 lb. Janus Red B, 1 lb. Janus
Yellow R, and 1-1/4 oz. Janus Green B in the dye-bath, with 8 lb.
sumac extract and 1 lb. tartar emetic in the fixing-bath.
_Crimson_.--2-1/2 lb. Janus Red B, and 8 oz. Janus Claret Red B (p. 183)
in the dye-bath, with 8 lb. sumac extract and 1 lb. tartar emetic in
the fixing-bath.
_Dark Green_.--1-1/2 lb. Janus Green B, 1 lb. Janus Yellow R, and
8 oz. Janus Grey B in the dye-bath, with 4 lb. sumac extract and
1-1/4 lb. tartar emetic in the fixing-bath.
_Chestnut Brown_.--1 lb. Janus Brown R and 1 lb. Janus Yellow R in the
dye-bath, and 8 lb. sumac extract and 1 lb. tartar emetic in the
fixing-bath.
Before the introduction of the direct dyes the method usually
followed, and indeed is now to a great extent, is that known as
Cross-dyeing. The goods were woven with dyed cotton threads of the
required shade and undyed woollen threads; after weaving and cleansing
the woollen part of the fabric was dyed with acid dyes such as Acid
Magenta, Scarlet R, Acid Yellow, etc. In such methods care has to be
taken that the dyes used for dyeing the cotton are such as stand
acids, a by no means easy condition to fulfil at one time. Many of the
direct dyes are fast to acids and therefore lend themselves more or
less readily to cross-dyeing. For details of the dyes for cotton
reference may be made to the sections on dyeing with the direct
colours in the companion volume to this book on _Dyeing of Cotton
Fabrics_.
#Shot Effects.#--A pleasing kind of textile fabric which is now made and
is a great favourite for ladies' dress goods is where the cotton of a
mixed fabric is thrown up to form a figured design. It is possible to
dye the two fibres in different colours and so produce a variety of
shot effects. These latter are so endless that it is impossible here
to enumerate all that may be produced. It will have to suffice to lay
down the lines which may be followed to the best advantage, and then
give some recipes to illustrate the remarks that have been made. The
best plan for the production of shot effects upon union fabrics is to
take advantage of the property of certain acid dyes which dye only (p. 184)
the wool in an acid bath and of many of the direct colours which will
only dye the cotton in an alkaline bath. The process, working on these
lines, becomes as follows: The wool is first dyed in an acid bath with
the addition of Glauber's salt and bisulphate of soda or sulphuric
acid, the goods are then washed with water containing a little ammonia
to free them from the acid and afterwards dyed with the direct colour
in an alkaline bath.
Fancy or the mode shades are obtained by combining suitable
dye-stuffs.
If the cotton is to be dyed in light shades it is advantageous to dye
on the liquor at 65° to 80° F., with the addition of 3-1/4 oz.
Glauber's salt, and from 20 to 40 grains borax per gallon water. The
addition of an alkali is advisable in order to neutralise slight
quantities of acid which may have remained in the wool, and to prevent
the dye-stuff from dyeing the cotton too deep a shade.
Very light shades can also be done on the padding machine. The
dye-stuffs of Group (2), which have been previously enumerated, do not
stain the wool at all or only very slightly and are therefore the most
suitable. Less bright effects can be produced by simply dyeing the
goods in one bath. The wool is first dyed at the boil with the wool
dye-stuff in a neutral bath, the steam is then shut off and the cotton
dyed by adding the cotton dye-stuff to the bath and dyeing without
again heating. By passing the goods through cold water to which some
sulphuric or acetic acid is added the brightness of most effects is
greatly increased.
_Gold and Green_.--First bath, 1 lb. Cyanole extra, 7-1/4 oz. Acid
Green, 1-1/2 oz. Orange G G, and 10 lb. bisulphate of soda; work at
the boil for one hour, then lift and rinse well. Second bath, 4 lb.
Diamine Orange G and 15 lb. Glauber's salt; work in the cold or at a
lukewarm heat. Third bath at 120° F., 4 oz. Chrysoidine and 1/4 oz.
Safranine.
_Black and Blue_.--First bath, 3-1/2 lb. Naphthol Black 3 B and (p. 185)
10 lb. bisulphate of soda. Second bath, 2 lb. Diamine Sky Blue and
13 lb. Glauber's salt. Third bath, 6-1/2 oz. New Methylene Blue N;
work as in the last recipe.
_Green and Claret_.--First bath, 3-1/2 lb. Naphthol Red C and 10 lb.
bisulphate of soda. Second bath, 2 lb. Diamine Sky Blue F F, 1-1/4 lb.
Thioflavine S, and 15 lb. Glauber's salt.
_Gold Brown and Blue_.--First bath, 2-1/2 oz. Orange E N Z, 1-1/2 oz.
Orange G G, 1/4 oz. Cyanole extra, and 10 lb. bisulphate of soda.
Second bath, 14 oz. Diamine Sky Blue F F and 15 lb. Glauber's salt.
_Dark Brown and Blue_.--First bath, 1/2 lb. Orange G G, 1-1/2 oz.
Orange E N Z, 1-1/2 oz. Cyanole extra and 10 lb. bisulphate of soda.
Second bath, 12 oz. Diamine Sky Blue F F and 15 lb. Glauber's salt.
_Black and Green Blue_.--First bath, 3 lb. Orange G G, 1 lb. Brilliant
cochineal 4 R, 1 lb. Fast Acid Green B N, and 10 lb. Glauber's salt.
Second bath, 1-3/4 lb. Diamine Sky Blue F F, 3-1/4 lb. Thioflavine S,
and 15 lb. Glauber's salt.
We may here note that in all the above recipes the second bath (for
dyeing the cotton) should be used cold or at a lukewarm heat, and as
strong as possible. It is not completely exhausted of colour, only
about one-half going on the fibre. If kept as a standing bath this
feature should be borne in mind and less dye-stuff used in the dyeing
of the second and following lots of goods.
_Blue and Gold Yellow_.--3 lb. Diamine Orange G, 13 oz. Naphthol
Blue G, 14-1/2 oz. Formyl Violet S 4 B, and 15 lb. Glauber's salt;
work at just under the boil.
_Brown and Blue_.---1 lb. Diamine Steel Blue L, 9-1/2 oz. Diamine Sky
Blue, 1 lb. Orange E N Z, 1 lb. Indian Yellow G, 1-3/4 oz. Naphthol
Blue Black and 15 lb. Glauber's salt. Work at 170° to 180° F.
In these two last recipes only one bath is used, all the dyes (p. 186)
being added at once. This is possible if care be taken that dye-stuffs
are used which will dye wool and not cotton from neutral baths and
dyes which dye cotton better than wool. The temperature should also be
kept below the boil and carefully regulated as the operation proceeds
and the results begin to show themselves.
_Grey and Orange_.--First bath, 3 oz. Orange extra, 1-1/4 lb. Cyanole
extra, 11 lb. Azo Red A, and 10 lb. bisulphate of soda. Second bath,
5 oz. Diamine Orange D C and 3 oz. Diamine Fast Yellow B.
_Green and Red_.--First bath, 2 lb. Croceine A Z and 10 lb. Glauber's
salt. Second bath, 1 lb. Diamine Sky Blue F F, 1/2 lb. Thioflavine S,
and 15 lb. Glauber's salt.
_Brown and Violet_.--First bath, 3/4 lb. Orange extra, 3/4 lb. Cyanole
extra, and 10 lb. bisulphate of soda. Second bath, 5 oz. Diamine
Brilliant Blue G and 15 lb. Glauber's salt.
_Black and Yellow_.--First bath, 7 lb. Naphthol Black B, 1/2 lb. Fast
Yellow S, and 10 lb. bisulphate of soda. Second bath, 3 lb. Diamine
Fast Yellow A and 15 lb. Glauber's salt.
_Black and Pink_.--Black as above. Pink with Diamine Rose B D (see
above).
_Green and Buff_.--First bath, 1/4 lb. Orange extra, 3/4 oz. Fast
Yellow S and 10 lb. bisulphate of soda. Second bath, 3/4 lb. Diamine
Sky Blue F F, 1/2 lb. Thioflavine S, and 15 lb. Glauber's salt.
_Orange and Violet_.--First bath, 9 oz. Orange extra and 10 lb.
bisulphate of soda. Second bath, 3/4 lb. Diamine Violet N and 10 lb.
Glauber's salt.
_Black and Blue_.--First bath, Naphthol Black, as given above. Second
bath, Diamine Sky Blue, as given above.
_Black and Yellow_.--Add first 1 lb. Wool Black 6 B and 10 lb.
Glauber's salt, then when the wool has been dyed add 2 lb. Curcumine S
to dye the cotton in the same bath.
_Green and Red_.--Dye the wool by using 3 lb. Guinea Green B, (p. 187)
1/4 lb. Curcumine extra, and 10 lb. Glauber's salt, then add to
the bath 3/4 lb. Erika B N and 3/4 lb. Congo Corinth G.
_Orange and Blue_.--Dye the wool first with 1-1/4 lb. Mandarine G,
2 oz. Wool Black 6 B, and 10 lb. Glauber's salt; then the cotton with
2 lb. Columbia Blue G.
_Blue and Orange_.--Dye the wool first with 3/4 lb. Guinea Violet B,
3/4 lb. Guinea Green B, and 10 lb. Glauber's salt; then dye the cotton
with 2 lb. Mikado Orange 4 R O.
_Green and Orange_.--Dye the wool with 3 lb. Guinea Green B, 1/4 lb.
Curcumine extra and 10 lb. Glauber's salt, then dye the cotton in the
same bath with 1-1/2 lb. Mikado Orange 4 R O.
CHAPTER VI. (p. 188)
DYEING OF GLORIA.
Gloria is a material which during the last few years has become of
considerable importance as furnishing a fine lustrous fabric at a
comparatively low price. The perfection to which the art of dyeing has
attained and the facilities now available to the dyer, enable this to
be produced more beautiful than ever, and naturally an increased
demand for it as a dress fabric has developed.
Gloria is woven from the two fibres, wool and silk, of a fine texture
to enable it to be used in the place of a silk fabric. Formerly it was
usually woven with the wool and silk yarns already dyed, especially
when a "shot" effect was to be produced, this being done by a twill
weave of the fabric and by the use of yarns of two very different
colours in the case of "shot" fabrics. By the introduction of
dye-stuffs derived from coal tar the cloth is now dyed after being
woven, care being taken to choose those which will dye the two fibres
equally well when self-shades are wanted, or those which will dye one
fibre better than the other, and thus allow a woven piece of gloria to
be dyed of two different colours. As most dyers know, the most
brilliant effects are obtained when the finished woven piece can be
dyed. Then all the grease and dirt which has become attached to it
during the operations of spinning the yarns and weaving the pieces can
be removed before dyeing, thus leaving the fabric in a perfectly clean
condition. Thus no after cleansing is required, whereas when the (p. 189)
fibres are dyed in the yarn the goods must be cleansed after weaving
to free them from dirt, and such cleaning has a somewhat deleterious
effect upon the brilliancy of the colour of the finished fabric, more
especially in the case of light colours.
Gloria may be in one colour only, a self-colour as it is called; this
case is comparatively simple, the only care that is required being to
select dyes which have an equal affinity for the two fibres or which
give but slightly different shades. Still, some good effects are
obtained when dyes are used which dye the silk and wool different
colours but give the combined effect of a self-colour. Or the fibre
may be purposely dyed in two different colours in some cases to give
the "shot" effect. This is much more troublesome, but with a little
care can be carried out with good results. The dyes available for
dyeing gloria may be classified, according to their behaviour in
regard to their dyeing of the two fibres, into three groups as
follows:--
_Group A_.--Those which will dye the two fibres of equal shade.
_Group B_.--Those which will dye the wool at boiling heat more readily
than the silk.
_Group C_.--Those which will dye the silk only in a cold bath.
_Group A_ consists of those dyes which can be used in dyeing
self-colours on gloria from acid baths. It includes Alkali Blue,
Naphthylamine Blacks, Naphthol Green B, Indian Yellow, Croceine A Z,
Croceine Orange, Orange R, Brilliant Croceine M, Rose Bengale,
Thiocarmine R, Soluble Blue, Formyl Violet S 4 B, Acid Green, Croceine
Orange G, Carmoisin, Acid Violet 5 B, Fast Acid Violet 10 B, Fast
Green Bluish, Rhodamine, Silk Blue, Victoria Black, Archil, Turmeric,
Safranine, Auramine, Quinoline Yellow, Azoflavine, Victoria Blue and
Bismarck Brown.
_Group B_ comprises those dye-stuffs which in a boiling acid (p. 190)
bath dye the wool deeper than the silks, in other words have more
affinity for the wool than the silk, Tropæoline O, Acid Magenta,
Indigo Extract, Phloxine, Naphthol Yellow, Orange G G, Scarlet S, Azo
Red A, Eosines, Thiocarmine R, Naphthol Black B B, New Victoria Black
Blue, Erythrosine, and Roccelline.
The silk becomes tinted to a more or less extent when in such a bath,
but often the colour is readily removed either by subsequent passage
through boiling water or through hot soap liquor. A very good clearing
can be effected by the use of a bath of acetate of ammonia. Naphthol
Yellow, for instance, only imparts a very faint shade of yellow when
thus dyed, and this is easily removed by boiling-water treatment.
_Group C_.--Those dye-stuffs which will dye the silk more readily in a
cold bath than the wool. These comprise most of the basic dyes, such
as Thioflavine T, Safranine, Brilliant Green, Methyl Violet, Magenta,
New Methylene Blue, Bismarck Brown, Rose Bengale, Phloxine, Acid
Greens, Formyl Violet S 4 B, Rhodamine, Solid Blue, etc.
Gloria may be dyed either by a one-bath or two-bath process, and
either one or two colours, as may be required. In both cases advantage
may be taken of the different affinities of the two fibres for the
dye-stuffs used, as, for instance, the silk may be dyed brown, the
wool olive by using a mixture of Acid Yellow, Indigo extract and
Orange G. Indigo extract, Cochineal, Acid Magenta, Picric acid,
Naphthol Yellow, and Tartrazine dye the wool only at the boil.
The following recipes will serve to illustrate the foregoing remarks
and show how this important fabric may be dyed:--
_Deep Gold_.--The dye-bath is made from 2 lb. Indian Yellow, 10 lb.
Glauber's salt, and 2 lb. sulphuric acid, dyed at the boil. In this
and following recipes the quantities are for 100 lb.
_Orange_.--The dye-bath is made with 2 lb. Indian Yellow, 19 lb. (p. 191)
Glauber's salt, and 2 lb. sulphuric acid.
_Scarlet_.--Make the dye-bath with 2 lb. Scarlet 3 R, 10 lb. Glauber's
salt, and 2 lb. sulphuric acid. Another scarlet is got from 2 lb.
sulphuric acid. Another scarlet is got from 2 lb. Croceine Scarlet
3 B, 2 lb. sulphuric acid, and 10 lb. Glauber's salt; by using the 5 B
Scarlet a bluer shade can be dyed. Azo Cochineal also dyes a fine
scarlet on gloria.
_Crimson_.--Make the dye-bath with 1 lb. Carmoisin B, 10 lb. Glauber's
salt, and 2 lb. sulphuric acid. The 7 B Croceine Scarlet also dyes a
fine crimson of a more fiery tone than the last, while 2-1/2 lb. Azo
Fuchsine G dyes a bluer shade of crimson.
_Rose_.--A fine rose is obtained with 2 lb. Rhodamine B, 10 lb.
Glauber's salt, and a little acetic acid. 1 lb. Phloxine dyes a fine
deep rose; the silk comes out a paler colour than the wool, but the
general effect is good.
_Deep Maroon_.--Make the dye-bath from 1-1/2 lb. Croceine A Z, 1/2 lb.
Indian Yellow, 1/4 lb. Formyl Violet S 4 B, 10 lb. bisulphate of soda.
Enter the goods, work at the boil for an hour, then cool down to
120° F., enter an equal quantity of dye-stuff and work for an hour
longer.
_Pale Maroon_.--Make the dye-bath with 3 lb. Azo Bordeaux, 10 lb.
Glauber's salt and 2 lb. sulphuric acid.
_Black_.--Prepare the dye-bath with 5 lb. Naphthylamine Black D, 1 lb.
Acid Green B, 10 lb. Glauber's salt, and 2 lb. sulphuric acid; work at
the boil for twenty minutes, then allow to cool to 120° or 130° F.,
then work an hour longer. Another black can be dyed in a similar way
from 5 lb. Victoria Black B, 10 lb. Glauber's salt, and 2 lb.
sulphuric acid.
_Violet_.--Use 2 lb. Acid Violet 5 B, or 2 lb. Formyl Violet S 4 B,
10 lb. Glauber's salt, and 2 lb. sulphuric acid. Fast Acid Violet 10 B
gives a bluer shade than the above.
_Green_.--Make the dye-bath with 2 lb. Acid Green G G, 10 lb. (p. 192)
Glauber's salt, and 2 lb. sulphuric acid, working at the boil. This
gives a bright yellow shade of green; a bluer shade can be got from
Acid Green 6 B or Acid Green B, while Fast Green Bluish gives very
blue greens.
_Coeruleum Blue_.--Dye with 3/4 lb. Silk Blue B E S, 10 lb. Glauber's
salt, and 2 lb. sulphuric acid; this gives a very fine bright blue.
_Deep Indigo Blue_.--Dye with 4-1/2 lb. Solid Blue R, 2 lb.
Thiocarmine R paste, 10 lb. Glauber's salt and 2 lb. sulphuric acid.
_Deep Violet Brown_.--Dye with 3 lb. Croceine A Z, 1-1/4 lb. Indian
Yellow, 1-3/4 lb. Formyl Violet S 4 B, 10 lb. Glauber's salt, and
2 lb. sulphuric acid for an hour at the boil, and for an hour at
120° F.
_Blue Black_.--Make the dye-bath with 5 lb. New Victoria Blue Black,
10 lb. Glauber's salt, and 2 lb. sulphuric acid, working at the boil.
Another plan is to use 5 lb. Naphthylamine Black 4 B and 10 lb.
bisulphate of soda.
_Dark Grey_.--Prepare a dye-bath with 3 lb. Naphthol Black 3 B, 4 lb.
Naphthol Green B, 1 lb. Amaranth, 10 lb. Glauber's salt, 8 lb.
copperas, and 3 lb. sulphuric acid, working at the boil for an hour
and then rinsing in water to which a little acetate of ammonia has
been added. The silk is dyed grey and the wool a black.
_Brown_.--A fine yellow brown shot with lilac is obtained by first
dyeing in a bath of 5 lb. Naphthol Yellow, 10 lb. Glauber's salt and
2 lb. sulphuric acid. Wash in hot water, then dye with 2-1/2 lb. Solid
Blue P G, 1-1/2 oz. Methyl Violet B O, and 5 lb. acetic acid in the
cold.
_Wool, Orange; Silk, Pale Green._--Dye the wool with 1-1/2 lb. Orange
G G, 6 oz. Naphthol Green B, 2-1/2 oz. Naphthol Red C, 10 lb.
bisulphate of soda, and 2 lb. sulphuric acid; and the silk with
1/2 lb. Milling Yellow and 1/2 lb. Acid Green.
_Wool, Black; Silk, Light Grey._--Dye in a bath with 5 lb. (p. 193)
Anthracene Acid Black S T, 4-1/2 oz. Fast Yellow S, 10 lb. bisulphate
of soda, and 2 lb. sulphuric acid. The silk is cleaned by boiling for
ten minutes in a soap bath.
_Wool, Bright Red; Silk, Blush Rose._--The gloria silk is dyed in a
bath of 3 lb. Naphthol Red O, 10 lb. bisulphate of soda, and 2 lb.
sulphuric acid. After dyeing, soap for ten minutes.
_Wool, Black; Silk, Green._--Dye the wool in a bath containing 5 lb.
Anthracene Acid Black S T, 5 oz. Fast Yellow S, 2 lb. oxalic acid,
10 lb. Glauber's salt, and 15 lb. acetic acid. Work the goods in this
at the boil for an hour, then lift, add 3/4 lb. bichromate of potash,
and boil for twenty minutes longer. Clean the silk by boiling in a
bath of soap for twenty minutes, then dye in a cold bath containing
1 lb. Thioflavine T and 1 lb. Brilliant Green.
_Wool, Dark Maroon; Silk, Pale Blue._--After the manner described in
the first recipe, dye the wool with 1 lb. Orange G G, 3 lb. Naphthol
Green B, 2 lb. Brilliant Cochineal 2 R, 10 lb. bisulphate of soda, and
2 lb. sulphuric acid. Dye the silk with 1-1/2 lb. Pure Blue O T.
_Wool, Violet; Silk, Green._--Make the dye-bath with 1 lb. Acid Violet
4 B, 9 oz. Indigotine extra, 10 lb. bisulphate of soda, and 2 lb.
sulphuric acid. The dyeing is carried on at the boil until the bath is
exhausted of colour, whereupon the goods are well rinsed in water.
They are next soaped at 160° F. for ten minutes in a liquor containing
1/2 oz. soap per gallon, then rinsed. Next a dye-bath is made with
1 lb. Acid Green, 8 oz. Milling Yellow O, and 1 lb. acetic acid, the
goods being treated in this in the cold until the desired shade is
obtained, then lifted, rinsed and dried.
_Violet and Pink._--A fine effect of violet shot with pink is obtained
by dyeing in a bath of 1-1/2 lb. Indigo extract, 1/2 lb. Rhodamine B,
10 lb. Glauber's salt, and 2 lb. sulphuric acid.
_Brown Olive and Green_ is dyed in a bath made with 1 lb. (p. 194)
Quinoline Yellow, 1 lb. Azo Fuchsine G, 1/4 lb. Fast Green Bluish,
10 lb. Glauber's salt, and 2 lb. sulphuric acid. By using about half
the above quantities of dye-stuffs a drab effect shot with green can
be obtained.
_Crimson and Green._--The first bath is made from 4 lb. Azo Red A and
10 lb. bisulphate of soda, worked for an hour at the boil; then treat
in a weak bath of acetate of ammonia; and dye the silk in a cold bath
of 2 oz. Solid Green Crystals, 1/4 lb. Thioflavine T, and 5 lb. acetic
acid.
_Violet and Pink._--Dye in a bath of 1-1/4 lb. Indigo extract, 10 lb.
Glauber's salt and 2 lb. sulphuric acid.
_Brown and Pink._--This is dyed in a bath made from 1-1/4 lb. Fast
Yellow, 5 oz. Rhodamine B, 1/4 lb. indigo extract, 10 lb. Glauber's
salt, and 2 lb. sulphuric acid. The silk dyes a pale pink while the
general effect is that of a fine fawn brown with a reddish shot
effect.
_Dark Green and Pale Crimson._--This is done in two baths, the first
is made with 8 lb. Naphthol Green B, 10 lb. Glauber's salt, 3 lb.
sulphuric acid, and 7 lb. copperas, working at the boil; then treat
with hot water and dye in a fresh bath with 6 oz. Safranine Prima and
5 lb. acetic acid in the cold. The combined effect of the two is that
of a brown shot with green.
_Orange and Green._--This gives a splendid shot effect and is dyed as
follows. Work for an hour at the boil, for thirty minutes in a bath of
boiling water, then enter into a cold bath of 5 oz. Thioflavine T,
3 oz. Brilliant Green, and 3 lb. acetic acid; work for thirty minutes,
or until shade is obtained.
_Orange and Blue._--Use first dye-bath as in the last, then, after
washing in hot water, dye in a bath of 2 oz. New Methylene Blue N, and
3 lb. acetic acid.
_Silk, Sky Blue; Wool, Drab._--Make a dye-bath with 20 lb. acetic
acid, 3/4 oz. Indigotine, 3 oz. Fast Yellow extra and 2 oz. Azo (p. 195)
Fuchsine G. Work at the boil for one hour at 100° F., then pass into a
bath of 3/4 oz. Turquoise Blue B B, and 2 lb. acetic acid, working for
half an hour at 80°.
_Silk, Pink; Wool, Pale Blue._--Make a dye-bath with 15 lb. acetic
acid and 4-1/2 oz. Indigotine. Work at the boil for an hour, then pass
into a bran bath as before; next enter into a dye-bath at 80° to 90°
of 3/4 oz. Brilliant Rhoduline R B, 1-1/2 oz. Auramine I I, and 2 lb.
acetic acid.
_Silk, Green; Wool, Dark Crimson._--The first bath is made from 3 lb.
Azo Fuchsine G, 1 lb. Indian Yellow G and 20 lb. acetic acid; then
follows the bran and the final dye-bath, which is made from 1-1/2 oz.
Imperial Green G I, and 2 lb. acetic acid.
_Silk, Orange; Wool, Black._--A dye-bath is made from 2 lb.
Indigotine, 2 lb. Indian Yellow G, 1/2 lb. Rhodamine G, and 20 lb.
acetic acid. Work at the boil for one hour; then lift, wash and dry.
_Silk, Light Green; Wool, Dark Blue._--Make a dye-bath from 1/2 lb.
Azo Fuchsine G, 2 lb. Fast Light Green, and 20 lb. acetic acid. Work
at the boil to shade; then lift, wash and dry.
_Silk, Yellow; Wool, Terra Cotta._--A dye-bath is made from 1-1/2 oz.
Indigotine, 3/4 lb. Azo Fuchsine G, 9 oz. Indian Yellow R, and 20 lb.
acetic acid. Work at the boil for one hour; then lift, wash and dry.
_Silk, Light Sea Green; Wool, Pale Sage._--Make the dye-bath with
1/2 lb. Fast Yellow extra, 3 oz. Azo Fuchsine G, 1-1/2 oz. Fast Green
bluish, and 20 lb. acetic acid. Work as in the last recipe.
_Silk, Light Green; Wool, Brown._--Make the dye-bath with 1 lb. Azo
Fuchsine G, 2-1/2 lb. Fast Yellow extra, 1/2 lb. Fast Green bluish,
and 20 lb. acetic acid. Work at the boil for one hour.
_Silk, Pale Blue; Wool, Crimson._--Make a dye-bath with 2 lb. (p. 196)
Azo Crimson L and 20 lb. acetic acid. Work at the boil for one
hour, then pass into a bran bath for half an hour at 90° F., and into
another bath containing 1/2 lb. Turquoise Blue G, and 2 lb. acetic
acid, at 90° F., for half an hour; then wash and dry.
_Silk, Light Drab; Wool, Lavender._--Make the first dye-bath from
3 oz. Indigotine, 2 oz. Azo Fuchsine G, and 20 lb. acetic acid. After
working an hour at the boil, pass into a bran bath for half an hour,
afterwards topping with 1-1/2 oz. Bismarck Brown R and 2 lb. acetic
acid.
CHAPTER VII. (p. 197)
OPERATIONS FOLLOWING DYEING: WASHING, SOAPING, DRYING.
After loose wool, or woollen yarns or piece goods of every description
have been dyed, before they can be sent out for sale they have to pass
through various operations of a purifying character. There are some
operations through which cloths pass that have as their object the
imparting of a certain appearance and texture to them, these are
generally known as finishing processes, of these it is not intended
here to speak, but only of those which precede them but follow on the
dyeing operations.
These processes are usually of a very simple character, and common to
most colours which are dyed, and here will be noticed the appliances
and manipulations necessary in the carrying out of these operations.
#Squeezing or Wringing.#--It is advisable when the goods are taken out
of the dye-bath to squeeze or wring them according to circumstances in
order to express out all surplus dye-liquor, which can be returned to
the dye-bath if needful to be used again. This is an economical
proceeding in many cases, especially in working with many of the old
tannin materials, like sumac, divi-divi, myrobalans, and the modern
direct dyes, which during the dyeing operations are not completely
extracted out of the bath, or in other words the dye-bath is not
exhausted of colouring matter, and therefore it can be used again for
another lot of goods simply by adding fresh material to make up for
that absorbed by the first lot.
Loose wool and loose cotton are somewhat difficult to deal with by (p. 198)
squeezing or wringing, but the material may be passed through a pair
of squeezing rollers such as are shown in figure 24, which will be
more fully dealt with later on.
#Yarns in Hanks.#--In the hand-dyeing process of hank-dyeing the hanks
are wrung by placing one end of the hank on a wringing-horse placed
over the dye-tub, and a dye-stick in the other end of the hank, giving
two or three sharp pulls to straighten out the yarn and then twisting
the stick round; the twisting of the yarns puts some pressure on the
fibres thoroughly and uniformly squeezing out the surplus liquor from
the yarn.
#Hank-Wringing Machines.#--Several forms of hank-wringing machines have
been devised. One machine consists of a pair of discs fitted on an
axle, these discs carry strong hooks on which the hanks are placed.
The operator places a hank on a pair of the hooks. The discs revolve
and carry round the hank, during the revolution the hank is twisted
and the surplus liquor wrung out, when the revolution of the discs
carries the hank to the spot where it entered the machine, the hooks
fly back to their original position, the hank unwinds, it is then
removed and a new hank put in its place, and so the machine works on,
hanks being put on and taken off as required. The capacity of such a
machine is great and the efficiency of its working good.
Mr. S. Spencer, of Whitefield, makes a hank-wringing machine which
consists of a pair of hooks placed over a vat. One of the hooks is
fixed, the other is made to rotate. A hank hung between the hooks is
naturally twisted and all the surplus liquor wrung out, the liquor
falling into the vat.
#Roller Squeezing Machines for Yarn.#--Hanks may be passed through a
pair of indiarubber squeezing rollers which may be so arranged that
they can be fixed as required on the dye-bath. Such a pair of (p. 199)
rollers is a familiar article and quite of common and general use in
dye-houses.
#Piece Goods.#--These are generally passed open through a pair of
squeezing rollers, which are often attached to the dye-vat in which
the pieces are dyed.
[Illustration: Fig. 24.--Read Holliday's Yarn-squeezing Machine.]
#Read Holiday's Squeezing Machine.#--In figure 24 is shown a squeezing
machine very largely employed for squeezing all kinds of piece goods
after dyeing or washing. It consists of a pair of heavy rollers on
which, by means of the screws shown at the top, a very considerable
pressure can be brought to bear. The piece is run through the eye
shown on the left, by which it is made into a rope form, then over
the guiding rollers and between the squeezing rollers and into (p. 200)
waggons for conveyance to other machines. This machine is effective.
Another plan on which roller, or rather in this case disc, squeezing
machines are made is to make the bottom roller with a square groove in
the centre, into this fits a disc, the cloth passing between them. The
top disc can, by suitable screws, be made to press upon the cloth in
the groove and thus squeeze the water out of it.
WASHING.
One of the most important operations following that of dyeing is the
washing with water to free the goods, whether cotton or woollen, from
all traces of loose dye, acids, mordanting materials, etc., which it
is not desirable should be left in, as they might interfere with the
subsequent finishing operations. For this purpose a plentiful supply
of good clean water is required, this should be as soft as possible,
free from any suspended matter which might settle upon the dyed goods
and stain or speck them.
Washing may be done by hand, as it frequently was in olden days, by
simply immersing the dyed fabrics in a tub of water, shaking, then
wringing out, again placing in fresh water to finish off. Or if the
dye-works were on the banks of a running stream of clean water the
dyed goods were simply hung in the stream to be washed in a very
effectual manner.
In these days it is best to resort to washing machines adapted to deal
with the various kinds of fibrous materials and fabrics, in which they
can be subjected to a current of water.
#Loose Wool.#--If this has been dyed by hand then the washing may also
be done in the same way by hand in a plain vat. If the dyeing has been
done on a machine then the washing can be done on the same machine.
[Illustration: Fig. 25.--Hank-washing Machine.]
#Yarn in Hanks.#--A very common form of washing machine is shown (p. 202)
in figure 25. As will be seen it consists of a wooden vat, over which
are arranged a series of revolving reels on which the hanks are hung,
the hanks are kept in motion through the water and so every part of
the yarn is thoroughly washed. Guides keep the hanks of yarn separate
and prevent any entanglement one with another. A pipe delivers
constantly a current of clean water, while another pipe carries away
the used water. Motion is given to the reels in this case by a donkey
engine attached to the machine, but it may also be driven by a belt
from the main driving shaft of the works. This machine is very
effective.
[Illustration: Fig. 26.--Cloth-washing Machine.]
#Piece Goods.#--Piece goods are mostly washed in machines, of which two
broad types may be recognised. First those where the pieces are dealt
with in the form of ropes or in a twisted form, and second those where
the pieces are washed while opened out full width. There are some
machines in which the cloths may be treated either in the open or rope
form as may be thought most desirable.
Figure 26 represents a fairly well-known machine in which the (p. 203)
pieces are treated in a rope-like form. It consists of a trough
in which a constant current of water is maintained; at one end of this
trough is a square beating roller, at the other a wood lattice roller,
above the square beater and out of the trough are a pair of rollers
whose purpose is to draw the cloth through the machine and also partly
to act as squeezing rollers. As will be seen the cloth is threaded in
rope form spirally round the rollers, passing in at one end and out at
the other, pegs in a guide rail serving to keep the various portions
separate. The square beater in its revolutions has a beating (p. 204)
action on the cloth, tending to more effectual washing. The lattice
roller is simply a guide roller.
[Illustration: Fig. 27.--Cloth-washing Machine.]
Figure 27 shows a washing machine very largely used in the wool-dyeing
trade. The principal portion of this machine is of wood.
The internal parts consist of a large wooden bowl, or oftener, as in
the machine under notice, of a pair of wooden bowls which are pressed
together by springs with some small degree of force. Between these
bowls the cloth is placed, more or less loosely twisted up in a rope
form, and the machines are made to take four, six or eight pieces or
lengths at one time, the ends of the pieces being stitched together so
as to make a continuous band. A pipe running along the front of the
machine conveys a constant current of clean water, which is caused to
impinge in the form of jets on the pieces of cloth as they run through
the machine, while an overflow carries away the used water. The goods
are run in this machine as long as is considered necessary for a
sufficient wash, which may take half to one and a half hours.
In figure 30 is shown a machine designed to wash pieces in the broad
or open state. The machine contains a large number of guide rollers
built more or less open, round which the pieces are guided, the ends
of the pieces being stitched together, pipes carrying water are so
arranged that jets of clean water impinge on and thoroughly wash cloth
as it passes through, the construction of the guide rollers
facilitating the efficient washing of the goods.
SOAPING.
Sometimes yarns or cloths have to be passed through a soap-bath after
being dyed in order to brighten up the colours or develop them in some
way. In the case of yarns this can be done on the reel washing (p. 205)
machines such as are shown in figure 25. In the case of piece goods a
continuous machine in which the washing, soaping, etc., can be carried
on simultaneously is often employed. Such a machine is shown in figure
28. It consists of a number of compartments fitted with guide rollers,
so that the cloth passes up and down several times through the liquors
in the compartment; between one compartment and another is placed a
pair of squeezing rollers. The cloth is threaded in a continuous
manner, well shown in the drawing, through the machine; in one
compartment it is treated with water, in another with soap liquor, and
another with water, and so on, and these machines may be made with
two, three or more compartments, as may be necessary for the
particular work in hand. As seen in the drawing the cloth passes in at
one end, and out at the other finished. It is usually arranged that a
continuous current of the various liquors used flows through the
various compartments, thus ensuring the most perfect treatment of the
cloths.
[Illustration: Fig. 28.--Soaping and Washing Machine.]
DRYING. (p. 206)
Following on the washing comes the final operation of the dyeing
process, that of drying the dyed and washed goods. Now textile fabrics
of all kinds after they have passed through dye-baths, washing
machines, etc., contain a large amount of water, often exceeding in
amount that of the fabric itself, and to take the goods direct from
the preceding operations to the drying plant means that a considerable
amount of fuel must be expended to drive off this large amount of
water. It is therefore very desirable that the goods be freed from as
much of this water as possible before they are sent into any drying
chambers, and this may be done in three ways, by wringing, squeezing
and hydro-extracting. The first two methods have already been
described (pp. 198, 199) and need not again be alluded to, the last
needs some account.
[Illustration: Fig. 29.--Hydro-extractor.]
Hydro-extractors are a most efficient means for extracting water (p. 207)
out of textile fabrics. They are made in a variety of forms by several
makers. Essentially they consist of a cylindrical vessel with
perforated sides, so constructed that it can be revolved at a high
speed. This vessel is enclosed in an outer cage. The goods are placed
in the basket, as it is termed, and then this is caused to revolve; at
the high speed at which it revolves centrifugal action comes into play
and the water contained in the goods finds its way to the outside of
the basket through the perforations and so away from the goods.
Hydro-extractors are made in a variety of sizes and forms, in some the
driving gear is above, in others below the basket, in some the driving
is done by belt gearing, in others a steam engine is directly
connected with the basket. Figures 29 and 30 show two forms which are
much in use in the textile industry. They are very efficient and
extract water from textile goods more completely than any other means,
as will be obvious from a study of the table below.
[Illustration: Fig. 30.--Hydro-extractor.]
The relative efficiency of the three systems of extracting the
moisture out of textile fabrics has been investigated by Grothe, who
gives in his _Appretur der Gewebe_, published in 1882, the following
table showing the percentage amount of water removed in fifteen
minutes:--
Yarns. Wool. Silk. Cotton. Linen. (p. 208)
Wringing 44·5 45·4 45·3 50·3
Squeezing 60·0 71·4 60·0 73·6
Hydro-extracting 83·5 77 81·2 82·8
Pieces.
Wringing 33·4 44·5 44·5 54·6
Squeezing 64·0 69·7 72·2 83·0
Hydro-extracting 77·8 75·5 82·3 86·0
In the practical working of hydro-extractors it is of the utmost
importance that the goods be carefully and regularly laid in the
basket, not too much in one part and too little in another. Any
unevenness in this respect at the speed at which they are driven
leaves such a strain on the bearings as to seriously endanger the
safety of the machine.
[Illustration: Fig. 31.--Yarn-drying Machine.]
After being wrung, squeezed or hydro-extracted the goods are ready to
be dried. In the case of yarns this may be done in rooms heated by
steam pipes placed on the floor, the hanks being hung on rods
suspended from racks arranged for the purpose.
[Illustration: Fig. 32.--Cloth-drying Machine.]
Where large quantities of yarn have to be dried it is most economical
to employ a yarn or drying machine, and one form of such is shown in
figure 31. The appearance of the machine is that of one long room from
the outside, internally it is divided into compartments, each of which
is heated up by suitably arranged steam pipes, but the degree of
heating in each compartment varies, at the entrance end it is (p. 209)
high, at the exit end low. The yarn is fed in at one end, being
hung on rods, and by suitable gearing it is carried directly through
the various chambers or sections, and in its passage the heat to which
it is subject drives off the water it contains. The yarn requires no
attention from the time it passes in wet at the one end of the (p. 210)
machine and comes out dry at the other end. The amount of labour
required is slight, only that represented by filling the sticks with
wet yarn and emptying the dried yarn. The machine works regularly and
well.
The drying is accomplished by circulating heated air through the
yarns, this heating being effected by steam coils; fresh air
continually enters the chambers while water-saturated air is as
continually being taken out at the top of the chamber. One of the
great secrets in all drying operations is to have a constant current
of fresh hot air playing on the goods to be dried, this absorbs the
moisture they contain, and the water-charged air thus produced must be
taken away as quickly as possible.
#Piece Goods.#--The most convenient manner of drying piece goods is to
employ the steam cylinder drying machine such as is shown in figure
32. This consists of a number of hollow tin or copper cylinders which
can be heated by steam passing in through the axles of the cylinders,
which are made hollow on purpose. The cloth to be dried passes round
these cylinders, which revolve while the cloth passes. They work very
effectually.
CHAPTER VIII. (p. 211)
EXPERIMENTAL DYEING AND COMPARATIVE DYE TESTING.
Every dyer ought to be able to make experiments in the mordanting and
dyeing of textile fibres for the purpose of ascertaining the best
methods of applying mordants or dye-stuffs, the best methods of
obtaining any desired shade, and for the purpose of making comparative
tests of dyes or mordanting materials with the object of determining
their strength and value. This is not by any means difficult, nor does
it involve the use of any expensive apparatus, so that a dyer need not
hesitate to set up a small dyeing laboratory for fear of the expense
which it might entail.
In order to carry out the work indicated above there will be required
several pieces of apparatus. First a small chemical balance; one that
will carry 50 grammes in each pan is quite large enough, and such a
one, quite accurate enough for this work, can be bought for 25s. to
30s., while if the dyer be too poor even for this a cheap pair of
apothecaries' scales might be used. It is advisable to procure a set
of gramme weights and to get accustomed to them, which is not by any
means difficult.
In using the balance always put the substance to be weighed on the
left-hand pan and the weights on the right-hand pan. Never put
chemicals of any kind direct on the pan, but weigh them in a
watch-glass, small porcelain basin, or glass beaker (which has first
been weighed), according to the nature of the material which is being
weighed. The sets of weights are always fitted into a block or (p. 212)
box, and every time they are used they should be put back into their
proper place.
The experimenter will find it convenient to provide himself with a few
small porcelain basins, glass beakers, cubic centimetre measures, two
or three 200 c.c. flasks with a mark on the neck, a few pipettes of
various sizes, 10 c.c., 20 c.c., 25 c.c.
The most important feature is the dyeing apparatus. Where only a
single dye test is to be made a small copper or enamelled iron
saucepan, such as can be bought at any ironmongers may be used; this
may conveniently be heated by a gas-boiling burner, such as can also
be bought at an ironmongers or plumbers for 2s.
[Illustration: Fig. 33.--Experimental Dye-bath.]
It is, however, advisable to have means whereby several dyeing
experiments can be made at one time and under precisely the same
conditions, and this cannot be done by using the simple means noted
above.
To be able to make perfectly comparative dyeing experiments it is best
to use porcelain dye-pots (these may be bought from most dealers in
chemical apparatus), and to heat these in a water-bath arrangement.
The simplest arrangement is sketched in figure 33; it consists of a
copper bath measuring 15 inches long by 10-1/2 inches broad and (p. 213)
6-1/2 inches deep; this is covered by a lid on which are six apertures
to take the porcelain dye-baths. The bath is heated by two round
gas-boiling burners of the type already referred to.
The copper bath is filled with water which, on being heated to the
boil by the gas burners, heat up the dye-liquors in the dye-pots. The
temperature in the dye-pots under such conditions can never reach the
boiling point; where it is desirable, as in some cases of wool
mordanting and dyeing that it should be so high, then there should be
added to the water in the copper bath a quantity of calcium chloride,
which forms a solution that has a much higher boiling point than that
of water, and so the dye-liquors in the dye-pots may be heated up to
the boil.
An objection might be raised that with such an apparatus the
temperature in every part of the bath may not be uniform, and so the
temperature of the dye-liquors in the pots might vary also, and
differences of temperature often have a considerable influence on the
shade of the colour which is being dyed. This is a minor objection,
which is more academic in its origin than of practical importance. To
obviate it Mr. William Marshall, of the Rochdale Technical School, has
devised a circular form of dye-bath, in which the temperature in every
part can be kept quite uniform.
The dyeing laboratories of Technical Schools and Colleges are
generally provided with a more elaborate set of dyeing appliances.
These in the latest constructed consist of a copper bath supported on
a hollow pair of trunnions, so that it can be turned over if needed.
Into the bath are firmly fixed three earthenware or porcelain
dye-pots; steam for heating can be sent through the trunnions. After
the dyeing tests have been made the apparatus can be turned over and
the contents of the dye-pots emptied into a sink which is provided for
the purpose.
Many other pieces of apparatus have been devised and made for the (p. 214)
purpose of carrying on dyeing experiments on the small scale, but it
will not be needful to describe these in detail. After all no more
efficient apparatus can be desired than that described above.
Dyeing experiments can be made with either yarns or pieces of cloth,
swatches as they are commonly called; a very convenient size is a
small skein of yarn or a piece of cloth weighing 5 grammes. These test
skeins or pieces ought to be well washed in hot water before use, so
that they are clean and free from any size or grease. A little soda or
soap will facilitate the cleansing process.
In carrying out a dyeing test the dye-pot should be filled with the
water required, using as little as is consistent with the dye-swatch
being handled comfortably therein, then there is added the required
mordants, chemicals, dyes, etc., according to the character of the
work which is being done.
Of such chemicals as soda, caustic soda, sodium sulphate (Glauber's
salt), tartar, bichromate of potash, it will be found convenient to
prepare stock solutions of known strength, say 50 grammes per litre,
and then by means of a pipette any required quantity can be
conveniently added. The same might be followed in the case of dyes
which are constantly in use, in this case 5 grammes per litre will be
found strong enough.
Supposing it is desired to make a test of a sample of Acid Red, using
the following proportions, 2 per cent. dye-stuff, 3 per cent.
sulphuric acid and 15 per cent. Glauber's salt, and the weight of the
swatch which is being used is 5 grammes, the following calculations
are to be made to give the quantities of the ingredients required:--
For the dye-stuff, 5 (weight of swatch) multiplied by 2 (per cent. of
dye) and divided by 100 equals (5 x 2) / 100 = 0·1 gramme of dye.
For the acid we have similarly (5 x 3) / 100 = 0·15 gramme of (p. 215)
acid.
For the Glauber's salt (5 x 15) / 100 = 0·75 gramme of Glauber's salt.
These quantities may be weighed out and added to the dye-bath, or if
solutions are kept a calculation can be made as to the number of cubic
centimetres which contain the above quantities, and these measured out
and added to the dye-bath.
When all is ready the bath is heated up, the swatch put in and the
work of the test entered upon.
Students are recommended to make experiments on such points as:--
The shades obtained by using various proportions of dye-stuffs.
The influence of various assistants: common salt, soda, Glauber's
salt, borax, phosphate of soda in the bath.
The influence of varying proportions of mordants on the shade of
dyeing.
The value of various assistants, tartar, oxalic acid, lactic acid,
sulphuric acid, on the fixation of mordants.
The relative value of tannin matters, etc.
Each dyer should make himself a pattern book into which he should
enter his tests, with full particulars as to how they have been
produced at the side.
It is important that a dyer should be able to make comparative
dye-tests to ascertain the relative strength of any two or more
samples of dyes which may be sent to him.
This is not difficult but requires considerable care in carrying out
the various operations involved.
0·5 gramme of each of the samples of dyes should be weighed out and
dissolved in 100 c.c. of water, care being taken that every (p. 216)
portion of the dye is dissolved before any of the solution is used in
making up the dye-vats. Care should be taken that the skeins of yarn
or swatches of cloth are exactly equal in weight, that the same volume
of water is placed in each of the dye-pots, that the same amounts of
sulphate of soda or other dye assistants are added, that the
quantities of dye-stuffs and solutions used are equal, in fact that in
all respects the conditions of dyeing are exactly the same, such in
fact being the vital conditions in making comparative dye-tests of the
actual dyeing strength of several samples of dyes.
After the swatches have been dyed they are rinsed and then dried, when
the depths of shade dyed on them may be compared one with another. To
prevent any mistakes it is well to mark the swatches with one, two,
three or more cuts as may be required.
It is easier to ascertain if two dyes are different in strength of
colour than to ascertain the relative difference between them. There
are two plans available for this purpose; one is a dyeing test, the
other is a colorimetric test made with the solutions of the dyes.
#Dyeing Test.#--This method of ascertaining the relative value of two
dyes as regards strength of colour is carried out as follows. A
preliminary test will show which sample is stronger than the other;
then there is prepared a series of dye-vats, one contains a swatch
with the deepest of the two dyes, which is taken as the standard, the
others with the other dye but containing 2, 5 and 10 per cent. more
dye-stuff, and all these are dyed together, and after drying a
comparison can be made between these and the standard swatch, and a
judgment formed as to the relative strength of the two dyes; a little
experience will soon enable the dyer to form a correct judgment of the
difference in strength between two samples of dye-stuff.
The colorimetric test is based on the principle that the colour (p. 217)
of a solution of dye-stuff is proportionate to its strength. Two white
glass tubes, equal in diameter, are taken; solutions of the
dye-stuffs, 0·5 gramme in 100 c.c. of water, are prepared, care being
taken that the solution is complete. 5 c.c. of one of these solutions
is taken and placed in one of the glass tubes, and 5 c.c. of the other
solution is placed in the other glass tube, 25 c.c. of water is now
added to each tube and then the colour of the diluted liquids is
compared by looking through in a good light. That sample which gives
the deepest solution is the strongest in colouring power. By diluting
the strongest solution with water until it is of the same depth of
colour as the weakest, it may be assumed that the length of the
columns of liquid in the two tubes is in proportion to the relative
strength of the two samples. Thus if in one tube there are 30
centimetres of liquid and in the other 25 centimetres, then the
relative strength is as 30 to 25, and if the first is taken as the
standard at 100 a proportion sum may be worked out as follows:--
30: 25 :: 100 : 83·3;
that is, the weakest sample has only 83·3 per cent. of the strength of
the strongest sample.
CHAPTER IX. (p. 218)
TESTING OF THE COLOUR OF DYED FABRICS.
It is frequently desirable that dyers should be able to ascertain with
some degree of accuracy what dyes have been used to dye any particular
sample of dyed cloth that has been offered to them to match. In these
days of the thousand-and-one different dyes that are known it is by no
means an easy thing to do, and when, as is most often the case, two or
three dye-stuffs have been used in the production of a shade, the
difficulty is materially increased.
The only available method is to try the effect of various acid and
alkaline reagents on the sample, noting whether any change of colour
occurs, and judging accordingly. It would be a good thing for dyers to
accustom themselves to test the dyeings they do and so accumulate a
fund of practical experience which will stand them in good stead
whenever they have occasion to examine a dyed pattern of unknown
origin.
The limits of this book do not permit of there being given a series of
elaborate tables showing the action of various chemical reagents on
fabrics dyed with various colours, and such indeed serve very little
purpose, for it is most difficult to describe the minor differences
which often serve to distinguish one colour from another. Instead of
doing so we will point out in some detail the methods of carrying out
the various tests, and advise all dyers to carry these out for
themselves on samples dyed with known colours, and when they have an
unknown colour to test to make tests comparatively with known (p. 219)
colours that they think are likely to have been used in the production
of the dyed fabric they are testing.
One very common method is to spot the fabric, that is to put a drop of
the reagent on it, usually with the aid of the stopper of the reagent
bottle, and to observe the colour changes, if any, which ensue.
This is a very useful test and should not be omitted; and it is often
employed in the testing of indigo dyed goods with nitric acid, those
of logwood with hydrochloric acid, alizarine with caustic soda, and
many others. It is simple and easy to carry out, and only takes a few
minutes.
To make a complete series of tests of dyed fabrics there should be
provided the following reagents:--
1. Strong sulphuric acid as bought.
2. Dilute sulphuric acid, being the strong acid diluted with 20
times its volume of water.
3. Concentrated hydrochloric acid as bought.
4. Dilute hydrochloric acid, 1 acid to 20 water.
5. Concentrated nitric acid as bought.
6. Dilute nitric acid, 1 acid to 20 water.
7. Acetic acid.
8. Caustic soda solution, 5 grammes in 100 c.c. water.
9. Ammonia (strong).
10. Dilute ammonia, 1 strong ammonia to 10 water.
11. Carbonate of soda solution, 5 grammes in 100 c.c. water.
12. Bleaching powder solution, 2° Tw.
13. Bisulphite of soda, 72° Tw.
14. Stannous chloride, 10 grammes crystals in 100 c.c. water,
with a little hydrochloric acid.
15. Methylated spirit.
Small swatches of the dyed goods are put in clean porcelain basins,
and some of these solutions poured over them. Any change of colour (p. 220)
of the fabric is noted as well as whether any colour is imparted to
the solutions. After making observations of the effects in the cold,
the liquids may be warmed, and the results again noted. After being
treated with the acids the swatches should be well washed with water,
when the original colour may be wholly or partially restored.
To give tables showing the effects of these reagents on the numerous
dyes now known would take up too much room and not serve a very useful
purpose, as such tables if too much relied on leave the operator
somewhat uncertain as to what he has before him. The reader will find
in Hurst's _Dictionary of Coal-Tar Colours_ some useful notes as to
the action of acids and alkalies on the various colours that may be of
service to him.
Alizarine and the series of dye-stuffs to which it has given its name,
fustic, cochineal, logwood and other dyes of a similar class, require
the fabric to be mordanted, and the presence of such mordant is
occasionally an indirect proof of the presence of these dyes.
To detect these mordants a piece of the swatch should be burnt in a
porcelain or platinum crucible over a bunsen burner, care being taken
that all carbonaceous matter be burnt off. A white ash will indicate
the presence of alumina mordants, red ash that of iron mordants, and a
greenish ash chrome mordants.
To confirm these the following chemical tests may be applied. Boil the
ash left in the crucible with a little strong hydrochloric acid and
dilute with water. Pass a current of sulphuretted hydrogen gas through
the solution, if there be any tin present a brown precipitate of tin
sulphide will be obtained. This can be filtered off. The filtrate is
boiled for a short time with nitric acid, and ammonia is added to the
solution when alumina is thrown down as a white, gelatinous precipitate,
iron is thrown down as a brown red, bulky precipitate, while (p. 221)
chrome is thrown down as a greyish-looking, gelatinous precipitate.
The precipitate obtained with the ammonia is filtered off and a drop
of ammonium sulphide added, when any zinc present will be thrown down
as white precipitate of zinc sulphide; to the filtrate from this
ammonium oxalate may be added, when if lime is present a white
precipitate of calcium oxalate is obtained.
A test for iron is to dissolve some of the ash in a little
hydrochloric acid and add a few drops of potassium ferrocyanide
solution, when if any iron be present a blue precipitate will be
obtained.
To make more certain of the presence of chrome, heat a little of the
ash of the cloth with caustic soda and chlorate of soda in a porcelain
crucible until well fused, then dissolve in water, acidify with acetic
acid and add lead acetate, a yellow precipitate indicates the presence
of chrome.
A book on qualitative chemical analysis should be referred to for
further details and tests for metallic mordants.
The fastness of colours to light, air, rubbing, washing, soaping,
acids and alkalies is a feature of some considerable importance, there
are indeed few colours that will resist all these influences, and such
are fully entitled to be called fast. The degree of fastness varies
very considerably, some colours will resist acids and alkalies well,
but are not fast to light and air; some will resist washing and
soaping, but are not fast to acids; some may be fast to light, but are
not so to washing. The following notes will show how to test these
features.
#Fastness to Light and Air.#--This is simply tested by hanging a piece
of the dyed cloth in the air, keeping a piece in a drawer to refer to,
so that the influence on the original colour can be noted from time to
time. If the piece is left out in the open one gets not only the
effect of light but also that of climate on the colour, and there (p. 222)
is no doubt rain, hail and snow have some influence on the fading of
the colour. If the piece is exposed under glass the climatic
influences do not come into play, and one gets the effect of light
alone.
In making tests of fastness the dyer will and does pay due regard to
the character of the influences that the material will be subjected to
in actual use, and these vary very considerably; thus the colour of
underclothing need not be fast to light, for it is rarely subjected to
that agent of destruction; on the other hand, it must be fast to
washing, for that is an operation to which underclothing is subjected
week by week.
Window curtains are much exposed to light and air, and, therefore, the
colours in which they are dyed should be fast to light and air. On the
other hand, these curtains are rarely washed, and so the colour need
not be quite fast to washing. And so with other kinds of fabrics;
there are scarcely two kinds which are subjected to the same
influences and require the colours to have the same degree of
fastness.
The fastness to rubbing is generally tested by rubbing the dyed cloth
with a piece of white paper.
#Fastness to Washing.#--This is generally tested by boiling a swatch of
the cloth in a solution of soap containing 4 grammes of a good neutral
curd soap per litre for ten minutes, and noting the effect whether the
soap solution becomes coloured and to what degree, or whether it
remains colourless, and also whether the colour of the swatch has
changed at all.
One very important point in connection with the soaping tests is
whether a colour will run into a white fabric that may be soaped along
with it. This is tested by twisting strands of the dyed yarn or cloth
with white yarn or cloth and boiling them in the soap liquor for ten
minutes and then noting the effect, particularly observing (p. 223)
whether the white pieces have taken up any colour.
Fastness to acids and fastness to alkalies is observed while carrying
out the various acid and alkali tests given above.
THE END.
INDEX. (p. 225)
#A.#
Acetate of ammonia, 93, 94, 101, 102, 127, 128, 129, 132, 167,
192, 194.
------- of chrome, 115.
------- of lime, 158, 159.
Acetic acid, 127.
Acid black, 37, 89.
---- ----- B, 92, 99.
---- ----- B B, 99, 111, 112.
---- ----- S, 90, 99.
---- blue 4 S, 98, 127.
---- ---- 1 V, 153.
---- dyes for blue, 152.
---- ---- for brown, 161.
---- ---- for green, 128.
---- ---- for mode colours, 165.
---- ---- for violet, 160.
---- dye-stuffs, 61.
---- green, 53, 91, 92, 127, 184, 189, 190, 192, 193.
---- ----- B, 128, 191.
---- ----- blue shade, 136.
---- ----- B N, 136.
---- ----- extra, 155.
---- ----- G G, 192.
---- magenta, 73, 105, 111, 113, 183, 190.
---- mauve, 96.
---- ----- B, 161.
---- red, test for, 214.
---- violet, 105.
---- ------ 4 B, 193.
---- ------ 5 B, 154, 160, 189, 191.
---- ------ 5 B E, 162.
---- ------ 6 B, 130, 171, 181.
---- ------ 10 B, 191.
---- ------ N, 92, 99, 161, 162.
---- ------ 6 R N, 161.
---- ------ 4 R S, 160.
---- ------ V, 162.
---- ------ 1 V, 153.
---- yellow, 53, 99, 123, 183, 190.
Acids, action on wool, 11.
Acridine red, 102.
-------- scarlet, 102.
Adjective group of dye-stuffs, 68.
Alizarine, 61, 69, 72, 73, 86, 114, 220.
--------- black, 99.
--------- ----- S W, 94, 113.
--------- blue, 116, 119, 166.
--------- ---- A, 158.
--------- ---- D N W, 131, 132, 133, 158, 164, 166.
--------- ---- S W, 108.
--------- Bordeaux, 133.
--------- -------- B, 98, 155.
--------- -------- G, 155, 159.
--------- brown, 131, 132, 133, 158, 164, 166.
--------- claret R, 118.
--------- colours, 77.
--------- cyanine, 111, 119, 156.
--------- ------- black, 93, 94, 159, 160.
--------- ------- G, 159.
--------- ------- G G, 98, 157.
--------- ------- G extra, 157.
--------- ------- R, 99, 157.
--------- ------- R R, 157.
--------- ------- R R R, 93, 157.
--------- ------- 3 R double, 157, 160.
--------- G, 122.
--------- green, 127.
--------- ----- S, 132.
--------- ----- S W, 132.
--------- grey B, 166.
--------- orange, 119, 123.
--------- ------ 2 G, 120.
--------- ------ H, 164.
--------- ------ N, 118, 122, 166.
--------- ------ W, 119.
--------- ------ R, 163.
--------- ------ R R, 122.
--------- red 1 W S, 118, 119, 120, 122.
--------- --- 2 W S, 118.
--------- --- 3 W S, 119, 164.
--------- --- 5 W S, 118, 120.
--------- S X, 120.
--------- yellow, 70, 71, 115, 116, 123, 131, 133, 156, 164, 166.
--------- ------ G G, 115, 122.
--------- ------ G G W, 94, 125, 126, 131, 132, 164.
--------- ------ R W, 122.
Alkali blue, 152, 189.
------ ---- B, 152.
------ ---- 6 B, 180.
------ yellow R, 169.
Alkalies, action on wool, 9.
Alkaline blue 6 B, 178.
-------- ---- 171, 177.
Alpaca, 1, 83.
Alum, 74, 77, 85, 86, 97, 115, 117, 129, 131.
Alumina, 114.
------- sulphate, 115, 117.
Aluminium salts, 8.
Amaranth, 92, 108, 111, 192.
Amido-benzoic acid, 114.
Ammonia, 17, 27, 33, 78.
------- action on wool, 60.
Angora goat, 1.
Annotta, 13, 63.
Anthracene acid black S T, 193.
---------- ---- browns, 115.
---------- blue W B, 159.
---------- ---- W G, 132, 158, 159.
---------- brown, 94, 119, 132.
---------- ----- R, 163.
---------- ----- W, 159, 164.
---------- chrome black, 96, 99.
---------- ------ ----- F, 95.
---------- ------ ----- F F, 92, 96.
---------- red, 122, 134.
---------- yellow, 69, 70, 115.
---------- ------ B N, 96, 126, 135.
---------- ------ C, 90, 98, 109, 122, 124, 125, 126, 132, 163, 167.
---------- ------ G G, 126.
Anthracite black B, 90, 96, 132, 163.
---------- ----- R, 90, 98.
Anthragallol, 114.
Archil, 75, 189.
------ substitute N, 99, 107, 110, 131, 155, 162, 165.
Argol, 86, 97, 115, 116, 117, 151.
----- lactic acid, 116.
Artificial wool, 174.
Auramine, 53, 64, 103, 189.
-------- base, 64.
-------- I I, 195.
Auroline, 169.
Azo acid brown, 130.
--- ---- magenta G, 162.
--- ---- rubine, 111.
--- ---- violet 4 R, 109, 111, 161.
--- ---- yellow, 171.
--- black, 89.
--- blue, 171.
--- Bordeaux, 109, 191.
--- carmine, 124, 161, 166.
--- ------- B, 130.
--- cochineal, 105, 112, 191.
--- crimson L, 196.
--- dye-stuffs, 61, 66.
--- flavine, 189.
--- ------- S, 210.
--- fuchsine, 109, 115.
--- -------- G, 108, 130, 160, 162, 191, 194, 195, 196.
--- green, 70, 127.
--- mauve, 171.
--- red A, 108, 111, 171, 176, 177, 179, 190, 194.
--- rubine, 92.
--- scarlet, 53.
--- yellow, 93, 124, 128, 129, 130, 155, 162, 165.
#B.#
Basic dyes for violet, 160.
----- dye-stuffs, 61.
Batching of wool, 15, 25.
Benzo azurine 3 G, 170.
----- ------- R G, 170.
----- blue black G, 170.
----- brown, 61.
----- dyes, 168.
----- fast red, 100, 102, 110.
----- ---- scarlet, 62.
----- ---- ------- B S, 102.
----- flavine, 64.
----- green, 127.
----- orange R, 121.
Benzol, 16, 24.
Benzoline, 25.
Benzopurpurine, 61, 100.
-------------- B, 170.
-------------- 4 B, 111, 170, 180, 181.
-------------- 10 B, 170, 180.
Bichromate of potash, 16, 115, 131, 132, 133, 134, 135, 166, 167, 193.
---------- of potassium, 175.
Bisulphate of soda, 33, 131, 141, 146, 167, 184, 192, 193, 194.
Bismarck brown, 189, 190.
-------- ----- R, 196.
Black, 93, 95, 176, 177, 180, 191, 193, 195.
----- and blue, 185, 186.
----- and green blue, 185.
----- and pink, 186.
----- and yellow, 186.
----- blue, 152, 157.
----- ---- O, 155.
----- on wool, 83, 91.
Bleaching wool, 29.
Blue, 153, 158.
---- and gold yellow, 185.
---- and orange, 187.
---- black, 96, 153, 159, 179, 182, 192.
---- ----- on wool, 89, 90, 91, 92, 94.
---- green, 127, 128, 129, 130.
---- shades on wool, 136.
Bluestone, 74, 86, 87, 88, 135.
Bluish Bordeaux red, 110.
------ crimson, 108.
------ green, 134.
------ red, 106, 120.
------ pink, 111, 112.
------ purple, 109.
------ violet, 160.
------ rose, 193.
Borax, 215.
Bordeaux, 102.
-------- B L, 110.
-------- red, 109, 110, 113.
Bottle green, 127, 130, 132, 134.
Bran, 138, 144, 145.
Brazil wood, 114.
Bright blue, 152, 153, 155, 156, 158, 180.
------ Bordeaux red, 109, 110.
------ buff, 164, 165.
------ canary, 124.
------ cherry red, 109, 110.
------ chestnut, 164.
------ crimson, 108.
------ fawn, 165.
------ ---- red, 118.
------ electric blue. 156.
------ golden brown, 163.
------ grass green, 130, 133.
------ green, 127, 128, 134.
------ greenish blue, 154.
------ leaf green, 129.
------ lemon yellow, 125.
------ maroon, 119.
------ moss green, 129.
------ orange, 121, 122.
------ pale sage green, 131.
------ peacock green, 130.
------ red, 111, 193.
------ scarlet, 102, 112.
------ straw, 124.
------ violet, 161.
------ ---- blue, 156.
------ yellow, 123, 124, 175, 176, 178.
Brilliant alizarine blue G, 133, 157, 158, 161.
--------- azurine 5 G, 170.
--------- cochineal 2 R, 112, 123, 193.
--------- --------- 4 R, 123, 185.
--------- Congo G, 102.
--------- ----- R, 170.
--------- croceine B, 106, 123.
--------- -------- 3 B, 123.
--------- -------- 5 B, 123.
--------- -------- 7 B, 123.
--------- -------- 9 B, 123.
--------- -------- B B, 106.
--------- -------- M, 106.
--------- -------- M O O, 123.
--------- -------- N, 189.
--------- green, 53, 64, 127, 190, 193, 194.
--------- milling green B, 171.
--------- orange, 92.
--------- orseille C, 107, 112.
--------- pale bluish crimson, 108.
--------- ponceau G, 106.
--------- ------- 2 R, 106.
--------- ------- 4 R, 112.
--------- purpurine R, 170.
--------- rhoduline R B, 195.
--------- royal blue, 154.
--------- scarlet, 119, 171.
--------- ------- G, 171.
--------- ------- 4 R, 105.
Bronze green, 131, 180.
Brown, 161, 163, 164, 181, 192, 195.
----- and violet, 186.
----- and pink, 194.
----- and blue, 185.
----- black, 94.
----- olive and green, 193.
Brown shades on wool, 161.
Buff, 164.
#C.#
Calcium salts, 8.
Camel-hair, 83.
Camwood, 76, 86.
Carbohydrate, 7.
Carbonate of soda, 27, 78, 169.
Carbon disulphide, 16, 24.
Carbonising of wool, 11.
Carded wool, dyeing of, 44.
Carmoisin, 189.
--------- B, 191.
Cashmere, 83, 173.
-------- goat, 1.
Caustic soda, 141.
------- lye, 147.
Celestine blue B, 155.
Chemical vats, 138.
Chemic extract, 150.
Cherry red, 109, 110.
Chestnut, 163.
-------- brown, 184.
Chicago blue B, 170.
------- ---- 4 B, 170.
------- ---- 6 B, 170, 180.
------- ---- G, 170.
------- ---- R W, 181.
------- ---- R R W, 170.
Chloramine orange, 121.
---------- yellow, 169.
Chlorination of wool, 37.
Chlorine, action on wool, 12.
Cholesterine, 7, 23.
Chrome, 114.
------ acetate, 129.
------ alum, 115.
------ blue, 158.
------ Bordeaux 6 B, 161.
------ brown R, 164.
------ fluoride, 77.
------ logwood black, 84, 85.
------ ------- jet black, 85.
------ mordant, 151.
------ patent black D G, 92.
------ violet, 115, 119.
Chromine G, 169.
Chromogene I, 120.
Chromotrop, 115.
---------- 2 B, 125.
---------- 6 B, 108, 154.
---------- 10 B, 94, 109.
---------- R, 106.
---------- 2 R, 99, 107, 129, 130, 155, 162, 165.
---------- S, 93, 94.
Chrysamine, 61, 128, 170.
---------- G, 165.
Chrysoidine, 184.
Chrysophenine, 61, 102, 128, 170.
------------- G, 180.
Claret, 110, 111, 118, 120.
------ red, 110.
Clayton yellow, 170.
Cloth-drying machine, 209.
------------ red, 73.
------------ washing machine, 29, 30, 202, 203.
Coal tar, 137.
---- --- colours, 114.
---- --- dyes, 63.
---- --- ---- for dyeing blue, 152.
Coatings, 173.
Cochineal, 97, 114, 190, 220.
--------- scarlet, 77.
Coerulein, 114, 133.
--------- B, 132.
--------- S W, 132.
--------- blue, 192.
Colour lakes, 113.
------ strength, test for, 216.
------ testing, 218.
Columbia black B, 170.
-------- ----- F B, 170, 181.
-------- red 8 B, 170.
-------- yellow, 169.
Congo blue, 62.
----- brown G, 170, 180.
----- ----- R, 161, 171.
----- Corinth G, 171, 180, 187.
----- ------- B, 169, 171.
----- dyes, 168.
----- orange G, 170.
----- ------ R, 165, 170.
----- R, 170.
----- red, 62.
Copperas, 74, 86, 87, 88, 97, 133, 134, 135.
-------- vats, 138.
Copper-cased dye beck, 56.
Coral red, 112.
Cornflower blue, 181.
Corron's hank-dyeing machine, 49.
Cotton yellow, 170.
Cream of tartar, 116.
Crimson, 103, 108, 113, 180, 183, 191, 194.
Croceine A Z, 123, 171, 189, 191, 192.
-------- orange, 121, 122, 189.
-------- ------ E N, 123.
-------- scarlet, 108.
-------- ------- 3 B, 191.
-------- ------- 3 R, 167.
Cross dyeing, 183.
Crushed strawberry, 105.
------- ---------- red, 107, 118.
Crystal scarlet 6 R, 123.
Cudbear, 97.
Curcumine extra, 171, 181, 187.
--------- S, 180, 186.
Cutch, 76, 97.
----- brown, 76.
Cyanine B, 107, 111, 124, 129, 130, 155, 165.
------- scarlet R, 111.
Cyanole, 107, 111, 131, 165.
------- extra, 99, 108, 112, 113, 131, 155, 184, 185, 186.
------- green B, 134.
------- ----- 6 G, 134.
Cyprus green B, 136.
------ ----- R, 136.
#D.#
Dark beige green, 130.
---- blue, 152, 154, 157, 159, 176, 178, 179, 180, 181, 182, 195.
---- Bordeaux red, 120.
---- bottle green, 131, 132.
---- brown and blue, 185.
---- ----- 163, 164, 177, 179, 180, 181, 182.
---- buff, 165.
---- chestnut, 162.
---- cherry red, 112.
---- crimson, 102, 195.
---- green, 127, 128, 131, 177, 180, 183.
---- ----- and pale crimson, 194.
---- grey, 98, 166, 167, 178, 181, 192.
---- invisible blue, 156.
---- maroon, 193.
---- navy, 157, 159.
---- ---- blue, 155.
---- olive brown, 162.
---- orange, 121.
---- peacock blue, 156.
---- red, 120.
---- sage, 179.
---- ---- green, 130.
---- sea green, 171.
---- seal, 162, 163.
---- slate, 159, 166, 177.
---- stone, 177.
---- violet, 161.
---- ------ brown, 164.
---- walnut, 164, 179.
Dead black on wool, 90.
Deep blue, 154, 155.
---- Bordeaux red, 109.
---- brown, 162.
---- crimson, 108, 112, 113, 118.
---- electric green, 131.
---- fawn, 107.
---- ---- red, 107, 119.
---- golden yellow, 125.
---- indigo blue, 192.
---- leaf green, 130.
---- ---- yellow, 125.
---- lemon, 125.
---- maroon, 111, 119, 191.
---- navy, 153.
---- ---- blue, 153.
---- olive yellow, 125.
---- orange, 122, 176.
---- red, 103.
---- sage green, 131, 132.
---- scarlet, 106, 112, 119.
---- seal, 162.
---- sky blue, 155.
---- violet, 160.
---- ------ brown, 192.
---- yellow, 124, 126.
Delahunty's dyeing machine, 43, 44.
Deltapurpurine 5 B, 130.
Diamine black, 99, 155.
------- ----- B H, 170, 177, 178.
------- ----- B O, 170.
------- ----- H W, 169, 177, 178.
------- ----- R O, 170.
------- blue, 62.
------- ---- 2 B, 170.
------- ---- 3 B, 170.
------- ---- B G, 170.
------- ---- B X, 170.
------- ---- G, 169.
------- ---- R W, 169, 170.
------- ---- 3 R, 170.
------- ---- black E, 170.
------- Bordeaux, 102.
------- -------- B, 169, 170, 177, 179.
------- -------- S, 170.
------- brilliant blue G, 170, 176, 178, 179.
------- bronze G, 171, 177.
------- brown, 62, 179.
------- ----- B, 169.
------- ----- G, 170.
------- ----- 3 G, 169.
------- ----- G W, 169.
------- ----- N, 169, 177.
------- ----- S, 170.
------- ----- V, 170, 177.
------- catechine B, 170, 179.
------- --------- G, 169, 170.
------- cutch, 176.
------- dark blue B, 169, 170, 180.
------- dyes, 168.
------- fast yellow A, 170, 175, 186.
------- ---- ------ B, 169, 176, 177, 179.
------- ---- red F, 98, 100, 102, 109, 112, 124, 132, 163, 167, 169.
------- gold, 121, 170, 175.
------- green, 127.
------- ----- B, 169.
------- ----- G, 169, 170.
------- new blue R, 170.
------- nitrazol brown B, 170.
------- -------- G, 170.
------- orange B, 169, 177, 178, 179.
------- ------ D, 170.
------- ------ D C, 121.
------- ------ G, 170, 175, 178, 184, 185.
------- ------ G C, 121.
------- ------ O, 170.
------- red, 62, 169.
------- --- B, 170.
------- --- 5 B, 178.
------- --- N O, 170.
------- rose B D, 102, 169, 178, 186.
------- scarlet B, 112, 121, 122, 170, 178.
------- ------- 3 B, 170.
------- sky blue, 170, 185.
------- --- ---- F F, 170, 185, 186.
------- steel blue L, 170, 177, 185.
------- violet N, 170, 178, 186.
Diamond black, 93, 99.
------- ----- F, 92.
------- ----- on wool, 93.
------- brown, 164.
------- flavine, 133, 163.
------- ------- G, 98.
------- green, 93.
------- yellow B, 133.
Dihydroxynaphthalene, 88.
--------- sulpho acid, 116.
Dinitroso-resorcine, 127.
Direct black, 88.
------ dyes, 197.
------ ---- for blue, 152.
------ ---- for brown, 161.
------ ---- for green, 127.
------ ---- for mode colours, 165.
------ ---- for orange, 121.
------ ---- for violet, 160.
------ orange R, 170.
------ red dyes, 100.
------ yellow G, 170.
Divi-divi, 197.
Drab, 165, 166, 167, 178, 179, 181, 182, 194.
Dress goods, 173.
Drying of goods, 205.
Dyeing machinery, 40, 43.
------ test, 216.
------ tubs, 41.
Dye-jiggers, 51, 52.
----------- tests, 211.
----------- vat with steam pipe, 42.
#E.#
Electric blue, 155.
Emerald green, 128, 129, 130, 135.
Emin red, 107, 110.
Eosine, 190.
------ red, 104.
Erie blue, 2 G, 170.
Erika B N, 170, 187.
Erythesine D, 112.
Erythrosine, 104, 190.
Experimental dye-bath, 212.
------------ dyeing, 211.
#F.#
Fast acid violet 10 B, 111, 130, 162, 165, 189.
---- ---- ------ R, 108, 110, 111, 112, 113, 120, 130, 166.
---- ---- blue R, 99, 107, 129, 155, 165.
---- ---- green B N, 96, 134, 185.
---- ---- magenta B, 105, 108, 109, 153.
---- black, 96.
---- blue, 37.
---- bright olive, 135.
---- chrome black, 92.
---- green, 127, 133.
---- green bluish, 111, 130, 154, 160, 162, 165, 189, 192, 194, 195.
---- ----- extra bluish, 162.
---- light green, 195.
---- red, 102, 111.
---- scarlet, 105.
---- yellow, 109, 124, 161, 162, 165, 166, 194.
---- ------ F Y, 90, 91, 105, 123, 130.
---- ------ S, 111, 113, 135, 186, 193.
---- ------ extra, 194, 195.
Fastness to acid, test for, 223.
-------- to alkalies, test for, 223.
-------- to light and air, test for, 221.
-------- to washing, test for, 222.
Fawn, 118.
---- drab, 179.
---- red, 107, 113.
Ferrous sulphate, 115, 117.
Fermentation vats, 138.
Flavazol, 70.
Fluoride of chrome, 91, 98, 102, 110, 115, 117, 129, 132, 133, 167.
Formyl blue B, 171.
------ violet, 53.
------ ------ 6 B, 171.
------ ------ 10 B, 171.
------ ------ S 4 B, 155, 161, 171, 175, 176, 178, 179, 180, 185,
189, 190, 191.
Fulling fast olive, 135.
Fustic, 66, 69, 70, 77, 83, 85, 86, 87, 97, 120, 220.
------ extract, 88, 123, 131, 133, 134, 135.
#G.#
Galleine, 166.
Gallipoli oil, 26.
Galloflavine, 70, 119, 133.
Gambine, 61, 114, 119, 127.
------- B, 164.
------- R, 133, 164, 167.
------- V, 96, 125, 133, 164.
------- yellow, 93, 115, 125.
Geranine B, 160.
-------- G, 102.
Glacier blue, 155.
Glauber's salt, 81, 89, 91, 99, 127, 128, 129, 130, 135, 150, 151,
169, 171, 172, 184, 215.
Gloria, dyeing of, 188.
Gold and green, 184.
---- brown, 176, 179, 185.
---- orange, 122, 123, 176.
---- yellow, 126.
Golden brown, 162, 163.
------ yellow, 125, 126.
Good yellow, 175.
Grass green, 128.
Green, 127, 131, 178, 192, 193, 195.
----- and buff, 186.
----- and claret, 185.
----- and red, 186.
----- and orange, 187.
Greenish, 98.
-------- black on wool, 91.
-------- straw, 124.
Grey, 98, 165, 182.
---- and orange, 186.
---- blue, 158.
---- on wool, 96.
Guinea green B, 171, 181, 187.
------ violet 4 B, 171, 181.
#H.#
Hæmatoxylin of logwood, 84.
Hand dyeing, 40.
---- scouring of wool, 18.
Hank-washing machine, 201.
---- wringing machines, 198.
Hare fur, 83.
Hessian violet, 102, 171.
Holliday's patent indigo vat, 143.
Hydrochloric acid, 88.
Hydrochloride of rosaniline, 9.
Hypochlorites, action on wool, 12.
Hydro-extractor, 206, 207.
Hydrosulphite of soda, 147.
------------- vats, 138, 141.
Hydroxy-azo dyes, 114.
#I.#
Imperial green G 1, 195.
Indian yellow, 90, 91, 189, 191, 192.
------ ------ G, 131, 171, 175, 176, 177, 179, 180, 185, 195.
------ ------ R, 126, 165, 171, 175, 176, 195.
Indigo, 83, 85, 136, 141.
------ black, 86.
------ blue, 151.
------ carmine, 66, 150.
------ carmine D, 161, 166.
------ dyeing, 137.
------ dye-stuffs, 61.
------ dye-vat, 149.
------ extract, 73, 75, 97, 105, 131, 133, 134, 135, 151, 190, 194.
------ ------- for dyeing wool, 150.
------ indophenol vat, 146.
Indigotine, 194.
---------- extra, 193, 195, 196.
Indophenol, 146.
Induline, 37.
-------- A, 153.
Invisible bronze green, 133.
--------- green, 130, 132, 136.
Iron logwood black, 86, 87.
Italian cloths, 176.
#J.#
Janus black I, 182.
----- ----- I I, 182.
----- blue R, 182.
----- brown B, 182.
----- ----- R, 182, 183.
----- claret red B, 183.
----- dark blue B, 182.
----- dyes, 181.
----- green B, 182, 183.
----- grey B, 182, 183.
----- ---- B B, 182.
----- red B, 182, 183.
----- yellow G, 182.
----- ------ R, 182, 183.
Jet black, 93, 94, 95, 96.
--- ----- on wool, 90, 91, 93.
Jig wince, 53.
#K.#
"Kempy" fibres, 3.
Keratine, 8.
Keton blue G, 111, 162.
Klauder-Weldon hank-dyeing machine, 47, 48.
#L.#
Lactic acid, 115, 116, 117, 151, 215.
Lanafuchsine 6 B, 113.
------------ S B, 111, 113.
------------ S G, 111, 112, 113.
Lanacyl blue B B, 171.
------- ---- R, 171.
------- violet B, 171, 180.
Lavender, 160, 196.
-------- blue, 158.
-------- grey, 166.
Leaf yellow, 125.
Lemon yellow, 125.
Level dyeing, 77.
Light drab, 196.
----- green, 133, 195.
----- grey, 97, 193.
----- sea green, 195.
----- straw, 126.
Lignorosine, 115, 117, 151.
Lilac, 166.
----- blue, 158.
----- grey, 165.
Lime, 117, 140.
---- vats, 138.
Liquor ammonia, 147.
Llama, 1.
Logwood, 66, 69, 70, 83, 85, 86, 87, 97, 136, 151, 220.
------- black, 87, 88.
------- ----- on wool, 86.
------- extract, 88, 133, 135, 136.
Loose wool, dyeing of, 43.
----- ---- washing of, 200.
#M.#
Machine-scouring of wool, 20.
Madder, 77, 144.
Magenta, 53, 61, 64, 102, 103, 190.
Maize yellow, 124.
Malachite green, 127.
Mandarine G, 121, 171, 180, 181, 187.
Maroon, 111, 118, 178.
------ red, 111.
Marseilles soap, 78.
Mauve, 161.
McNaught's wool-washing machine, 20.
Metallic salts, action on wool, 12.
Methylene blue, 133, 134.
Methylrosaniline, 64.
Methyl violet, 53, 64, 190.
------ ------ 3 B, 160.
------ ------ B O, 192.
------ ------ R, 160.
Medulla, 4.
Medium blue, 157, 158.
------ green, 133.
Merino wool, 5.
Mikado orange 4 R O, 180, 181, 187.
Milling red B, 111.
------- --- R, 106, 110.
------- yellow, 192.
------- ------ O, 99, 125, 193.
Mimosa, 169.
Mode colours on wool, 164.
Mordant dyes for brown, 163.
------- ---- for orange, 122.
------- dye-stuffs, 61, 68.
------- dyes for violet, 161.
Mordanting, 115.
---------- of wool, 12.
Mordant yellow, 119, 122, 132.
------- ------ D, 126.
------- ------ O, 164.
Moss green, 129, 130.
Mother vat, 147.
Mouse, 162.
Muriate of tin, 97.
Myrobalan, 197.
#N.#
Naphthol black, 37, 89, 99, 186.
-------- ----- B, 90.
-------- ----- B B, 196.
-------- ----- 3 B, 90, 91, 185, 192.
-------- ----- 4 R, 111.
-------- blue G, 171, 185.
-------- ---- R, 171.
-------- ---- black, 155, 171, 175, 177, 178, 179, 180, 185.
-------- green B, 37, 90, 127, 128, 189, 192, 193, 194.
-------- red C, 113, 185, 192.
-------- --- O, 193.
-------- yellow, 131, 136, 190.
-------- ------ S, 113, 130, 178.
Naphthyl blue black N, 92.
Naphthylamine black, 89, 92, 189.
------------- ----- 4 B, 91, 171, 192.
------------- ----- 6 B, 171, 180.
------------- ----- D, 91, 99, 171, 191.
------------- ----- S, 96.
Navy, 158.
---- blue, 153, 136, 177, 179, 180.
Neutral dye-stuffs, 61.
------- extract, 150.
------- red, 162.
New methylene blue, 190.
--- --------- ---- N, 185, 194.
--- Victoria black blue, 190.
--- -------- blue B, 154.
--- -------- ---- black, 192.
Nigrosine, 37.
Nitrate of iron, 98.
Nitrazine yellow, 124.
Nut, 164.
--- brown, 181, 182.
Nyanza black, 95.
------ ----- B, 99, 128, 161, 165.
#O.#
Obermaier dyeing machine, 44, 45, 46.
Old gold, 122, 126.
Oleic acid, 7, 26.
Oleine, 26.
Olive, 128, 134, 135.
----- brown, 162, 164.
----- bronze, 135.
----- green, 128, 135.
----- oil, 26.
----- yellow, 124, 125.
Orange, 121, 122, 178, 180, 191, 192, 195.
------ No. 2, 162.
------ blue, 187, 194.
------ green, 194.
------ violet, 186.
------ croceine G, 189.
------ E N Z, 123, 135, 171, 176, 178, 179, 180, 185.
------ extra, 99, 107, 108, 111, 113, 122, 162, 163, 171, 178.
------ G, 99, 107, 110, 113, 162, 165, 166, 190.
------ G G, 112, 113, 122, 162, 184, 185, 190, 191, 193.
------ I I, 153, 162.
------ O, 111.
------ R, 122, 189.
------ shades on wool, 121.
------ T A, 170, 181.
Oxalate of ammonia, 95.
Oxalic acid, 85, 87, 88, 93, 115, 116, 133, 151, 215.
Oxydiamine black A, 169.
---------- ----- B, 169.
---------- ----- B M, 180.
---------- ----- D, 169.
---------- ----- M, 169.
---------- ----- S O O O, 170.
---------- Orange G, 170, 178.
---------- ------ R, 170.
---------- red S, 170.
---------- violet B, 170.
---------- yellow G G, 170.
Oxyphenine, 169.
#P.#
Pale blue, 152, 155, 193, 195.
---- bluish crimson, 108.
---- chestnut, 164.
---- crimson, 108.
---- drab, 165, 166.
---- fawn, 166.
---- ---- drab, 165.
---- ---- brown, 166.
---- gold yellow, 175.
---- green, 192.
---- lilac rose, 107.
---- maroon, 191.
---- navy blue, 156.
---- old gold brown, 164.
---- olive yellow, 126.
---- orange, 121, 122.
---- pea-green, 131.
---- Russian green, 128.
---- sage, 195.
---- ---- green, 130, 133, 180.
---- sea green, 129, 132.
---- slate green, 133.
---- ----- grey, 98.
---- stone, 166.
---- violet, 160.
Pararosaniline, 64.
Paris blue, 158.
Patent blue, 92, 99.
------ ---- A, 131, 158.
------ ---- B, 95, 110, 154.
------ ---- J, 154, 162.
------ ---- J B, 166.
------ ---- J O O, 166.
------ ---- N, 128, 154.
------ ---- V, 111, 129, 130, 154, 155, 162, 168.
------ ---- superior, 154.
Peach wood, 86.
Peacock blue, 155, 157, 158.
------- green, 131, 132, 177, 179.
Pearl ash, 17.
----- grey, 97, 98.
Perchloride of tin, 97.
Peri wool blue, 155.
Peroxide of hydrogen for bleaching wool, 29, 34.
-------- of soda for bleaching wool, 36.
Persian berries, 69, 71.
Petrie's wool-washing machine, 20.
Petroleum spirit, 16, 24.
Phenoflavine, 124, 130.
Phenolic colours, 114.
Phenyl rosaniline, 64.
Phloxine, 104, 190, 191.
Phosphate of soda, 218.
Picric acid, 190.
Piece-dyeing machines, 50.
----- goods, drying of, 210.
----- ---- washing of, 202.
----- ---- wringing of, 199.
Pink, 102, 111, 112, 178, 195.
Plum, 178.
Plush fabric dyeing machine, 55.
Ponceau, 105.
------- 3 G, 121.
------- R, 65.
------- 3 R B, 171, 180.
Potash, 17.
------ indigo vat, 144.
------ salts, 7.
Potassium salts, 8.
Primuline, 169.
Puce, 160.
Pure blue O T, 193.
Purple, 109.
------ red, 113.
Purpuramine, 62.
#Q.#
Quick lime, 141.
Quinoline yellow, 189, 194.
#R.#
Rabbit fur, 83.
Raw merino wool, analysis of, 7.
Read Holliday's hawking machine, 57.
---- -------- indigo extract, 151.
---- -------- squeezing machine, 199.
---- -------- yarn dyeing machine, 46, 47.
Red, 106, 107, 120.
--- navy, 158.
--- ---- blue, 157.
--- plum, 177.
--- shades on wool, 100.
Reddish black, 94.
------- grey, 97.
------- orange, 121.
------- puce, 160.
Rhodamine, 165, 189, 190.
--------- B, 113, 191, 193, 197.
--------- G, 195.
--------- red, 102.
Rhoduline red, 102, 103.
Rocceleine, 171, 190.
Roller-squeezing machine, 198.
Rose, 118.
Rosaniline, 64.
Rose bengale, 104, 112, 189, 190.
---- red, 113.
Royal blue, 154.
#S.#
Saddening of wool, 74.
Saffranine, 61, 64, 102, 103, 184, 189, 190.
---------- prima, 103, 194.
Saffron, 13, 63.
Saffrosine, 104.
Sage, 177.
---- brown, 181.
---- green, 128.
Salicylic acid, 114.
Salmon, 113.
------ red, 113.
Salt, 215.
Sanders, 120, 121.
Saxony blue, 154.
Scarlet, 101, 102, 103, 105, 106, 107, 112, 118, 178, 180, 191.
------- F R, 106.
------- O O, 106.
------- R, 183.
------- 3 R, 191.
------- 2 R J, 105.
------- R S, 105.
------- S, 190.
Schutzenberger and Lalande's vat, 141.
Schweizer's reagent, 9.
Scouring of wool, 15, 17.
-------- of woollen piece goods, 28.
Sea green, 131, 136.
Serge, 173.
Silicate of soda, 17.
Silk blue, 189.
---- ---- B E S, 192.
Silver grey, 98, 165, 177.
Sheep, 1.
Short-stapled wools, scouring of, 18.
Shot effects, 183.
Sky blue, 151, 154, 178, 194.
Slaked lime, 145.
Slate, 165, 181.
----- blue, 158, 179.
----- green, 131, 132, 181.
----- grey, 97, 98.
Sliver, dyeing of, 44.
Slubbing, dyeing of, 44.
Smithson's dyeing machine, 88.
Soap, 27.
---- action on wool, 10, 66.
Soaping and washing machine, 205.
------- of goods, 204.
Soda, 17, 215.
---- ash, 17.
---- crystals, 145.
---- indigo vat, 145.
Sodium hydrosulphite, 143.
Solid blue, 190.
----- ---- R, 192.
----- ---- P G, 192.
----- green crystals, 194.
Soluble blue, 189.
Sour extract, 150.
Southdown wool, 5.
Spencer's hank-wringing machine, 198.
Squeezing of goods, 197.
Stale urine, 17, 18.
Stearic acid, 7.
Stone, 166, 181.
Straw, 124.
Stuffing of wool, 74.
Suint, 15.
Suitings, 173.
Sulphon azurine B, 170.
------- ------- D, 180.
------- cyanine, 128, 152, 160.
Sulphur, 8.
------- bleach house, 31.
------- dioxide, 33.
------- bleaching, 29, 30.
Sulphuric acid, 99, 115, 116, 215.
Sumac, 86, 120, 121, 135, 197.
----- extract, 182, 183.
Sweet extract, 150.
#T.#
Tannic acid, 98.
Tannin materials, 197, 215.
Tartar, 85, 86, 88, 93, 115, 116, 117, 131, 132, 133, 134, 135, 151,
166, 167, 215.
------ emetic, 182, 183.
Tartaric acid, 85, 115.
Tartrazine, 190.
Terra-cotta, 195.
----- ----- red, 105, 120.
Tin chloride, 115.
--- crystals, 77.
--- salt, 133.
Thiazol yellow, 169.
Thiocarmine R, 98, 171, 177, 179, 189, 190.
Thioflavine S, 121, 169, 175, 178, 185, 186.
----------- T, 64, 190, 193, 194.
Titan blue, 170, 171.
----- ---- 3 B, 127.
----- brown O, 110, 170.
----- ----- R, 98, 170.
----- ----- T, 170.
----- marine B, 171.
----- pink, 170.
----- red, 61, 98, 107.
----- scarlet, 100.
----- ------- C B, 101, 102.
----- ------- D, 110.
----- ------- S, 169.
----- yellow, 61, 99, 170.
----- ------ G, 127.
----- ------ R, 125.
----- ------ Y, 125, 127.
Treacle, 138.
Tropæoline, 122, 131.
---------- O, 190.
---------- O O, 171, 178.
Turmeric, 13, 63, 120, 189.
Turquoise blue B B, 195.
--------- ---- G, 196.
--------- green, 134.
#U.#
Union black B, 169.
----- ----- S, 169, 176, 178, 179, 180.
----- blue B B, 169.
----- fabrics, dyeing of, 168.
----- flannels, 173.
Urine indigo vat, 145.
#V.#
Velvet, embossing of, 14.
Victoria black, 89, 189.
-------- black B, 91, 191.
-------- ---- blue, 155.
-------- blue, 189.
-------- ---- B, 155.
-------- ---- black, 91.
-------- scarlet R, 107, 110, 111.
-------- rubine O, 107, 111.
-------- violet 8 B S, 130, 155.
-------- yellow, 111, 124, 130, 162.
Violet, 160, 192, 193.
------ and pink, 193, 194.
------ black on wool, 89, 90, 91, 93, 95.
------ blue, 155.
------ grey, 166.
------ shades on wool, 160.
#W.#
Walnut, 162.
------ brown, 176, 182.
Washing of goods, 200.
Water blue, 37.
White indigo, 138.
Wince dye beck, 53, 54.
Woad, 138.
---- indigo vats, 139.
---- vat, 145.
Woaded black, 86.
Wool, 1.
---- action of acid on, 11.
---- alkalies, action of on, 9.
---- batching, 15.
---- black, 89.
---- ----- 6 B, 171, 180, 181, 186.
---- bleaching, 29.
---- --------- peroxide of hydrogen, 34.
---- --------- -------- of soda, 36.
---- --------- with sulphur, 30.
---- chemical composition of, 6.
---- chlorination of, 37.
---- blue B X, 153.
---- ---- dyeing with logwood, 161.
---- fibre under microscope, 2.
---- ----- unscoured, 10.
---- ----- chemical composition of, 7.
---- ----- scoured badly, 10.
---- ----- showing medullary centre, 4.
---- ----- heated with acid, 11.
---- grey R, 166.
Woollen piece goods, scouring of, 28.
------- yarn, 2.
Wool oil, 26.
---- physical properties of, 2.
---- -------- structure, variations in, 5.
Wool scouring, 15, 17.
---- -------- by solvents, 23.
Wool-washing machine, 20, 21.
Worsted yarn, 2.
Wringing of goods, 197.
#Y.#
Yarn-drying machine, 208.
Yarn, washing of, in hanks, 202.
Yarn wringing, 198.
Yellow, 125, 195.
------ brown, 161.
------ N, 125, 133, 134.
------ olive, 135.
------ shades on wool, 123.
Yolk, 7.
Yorkshire grease, 26.
#Z.#
Zambesi black B, 170, 181.
------- ----- D, 170, 180, 181.
------- ----- F, 171.
------- blue R A, 180, 181.
------- brown G, 171, 181.
------- ----- 2 G, 171.
------- dyes, 168.
Zinc dust, 141.
The Aberdeen University Press Limited.
CATALOGUE (p. c01)
Of
_Special Technical Books_
For
Manufacturers, Technical Students And
Workers, Schools, Colleges, Etc.
By Expert Writers
Index To Subjects.
Page
Agricultural Chemistry........... 10
Air, Industrial Use of........... 12
Alum and its Sulphates............ 9
Ammonia........................... 9
Aniline Colours................... 3
Animal Fats....................... 6
Anti-corrosive Paints............. 4
Architecture, Terms in........... 30
Architectural Pottery............ 15
Artificial Perfumes............... 7
Balsams.......................... 10
Bibliography..................... 32
Bleaching........................ 23
Bone Products..................... 8
Bookbinding...................... 31
Brick-making................. 15, 16
Burnishing Brass................. 28
Carpet Yarn Printing............. 21
Ceramic Books................ 14, 15
Charcoal.......................... 8
Chemical Essays................... 9
Chemistry of Pottery............. 16
Chemistry of Dye-stuffs.......... 23
Clay Analysis.................... 16
Coal-dust Firing................. 26
Colour Matching.................. 22
Colliery Recovery Work........... 25
Colour-mixing for Dyers.......... 22
Colour Theory.................... 22
Combing Machines................. 24
Compounding Oils.................. 6
Condensing Apparatus............. 26
Cosmetics......................... 8
Cotton Dyeing.................... 23
Cotton Spinning.................. 24
Damask Weaving................... 20
Dampness in Buildings............ 30
Decorators' Books................ 28
Decorative Textiles.............. 20
Dental Metallurgy................ 25
Dictionary of Paint Materials..... 2
Drying Oils....................... 5
Drying with Air.................. 12
Dyeing Marble.................... 31
Dyeing Woollen Fabrics........... 23
Dyers' Materials................. 22
Dye-stuffs....................... 23
Enamelling Metal................. 18
Enamels.......................... 18
Engraving........................ 31
Essential Oils.................... 7
Evaporating Apparatus............ 26
External Plumbing................ 27
Fats........................... 5, 6
Faults in Woollen Goods.......... 21
Gas Firing....................... 26
Glass-making Recipes............. 16
Glass Painting................... 17
Glue Making and Testing........... 8
Greases........................... 5
Hat Manufacturing................ 20
History of Staffs Potteries...... 16
Hops............................. 28
Hot-water Supply................. 28
How to make a Woollen Mill Pay... 21
India-rubber..................... 13
Industrial Alcohol............... 10
Inks.......................... 3, 11
Iron-corrosion.................... 4
Iron, Science of................. 26
Japanning........................ 28
Lace-Making...................... 20
Lacquering....................... 28
Lake Pigments..................... 2
Lead and its Compounds........... 11
Leather Industry................. 13
Leather-working Materials........ 14
Lithography...................... 31
Lubricants..................... 5, 6
Manures....................... 8, 10
Mineral Pigments.................. 3
Mine Ventilation................. 25
Mine Haulage..................... 25
Oil and Colour Recipes............ 3
Oil Boiling....................... 5
Oil Merchants' Manual............. 7
Oils.............................. 5
Ozone, Industrial Use of......... 12
Paint Manufacture................. 2
Paint Materials................... 3
Paint-material Testing............ 4
Paper-pulp Dyeing................ 17
Petroleum......................... 6
Pigments, Chemistry of............ 2
Plumbers' Work................... 27
Porcelain Painting............... 17
Pottery Clays.................... 16
Pottery Manufacture.............. 14
Power-loom Weaving............... 19
Preserved Foods.................. 30
Printers' Ready Reckoner......... 31
Printing Inks..................... 3
Recipes for Oilmen, etc........... 3
Resins........................... 10
Risks of Occupations............. 11
Riveting China, etc.............. 16
Sanitary Plumbing................ 27
Sealing Waxes.................... 11
Silk Dyeing...................... 22
Silk Throwing.................... 18
Smoke Prevention................. 26
Soaps............................. 7
Spinning......................... 21
Staining Marble, and Bone........ 31
Steam Drying..................... 12
Sugar Refining................... 32
Steel Hardening.................. 26
Sweetmeats....................... 30
Terra-cotta...................... 15
Testing Paint Materials........... 4
Testing Yarns.................... 20
Textile Fabrics.................. 20
Textile Materials............ 19, 20
Timber........................... 29
Varnishes......................... 5
Vegetable Fats.................... 7
Waste Utilisation................ 10
Water, Industrial Use............ 12
Waterproofing Fabrics............ 21
Weaving Calculations............. 21
Wood Waste Utilisation........... 29
Wood Dyeing...................... 31
Wool Dyeing.................. 22, 23
Writing Inks..................... 11
X-Ray Work....................... 13
Yarn Testing..................... 20
Published By
Scott, Greenwood & Son,
8 Broadway, Ludgate Hill,
London, E.c.
Telegraphic Address, "Printeries, London".
#PAINTS, COLOURS AND PRINTING INKS.# (p. c02)
#THE CHEMISTRY OF PIGMENTS.# By Ernest J. PARRY, B.Sc. (Lond.), F.I.C.,
F.C.S., and J. H. COSTE, F.I.C., F.C.S. Demy 8vo. Five Illustrations.
285 pp. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d.
abroad.)
#Contents.#
#Introductory.# Light -- White Light -- The Spectrum -- The Invisible
Spectrum -- Normal Spectrum -- Simple Nature of Pure Spectral Colour
-- The Recomposition of White Light -- Primary and Complementary
Colours -- Coloured Bodies -- Absorption Spectra -- #The Application of
Pigments.# Uses of Pigments: Artistic, Decorative, Protective --
Methods of Application of Pigments: Pastels and Crayons, Water Colour,
Tempera Painting, Fresco, Encaustic Painting, Oil-colour Painting,
Keramic Art, Enamel, Stained and Painted Glass, Mosaic -- #Inorganic
Pigments.# White Lead -- Zinc White -- Enamel White -- Whitening -- Red
Lead -- Litharge -- Vermilion -- Royal Scarle t-- The Chromium Greens
-- Chromates of Lead, Zinc, Silver and Mercury -- Brunswick Green --
The Ochres -- Indian Red -- Venetian Red -- Siennas and Umbers --
Light Red -- Cappagh Brown -- Red Oxides -- Mars Colours -- Terre
Verte -- Prussian Brown -- Cobalt Colours -- Coeruleum -- Smalt --
Copper Pigments -- Malachite -- Bremen Green -- Scheele's Green --
Emerald Green -- Verdigris -- Brunswick Green -- Non-arsenical Greens
-- Copper Blues -- Ultramarine -- Carbon Pigments -- Ivory Black --
Lamp Black -- Bistre -- Naples Yellow -- Arsenic Sulphides: Orpiment,
Realgar -- Cadmium Yellow -- Vandyck Brown -- #Organic Pigments.#
Prussian Blue -- Natural Lakes -- Cochineal -- Carmine -- Crimson --
Lac Dye -- Scarlet -- Madder -- Alizarin -- Campeachy -- Quercitron --
Rhamnus -- Brazil Wood -- Alkanet -- Santal Wood -- Archil -- Coal-tar
Lakes -- Red Lakes -- Alizarin Compounds -- Orange and Yellow Lakes --
Green and Blue Lakes -- Indigo -- Dragon's Blood -- Gamboge -- Sepia
-- Indian Yellow, Puree -- Bitumen, Asphaltum, Mummy -- #Index.#
#THE MANUFACTURE OF PAINT.# A Practical Handbook
for Paint Manufacturers, Merchants and Painters. By J. CRUICKSHANK
SMITH, B.Sc. Demy 8vo. 200 pp. Sixty Illustrations and One Large
Diagram. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.)
#Contents.#
Preparation of Raw Material -- Storing of Raw Material -- Testing and
Valuation of Raw Material -- Paint Plant and Machinery -- The Grinding
of White Lead -- Grinding of White Zinc -- Grinding of other White
Pigments -- Grinding of Oxide Paints -- Grinding of Staining Colours
-- Grinding of Black Paints -- Grinding of Chemical Colours -- Yellows
-- Grinding of Chemical Colours -- Blues -- Grinding Greens --
Grinding Reds -- Grinding Lakes -- Grinding Colours in Water --
Grinding Colours in Turpentine -- The Uses of Paint -- Testing and
Matching Paints -- Economic Considerations -- Index.
#DICTIONARY OF CHEMICALS AND RAW PRODUCTS USED IN THE MANUFACTURE OF
PAINTS, COLOURS, VARNISHES AND ALLIED PREPARATIONS.# By George H.
HURST, F.C.S. Demy 8vo. 380 pp. Price 7s. 6d. net. (Post free, 8s.
home; 8s. 6d. abroad.)
#THE MANUFACTURE OF LAKE PIGMENTS FROM ARTIFICIAL COLOURS.# By Francis
H. JENNISON, F.I.C., F.C.S. #Sixteen Coloured Plates, showing Specimens
of Eighty-nine Colours, specially prepared from the Recipes given in
the Book.# 136 pp. Demy 8vo. Price 7s. 6d. net. (Post free, 7s. 10d.
home; 8s. abroad.)
#Contents.#
The Groups of the Artificial Colouring Matters -- The Nature and
Manipulation of Artificial Colours -- Lake-forming Bodies for Acid
Colours -- Lake-forming Bodies' Basic Colours -- Lake Bases -- The
Principles of Lake Formation -- Red Lakes -- Orange, Yellow, Green,
Blue, Violet and Black Lakes -- The Production of Insoluble Azo
Colours in the Form of Pigments -- The General Properties of Lakes
Produced from Artificial Colours -- Washing, Filtering and Finishing
-- Matching and Testing Lake Pigments -- Index.
#THE MANUFACTURE OF MINERAL AND LAKE PIGMENTS.# Containing (p. c03)
Directions for the Manufacture of all Artificial, Artists and
Painters' Colours, Enamel, Soot and Metallic Pigments. A Text-book for
Manufacturers, Merchants, Artists and Painters. By Dr. Josef BERSCH.
Translated by A. C. WRIGHT, M.A. (Oxon.), B.Sc. (Lond.). Forty-three
Illustrations. 476 pp., demy 8vo. Price 12s. 6d. net. (Post free, 13s.
home; 13s. 6d. abroad.)
#Contents.#
Introduction -- Physico-chemical Behaviour of Pigments -- Raw
Materials Employed in the Manufacture of Pigments -- Assistant
Materials -- Metallic Compounds -- The Manufacture of Mineral Pigments
-- The Manufacture of White Lead -- Enamel White -- Washing Apparatus
-- Zinc White -- Yellow Mineral Pigments -- Chrome Yellow -- Lead
Oxide Pigments -- Other Yellow Pigments -- Mosaic Gold -- Red Mineral
Pigments -- The Manufacture of Vermilion -- Antimony Vermilion --
Ferric Oxide Pigments -- Other Red Mineral Pigments -- Purple of
Cassius -- Blue Mineral Pigments -- Ultramarine -- Manufacture of
Ultramarine -- Blue Copper Pigments -- Blue Cobalt Pigments -- Smalts
-- Green Mineral Pigments -- Emerald Green -- Verdigris -- Chromium
Oxide -- Other Green Chromium Pigments -- Green Cobalt Pigments --
Green Manganese Pigments -- Compounded Green Pigments -- Violet
Mineral Pigments -- Brown Mineral Pigments -- Brown Decomposition
Products -- Black Pigments -- Manufacture of Soot Pigments --
Manufacture of Lamp Black -- The Manufacture of Soot Black without
Chambers -- Indian Ink -- Enamel Colours -- Metallic Pigments --
Bronze Pigments -- Vegetable Bronze Pigments.
PIGMENTS OF ORGANIC ORIGIN -- Lakes -- Yellow Lakes -- Red Lakes --
Manufacture of Carmine -- The Colouring Matter of Lac -- Safflower or
Carthamine Red -- Madder and its Colouring Matters -- Madder Lakes --
Manjit (Indian Madder) -- Lichen Colouring Matters -- Red Wood Lakes
-- The Colouring Matters of Sandal Wood and Other Dye Woods -- Blue
Lakes -- Indigo Carmine -- The Colouring Matter of Log Wood -- Green
Lakes -- Brown Organic Pigments -- Sap Colours -- Water Colours --
Crayons -- Confectionery Colours -- The Preparation of Pigments for
Painting -- The Examination of Pigments -- Examination of Lakes -- The
Testing of Dye-Woods -- The Design of a Colour Works -- Commercial
Names of Pigments -- Appendix: Conversion of Metric to English Weights
and Measures -- Centigrade and Fahrenheit Thermometer Scales -- Index.
#RECIPES FOR THE COLOUR, PAINT, VARNISH, OIL, SOAP AND DRYSALTERY
TRADES.# Compiled by AN ANALYTICAL CHEMIST. 350 pp. Demy 8vo. Price 7s.
6d. net. (Post free, 8s. home; 8s. 3d. abroad.)
#Contents.#
Pigments or Colours for Paints, Lithographic and Letterpress Printing
Inks, etc. -- Mixed Paints and Preparations for Paint-making,
Painting, Lime-washing, Paperhanging, etc. -- Varnishes for
Coach-builders, Cabinetmakers, Wood-workers, Metal-workers,
Photographers, etc. -- Soaps for Toilet, Cleansing, Polishing, etc. --
Perfumes -- Lubricating Greases, Oils, etc. -- Cements, Pastes, Glues
and Other Adhesive Preparations -- Writing, Marking, Endorsing and
Other Inks -- Sealing-wax and Office Requisites -- Preparations for
the Laundry, Kitchen, Stable and General Household Uses --
Disinfectant Preparations -- Miscellaneous Preparations -- Index.
#OIL COLOURS AND PRINTERS' INKS.# By Louis Edgar ANDÉS. Translated from
the German. 215 pp. Crown 8vo. 56 Illustrations. Price 5s. net. (Post
free, 5s. 4d. home; 5s. 6d. abroad.)
#Contents.#
Linseed Oil -- Poppy Oil -- Mechanical Purification of Linseed Oil --
Chemical Purification of Linseed Oil -- Bleaching Linseed Oil --
Oxidizing Agents for Boiling Linseed Oil -- Theory of Oil Boiling --
Manufacture of Boiled Oil -- Adulterations of Boiled Oil -- Chinese
Drying Oil and Other Specialities -- Pigments for House and Artistic
Painting and Inks -- Pigment for Printers' Black Inks -- Substitutes
for Lampblack -- Machinery for Colour Grinding and Rubbing -- Machines
for mixing Pigments with the Vehicle -- Paint Mills -- Manufacture of
House Oil Paints -- Ship Paints -- Luminous Paint -- Artists' Colours
-- Printers' Inks: -- VEHICLES -- Printers' Inks: -- PIGMENTS and
MANUFACTURE -- Index.
(_See also Writing Inks, p. 11._)
#THREE HUNDRED SHADES FOR DECORATORS AND HOW TO MIX THEM.#
(_See page 28._)
#CASEIN.# By Robert SCHERER. Translated from the German by (p. c04)
Chas. SALTER. Demy 8vo. Illustrated. 160 pp. Price 7s. 6d. net, (Post
free, 7s. 10d. home; 8s. abroad.)
#Contents.#
#Casein: its Origin, Preparation and Properties. Various Methods of
Preparing Casein. Composition and Properties of Casein. Casein Paints.#
-- "Marble-Lime" Colour for Outside Work -- Casein Enamel Paint --
Casein Façade Paint -- Cold-Water Paint in Powder Form -- Kistory's
Recipe for Casein Paint and Varnish -- Pure Casein Paints for Walls,
etc. -- Casein Paints for Woodwork and Iron -- Casein-Silicate Paints
-- Milk Paints -- Casein-Silicate Paint Recipes -- Trojel's Boiled Oil
Substitute -- Calsomine Wash -- Quick-Drying Casein Paint -- Boiled
Oil Substitute -- Ring's Cold-Water Paint -- Formo-lactin --
Waterproof Paint for Playing Cards -- Casein Colour Lake --
Casein-Cement Paint. #The Technics of Casein Painting. Casein Adhesives
and Putties.# -- Casein Glue in Plates or Flakes -- Jeromin's Casein
Adhesive -- Hall's Casein Glue -- Waterproof Glue -- Liquid Casein
Glue -- Casein and Borax Glue -- Solid Casein Adhesive -- Casein
Solution -- Glue Powder -- Casein Putties -- Washable Cement for Deal
Boards -- Wenk's Casein Cement -- Casein and Lime Cement "Pitch Barm"
-- Casein Stopping -- Casein Cement for Stone. #The Preparation of
Plastic Masses from Casein.# -- Imitation Ivory -- Anti-Radiation and
Anti-Corrosive Composition -- Dickmann's Covering for Floors and Walls
-- Imitation Linoleum -- Imitation Leather -- Imitation Bone --
Plastic Mass of Keratin and Casein -- Insulating Mass -- Plastic
Casein Masses -- Horny Casein Mass -- Plastic Mass from Celluloid --
Casein Cellulose Composition -- Fire-proof Cellulose Substitute --
Nitrocellulose and Casein Composition -- Franquet's Celluloid
Substitute -- Galalith. #Uses of Casein in the Textile Industry, for
Finishing Colour Printing, etc.# -- Caseogum -- "Glutin" -- Casein
Dressing for Linen and Cotton Fabrics -- Printing Colour with Metallic
Lustre -- Process for Softening, Sizing and Loading -- Fixing Casein
and Other Albuminoids on the Fibre -- Fixing Insoluble Colouring
Matters -- Waterproofing and Softening Dressing -- Casein for
Mercerising Crèpe -- Fixing Zinc White on Cotton with Formaldehyde --
Casein-Magnesia -- Casein Medium for Calico Printing -- Loading Silk.
#Casein Foodstuffs.# -- Casein Food -- Synthetic Milk -- Milk Food --
Emulsifiable Casein -- Casein Phosphate for Baking -- Making Bread,
Low in Carbohydrates, from Flour and Curd -- Preparing Soluble Casein
Compounds with Citrates -- Casein Food. #Sundry Applications of Casein.#
-- Uses of Casein in the Paper Industry -- Metachromotype Paper --
Sizing Paper with Casein -- Waterproofing Paper -- Casein Solution for
Coating Paper -- Horn's Clear Solution of Casein -- Water- and
Fire-proof Asbestos Paper and Board -- Paper Flasks, etc., for Oils
and Fats -- Washable Drawing and Writing Paper--Paper Wrappering for
Food, Clothing, etc. -- Paint Remover -- Casein Photographic Plates --
Wood-Cement Roofing Pulp -- Cask Glaze of Casein and Formaldehyde --
Artists' Canvas -- Solidifying Mineral Oils -- Uses of Casein in
Photography -- Casein Ointment -- Clarifying Glue with Casein --
Casein in Soap-making -- Casein-Albumose Soap -- Casein in Sheets,
Blocks, etc. -- Waterproof Casein.
#SIMPLE METHODS FOR TESTING PAINTERS' MATERIALS.# By A. C. WRIGHT, M.A.
(Oxon.), B.Sc. (Lond.). Crown 8vo. 160 pp. #Price# 5s. net. (Post free,
5s. 3d. home; 5s. 6d. abroad.)
#Contents.#
Necessity for Testing -- Standards -- Arrangement -- The Apparatus --
The Reagents -- Practical Tests -- Dry Colours -- Stiff Paints --
Liquid and Enamel Paints -- Oil Varnishes -- Spirit Varnishes --
Driers -- Putty -- Linseed Oil -- Turpentine -- Water Stains -- The
Chemical Examination -- Dry Colours and Paints -- White Pigments and
Paints -- Yellow Pigments and Paints -- Blue Pigments and Paints --
Green Pigments and Paints -- Red Pigments and Paints -- Brown Pigments
and Paints -- Black Pigments and Paints -- Oil Varnishes -- Linseed
Oil -- Turpentine.
#IRON-CORROSION, ANTI-FOULING AND ANTI-CORROSIVE PAINTS.# Translated
from the German of Louis Edgar ANDÉS. Sixty-two Illustrations. 275 pp.
Demy 8vo. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d.
abroad.)
#Contents.#
Iron-rust and its Formation -- Protection from Rusting by Paint --
Grounding the Iron with Linseed Oil, etc. -- Testing Paints -- Use of
Tar for Painting on Iron -- Anti-corrosive Paints -- Linseed Varnish
-- Chinese Wood Oil -- Lead Pigments -- Iron Pigments -- Artificial
Iron Oxides -- Carbon -- Preparation of Anti-corrosive Paints --
Results of Examination of Several Anti-corrosive Paints -- Paints for
Ship's Bottoms -- Anti-fouling Compositions -- Various Anti-corrosive
and Ship's Paints -- Official Standard Specifications for Ironwork
Paints -- Index.
#THE TESTING AND VALUATION OF RAW MATERIALS USED IN PAINT AND COLOUR
MANUFACTURE.# By M. W. JONES, F.C.S. A Book for the Laboratories of
Colour Works. 88 pp. Crown 8vo. Price 5s. net. (Post free, 5s. 3d.
home and abroad.)
#Contents.# (p. c05)
Aluminium Compounds -- China Clay -- Iron Compounds -- Potassium
Compounds -- Sodium Compounds -- Ammonium Hydrate -- Acids -- Chromium
Compounds -- Tin Compounds -- Copper Compounds -- Lead Compounds --
Zinc Compounds -- Manganese Compounds -- Arsenic Compounds -- Antimony
Compounds -- Calcium Compounds -- Barium Compounds -- Cadmium
Compounds -- Mercury Compounds -- Ultramarine -- Cobalt and Carbon
Compounds -- Oils -- Index.
#STUDENTS' HANDBOOK OF PAINTS, COLOURS, OILS AND VARNISHES.# By John
FURNELL. Crown 8vo. 12 Illustrations. 96 pp. Price 2s. 6d. net. (Post
free, 2s. 9d. home and abroad.)
#Contents.#
Plant -- Chromes -- Blues -- Greens -- Earth Colours -- Blacks -- Reds
-- Lakes -- Whites -- Painters' Oils -- Turpentine -- Oil Varnishes --
Spirit Varnishes -- Liquid Paints -- Enamel Paints.
#VARNISHES AND DRYING OILS.#
#OIL CRUSHING, REFINING AND BOILING, THE MANUFACTURE OF LINOLEUM,
PRINTING AND LITHOGRAPHIC INKS, AND INDIA-RUBBER SUBSTITUTES.# By John
GEDDES MCINTOSH. Being Volume I. of the Second, greatly enlarged,
English Edition, in three Volumes, of "The Manufacture of Varnishes
and Kindred Industries," based on and including the work of Ach.
Livache. Demy 8vo. 150 pp. 29 Illustrations. Price 7s. 6d. net. (Post
free, 7s. 10d. home; 8s. abroad.)
#Contents.#
Oil Crushing and Refining; Oil Boiling -- Theoretical and Practical;
Linoleum Manufacture; Printing Ink Manufacture; Rubber Substitutes;
The Manufacture of Driers; The Detection of Adulteration in Linseed
and other Drying Oils by Chemical, Physical and Organoleptic Methods.
#DRYING OILS, BOILED OIL AND SOLID AND LIQUID DRIERS.# By L. E. ANDÉS.
Expressly Written for this Series of Special Technical Books, and the
Publishers hold the Copyright for English and Foreign Editions.
Forty-two Illustrations. 342 pp. Demy 8vo. Price 12s. 6d. net. (Post
free, 13s. home; 13s. 3d. abroad.)
#Contents.#
Properties of the Drying Oils; Cause of the Drying Property;
Absorption of Oxygen; Behaviour towards Metallic Oxides, etc. -- The
Properties of and Methods for obtaining the Drying Oils -- Production
of the Drying Oils by Expression and Extraction; Refining and
Bleaching; Oil Cakes and Meal; The Refining and Bleaching of the
Drying Oils; The Bleaching of Linseed Oil -- The Manufacture of Boiled
Oil; The Preparation of Drying Oils for Use in the Grinding of Paints
and Artists' Colours and in the Manufacture of Varnishes by Heating
over a Fire or by Steam, by the Cold Process, by the Action of Air,
and by Means of the Electric Current; The Driers used in Boiling
Linseed Oil; The Manufacture of Boiled Oil and the Apparatus therefor;
Livache's Process for Preparing a Good Drying Oil and its Practical
Application -- The Preparation of Varnishes for Letterpress,
Lithographic and Copperplate Printing, for Oilcloth and Waterproof
Fabrics; The Manufacture of Thickened Linseed Oil, Burnt Oil, Stand
Oil by Fire Heat, Superheated Steam, and by a Current of Air --
Behaviour of the Drying Oils and Boiled Oils towards Atmospheric
Influences, Water, Acids and Alkalies -- Boiled Oil Substitutes -- The
Manufacture of Solid and Liquid Driers from Linseed Oil and Rosin;
Linolic Acid Compounds of the Driers -- The Adulteration and
Examination of the Drying Oils and Boiled Oil.
#OILS, FATS, GREASES, PETROLEUM.#
#LUBRICATING OILS, FATS AND GREASES:# Their Origin, Preparation,
Properties, Uses and Analyses. A Handbook for Oil Manufacturers,
Refiners and Merchants, and the Oil and Fat Industry in General. By
George H. HURST, F.C.S. Second Revised and Enlarged Edition.
Sixty-five Illustrations. 317 pp. Demy 8vo. Price 10s. 6d. net. (Post
free, 11s. home; 11s. 3d. abroad.)
#Contents.#
#Introductory -- Hydrocarbon Oils -- Scotch Shale Oils -- Petroleum --
Vegetable and Animal Oils -- Testing and Adulteration of Oils --
Lubricating Greases -- Lubrication -- Appendices -- Index.#
#TECHNOLOGY OF PETROLEUM:# Oil Fields of the World -- Their (p. c06)
History, Geography and Geology -- Annual Production and Development --
Oil-well Drilling -- Transport. By Henry NEUBERGER and Henry NOALHAT.
Translated from the French by J. G. McINTOSH. 550 pp. 153
Illustrations. 26 Plates. Super Royal 8vo. Price 21s. net. (Post free,
21s. 9d. home; 23s. 6d. abroad.)
#Contents.#
#Study of the Petroliferous Strata.#
#Excavations#--Hand Excavation or Hand Digging of Oil Wells.
#Methods of Boring.#
#Accidents# -- Boring Accidents -- Methods of preventing them -- Methods
of remedying them -- Explosives and the use of the "Torpedo"
Levigation -- Storing and Transport of Petroleum -- General Advice --
Prospecting, Management and carrying on of Petroleum Boring
Operations.
#General Data -- Customary Formulæ# -- Memento. Practical Part. General
Data bearing on Petroleum -- Glossary of Technical Terms used in the
Petroleum Industry -- Copious Index.
#THE PRACTICAL COMPOUNDING OF OILS, TALLOW AND GREASE FOR LUBRICATION,
ETC.# By AN EXPERT OIL REFINER. 100 pp. Demy 8vo. Price 7s. 6d. net.
(Post free. 7s. 10d. home; 8s. abroad.)
#Contents.#
#Introductory Remarks# on the General Nomenclature of Oils, Tallow and
Greases suitable for Lubrication -- #Hydrocarbon Oils -- Animal and
Fish Oils -- Compound Oils -- Vegetable Oils -- Lamp Oils -- Engine
Tallow, Solidified Oils and Petroleum Jelly -- Machinery Greases: Loco
and Anti-friction -- Clarifying and Utilisation of Waste Fats, Oils,
Tank Bottoms, Drainings of Barrels and Drums, Pickings Up, Dregs, etc.
-- The Fixing and Cleaning of Oil Tanks, etc. -- Appendix and General
Information.#
#ANIMAL FATS AND OILS:# Their Practical Production, Purification and
Uses for a great Variety of Purposes. Their Properties, Falsification
and Examination. Translated from the German of Louis Edgar ANDÉS.
Sixty-two Illustrations. 240 pp. Second Edition, Revised and Enlarged.
Demy 8vo. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d.
abroad.)
#Contents.#
Introduction -- Occurrence, Origin, Properties and Chemical
Constitution of Animal Fats -- Preparation of Animal Fats and Oils --
Machinery -- Tallow-melting Plant -- Extraction Plant -- Presses --
Filtering Apparatus -- Butter: Raw Material and Preparation,
Properties, Adulterations, Beef Lard or Remelted Butter, Testing --
Candle-fish Oil -- Mutton-Tallow -- Hare Fat -- Goose Fat -- Neatsfoot
Oil -- Bone Fat: Bone Boiling, Steaming Bones, Extraction, Refining --
Bone Oil -- Artificial Butter: Oleomargarine, Margarine Manufacture in
France, Grasso's Process, "Kaiser's Butter," Jahr & Münzberg's Method,
Filbert's Process, Winter's Method -- Human Fat -- Horse Fat -- Beef
Marrow -- Turtle Oil -- Hog's Lard: Raw Material -- Preparation,
Properties, Adulterations, Examination -- Lard Oil -- Fish Oils --
Liver Oils -- Artificial Train Oil -- Wool Fat: Properties, Purified
Wool Fat -- Spermaceti: Examination of Fats and Oils in General.
#THE MANUFACTURE OF LUBRICANTS, SHOE POLISHES AND LEATHER DRESSINGS.# By
Richard BRUNNER. Translated from the Sixth German Edition by Chas.
SALTER. 10 Illustrations. Crown 8vo. 170 pp. Price 7s. 6d. net. (Post
free, 7s. 10d. home; 8s. abroad.)
#Contents.#
The Manufacture of Lubricants and Greases -- Properties of the Bodies
used as Lubricants -- Raw Materials for Lubricants -- Solid Lubricants
-- Tallow Lubricants -- Palm Oil Greases -- Lead Soap Lubricants --
True Soap Greases -- Caoutchouc Lubricants -- Other Solid Lubricants
-- Liquid Lubricants -- Lubricating Oils in General -- Refining Oils
for Lubricating Purposes -- Cohesion Oils -- Resin Oils -- Lubricants
of Fat and Resin Oil -- Neatsfoot Oil -- Bone Fat -- Lubricants for
Special Purposes -- Mineral Lubricating Oils -- Clockmakers' and
Sewing Machine Oils -- The Application of Lubricants to Machinery --
Removing Thickened Grease and Oil -- Cleaning Oil Rags and Cotton
Waste -- The Use of Lubricants -- Shoe Polishes and Leather Softening
Preparations -- The Manufacture of Shoe Polishes and Preparations for
Varnishing and Softening Leather -- The Preparation of Bone Black --
Blacking and Shoe Polishes -- Leather Varnishes -- Leather Softening
Preparations -- The Manufacture of Dégras.
#THE OIL MERCHANTS' MANUAL AND OIL TRADE READY RECKONER.# (p. c07)
Compiled by Frank P. SHERRIFF. Second Edition Revised and Enlarged.
Demy 8vo. 214 pp. 1904. With Two Sheets of Tables. Price 7s. 6d. net.
(Post free, 7s. 10d. home; 8s. 3d. abroad.)
#Contents.#
Trade Terms and Customs -- Tables to Ascertain Value of Oil sold
per cwt. or ton -- Specific Gravity Tables -- Percentage Tare Tables
-- Petroleum Tables -- Paraffine and Benzoline Calculations --
Customary Drafts -- Tables for Calculating Allowance for Dirt, Water,
etc. -- Capacity of Circular Tanks Tables, etc., etc.
#VEGETABLE FATS AND OILS:# Their Practical Preparation. Purification and
Employment for Various Purposes, their Properties, Adulteration and
Examination. Translated from the German of Louis Edgar ANDÉS.
Ninety-four Illustrations. 340 pp. Second Edition. Demy 8vo. Price
10s. 6d. net. (Post free, 11s. home; 11s. 6d. abroad.)
#Contents.#
#General Properties# -- #Estimation of the Amount of Oil in Seeds# --
#The Preparation of Vegetable Fats and Oils# -- Apparatus for Grinding
Oil Seeds and Fruits -- #Installation of Oil and Fat Works# -- Extraction
Method of Obtaining Oils and Fats -- Oil Extraction Installations --
Press Moulds -- #Non-drying Vegetable Oils# -- #Vegetable drying Oils#
-- #Solid Vegetable Fats# -- Fruits Yielding Oils and Fats --
Wool-softening Oils -- Soluble Oils -- Treatment of the Oil after
Leaving the Press -- Improved Methods of Refining -- #Bleaching Fats
and Oils# -- Practical Experiments on the Treatment of Oils with regard
to Refining and Bleaching -- Testing Oils and Fats.
#ESSENTIAL OILS AND PERFUMES.#
#THE CHEMISTRY OF ESSENTIAL OILS AND ARTIFICIAL PERFUMES.# By Ernest J.
PARRY, B.Sc. (Lond.), F.I.C., F.C.S. 411 pp. 20 Illustrations. Demy
8vo. Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.)
#Contents.#
#The General Properties of Essential Oils# -- Compounds #occurring in
Essential Oils# -- #The Preparation of Essential Oils# -- #The Analysis of
Essential Oils# -- #Systematic Study of the Essential Oils# --
#Terpeneless Oils# -- #The Chemistry of Artificial Perfumes# -- #Appendix:#
Table of Constants -- #Index#.
#SOAPS.#
#SOAPS.# A Practical Manual of the Manufacture of Domestic, Toilet and
other Soaps. By George H. HURST, F.C.S. 390 pp. 66 Illustrations.
Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.)
#Contents.#
#Introductory -- Soap-maker's Alkalies -- Soap Fats and Oils --
Perfumes -- Water as a Soap Material -- Soap Machinery -- Technology
of Soap-making -- Glycerine in Soap Lyes -- Laying out a Soap Factory
-- Soap Analysis -- Appendices.#
#TEXTILE SOAPS AND OILS.# Handbook on the Preparation, Properties and
Analysis of the Soaps and Oils used in Textile Manufacturing, Dyeing
and Printing. By George H. HURST, F.C.S. Crown 8vo. 195 pp. 1904.
Price 5s. net. (Post free, 5s. 4d. home; 5s. 6d. abroad.)
#Contents#.
#Methods of Making Soaps# -- Hard Soap -- Soft Soap. #Special Textile
Soaps# -- Wool Soaps -- Calico Printers' Soaps -- Dyers' Soaps.
#Relation of Soap to Water for Industrial Purposes# -- Treating Waste
Soap Liquors -- Boiled Off Liquor -- Calico Printers and Dyers' Soap
Liquors -- #Soap Analysis# -- #Fat in Soap#.
ANIMAL AND VEGETABLE OILS AND FATS -- Tallow -- Lard -- Bone
Grease-Tallow Oil. #Vegetable Soap, Oils and Fats# -- Palm Oil --
Coco-nut Oil -- Olive Oil -- Cottonseed Oil -- Linseed Oil -- Castor
Oil -- Corn Oil -- Whale Oil or Train Oil -- Repe Oil.
GLYCERINE.
TEXTILE OILS -- Oleic Acid -- Blended Wool Oils -- Oils for Cotton
Dyeing, Printing and Finishing -- Turkey Red Oil -- Alizarine Oil --
Oleine -- Oxy Turkey Red Oils -- Soluble Oil-Analysis of Turkey Red
Oil -- Finisher's Soluble Oil -- Finisher's Soap Softening -- Testing
and Adulteration of Oils -- Index.
COSMETICAL PREPARATIONS. (p. c08)
#COSMETICS: MANUFACTURE, EMPLOYMENT AND TESTING OF ALL COSMETIC
MATERIALS AND COSMETIC SPECIALITIES.# Translated from the German of Dr.
Theodor KOLLER. Crown 8vo. 262 pp. Price 5s. net. (Post free, 5s. 4d.
home; 5s. 6d. abroad.)
#Contents.#
Purposes and Uses of, and Ingredients used in the Preparation of
Cosmetics -- Preparation of Perfumes by Pressure, Distillation,
Maceration, Absorption or Enfleurage, and Extraction Methods --
Chemical and Animal Products used in the Preparation of Cosmetics --
Oils and Fats used in the Preparation of Cosmetics -- General Cosmetic
Preparations -- Mouth Washes and Tooth Pastes -- Hair Dyes, Hair
Restorers and Depilatories -- Cosmetic Adjuncts and Specialities --
Colouring Cosmetic Preparations -- Antiseptic Washes and Soaps --
Toilet and Hygienic Soaps -- Secret Preparations for Skin, Complexion,
Teeth, Mouth, etc. -- Testing and Examining the Materials Employed in
the Manufacture of Cosmetics -- Index.
GLUE, BONE PRODUCTS AND MANURES.
#GLUE AND GLUE TESTING.# By Samuel RIDEAL, D.Sc. (Lond.), F.I.C.
Fourteen Engravings. 144 pp. Demy 8vo. Price 10s. 6d. net. (Post free,
10s. 10d. home; 11s. abroad.)
#Contents.#
#Constitution and Properties:# Definitions and Sources, Gelatine,
Chondrin and Allied Bodies, Physical and Chemical Properties,
Classification, Grades and Commercial Varieties -- #Raw Materials and
Manufacture:# Glue Stock, Lining, Extraction, Washing and Clarifying,
Filter Presses, Water Supply, Use of Alkalies, Action of Bacteria and
of Antiseptics, Various Processes, Cleansing, Forming, Drying,
Crushing, etc., Secondary Products -- #Uses of Glue:# Selection and
Preparation for Use, Carpentry, Veneering, Paper-Making, Bookbinding,
Printing Rollers, Hectographs, Match Manufacture, Sandpaper, etc.,
Substitutes for other Materials, Artificial Leather and Caoutchouc --
#Gelatine:# General Characters, Liquid Gelatine, Photographic Uses,
Size, Tanno-, Chrome and Formo-Gelatine, Artificial Silk, Cements,
Pneumatic Tyres, Culinary, Meat Extracts, Isinglass, Medicinal and
other Uses, Bacteriology -- #Glue Testing:# Review of Processes,
Chemical Examination, Adulteration, Physical Tests, Valuation of Raw
Materials -- #Commercial Aspects#.
#BONE PRODUCTS AND MANURES:# An Account of the most recent Improvements
in the Manufacture of Fat, Glue, Animal Charcoal, Size, Gelatine and
Manures. By Thomas LAMBERT, Technical and Consulting Chemist.
Illustrated by Twenty-one Plans and Diagrams. 162 pp. Demy 8vo. Price
7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.)
#Contents.#
Chemical Composition of Bones -- Arrangement of Factory -- Properties
of Glue -- Glutin and Chondrin -- Skin Glue -- Liming of Skins --
Washing -- Boiling of Skins -- Clarification of Glue Liquors --
Glue-Boiling and Clarifying-House -- Specification of a Glue -- Size
-- Uses and Preparation and Composition of Size -- Concentrated Size
-- Properties of Gelatine -- Preparation of Skin Gelatine -- Drying --
Bone Gelatine -- Selecting Bones -- Crushing -- Dissolving --
Bleaching -- Boiling -- Properties of Glutin and Chondrin -- Testing
of Glues and Gelatines -- The Uses of Glue, Gelatine and Size in
Various Trades -- Soluble and Liquid Glues -- Steam and Waterproof
Glues -- #Manures# -- Importation of Food Stuffs -- Soils -- Germination
-- Plant Life -- #Natural Manures# -- Water and Nitrogen in Farmyard
Manure -- Full Analysis of Farmyard Manure -- Action on Crops --
Water-Closet System -- Sewage Manure -- Green Manures -- #Artificial
Manures# -- #Mineral Manures# -- Nitrogenous Matters -- Shoddy -- Hoofs
and Horns -- Leather Waste -- Dried Meat -- Dried Blood --
Superphosphates -- Composition -- Manufacture -- Common Raw Bones --
Degreased Bones -- Crude Fat -- Refined Fat -- Degelatinised Bones --
Animal Charcoal -- Bone Superphosphates -- Guanos -- Dried Animal
Products -- Potash Compounds -- Sulphate of Ammonia -- Extraction in
Vacuo -- French and British Gelatines compared -- Index.
CHEMICALS, WASTE PRODUCTS AND AGRICULTURAL CHEMISTRY. (p. c09)
REISSUE OF #CHEMICAL ESSAYS OF C. W. SCHEELE#. First Published in English
in 1786. Translated from the Academy of Sciences at Stockholm, with
Additions. 300 pp. Demy 8vo, Price 5s. net. (Post free, 5s. 6d. home;
5s. 9d. abroad.)
#Contents.#
Memoir: C. W. Scheele and his work (written for this edition by J. G.
McIntosh) -- On Fluor Mineral and its Acid -- On Fluor Mineral --
Chemical Investigation of Fluor Acid, with a View to the Earth which
it Yields, by Mr. Wiegler -- Additional Information Concerning Fluor
Minerals -- On Manganese, Magnesium, or Magnesia Vitrariorum -- On
Arsenic and its Acid -- Remarks upon Salts of Benzoin--On Silex, Clay
and Alum -- Analysis of the Calculus Vesical -- Method of Preparing
Mercurius Dulcis Via Humida -- Cheaper and more Convenient Method of
Preparing Pulvis Algarothi -- Experiments upon Molybdæna --
Experiments on Plumbago -- Method of Preparing a New Green Colour --
Of the Decomposition of Neutral Salts by Unslaked Lime and Iron -- On
the Quantity of Pure Air which is Daily Present in our Atmosphere --
On Milk and its Acid -- On the Acid of Saccharum Lactis -- On the
Constituent Parts of Lapis Ponderosus or Tungsten -- Experiments and
Observations on Ether -- Index.
#THE MANUFACTURE OF ALUM AND THE SULPHATES AND OTHER SALTS OF ALUMINA
AND IRON.# Their Uses and Applications as Mordants in Dyeing and Calico
Printing, and their other Applications in the Arts, Manufactures,
Sanitary Engineering, Agriculture and Horticulture. Translated from
the French of Lucien GESCHWIND. 195 Illustrations. 400 pp. Royal 8vo.
Price 12s. 6d. net. (Post free, 13s. home; 13s. 6d. abroad.)
#Contents.#
#Theoretical Study of Aluminium, Iron, and Compounds of these Metals# --
Aluminium and its Compounds -- Iron and Iron Compounds.
#Manufacture of Aluminium Sulphates and Sulphates of Iron# -- Manufacture
of Aluminium Sulphate and the Alums -- Manufacture of Sulphates of
Iron.
#Uses of the Sulphates of Aluminium and Iron# -- Uses of Aluminium
Sulphate and Alums -- Application to Wool and Silk -- Preparing and
using Aluminium Acetates -- Employment of Aluminium Sulphate in
Carbonising Wool -- The Manufacture of Lake Pigments -- Manufacture of
Prussian Blue -- Hide and Leather Industry -- Paper Making --
Hardening Plaster -- Lime Washes -- Preparation of Non-inflammable
Wood, etc. -- Purification of Waste Waters. -- #Uses and Applications
of Ferrous Sulphate and Ferric Sulphates# -- Dyeing -- Manufacture of
Pigments -- Writing Inks -- Purification of Lighting Gas --
Agriculture -- Cotton Dyeing -- Disinfectant -- Purifying Waste
Liquors -- Manufacture of Nordhausen Sulphuric Acid -- Fertilising.
#Chemical Characteristics of Iron and Aluminium# -- #Analysis of Various
Aluminous or Ferruginous Products# -- Aluminium -- #Analysing Aluminium
Products# --Alunite Alumina -- Sodium Aluminate -- Aluminium Sulphate
-- #Iron# -- Analytical Characteristics of Iron Salts -- Analysis of
Pyritic Lignite -- Ferrous and Ferric Sulphates -- Rouil Mordant --
Index.
#AMMONIA AND ITS COMPOUNDS:# Their Manufacture and Uses. By Camille
VINCENT, Professor at the Central School of Arts and Manufactures,
Paris. Translated from the French by M. J. SALTER. Royal 8vo. 114 pp.
Thirty-two Illustrations. Price 5s. net. (Post free, 5s. 4d. home; 5s.
6d. abroad.)
#Contents.#
#General Considerations#: Various Sources of Ammoniacal Products; Human
Urine as a Source of Ammonia -- #Extraction of Ammoniacal Products from
Sewage# -- #Extraction of Ammonia from Gas Liquor# -- #Manufacture of
Ammoniacal Compounds from Bones, Nitrogenous Waste, Beetroot Wash and
Peat# -- #Manufacture of Caustic Ammonia, and Ammonium Chloride,
Phosphate and Carbonate# -- #Recovery of Ammonia from the Ammonia-Soda
Mother Liquors# -- #Index#.
#INDUSTRIAL ALCOHOL.# A Practical Manual on the Production and (p. c10)
Use of Alcohol for Industrial Purposes and for Use as a Heating Agent,
as an Illuminant and as a Source of Motive Power. By J. G. M'INTOSH,
Lecturer on Manufacture and Applications of Industrial Alcohol at The
Polytechnic, Regent Street, London. Demy 8vo. 1907. 250 pp. With 75
Illustrations and 25 Tables. Price 7s. 6d. net. (Post free, 7s. 9d.
home; 8s. abroad.)
#Contents.#
#Alcohol and its Properties.# -- Ethylic Alcohol -- Absolute Alcohol --
Adulterations -- Properties of Alcohol -- Fractional Distillation --
Destructive Distillation -- Products of Combustion -- Alcoholometry --
Proof Spirit -- Analysis of Alcohol -- Table showing Correspondence
between the Specific Gravity and Per Cents. of Alcohol over and under
Proof -- Other Alcohol Tables. #Continuous Aseptic and Antiseptic
Fermentation and Sterilisation in Industrial Alcohol Manufacture.# #The
Manufacture of Industrial Alcohol from Beets.# -- Beet Slicing Machines
-- Extraction of Beet Juice by Maceration, by Diffusion --
Fermentation in Beet Distilleries -- Plans of Modern Beet Distillery,
#The Manufacture of Industrial Alcohol from Grain.# -- Plan of Modern
Grain Distillery. #The Manufacture of Industrial Alcohol from Potatoes.#
#The Manufacture of Industrial Alcohol from Surplus Stocks of Wine#,
Spoilt Wine, Wine Marcs, and from Fruit in General. The Manufacture of
Alcohol from the Sugar Cane and Sugar Cane Molasses -- Plans. #Plant,
etc., for the Distillation and Rectification of Industrial Alcohol.# --
The Caffey and other "Patent" Stills -- Intermittent versus Continuous
Rectification -- Continuous Distillation -- Rectification of Spent
Wash. #The Manufacture and Uses of Various Alcohol Derivatives#, Ether,
Haloid Ethers, Compound Ethers, Chloroform -- Methyl and Amyl Alcohols
and their Ethereal Salts, Acetone -- Barbet's Ether, Methyl Alcohol
and Acetone Rectifying Stills. #The Uses of Alcohol in Manufactures,
etc.# -- List of Industries in which Alcohol is used, with Key to
Function of Alcohol in each Industry. #The Uses of Alcohol for
Lighting, Heating, and Motive Power.#
#ANALYSIS OF RESINS AND BALSAMS.# Translated from the German of Dr. Karl
DIETERICH. Demy 8vo. 340 pp. Price 7s. 6d. net. (Post free, 7s. 10d.
home; 8s. 3d. abroad.)
#MANUAL OF AGRICULTURAL CHEMISTRY.# By Herbert INGLE, F.I.C., Lecturer
on Agricultural Chemistry, the Yorkshire College; Lecturer in the
Victoria University. 388 pp. 11 Illustrations. Demy 8vo. Price 7s. 6d.
net. (Post free, 8s. home; 8s. 6d. abroad.)
#Contents.#
Introduction -- The Atmosphere -- The Soil -- The Reactions occurring
in Soils -- The Analysis of Soils -- Manures, Natural -- Manures
(continued) -- The Analysis of Manures -- The Constituents of Plants
-- The Plant -- Crops -- The Animal -- Foods and Feeding -- Milk and
Milk Products -- The Analysis of Milk and Milk Products --
Miscellaneous Products used in Agriculture -- Appendix -- Index.
#THE UTILISATION OF WASTE PRODUCTS.# A Treatise on the Rational
Utilisation, Recovery and Treatment of Waste Products of all kinds. By
Dr. Theodor KOLLER. Translated from the Second Revised German Edition.
Twenty-two Illustrations. Demy 8vo. 280 pp. Price 7s. 6d. net. (Post
free, 7s. 10d. home; 8s. 3d. abroad.)
#Contents.#
The Waste of Towns -- #Ammonia and Sal-Ammoniac# -- Rational Processes
for Obtaining these Substances by Treating Residues and Waste --
Residues in the Manufacture of Aniline Dyes -- Amber Waste -- Brewers'
Waste -- Blood and Slaughter-House Refuse -- Manufactured Fuels --
Waste Paper and Bookbinders' Waste -- Iron Slags -- Excrement --
Colouring Matters from Waste -- Dyers' Waste Waters -- Fat from Waste
-- Fish Waste -- Calamine Sludge -- Tannery Waste -- Gold and Silver
Waste -- India-rubber and Caoutchouc Waste -- Residues in the
Manufacture of Rosin Oil -- Wood Waste -- Horn Waste -- Infusorial
Earth -- Iridium from Goldsmiths' Sweepings -- Jute Waste -- Cork
Waste -- Leather Waste -- Glue Makers' Waste -- Illuminating Gas from
Waste and the By-Products of the Manufacture of Coal Gas -- Meerschum
-- Molasses--Metal Waste -- By-Products in the Manufacture of Mineral
Waters -- Fruit -- The By-Products of Paper and Paper Pulp Works --
By-Products in the Treatment of Coal Tar Oils -- Fur Waste -- The
Waste Matter in the Manufacture of Parchment Paper -- Mother of Pearl
Waste -- Petroleum Residues -- Platinum Residues -- Broken Porcelain,
Earthenware and Glass -- Salt Waste -- Slate Waste -- Sulphur -- Burnt
Pyrites -- Silk Waste -- Soap Makers' Waste -- Alkali Waste and the
Recovery of Soda--Waste Produced in Grinding Mirrors -- Waste Products
in the Manufacture of Starch -- Stearic Acid -- Vegetable Ivory Waste
-- Turf -- Waste Waters of Cloth Factories -- Wine Residues --
Tinplate Waste -- Wool Waste -- Wool Sweat -- The Waste Liquids from
Sugar Works -- Index.
#WRITING INKS AND SEALING WAXES.# (p. c11)
#INK MANUFACTURE:# Including Writing, Copying, Lithographic, Marking,
Stamping, and Laundry Inks. By Sigmund LEHNER. Three Illustrations.
Crown 8vo. 162 pp. Translated from the German of the Fifth Edition.
Price 5s. net. (Post free, 5s. 3d. home; 5s. 6d. abroad.)
#Contents.#
Varieties of Ink -- Writing Inks -- Raw Materials of Tannin Inks --
The Chemical Constitution of the Tannin Inks -- Recipes for Tannin
Inks -- Logwood Tannin Inks -- Ferric Inks -- Alizarine Inks--Extract
Inks -- Logwood Inks -- Copying Inks -- Hektographs -- Hektograph Inks
-- Safety Inks -- Ink Extracts and Powders -- Preserving Inks --
Changes in Ink and the Restoration of Faded Writing -- Coloured Inks
-- Red Inks -- Blue Inks -- Violet Inks -- Yellow Inks -- Green Inks
-- Metallic Inks -- Indian Ink -- Lithographic Inks and Pencils -- Ink
Pencils -- Marking Inks -- Ink Specialities -- Sympathetic Inks --
Stamping Inks -- Laundry or Washing Blue -- Index.
#SEALING-WAXES, WAFERS AND OTHER ADHESIVES FOR THE HOUSEHOLD, OFFICE,
WORKSHOP AND FACTORY.# By H. C. STANDAGE. Crown 8vo. 96 pp. Price 5s.
net. (Post free, 5s. 3d. home; 5s. 6d. abroad.)
#Contents.#
#Materials Used for Making Sealing=Waxes# -- The Manufacture of
Sealing-Waxes -- Wafers -- Notes on the Nature of the Materials Used
in Making Adhesive Compounds -- Cements for Use in the Household --
Office Gums, Pastes and Mucilages -- Adhesive Compounds for Factory
and Workshop Use.
#LEAD ORES AND COMPOUNDS.#
#LEAD AND ITS COMPOUNDS.# By Thos. LAMBERT, Technical and Consulting
Chemist. Demy 8vo. 226 pp. Forty Illustrations. Price 7s. 6d. net.
(Post free, 7s. 10d. home; 8s. 3d. abroad.)
#Contents.#
History -- Ores of Lead -- Geographical Distribution of the Lead
Industry -- Chemical and Physical Properties of Lead -- Alloys of Lead
-- Compounds of Lead -- Dressing of Lead Ores -- Smelting of Lead Ores
-- Smelting in the Scotch or American Ore-hearth -- Smelting in the
Shaft or Blast Furnace -- Condensation of Lead Fume -- Desilverisation,
or the Separation of Silver from Argentiferous Lead -- Cupellation -- The
Manufacture of Lead Pipes and Sheets -- Protoxide of Lead -- Litharge and
Massicot -- Red Lead or Minium -- Lead Poisoning -- Lead Substitutes --
Zinc and its Compounds -- Pumice Stone -- Drying Oils and Siccatives -- Oil
of Turpentine Resin -- Classification of Mineral Pigments -- Analysis of
Raw and Finished Products -- Tables -- Index.
#NOTES ON LEAD ORES:# Their Distribution and Properties. By Jas. FAIRIE,
F.G.S. Crown 8vo. 64 pages. Price 2s. 6d. net. (Post free, 2s. 9d.
home; 3s. abroad.)
#INDUSTRIAL HYGIENE.#
#THE RISKS AND DANGERS TO HEALTH OF VARIOUS OCCUPATIONS AND THEIR
PREVENTION.# By Leonard A. PARRY, M.D., B.Sc. (Lond.). 196 pp. Demy
8vo. Price 7s. 6d. net. (Post free, 7s. 10d. home; 8s. abroad.)
#Contents.#
Occupations which are Accompanied by the Generation and Scattering of
Abnormal Quantities of Dust -- Trades in which there is Danger of
Metallic Poisoning -- Certain Chemical Trades -- Some Miscellaneous
Occupations --Trades in which Various Poisonous Vapours are Inhaled
--General Hygienic Considerations -- Index.
#INDUSTRIAL USES OF AIR, STEAM AND WATER.# (p. c12)
#DRYING BY MEANS OF AIR AND STEAM.# Explanations, Formulæ, and Tables
for Use in Practice. Translated from the German of E. HAUSRRAND. Two
folding Diagrams and Thirteen Tables. Crown 8vo. 72 pp. Price 5s. net.
(Post free, 5s. 3d. home; 5s. 6d. abroad.)
#Contents.#
British and Metric Systems Compared -- Centigrade and Fahr.
Thermometers -- Estimation of the Maximum Weight of Saturated Aqueous
Vapour which can be contained in 1 kilo. of Air at Different Pressure
and Temperatures -- Calculation of the Necessary Weight and Volume of
Air, and of the Least Expenditure of Heat, per Drying Apparatus with
Heated Air, at the Atmospheric Pressure: _A_, With the Assumption that
the Air is _Completely Saturated_ with Vapour both before Entry and
after Exit from the Apparatus -- _B_, When the Atmospheric Air is
Completely Saturated _before entry_, but at its _exit_ is _only_ 3/4,
1/2 or 1/4 Saturated -- _C_, When the Atmospheric Air is _not_
Saturated with Moisture before Entering the Drying Apparatus -- Drying
Apparatus, in which, in the Drying Chamber, a Pressure is Artificially
Created, Higher or Lower than that of the Atmosphere -- Drying by
Means of Superheated Steam, without Air --Heating Surface, Velocity of
the Air Current, Dimensions of the Drying Room, Surface of the Drying
Material, Losses of Heat -- Index.
(_See also "Evaporating, Condensing and Cooling
Apparatus," p. 26._)
#PURE AIR, OZONE AND WATER.# A Practical Treatise of their Utilisation
and Value in Oil, Grease, Soap, Paint, Glue and other Industries, By
W. B. COWELL. Twelve Illustrations. Crown 8vo. 85 pp. Price 5s. net.
(Post free, 5s. 3d. home; 5s. 6d. abroad.)
#Contents.#
Atmospheric Air; Lifting of Liquids; Suction Process; Preparing Blown
Oils; Preparing Siccative Drying Oils -- Compressed Air; Whitewash --
Liquid Air; Retrocession -- Purification of Water; Water Hardness --
Fleshings and Bones -- Ozonised Air in the Bleaching and Deodorising
of Fats, Glues, etc.; Bleaching Textile Fibres -- Appendix: Air and
Gases; Pressure of Air at Various Temperatures; Fuel; Table of
Combustibles; Saving of Fuel by Heating Feed Water; Table of
Solubilities of Scale Making Minerals; British Thermal Units Tables;
Volume of the Flow of Steam into the Atmosphere; Temperature of Steam
-- Index.
#THE INDUSTRIAL USES OF WATER.
COMPOSITION--EFFECTS--TROUBLES--REMEDIES--RESIDUARY
WATERS--PURIFICATION--ANALYSIS.# By H. de la COUX. Royal 8vo.
Translated from the French and Revised by Arthur MORRIS. 364 pp. 135
Illustrations. Price 10s. 6d. net. (Post free, 11s. home; 11s. 6d.
abroad.)
#Contents.#
Chemical Action of Water in Nature and in Industrial Use --
Composition of Waters -- Solubility of Certain Salts in Water
Considered from the Industrial Point of View -- Effects on the Boiling
of Water -- Effects of Water in the Industries -- Difficulties with
Water -- Feed Water for Boilers -- Water in Dye works, Print Works,
and Bleach Works -- Water in the Textile Industries and in
Conditioning -- Water in Soap Works -- Water in Laundries and
Washhouses -- Water in Tanning -- Water in Preparing Tannin and
Dyewood Extracts -- Water in Papermaking -- Water in Photography --
Water in Sugar Refining -- Water in Making Ices and Beverages -- Water
in Cider Making -- Water in Brewing -- Water in Distilling --
Preliminary Treatment and Apparatus -- Substances Used for Preliminary
Chemical Purification -- Commercial Specialities and their Employment
-- Precipitation of Matters in Suspension in Water -- Apparatus for
the Preliminary Chemical Purification of Water -- Industrial Filters
-- Industrial Sterilisation of Water -- Residuary Waters and their
Purification -- Soil Filtration -- Purification by Chemical Processes
-- Analyses -- Index.
(_See Books on Smoke Prevention, Engineering and
Metallurgy, p. 26, etc._)
#X RAYS.# (p. c13)
#PRACTICAL X RAY WORK.# By Frank T. ADDYMAN, B.Sc. (Lond.), F.I.C.,
Member of the Roentgen Society of London; Radiographer to St. George's
Hospital; Demonstrator of Physics and Chemistry, and Teacher of
Radiography in St. George's Hospital Medical School. Demy 8vo. Twelve
Plates from Photographs of X Ray Work. Fifty-two Illustrations. 200
pp. Price 10s. 6d. net. (Post free, 10s. 10d. home; 11s. 3d. abroad.)
#Contents.#
#Historical# -- Work leading up to the Discovery of the X Rays -- The
Discovery--#Apparatus and its Management# -- Electrical Terms -- Sources
of Electricity -- Induction Coils -- Electrostatic Machines -- Tubes
-- Air Pumps -- Tube Holders and Stereoscopic Apparatus -- Fluorescent
Screens -- #Practical X Ray Work# -- Installations -- Radioscopy --
Radiography -- X Rays in Dentistry -- X Rays in Chemistry -- X Rays in
War -- Index.
#List of Plates.#
_Frontispiece_ -- Congenital Dislocation of Hip-Joint. -- I., Needle
in Finger. -- II., Needle in Foot. -- III., Revolver Bullet in Calf
and Leg. -- IV., A Method of Localisation. -- V., Stellate Fracture of
Patella showing shadow of "Strapping". -- VI., Sarcoma. -- VII.,
Six-weeks-old Injury to Elbow showing new Growth of Bone. -- VIII.,
Old Fracture of Tibia and Fibula badly set. -- IX., Heart Shadow. --
X., Fractured Femur showing Grain of Splint. -- XI., Barrell's Method
of Localisation.
#INDIA-RUBBER AND GUTTA PERCHA.#
#INDIA-RUBBER AND GUTTA-PERCHA.# Translated from the French of T.
SEELIGMANN, G. LAMY TORVILHON and H. FALCONNET by John GEDDES
McINTOSH. Royal 8vo.
[_Out of print. Second Edition in preparation._]
#Contents.#
#India-Rubber# -- Botanical Origin -- Climatology -- Soil -- Rational
Culture and Acclimation of the Different Species of India-Rubber
Plants -- Methods of Obtaining the Latex -- Methods of Preparing Raw
or Crude India-Rubber -- Classification of the Commercial Species of
Raw Rubber -- Physical and Chemical Properties of the Latex and of
India-Rubber -- Mechanical Transformation of Natural Caoutchouc into
Washed or Normal Caoutchouc (Purification) and Normal Rubber into
Masticated Rubber -- Softening, Cutting, Washing, Drying --
Preliminary Observations -- Vulcanisation of Normal Rubber -- Chemical
and Physical Properties of Vulcanised Rubber -- General Considerations
-- Hardened Rubber or Ebonite -- Considerations on Mineralisation and
other Mixtures -- Coloration and Dyeing -- Analysis of Natural or
Normal Rubber and Vulcanised Rubber -- Rubber Substitutes -- Imitation
Rubber.
#Gutta Percha# -- Botanical Origin -- Climatology -- Soil -- Rational
Culture -- Methods of Collection -- Classification of the Different
Species of Commercial Gutta Percha -- Physical and Chemical Properties
-- Mechanical Transformation -- Methods of Analysing -- Gutta Percha
Substitutes -- Index.
#LEATHER TRADES.#
#PRACTICAL TREATISE ON THE LEATHER INDUSTRY.# By A. M. VILLON. Translated
by Frank T. ADDYMAN, B.Sc. (Lond.), F.I.C., F.C.S.; and Corrected by
an Eminent Member of the Trade. 500 pp., royal 8vo. 123 Illustrations.
Price 21s. net. (Post free, 21s. 6d. home; 22s. 6d. abroad.)
#Contents.#
Preface--Translator's Preface--List of Illustrations.
Part I., #Materials used in Tanning# -- Skins: Skin and its Structure;
Skins used in Tanning; Various Skins and their Uses -- Tannin and
Tanning Substances: Tannin; Barks (Oak); Barks other than Oak; Tanning
Woods; Tannin-bearing Leaves; Excrescences; Tan-bearing Fruits;
Tan-bearing Roots and Bulbs; Tanning Juices; Tanning Substances used
in Various Countries; Tannin Extracts; Estimation of Tannin and Tannin
Principles.
Part II., #Tanning# -- The Installation of a Tannery: Tan Furnaces;
Chimneys, Boilers, etc.; Steam Engines -- Grinding and Trituration of
Tanning Substances: Cutting up Bark; Grinding Bark; The Grinding of
Tan Woods; Powdering Fruit, Galls and Grains; Notes on the Grinding of
Bark -- Manufacture of Sole Leather: Soaking; Sweating and Unhairing;
Plumping and Colouring; Handling; Tanning; Tanning Elephants' Hides;
Drying; Striking or Pinning -- Manufacture of Dressing Leather:
Soaking; Depilation; New Processes for the Depilation of Skins;
Tanning; Cow Hides; Horse Hides; Goat Skins; Manufacture of (p. c14)
Split Hides -- On Various Methods of Tanning: Mechanical Methods;
Physical Methods; Chemical Methods; Tanning with Extracts -- Quantity
and Quality; Quantity; Net Cost; Quality of Leather -- Various
Manipulations of Tanned Leather: Second Tanning; Grease Stains;
Bleaching Leather; Waterproofing Leather; Weighting Tanned Leather;
Preservation of Leather -- Tanning Various Skins.
Part III., #Currying# -- Waxed Calf: Preparation; Shaving; Stretching or
Slicking; Oiling the Grain; Oiling the Flesh Side; Whitening and
Graining; Waxing; Finishing; Dry Finishing; Finishing in Colour; Cost
-- White Calf: Finishing in White -- Cow Hide for Upper Leathers:
Black Cow Hide; White Cow Hide; Coloured Cow Hide -- Smooth Cow Hide
-- Black Leather -- Miscellaneous Hides: Horse; Goat; Waxed Goat Skin;
Matt Goat Skin -- Russia Leather: Russia Leather; Artificial Russia
Leather.
Part IV., #Enamelled, Hungary and Chamoy Leather, Morocco, Parchment,
Furs and Artificial Leather# -- Enamelled Leather: Varnish Manufacture;
Application of the Enamel; Enamelling in Colour -- Hungary Leather:
Preliminary; Wet Work or Preparation; Aluming; Dressing or Loft Work;
Tallowing; Hungary Leather from Various Hides -- Tawing: Preparatory
Operations; Dressing; Dyeing Tawed Skins; Rugs -- Chamoy Leather --
Morocco: Preliminary Operations; Morocco Tanning: Mordants used in
Morocco Manufacture; Natural Colours used in Morocco Dyeing;
Artificial Colours; Different Methods of Dyeing; Dyeing with Natural
Colours; Dyeing with Aniline Colours; Dyeing with Metallic Salts;
Leather Printing; Finishing Morocco; Shagreen; Bronzed Leather --
Gilding and Silvering: Gilding; Silvering; Nickel and Cobalt --
Parchment -- Furs and Furriery: Preliminary Remarks; Indigenous Furs;
Foreign Furs from Hot Countries; Foreign Furs from Cold Countries;
Furs from Birds' Skins; Preparation of Furs; Dressing; Colouring;
Preparation of Birds' Skins; Preservation of Furs -- Artificial
Leather: Leather made from Scraps; Compressed Leather; American Cloth;
Papier Mâché; Linoleum; Artificial Leather.
Part V., #Leather Testing and the Theory of Tanning# -- Testing and
Analysis of Leather: Physical Testing of Tanned Leather; Chemical
Analysis -- The Theory of Tanning and the other Operations of the
Leather and Skin Industry: Theory of Soaking; Theory of Unhairing;
Theory of Swelling; Theory of Handling; Theory of Tanning; Theory of
the Action of Tannin on the Skin; Theory of Hungary Leather Making;
Theory of Tawing; Theory of Chamoy Leather Making; Theory of Mineral
Tanning.
Part VI., #Uses of Leather# -- Machine Belts: Manufacture of Belting;
Leather Chain Belts; Various Belts; Use of Belts -- Boot and
Shoe-making: Boots and Shoes; Laces -- Saddlery: Composition of a
Saddle; Construction of a Saddle -- Harness: The Pack Saddle; Harness
-- Military Equipment -- Glove Making -- Carriage Building --
Mechanical Uses.
Appendix, #The World's Commerce in Leather# -- Europe; America; Asia;
Africa; Australasia -- Index.
#THE LEATHER WORKER'S MANUAL.# Being a Compendium of Practical Recipes
and Working Formulæ for Curriers, Bootmakers, Leather Dressers,
Blacking Manufacturers, Saddlers, Fancy Leather Workers. By H. C.
STANDAGE. Demy 8vo. 165 pp. Price 7s. 6d. net. (Post free, 7s. 10d.
home; 8s. abroad.)
#Contents.#
Blackings, Polishes, Glosses, Dressings, Renovators, etc., for Boot
and Shoe Leather -- Harness Blackings, Dressings, Greases,
Compositions, Soaps, and Boot-top Powders and Liquids, etc., etc. --
Leather Grinders' Sundries -- Currier's Seasonings, Blacking
Compounds, Dressings, Finishes, Glosses, etc. -- Dyes and Stains for
Leather --Miscellaneous Information -- Chrome Tannage -- Index.
#BOOKS ON POTTERY, BRICKS, TILES, GLASS, ETC.#
#THE MANUAL OF PRACTICAL POTTING.# Compiled by Experts, and Edited by
Chas. F. BINNS. Revised Third Edition and Enlarged. 200 pp. Price 17s.
6d. net. (Post free, 17s. 10d. home; 18s. 3d. abroad.)
#Contents.#
#Introduction.# The Rise and Progress of the Potter's Art -- #Bodies#.
China and Porcelain Bodies, Parian Bodies, Semi-porcelain and Vitreous
Bodies, Mortar Bodies, Earthenwares Granite and C.C. Bodies,
Miscellaneous Bodies, Sagger and Crucible Clays, Coloured Bodies,
Jasper Bodies, Coloured Bodies for Mosaic Painting, Encaustic Tile
Bodies, Body Stains, Coloured Dips -- #Glazes.# China Glazes, Ironstone
Glazes, Earthenware Glazes, Glazes without Lead, Miscellaneous Glazes,
Coloured Glazes, Majolica Colours -- #Gold and Gold Colours.# Gold,
Purple of Cassius, Marone and Ruby, Enamel Coloured Bases, Enamel
Colour Fluxes, Enamel Colours, Mixed Enamel Colours, Antique and
Vellum Enamel Colours, Underglaze Colours, Underglaze Colour Fluxes,
Mixed Underglaze Colours, Flow Powders, Oils and Varnishes -- #Means
and Methods.# Reclamation of Waste Gold, The Use of Cobalt, Notes on
Enamel Colours, Liquid or Bright Gold -- #Classification and Analysis.#
Classification of Clay Ware, Lord Playfair's Analysis of Clays, The
Markets of the World, Time and Scale of Firing, Weights of (p. c15)
Potter's Material, Decorated Goods Count -- Comparative Loss of Weight
of Clays -- Ground Felspar Calculations -- The Conversion of Slop Body
Recipes into Dry Weight -- The Cost of Prepared Earthenware Clay --
#Forms and Tables.# Articles of Apprenticeship, Manufacturer's Guide to
Stocktaking, Table of Relative Values of Potter's Materials, Hourly
Wages Table, Workman's Settling Table, Comparative Guide for
Earthenware and China Manufacturers in the use of Slop Flint and Slop
Stone, Foreign Terms applied to Earthenware and China Goods, Table for
the Conversion of Metrical Weights and Measures on the Continent and
South America -- #Index.#
#CERAMIC TECHNOLOGY:# Being some Aspects of Technical Science as Applied
to Pottery Manufacture. Edited by Charles F. BINNS. 100 pp. Demy 8vo.
Price 12s. 6d. net. (Post free, 12s. 10d. home; 13s. abroad.)
#Contents.#
Preface -- The Chemistry of Pottery -- Analysis and Synthesis -- Clays
and their Components--The Biscuit Oven -- Pyrometry -- Glazes and
their Composition -- Colours and Colour-making -- Index.
#A TREATISE ON THE CERAMIC INDUSTRIES.# A Complete Manual for Pottery,
Tile and Brick Works. By Emile BOURRY. Translated from the French by
Wilton P. RIX, Examiner in Pottery and Porcelain to the City and
Guilds of London Technical Institute, Pottery Instructor to the Hanley
School Board. Royal 8vo. 760 pp. 323 Illustrations. Price 21s. net.
(Post free, 22s. home; 24s. abroad.)
#Contents.#
Part I., #General Pottery Methods.# Definition and History. Definitions
and Classification of Ceramic Products -- Historic Summary of the
Ceramic Art -- Raw Materials of Bodies. Clays: Pure Clay and Natural
Clays -- Various Raw Materials: Analogous to Clay -- Agglomerative and
Agglutinative -- Opening -- Fusible -- Refractory -- Trials of Raw
Materials -- Plastic Bodies. Properties and Composition -- Preparation
of Raw Materials: Disaggregation -- Purification -- Preparation of
Bodies: By Plastic Method -- By Dry Method -- By Liquid Method --
Formation, Processes of Formation: Throwing -- Expression -- Moulding
by Hand, on the Jolley, by Compression, by Slip Casting -- Slapping --
Slipping -- Drying. Drying of Bodies -- Processes of Drying; By
Evaporation -- By Aeration -- By Heating -- By Ventilation -- By
Absorption -- Glazes. Composition and Properties -- Raw Materials --
Manufacture and Application -- Firing. Properties of the Bodies and
Glazes during Firing -- Description of the Kilns -- Working of the
Kilns -- Decoration. Colouring Materials -- Processes of Decoration.
Part II., #Special Pottery Methods.# Terra Cottas. Classification: Plain
Ordinary, Hollow, Ornamental, Vitrified, and Light Bricks -- Ordinary
and Black Tiles -- Paving Tiles -- Pipes -- Architectural Terra Cottas
-- Vases, Statues and Decorative Objects -- Common Pottery -- Pottery
for Water and Filters -- Tobacco Pipes -- Lustre Ware -- Properties
and Tests for Terra Cottas--Fireclay Goods. Classification:
Argillaceous, Aluminous, Carboniferous, Silicious and Basic Fireclay
Goods -- Fireclay Mortar (Pug) -- Tests for Fireclay Goods --
Faiences. Varnished Faiences -- Enamelled Faiences -- Silicious
Faiences -- Pipeclay Faiences -- Pebble Work -- Feldspathic Faiences
-- Composition, Processes of Manufacture and General Arrangements of
Faience Potteries -- Stoneware. Stoneware Properly So-called: Paving
Tiles -- Pipes -- Sanitary Ware -- Stoneware for Food Purposes and
Chemical Productions -- Architectural Stoneware -- Vases, Statues and
other Decorative Objects -- Fine Stoneware -- Porcelain. Hard
Porcelain for Table Ware and Decoration, for the Fire, for Electrical
Conduits, for Mechanical Purposes; Architectural Porcelain, and Dull
or Biscuit Porcelain -- Soft Phosphated or English Porcelain -- Soft
Vitreous Porcelain, French and New Sèvres -- Argillaceous Soft or
Seger's Porcelain -- Dull Soft or Parian Porcelain -- Dull Feldspathic
Soft Porcelain -- #Index.#
#POTTERY DECORATING,# By R. HAINBACH. Translated from the German. Crown
8vo. 22 Illustrations. Deals with Glazes, Colours, etc. [_In the
Press._]
#ARCHITECTURAL POTTERY.# Bricks, Tiles, Pipes, Enamelled Terra-cottas,
Ordinary and Incrusted Quarries, Stoneware Mosaics, Faïences and
Architectural Stoneware. By Leon LEFÊVRE. With Five Plates. 950
Illustrations in the Text, and numerous estimates. 500 pp., royal 8vo.
Translated from the French by K. H. BIRD, M.A., and W. Moore BINNS.
Price 15s. net. (Post free, 15s. 6d. home; 16s. 6d. abroad.)
#Contents.#
Part I. #Plain Undecorated Pottery. -- Clays, Bricks, Tiles, Pipes,
Chimney Flues, Terra-cotta.#
Part II. #Made-up or Decorated Pottery.#
#THE ART OF RIVETING GLASS, CHINA AND EARTHENWARE.# By J. HOWARTH. (p. c16)
Second Edition. Paper Cover. Price 1s. net; by post, home or abroad,
1s. 1d.
#NOTES ON POTTERY CLAYS.# Their Distribution, Properties, Uses and
Analyses of Ball Clays, China Clays and China Stone. By Jas. FAIRIE,
F.G.S. 132 pp. Crown 8vo. Price 3s. 6d. net. (Post free, 3s. 9d. home;
3s. 10d. abroad.)
A Reissue of
#THE HISTORY OF THE STAFFORDSHIRE POTTERIES; AND THE RISE AND PROGRESS
OF THE MANUFACTURE OF POTTERY AND PORCELAIN.# With References to
Genuine Specimens, and Notices of Eminent Potters. By Simeon SHAW.
(Originally Published in 1829.) 265 pp. Demy 8vo. Price 7s. 6d. net.
(Post free, 7s. 10d. home; 8s. 3d. abroad.)
#Contents.#
#Introductory Chapter# showing the position of the Pottery Trade at the
present time (1899) -- #Preliminary Remarks# -- #The Potteries#,
comprising Tunstall, Brownhills, Greenfield and New Field, Golden
Hill, Latebrook, Green Lane, Burslem, Longport and Dale Hall, Hot Lane
and Cobridge, Hanley and Shelton, Etruria, Stoke, Penkhull, Fenton,
Lane Delph, Foley, Lane End -- #On the Origin of the Art#, and its
Practice among the early Nations -- #Manufacture of Pottery#, prior to
1700 -- #The Introduction of Red Porcelain# by Messrs. Elers, of
Bradwell, 1690 -- #Progress of the Manufacture# from 1700 to Mr.
Wedgwood's commencement in 1760 -- #Introduction of Fluid Glaze# --
Extension of the Manufacture of Cream Colour -- Mr. Wedgwood's Queen's
Ware -- Jasper, and Appointment of Potter to Her Majesty -- Black
Printing -- #Introduction of Porcelain.# Mr. W. Littler's Porcelain --
Mr. Cookworthy's Discovery of Kaolin and Petuntse, and Patent -- Sold
to Mr. Champion -- resold to the New Hall Com. -- Extension of Term --
#Blue Printed Pottery.# Mr. Turner, Mr. Spode (1), Mr. Baddeley, Mr.
Spode (2), Messrs. Turner, Mr. Wood, Mr. Wilson, Mr. Minton -- Great
Change in Patterns of Blue Printed -- #Introduction of Lustre Pottery.#
Improvements in Pottery and Porcelain subsequent to 1800.
A Reissue of
#THE CHEMISTRY OF THE SEVERAL NATURAL AND ARTIFICIAL HETEROGENEOUS
COMPOUNDS USED IN MANUFACTURING PORCELAIN, GLASS AND POTTERY#. By
Simeon SHAW. (Originally published in 1837.) 750 pp. Royal 8vo. Price
14s. net. (Post free, 15s. home; 17s. abroad.)
#GLASSWARE, GLASS STAINING AND PAINTING.#
#RECIPES FOR FLINT GLASS MAKING.# By a British Glass Master and Mixer.
Sixty Recipes. Being Leaves from the Mixing Book of several experts in
the Flint Glass Trade, containing up-to-date recipes and valuable
information as to Crystal, Demi-crystal and Coloured Glass in its many
varieties. It contains the recipes for cheap metal suited to pressing,
blowing, etc., as well as the most costly crystal and ruby. Crown 8vo.
Price 10s. 6d. net. (Post free, 10s. 9d. home; 10s. 10d. abroad.)
#Contents.#
Ruby -- Ruby from Copper -- Flint for using with the Ruby for Coating
-- A German Metal -- Cornelian, or Alabaster -- Sapphire Blue --
Crysophis -- Opal -- Turquoise Blue -- Gold Colour -- Dark Green --
Green (common) -- Green for Malachite -- Blue for Malachite -- Black
for Malachite -- Black -- Common Canary Batch -- Canary -- White
Opaque Glass -- Sealing-wax Red -- Flint -- Flint Glass (Crystal and
Demi) -- Achromatic Glass -- Paste Glass -- White Enamel --
Firestone--Dead White (for moons) -- White Agate -- Canary -- Canary
Enamel -- Index.
#A TREATISE ON THE ART OF GLASS PAINTING.# Prefaced with a Review (p. c17)
of Ancient Glass. By Ernest R. SUFFLING. With One Coloured Plate and
Thirty-seven Illustrations. Demy 8vo. 140 pp. Price 7s. 6d. net. (Post
free, 7s. 10d. home; 8s. abroad.)
#Contents.#
A Short History of Stained Glass -- Designing Scale Drawings
--Cartoons and the Cut Line -- Various Kinds of Glass Cutting for
Windows -- The Colours and Brushes used in Glass Painting -- Painting
on Glass, Dispersed Patterns -- Diapered Patterns -- Aciding -- Firing
-- Fret Lead Glazing -- Index.
#PAINTING ON GLASS AND PORCELAIN AND ENAMEL PAINTING.# A Complete
Introduction to the Preparation of all the Colours and Fluxes used for
Painting on Porcelain, Enamel, Faïence and Stoneware, the Coloured
Pastes and Coloured Glasses, together with a Minute Description of the
Firing of Colours and Enamels. By Felix HERMANN, Technical Chemist.
With Eighteen Illustrations. 300 pp. Translated from the German second
and enlarged Edition. Price 10s. 6d. net. (Post free, 10s. 10d. home;
11s. abroad.)
#PAPER MAKING, PAPER DYEING, AND TESTING.#
#THE DYEING OF PAPER PULP.# A Practical Treatise for the use of
Papermakers, Paperstainers, Students and others. By Julius ERFURT,
Manager of a Paper Mill. Translated into English and Edited with
Additions by Julius HÜBNER, F.C.S., Lecturer on Papermaking at the
Manchester Municipal Technical School. With Illustrations and #157
patterns of paper dyed in the pulp#. Royal 8vo, 180 pp. Price 15s. net.
(Post free, 15s. 6d. home; 16s. 6d. abroad.)
#Contents.#
#Behaviour of the Paper Fibres during the Process of Dyeing, Theory of
the Mordant# -- #Colour Fixing Mediums# (#Mordants#) -- #Influence of the
Quality of the Water Used# -- #Inorganic Colours# -- #Organic Colours# --
#Practical Application of the Coal Tar Colours according to their
Properties and their Behaviour towards the Different Paper Fibres# --
#Dyed Patterns on Various Pulp Mixtures# -- #Dyeing to Shade# -- Index.
#THE PAPER MILL CHEMIST.# By Henry P. STEVENS, M.A., Ph.D., F.I.C. Royal
12mo. 60 Illustrations. [_In the press._]
#Contents.#
#Introduction.# -- Dealing with the Apparatus required in Chemical Work
and General Chemical Manipulation, introducing the subject of
Qualitative and Quantitative Analysis. #Fuels.# -- Analysis of Coal,
Coke and other Fuels -- Sampling and Testing for Moisture, Ash,
Calorific Value, etc. -- Comparative Heating Value of different Fuels
and Relative Efficiency. #Water.# -- Analysis for Steam Raising and for
Paper Making Purposes generally -- Water Softening and Purification --
A List of the more important Water Softening Plant, giving Power
required, Weight, Space Occupied, Out-put and Approximate Cost. #Raw
Materials and Detection of Adulterants.# -- Analysis and Valuation of
the more important Chemicals used in Paper Making, including Lime,
Caustic Soda, Sodium Carbonate, Mineral Acids, Bleach Antichlor, Alum,
Rosin and Rosin Size, Glue Gelatin and Casein, Starch, China Clay,
Blanc Fixe, Satin White and other Loading Materials, Mineral Colours
and Aniline Dyes. #Manufacturing Operations.# -- Rags and the Chemical
Control of Rag Boiling -- Esparto Boiling -- Wood Boiling -- Testing
Spent Liquors and Recovered Ash -- Experimental Tests with Raw Fibrous
Materials -- Boiling in Autoclaves -- Bleaching and making up Hand
Sheets -- Examination of Sulphite Liquors -- Estimation of Moisture in
Pulp and Half-stuff -- Recommendations of the British Wood Pulp
Association. #Finished Products.# -- Paper Testing, including Physical,
Chemical and Microscopical Tests, Area, Weight, Thickness, Apparent
Specific Gravity, Bulk or Air Space. Determination of Machine
Direction, Thickness, Strength, Stretch, Resistance to Crumpling and
Friction, Transparency, Absorbency and other qualities of Blotting
Papers -- Determination of the Permeability of Filtering Papers --
Detection and Estimation of Animal and Vegetable Size in Paper --
Sizing Qualities of Paper -- Fibrous Constituents -- Microscopical
Examination of Fibres -- The Effect of Beating on Fibres -- Staining
Fibres -- Mineral Matter -- Ash -- Qualitative and Quantitative
Examination of Mineral Matter -- Examination of Coated Papers and
Colouring Matters in Paper.
#Tables.# -- English and Metrical Weights and Measures with (p. c18)
Equivalents -- Conversion of Grams to Grains and _vice versa_ --
Equivalent Costs per lb., cwt., and ton -- Decimal Equivalents
of lbs., qrs., and cwts. -- Thermometric and Barometric Scales --
Atomic Weights and Molecular Weights -- Factors for Calculating the
Percentage of Substance Sought from the Weight of Substance Found --
Table of Solubilities of Substances Treated of in Paper Making --
Specific Gravity Tables of such substances as are used in Paper
Making, including Sulphuric Acid Hydrochloric Acid, Bleach, Milk of
Lime, Caustic Soda, Carbonate of Soda, etc., giving Percentage
Strength with Specific Gravity and Degrees Tw. -- Hardness Table for
Soap Tests -- Dew Point -- Wet and Dry Bulb Tables -- Properties of
Saturated Steam, giving Temperature, Pressure and Volume -- List of
Different Machines used in the Paper Making Industry, giving Size,
Weight, Space Occupied, Power to Drive, Out-put and Approximate Cost
-- Calculation of Moisture in Pulp --Rag-Boiling Tables, giving
Percentages of Lime Soda and Time required -- Loss in Weight in Rags
and other Raw Materials during Boiling and Bleaching -- Conditions of
Buying and Selling as laid down by the Paper Makers' Association --
Table of Names and Sizes of Papers --Table for ascertaining the Weight
per Ream from the Weight per Sheet -- Calculations of Areas and
Volumes -- Logarithms -- Blank pages for Notes.
#THE TREATMENT OF PAPER FOR SPECIAL PURPOSES.# By L. E. ANDÉS. Translated
from the German. Crown 8vo. 48 Illustrations. 250 pp. [_In the Press._]
#Contents.#
#I., Parchment Paper, Vegetable Parchment.# -- The Parchment Paper
Machine -- Opaque Supple Parchment Paper -- Thick Parchment --
Krugler's Parchment Paper and Parchment Slates -- Double and Triple
Osmotic Parchment -- Utilising Waste Parchment Paper -- Parchmented
Linen and Cotton -- Parchment Millboard -- Imitation Horn and Ivory
from Parchment Paper -- Imitation Parchment Paper -- Artificial
Parchment -- Testing the Sulphuric Acid. II., Papers for Transfer
Pictures. #III., Papers for Preservative and Packing Purposes.# --
Butter Paper -- Wax Paper -- Paraffin Paper -- Wrapping Paper for
Silverware -- Waterproof Paper -- Anti-corrosive Paper. IV., Grained
Transfer Papers. V., Fire-proof and Antifalsification Papers, #VI.,
Paper Articles.# -- Vulcanised Paper Maché -- Paper Bottles -- Plastic
Articles of Paper -- Waterproof Coverings for Walls and Ceilings --
Paper Wheels, Roofing and Boats -- Paper Barrels -- Paper Boxes --
Paper Horseshoes. VII., Gummed Paper. VIII., Hectograph Papers. #IX.,
Insecticide Papers.# -- Fly Papers -- Moth Papers. #X., Chalk and
Leather Papers.# -- Glacé Chalk Paper -- Leather Paper -- Imitation
Leather. XI., Luminous Papers -- Blue-Print Papers -- Blotting Papers.
XII., Metal Papers -- Medicated Papers. XIII., Marbled Papers. XIV.,
Tracing and Copying Papers -- Iridescent or Mother of Pearl Papers.
XV., Photographic Papers -- Shellac Paper -- Fumigating Papers -- Test
Papers. #XVI., Papers for Cleaning and Polishing Purposes -- Glass
Paper# -- Pumice Paper -- Emery Paper. XVII., Lithographic Transfer
Papers. #XIX., Sundry Special Papers# -- Satin Paper -- Enamel Paper --
Cork Paper -- Split Paper -- Electric Paper -- Paper Matches -- Magic
Pictures -- Laundry Blue Papers -- Blue Paper for Bleachers. XX.,
Waterproof Papers -- Washable Drawing Papers -- Washable Card --
Washable Coloured Paper--Waterproof Millboard -- Sugar Paper. XXI.,
The Characteristics of Paper -- Paper Testing.
ENAMELLING ON METAL.
#ENAMELS AND ENAMELLING.# For Enamel Makers, Workers in Gold and Silver,
and Manufacturers of Objects of Art. By Paul RANDAU. Translated from
the German. With Sixteen Illustrations. Demy 8vo. 180 pp. Price 10s.
6d. net. (Post free, 10s. 10d. home; 11s. abroad.)
#THE ART OF ENAMELLING ON METAL.# By W. Norman BROWN. Twenty-eight
Illustrations. Crown 8vo. 60 pp. Price 2s. 6d. net. (Post free, 2s.
9d. home and abroad.)
SILK MANUFACTURE.
#SILK THROWING AND WASTE SILK SPINNING.# By Hollins RAYNER. Demy 8vo.
170 pp. 117 Illus. Price 5s. net. (Post free, 5s. 4d. home; 5s. 6d.
abroad.)
#Contents.#
The Silkworm -- Cocoon Reeling and Qualities of Silk -- Silk Throwing
-- Silk Wastes -- The Preparation of Silk Waste for Degumming -- Silk
Waste Degumming, Schapping and Discharging -- The Opening and Dressing
of Wastes -- Silk Waste "Drawing" or "Preparing" Machinery -- Long
Spinning -- Short Spinning -- Spinning and Finishing Processes --
Utilisation of Waste Products -- Noil Spinning -- Exhaust Noil
Spinning.
BOOKS ON TEXTILE AND DYEING SUBJECTS. (p. c19)
#THE CHEMICAL TECHNOLOGY OF TEXTILE FIBRES#: Their Origin, Structure,
Preparation, Washing, Bleaching, Dyeing, Printing and Dressing. By Dr.
Georg von GEORGIEVICS. Translated from the German by Charles SALTER.
320 pp. Forty-seven Illustrations. Royal 8vo. Price 10s. 6d. net.
(Post free, 11s. home; 11s. 3d. abroad.)
#Contents.#
#The Textile Fibres# -- #Washing, Bleaching, Carbonising# -- #Mordants and
Mordanting# -- #Dyeing# -- #Printing# -- #Dressing and Finishing.#
#POWER-LOOM WEAVING AND YARN NUMBERING.# According to Various Systems,
with Conversion Tables. Translated from the German of Anthon GRUNER.
#With Twenty-Six Diagrams in Colours.# 150 pp. Crown 8vo. Price 7s. 6d.
net. (Post free, 7s. 9d. home; 8s. abroad.)
#Contents.#
#Power-Loom Weaving in General.# Various Systems of Looms -- #Mounting
and Starting the Power-Loom.# English Looms -- Tappet or Treadle Looms
-- Dobbies -- #General Remarks on the Numbering, Reeling and Packing of
Yarn# -- #Appendix# -- #Useful Hints.# Calculating Warps -- Weft
Calculations -- Calculations of Cost Price in Hanks.
#TEXTILE RAW MATERIALS AND THEIR CONVERSION INTO YARNS.# (The Study of
the Raw Materials and the Technology of the Spinning Process.) By
Julius ZIPSER. Translated from German by Charles SALTER. 302
Illustrations. 500 pp. Demy 8vo. Price 10s. 6d. net. (Post free, 11s.
home; 11s. 6d. abroad.)
#Contents.#
#PART 1. -- The Raw Materials Used in the Textile Industry.# MINERAL RAW
MATERIALS. VEGETABLE RAW MATERIALS. ANIMAL RAW MATERIALS.
#PART II. -- The Technology of Spinning or the Conversion of Textile
Raw Materials into Yarn.#
SPINNING VEGETABLE RAW MATERIALS. Cotton Spinning -- Installation of a
Cotton Mill -- Spinning Waste Cotton and Waste Cotton Yarns -- Flax
Spinning -- Fine Spinning -- Tow Spinning -- Hemp Spinning -- Spinning
Hemp Tow String -- Jute Spinning -- Spinning Jute Line Yarn --
Utilising Jute Waste.
#PART III. -- Spinning Animal Raw Materials.#
Spinning Carded Woollen Yarn -- Finishing Yarn -- Worsted Spinning --
Finishing Worsted Yarn -- Artificial Wool or Shoddy Spinning -- Shoddy
and Mungo Manufacture -- Spinning Shoddy and other Wool Substitutes --
Spinning Waste Silk -- Chappe Silk -- Fine Spinning -- Index.
#GRAMMAR OF TEXTILE DESIGN.# By H. NISBET, Weaving and Designing Master,
Bolton Municipal Technical School. Demy 8vo. 280 pp. 490 Illustrations
and Diagrams. Price 6s. net. (Post free, 6s. 10d. home; 7s. abroad.)
#Contents.#
Chapter I., INTRODUCTION. -- General Principle of Fabric Structure and
the use of Design Paper.