(Decoratii^ec^rt 
 (otfeftioru 
 
 ST£ RL1 N G 
 AND FRANCINE 
 
 C1ARIC 
 ART INSTITUTE 
 L1BRART 
 
AGNES L. COFFIN ' 
 
 PRACTICAL TREATISE 
 
 ON 
 
 DYEING 
 
 AND 
 
 CALLIGOE PRINTING: 
 
 EXHIBITING THE PROCESSES 
 
 IN THE 
 
 FRENCH, GERMAN, ENGLISH, AND AMERICAN PRACTICE OF FIXING COLOURS 
 ON WOOLLEN, COTTON, SILK, AND LINEN. 
 
 BY THOMAS COOPER, ESQ. 
 
 Processor of Chemistry in Dickenson College, Carlisle, Pennsylvania 
 
 PHILADELPHIA: 
 
 PUBLISHED BY THOMAS DOBSON, AT THE STONE HOUSE. 
 NO. 41, SOUTH SECOND STREET 
 
 William Fry, Printer 
 1815. 
 
cW 
 
 
 >Kv 
 
 District of Pennsylvania, to wit: 
 
 ******** BE IT REMEMBERED, that on the twentieth day of 
 
 * SEAL * J une > ' n tne thirty-ninth year of the independence of the 
 
 * * United States of America, A. D. 1815, Thomas Dobson, of 
 ******** the said district, hath deposited in this office the title of a 
 
 book the right -whereof he claims as proprietor, in the words following, 
 to wit: 
 
 " A Practical Treatise on Dyeing and Callicoe Printing: Exhibiting 
 the Processes in the French, German, English, and American 
 practice of fixing Colours on Woollen, Cotton, Silk, and Linen. 
 By Thomas Cooper, Esq. Professor of Chemistry in Dickinson 
 College, Carlisle, Pennsylvania." 
 
 In conformity to the act of the Congress of the United States, intituled, 
 " An act for the encouragement of learning, by securing the copies of 
 maps, charts, and books, to the authors and proprietors of such copies, 
 during the times therein mentioned." And also to the act, entitled "An 
 act supplementary to an act, entitled ' An act for the encouragement of 
 learning, by securing the copies of maps, charts, and books, to the authors 
 and proprietors of such copies during the times therein mentioned,' and 
 extending the benefits thereof to the arts of designing, engraving, and 
 etching historical and other prints." 
 
 D. CALDWELL, 
 
 Clerk of the District of Pennsylvania. 
 
PREFACE. 
 
 ' i^ 
 
 J/HE art of Dyeing is of great importance to a country 
 that manufactures cloth of any kind. It adds to the 
 beauty and contributes to the economy of the material 
 whether woollen, silk, cotton or linen: it therefore en- 
 courages the demand. 
 
 In France, under Colbert, it was the subject of many 
 governmental regulations, having for their object the 
 distinction between true and false dyes; that is, per- 
 manent or fugitive colours, the great or the lesser dye. 
 Colbert meant well, but he did not know in that day 
 the value of the advice " Let us alone to manage our 
 own affairs." Laissez nous fairer 
 
 The only good books on dyeing, however, we owe 
 to France; — Hellot for woollen, Macquer for silk, 
 D'Apligny for cotton, and lately Berthollet and Sons, 
 with Bouillon La Grange's edition of Homassel. These 
 are the most valuable books of a dyer's library. 
 
 In England, Haigh's Dyer's Assistant is little more 
 than a copy of Hellot. Bancroft, who having disco- 
 vered and secured a monopoly of the bark of the 
 American black oak, turned his attention to dyeing, 
 has published a very valuable treatise, but not a prac- 
 tical one. The history and description of the drugs 
 used, and the theory that pervades the book, is ex- 
 cellent. I know of no book on the subject, however, 
 that is original, practical, and English. All the books 
 
 <N 
 
IV 
 
 there published on the subject, Bancroft's excepted, 
 are either copies of Hellot, or catchpenny compilations 
 of no value. On callicoe printing, England has fur- 
 nished but one book, published about twenty-five years 
 ago, and of no value. That manufacturing and jealous 
 nation, conceals all the knowledge by which other na- 
 tions could profit in a manufacturing point of view. 
 
 In Germany I know of nothing but Gulich's, 
 Scheffer's and Poerner's treatises, which are rather 
 experimental than didactic and practical. D'Ambour- 
 ney's work, though very curious, and opening a field 
 of future utility, is also of no use to the practical dyer. 
 
 In this country two books have been published on 
 the subject, one a thin duodecimo, by Asa Ellis of 
 Connecticut, and another lately by Elijah Bemiss of 
 New York State. They are both practical books, con- 
 taining processes manifestly copied from experience. 
 Asa Ellis's book contains no theory, and his receipts 
 can for the most part be depended on. That of Elijah 
 Bemiss, although the first part is manifestly the work 
 of a practical dyer, yet it is marked by such a total 
 ignorance of chemical principles, and some of the re- 
 ceipts are so strange, that although a man who under- 
 stands the theory of dyeing may make a good use of 
 some parts of it, the work is not of equa,l merit with 
 those which have preceded it. Still it is a book worth 
 having, the proportions are tolerably good, and suited 
 to the present state of this country. 
 
 The sources to which I have applied, are Hellot, 
 Macquer, Berthollct, Homassel, and occasionally to 
 Asa Ellis. 
 
 
Thirty years ago, dyeing and printing occupied 
 much Of my time experimentally and practically: my 
 strong and decided liking for these branches of indus- 
 try, lias kept me alive to every improvement I could 
 hear of since I have been in this country; and my che- 
 mical pursuits have enabled me to understand these 
 subjects certainly better than a merely practical man. 
 I consider therefore that I am qualified to judge of what 
 is likely to be to the purpose among a variety of receipts, 
 as well as can reasonably be expected. But although 
 I have dyed every colour upon cotton with my own 
 hands heretofore, and that not by way of experiment, 
 but for the market, and although I have superintended 
 with anxious care the dyeing and the colour shop of 
 the printing department at my own establishment, this 
 is so long ago, that much has escaped my recollection, 
 and probably much is known to others who have con- 
 tinued in the practice, which is now unknown to me. 
 Still, I send out this book, as upon the whole the best 
 book on the subjects of dyeing and printing now ex- 
 tant, scanty as the information may seem. 
 
 It is very singular that in the voluminous publica 
 tion, Rees's Cyclopaedia, I can findnothing on dye- 
 ing generally, and only two articles relating to the 
 subject of printing. Can this be a wilful omission in the 
 common jealous manufacturing spirit of the country? 
 However, in the article dyeing, the English may have 
 cheaper, but they have not better processes than the 
 French have published; nor in general is the English 
 dye house as good as the French; or their cloths so 
 well dved. 
 
 
VI 
 
 With us, and in the infancy of our manufacture, it 
 is all important that we should reject as much as pos- 
 sible fugitive, and use only permanent colours. For 
 this purpose it is worth while to go to the expense of 
 these colours. At present, the English manufacture, 
 cheaper, dye cheaper, and finish their goods far supe- 
 rior to every other nation as well as our own; but if 
 our cloth and our colours are substantially better, if 
 they will last longer than the English, it will compen- 
 sate in a great degree both for inferior finish and higher 
 price. My receipts therefore are not of the cheapest 
 kind. I have uniformly rejected the fraudulent and 
 fugitive dyes, and insisted on the fast colours. 
 
 This work I know to be incomplete, particularly in 
 the department of callicoe printing, but where will the 
 reader find a better? This is my apologv. 
 
 I have often been asked for a treatise on dyeing, 
 which shall contain in a small compass all the best re- 
 ceipts for each colour, rejecting all inferior ones: so 
 that an unlettered and practical man, can go to work 
 with a full relianee on the process laid down for him; 
 and an excellent book this would certainly be. 
 
 But those who ask for it, are not aware, that in all 
 probability no man living is competent to such a selec- 
 tion. Almost every dye shop has its peculiar recipes, 
 and processes. The directions given by the most ap- 
 proved authors greatly differ from each other. Diffe- 
 rent processes will suit some countries better than 
 others, and different localities in the same country. A 
 dyer in New York or Philadelphia, will use drugs im- 
 ported, for which a dyer in the back country will be 
 
« 
 
 Vll 
 
 induced to find a substitute. This has induced me by 
 way of appendix to insert D'Ambourney's experi- 
 ments on the colours produced by different woods, 
 satisfied that such a set of experiments made on our 
 own woods, would probably lead to many useful re- 
 sults. 
 
 The plan of the following treatise is much in this 
 wise. 
 
 Suppose I were a dyer, and a young lad sent to me 
 to be instructed in the art: 
 
 I should first expect of him a good knowledge of 
 the elements of chemistry; for it is a farce to talk of a 
 dyer who is ignorant of chemical science; every step 
 he takes must be in the dark; he cannot move but by 
 rote. 
 
 I should then instruct him in the materials used in 
 the art of dyeing: Bancroft's book, to which mine is a 
 practical supplement, will do this better than any other. 
 
 I should then carry him if I could, to the best dye 
 houses in the neighbourhood, and show him the pro- 
 cesses there used for each colour on the respective 
 kinds of stuff. 
 
 Then I would bring him home and make him dye 
 the same colours in my own dye house, explaining the 
 reasons of difference, wherever my practice differed 
 from my neighbours'. 
 
 I have done so in this book. I have placed the 
 reader in the French, the German, the English dye 
 houses: I have given him the processes of each coun- 
 try, where I could get at them; I have then given my 
 remarks on these processes, and my own alterations 
 founded on those remarks, leaving him then to exer- 
 
vm 
 
 cise his own judgment. I think this is far better than 
 confining him to a single receipt, under the notion that 
 I was duly qualified to select the very best, and infal- 
 lible in my judgment. I know that I am not so, and 
 therefore I have not pretended to this very desirable 
 qualification. 
 
 In fact the art of dyeing is yet in its infancy. No one 
 but a good chemist, who is at the same time a good 
 dyer, can form any judgment of the very many unas- 
 certained points that yet remain as desiderata in this 
 art. I have felt this at almost every page of the work. 
 It is in dyeing as in all other branches of knowledge, 
 a man must know much, before he is aware how igno- 
 rant he is. The only cure for the evil, is the general 
 introduction of chemical knowledge, which bears upon 
 the principles of almost every art and trade that sub- 
 serves the comfort or convenience of common life. 
 
 Such as the book is, I believe it will be useful in 
 its way, and I am glad thus to contribute my mite to 
 the treasury of practical knowledge, of which this, 
 countrv stands so much in need. 
 
 THOMAS COOPER 
 
INDEX. 
 
 A. 
 
 JlCETAT of alumine, directions for making, 7. 
 
 Alder Bark, 14. Of its use in the brown dye, 185. 
 
 Annatto, (Rocou), 23. Its application in the silk dye, 208. 
 
 Archi^ (orseille, roccella) 17. 
 
 Aurora, how composed for the woollen dye, 175. For silk, 211. 
 
 B. 
 
 Bancroft, Dr. his proposals on the scarlet dye, 142 — 148. His 
 
 mordant for quercitron bark in the woollen dye, 172. 
 
 Barberry Boot, 20. 
 
 Barry red, 141. 
 
 Bcrthollcts' (Messrs.) remarks on the Indigo vat of Rouen, 
 64. Their process for setting the vat. 65. Receipts for the 
 common pencil blue of the callicoe printers, 67 — 69. Method 
 of dyeing scarlet, 124 — 128. Remarks on the use of sumach, 
 183. Process for dyeing Saxon green, 180. On the black dye 
 for silk, 239. 
 
 Birch tree, 20. 
 
 Black, Hellot's process for dyeing, 87. Method of Homassel, 90. 
 Haigh's process, 94 — 96; another, by Asa Ellis, 96. Method 
 of dyeing common blacks, 98. Homassel's vat for dyeing 
 silk, 237 — 239. Macquer's process, 239. Of dyeing cotton 
 this colour, 271 — 279. 
 
 Blue. — Of the drugs used for this colour, 20 — 23. Method of 
 dyeing blue on woollen and cotton, 35, et seq. How dyed on 
 woollen with indigo alone, 44. Pencil blue of the callicoe 
 printers, 67 — 7(). Proportions of ingredients used for dyeing 
 this colour by the English, French and German dyers, 
 74 — 78. The Editor's proce? s for dyeing blue on woollens, 
 79. Of its various shades with red, 162 — 165. On the dye- 
 ing silk this colour, 249 — 254. Of the blue dye on cotton, 
 270. Of the Blue vat of the callicoe printers, 362, et seq. 
 
 Bran and madder vat, — how made and used, 45. 
 
 b 
 
X 
 
 Brazil wood, 16. Directions for using it in the red dye, 150. How 
 
 used in dyeing cotton red, 280. 
 Brazilletto, 16. 
 Brown. Of the processes for dyeing the different shades of this 
 
 colour, 177 — 182. Directions for this colour on cotton, 303. 
 Buff yellow on woollen, 173. On cotton, 308 — 312. 
 
 C. 
 
 Cam wood, 16. 
 
 Carthamus, 17. 
 
 Carmelite, how dyed on woollen, 175. On silk, 214. 
 
 Callicoe printing, Observations on, 316 — 335. Of the process for 
 preparing callicoes, making mordants, and printing raised 
 colours, 336 — 352. Observations on raising madder colours, 
 352. Colours raised by weld, 354. With quercitron, 356. Of 
 colours to be raised in weld and madder, conjointly, or in 
 quercitron and madder, ib. Of colours to be raised in weld 
 or quercitron and logwood, 357. Single blacks to be raised 
 with logwood and sumach, 358. Colours to be raised in lime 
 water and potash, 358 — 360. Colours to be raised in lime, 
 copperas and potash, 360. On dipping, 361 — 389. Of Pencil 
 colours, 389. Of chemical colours, 390 — 422. Of printing 
 by discharging colours already dyed, 422 — 424. Homassel's 
 remarks on callicoe printing, 424, et seq. 
 
 China Blue, on the manner of making, 70 — another process, 71. 
 Proportion of ingredients used by the English dyers, 78. For 
 callicoe printing, 385. 44 1. 
 
 Chemical colours, 452 — 459. 
 
 Cochineal, 17. 
 
 Colour making, 395—422. 
 
 Cotton. Remarks on the mordants requisite for this substance, 
 262 — 264. On bleaching cotton goods, 265 — 269. Of the 
 blue dye for cotton, 270. Of the Black dye, 271—279. Of 
 scarlet, 279, 280. Of brazil reds, 280. Of pink, 281. 315. 
 Of madder reds, 282—303. Of the Turkey red, 286—299. 
 314. Of browns and chocolates, 303. Of violet, ib. Of the 
 yellow dye, 304 — 308. Of buff colours, 308. 312. Orange, 
 310. Cinnamon, ib. Drabs, ib. Olives, 311. Nankins, 309. 
 312. Greens, 313. Coquelicot, ib. Puce or flea colour, ib. 
 Grays, ib. Black, ib. 
 
XI 
 
 Crimson. Hellot's method of dyeing Genoa crimson on silk, 220 — 
 224. Macquer's process for fine crimson, 224. Of the false 
 or brazil crimson, 227. Violet crimson of Italy, 228. Homas- 
 sel's fine crimson, 229. Brazil crimson, 281. 315. 
 
 D. 
 
 Drab. Of the processes for dyeing the different shades of this 
 colour, 176. 
 
 Drugs, colouring: How tested, 2. Of the kinds used in dyeing, 
 12, et seq. 
 
 Dye-house. General directions for arranging it, 10. Of the uten- 
 sils, &c. required, 28. 
 
 F. 
 
 Fustic, old, 19. How used in the yellow dye, 169. 
 
 Fustic, young (Fustet, Venice sumach) 19. How employed in the 
 silk dye, 214. 
 
 G. 
 
 Galls, Me/i/io, 13. Berthollet's experiments on, ib. 
 
 Golden Rod (Solidago), 20. 
 
 Gold colour. How dyed on silk, 211. 
 
 Grays. Of the processes for dyeing the different shades of this 
 colour, 100 — 103. 182. 313. 
 
 Green, Bottle. Process for dyeing this colour on woollen, 176. 
 On silk, by Homassel, 260. On cotton, 313. 
 
 Green. Directions for dyeing a fast green, 185. Homassel's me- 
 thod of dyeing Saxon green, 187. Berthollet's process, 188. 
 Macquer's directions lor dyeing silk this colour, 256 — 258. 
 Homassel's method, 259. On cotton, 313. 
 
 H. 
 
 Haussman's remarks on the indigo vat, 65. 
 
 Hellot's process for dyeing black, 87. His method of making the 
 scarlet composition, 103 — 105; and of dyeing scarlet, 105 — 
 124. Process for dyeing with weld, 167. On brown from wal- 
 nut rinds, 179. Directions for dyeing the Genoa crimson on 
 silk, 220—224. 
 
 Homassel — His directions for sulphuring, 32. Process for setting 
 the pastel or woad vat, 41 — 44. Method of setting the indigo 
 vat, 50. Observations on the callicoe dyers' blue vat, 71 Di- 
 rections for making pencil blue, 73. Process for dyeing 
 black, 90. His mordant for fast and bright grays, 100. Pro- 
 
Xll 
 
 cesses for common scarlet and rose colour, 147. Method of 
 using brazil wood in the red dye, 1 50. Processes for violets 
 and purples, 163. Observations on yellow colours, 167 — 171. 
 On the brown from walnut rind, iHQ. Method of dyeing 
 Saxon green, 187. Process for dyeing fine crimson on silk, 
 229 Scarlet, 231. Pink, 232 — 236. Black, 237. Green, 259. 
 Remarks on callicoe printing, 424, et seq. 
 
 I. 
 
 Indigo, of the different kinds of, 20 — 22. How used in the dyeing 
 
 of woollen, 44, et seq. On the use of this substance in the 
 
 silk dye, 249—254. 
 Indigo vat, process of setting used by the dyers of Pennsylvania, 
 
 45 — 48. M. Homassel's method, 50. Process at Rouen, 62. 
 
 Messrs. Bertholiet's vat, 65. Bergman and Scheffer's vat, 
 
 67. 
 with lime, for cotton dyeing, 56 — 61. M. Le Pileur d'Aplig- 
 
 ny's process, 61. With urine, by Homassel, 82. 
 
 . Proportions of ingredients used by the English and French 
 
 dyers, in the vats for woollens and callicoes, 74 — 78. Process 
 
 of the callicoe printers, 362, et seq. 
 
 K. 
 
 Kermesy 17. 
 
 Lac, (stick, shell, and seed) — 17. 
 
 M. 
 
 Madder, and Madder Roots, 15. Of its properties and uses in 
 dyeing red, 151 — 158. Sir II. Englefield's madder lake, 155. 
 Experiments on madder by M. Merime, 155. Of madder 
 reds on cotton, 282 — 286. Of the madder copper for callicoe 
 printing, 349, et seq. Observations on raising madder co- 
 lours, 352, et seq. 
 
 Mahogany, 18. 
 
 Mill, description of one, for grinding indigo, 21. 
 
 Mordant, meaning and application of the term, 1. Of the different 
 kinds used in dyeing, 2 — 6, and 23 — 28. For callicoe print- 
 ing, 318, et seq. Resisting mordants, 381. 
 
 Mordorc, how dyed on woollen, 175. On silk, 211. 
 
Xlll 
 
 N. 
 Nankin, how dyed on cotton, 309. 312. 
 Navy Blue , 85. 
 Nicaragua wood, 16. 
 
 O. 
 Olive Colours. Processes for dyeing different shades of olive on 
 
 woollen, 176. On silk, 261. 
 Orange. How dyed on woollen, 175. On silk, 21 1. On cotton, 311. 
 
 P. 
 
 Paris Mud. How dyed on woollen, 182. 
 
 Pastel, 22. Of the vats, 35. Process of setting them, 36. Homas- 
 sel's process, 41—44. 
 
 Peach wood, 16. 
 
 Pencil Blue, Berthollet's receipts for, 67 — 69. How made by the 
 Manchester printers, 69, 70. Homassel's process, 73. Pro- 
 portions of ingredients used by the French, German and 
 English dyers, 77. Of the callicoe printers, 389. 
 
 Pink. Method of dyeing this colour on woollen, 158 — 162. On 
 silk, by Homassel, 232—236. 315. 
 
 Puce or Flea Colour. How dyed on silk, 215. Process for a bright 
 colour, 230. On cotton, 313. 
 
 Purple. Processes of the English dyers for making this colour, 
 164. How dyed on silk, 217. 
 
 Q. 
 
 Quercitron Bark, 18. Of its use in callicoe printing, 356. 
 
 R. 
 
 Red, Of the drugs generally used for giving a red or reddish dye, 
 16 — 18. Of the reds from brazil, brazilletto, nicaragua, red 
 and peach woods, 149. Of reds from madder, 151. Of its 
 combinations with blue colours; violets, purples, lilacs, See. 
 162 — 165. Of its combinations with black, 165. Of madder 
 reds on cotton, 282 — 286. Process for the Turkey red, 286 
 — 301. 314. Common reds on cotton, 314. Fine and fast reds, 
 ib. Of the reds of callicoe printing, 350. 
 
 S. 
 Saffron, 19. 
 Saxon Blue, process for making, 84, How used in the silk dye, 
 
 254. 
 
XIV 
 
 Saxon Green, Homassel's method for dyeing, 187. Process of 
 Berthollet, 188. 
 
 Scarlet. On the process of dyeing this colour on woollen, 103 — 
 149. Fallot's method, 105 — 124. Process of Messrs. Ber- 
 thollets, 124—128. Of the London dyers, 139. Dr. Bancroft's 
 proposals, 142 — 146. Venetian scarlet, 148. On the scarlet 
 from stick lac, 149. Homassel's process for dyeing this colour 
 on silk, 23 1 . Of dyeing cotton a scarlet colour, 179, 180. 315. 
 
 Scourer, on the business of a, 459, et seg. 
 
 Silk. Homassel's remarks on the boiling raw and unbleached silk, 
 198—203. Of white silk, 203—205. Macquer's process for 
 sulphuring this substance, 206. Directions for aluming silk, 
 207. How dyed with annatto, 208. How dyed of a coquelicot 
 colour, 210. Aurora, 211. Mordore, ib. Orange, id. Gold and 
 buff, ib. Puce or flea colour, 215. Brown puce,z'6. Carmelite, 
 214. Prune colours, ib. Violets, 215. Purples and July- 
 llowers, 217. Maroons, &c. 218. Hellot's directions for dye- 
 ing the Genoa crimson, 220 — 224. Macquer's process for" 
 fine crimson, 224—226. False or brazil crimson, 227. Dif- 
 ferent shades of red, 228. Violet crimson of Italy, ib. Fine 
 crimson by Homassel, 229. Bright violets, 230. Scarlet, 231. 
 Pink, 232 — 236. False poppy or fire colour, 236. False rose 
 colours, 237. Black, ib. Of indigo blue on silk, 249—254. 
 Of yellows, 254. Of greens, 256 — 261. Olive, 261. 
 
 Soot, 20. Of its use in dyeing yellow, 170. 
 
 Sumach (rhus coriaria), 14. How used in dyeing brown, 183. 
 
 T. 
 
 Tests. Of the different kinds wanted by the dyer, 23 — 28. 
 Turkey Red. Process for dyeing this colour on cotton, 286 — 299. 
 
 Editor's process for dyeing an imitation of the Turkey red, 
 
 299—301. 314. 
 Turmeric, 19. Its application for yellow, 171. 
 
 Violets. Of the methods of giving the different shades of this co- 
 lour on woollen, 162—164. How dyed on silk, 215—217. 
 On cotton, 303. 313. 
 
 W. 
 
 Water. The kind proper to be used in dye houses, and how test- 
 ed} 6. 
 
XV 
 
 Weld, 18. Properties of its decoction, 166. Hellot's process for 
 dyeing with it, 167. Homassel's process, 168. Of its use in 
 callicoe printing, 354. 
 
 Wood, 22. Of the vats, 35. Process of setting them, 36. Homas- 
 sel's process, 41 — 44. 
 
 Woods. Of the different kinds used in dyeing red, 16. 
 
 Woollen, on the dyeing of, 30. Method of scouring, ib. How sul- 
 phured, 32. Method of improving the colour, ib. Of dyeing 
 blue on woollen, 35. How dyed blue with indigo alone, 44, et 
 seq. Method of dyeing it black, 87—98. Process for dyeing 
 scarlet on this substance, 103— -149. How dyed pink, 158 — 
 162. How dyed violet, 164. Purple, ib. Claret, 165. Gray, ib. 
 Yellow, 165—174. Yellow with red, 174. Orange and au- 
 rora, 175. Mordore, ib. Carmelite, ib. Wood colour, ib. Ha- 
 zle, ib. Of the combinations of yellow with black, producing 
 olives and drabs, 176. General remarks on the woollen dye, 
 196, ct seq. 
 
 Woollen Flocks, 194—196. 
 
 Y. 
 
 Yellow. Of the drugs used to give this colour, 18. 165. Homas- 
 sel's observations on this colour, produced from weld, 168; 
 from fustic, 169; from soot, 170; and from turmeric, 171. 
 English process, 171, et seq. Of its combinations with red, 
 174, 175; with black, 176—179. On the dyeing of silk this 
 colour, 254 — 256. How dyed on cotton, 304. 308. 312. 
 
 Yellow Berries (graines d' Avignon), 19. 
 
 Z 
 
 Zedoary, 19. 
 
ON DYEING, 
 
 PRELIMINARY REMARKS. 
 
 THE subjects of the art of dyeing, or the substances 
 to be dyed, are wool, silk, cotton, linen, leather. The 
 staining of ivory, bone, horn or wood, or the tinging 
 of glass or enamels, are not comprehended under dye- 
 ing. The present treatise relates to wool, silk, and 
 
 cotton. 
 
 Dyeing is performed by fixing the colouring matter 
 of certain drugs on the substances to be dyed. This is 
 done, either immediately, as in the case of woad or 
 indigo; or intermediately, as in the reds of madder, 
 and cochineal, the yellows of weld, quercitron or fus- 
 tic, &c. which cannot be fixed unless by the interven- 
 tion of some other substance. These intermedia, are 
 technically termed mordants; a French word, im- 
 plying that they seize hold, and fasten upon the cloth 
 in the first instance. These mordants are almost ex- 
 clusively, solutions of the earth of alum, as the sulphat, 
 tartrat and acetat; or of tin, as the nitro-muriat; or of 
 iron or copper, as the sulphat, or acetat; and lately the 
 nitratof bismuth has been introduced. If in a solution 
 of any of these salts, a decoction of colouring matter be 
 
 A 
 

 
 / 
 
 
 poured, the colouring matter separates the aluminous 
 earth, the tin, the iron and the copper from its solution, 
 in an insoluble compound. So if the earth of alum be 
 precipitated by an alkali, and the precipitate washed, 
 this precipitate boiled with a decoction of logwood or 
 madder, will attach itself to the colouring matter, and 
 if in sufficient quantity, will leave the decoction clear. 
 It is in this way, that the dyer ought to try the quan- 
 tity and brilliancy of the colouring matter contained in 
 a sample of colouring drugs he is about to purchase. 
 Let him take for instance one hundred grains by weight 
 of a dye wood offered for sale; bruise it well; boil it 
 in snow or distilled water, till the colouring matter be 
 extracted; then add cautiously a solution of acetat of 
 alumine, (printer's red colour,) or nitro-muriat of tin, 
 till all the colouring matter falls down: the eye can 
 determine the brilliancy of it, when compared with a 
 known sample treated in the same manner, and the 
 weight of the precipitate will give (when dry) the 
 comparative proportion of colouring matter in a given 
 weight of the drug, provided the same solution be 
 used in both cases. This method mav furnish a much 
 more useful test of the value of a parcel of drugs, than 
 any other commonly employed. 
 
 When mordants are applied to cloth of any kind 
 intended to be dyed, it has been supposed till lately, 
 that the saline substances were decomposed by, and 
 their bases united chemically to the cloth; but late ex- 
 periments show, that the cloth alone is not able to 
 separate the base from the acid: thus, when'wool, silk, 
 or cotton are alumed, the whole of the alum absorbed. 
 
3 
 
 can be washed out by repeated washings of hot water; 
 and by evaporation, can be collected: so that the cloth 
 shall be as incapable of being dyed permanently, as it 
 was before the mordant was applied. Still, cloth pre- 
 pared or mordanted with alum should be rinced be- 
 fore it is dyed, in most, if not in all cases. Hence how- 
 ever, it follows practically, first, that after cloth has 
 been impregnated with mordant, it should not be wash- 
 ed too frequently, or too assiduously, or in hot water, 
 before it be dyed: the loose and crystallized particles 
 of the mordant should be lightly washed away, but no 
 more. Secondly, that in many cases it would be advan- 
 tageous to dip the goods in the colouring matter first: 
 thirdly, that alternate mordanting and dying, has the 
 best chance of saturating the cloth with colour. Hence 
 also it follows, theoretically, that the cloth is not able to 
 decompose the saline substances used as mordants, 
 without the assistance of colouring matter; those sa- 
 line substances therefore, are only retained in the cloth 
 mechanically, until the solution of colouring matter 
 precipitates them on the cloth; in that state, they com- 
 bine chemically with the cloth; forming a triple com- 
 pound of the base, the colouring matter, and the cloth. 
 The acetic acid and the tartaric acid, counteract the 
 tendency of the alum to crystallize. But although 
 mordants in the saline state are retained mechanically 
 in the cloth, until the dying process commences, yet 
 when acids that hold the base in solution are taken 
 away by other chemical means, and the base is preci- 
 pitated on the cloth without the intervention of colour- 
 ing matter, a chemical union takes place between the 
 

 4 
 
 cloth and the base: thus, dip cloth in a solution of iron, 
 whether sulphat or acetat: then dip it in lime water, 
 or in an alkaline solution; the oxyd of iron will be 
 fixed on the cloth indelibly as to the action of air, of 
 water, or of washing by soap; and will receive any dye 
 that the oxyd of iron is capable of fixing. This indeed 
 is the common ley-colour of this country, and one 
 species of the Manchester nankeen, or fast buff; per- 
 manent as to washing, but liable to be stained by 
 tea and other astringents. I believe the same union 
 takes place, when the base alumine or tin is so preci- 
 tated; and in a less degree, copper also; that is, a che- 
 mical union takes place between the cloth and the 
 base, independent of the action of colouring matter, 
 when the acid is by other means taken away. Hence 
 as I have already stated, coloured cloth is a triple che- 
 mical compound of cloth, base of the mordant, and 
 colouring matter. This triple union is strengthened in 
 most cases of metallic mordants by moderate ex- 
 posure to air, to complete the oxydation of the base. 
 When mordants are used, they should be examined. 
 Thus, alum and sulphat of copper frequently contain 
 iron: so do the muriatic and nitric acids used in 
 making the scarlet composition. In this case, a violet 
 or olive tinge, verging or approaching to black, will 
 infallibly be produeed by madder, Brazil, cochineal, 
 weld, quercitron, or even fustic; this will be more or 
 less apparent as the iron predominates. Roman alum, 
 and English alum, are the best I have seen. Iron can 
 be detected by dropping into a solution of the saline 
 substance suspected, a few drops of prussiat of potash, 
 
or of lime; which ought also to be checked by ano- 
 ther glass, in which is to be dropped a few drops of 
 tincture of galls. Generally speaking, the best mor- 
 dant for woollens, is tartrat of alumine; for cotton, 
 acetat of alumine; as yet this mordant is almost con- 
 fined to callicoe printing, but it well deserves the dy- 
 er's attention, Copper is a mordant chiefly for yellows. 
 Indigo, woad, carthamus, yellow berries, turmeric, 
 zedoary, annatto, and some few other drugs, require 
 no saline mordant. The common mordant or saline sub- 
 stances in the preparation liquor, for woollens, when 
 a very full colour is intended, is four ounces of alum 
 and two of tartar to each pound weight of woollen. 
 The alum should be first dissolved, then the tartar 
 ground fine, by small quantities at a time; for an effer- 
 vescence takes place, which may throw the liquor out 
 of the boiler. The cloth should in general be boiled in 
 the mordant, or preparation liquor, for about two 
 hours, and be well stirred. 
 
 Although this be the general proportion of mordant 
 for aluming woollens, yet this proportion may vary 
 according to the depth of colour required: and for 
 some colours, as a weld yellow for instance, half the 
 quantity will answer. So, much less tartar is required 
 for gold colours, bright yellows, and some others, for 
 which the dose of mordant is three ounces alum, and 
 an ounce of tartar per pound. 
 
 Water that has been employed for one alum-bath 
 is better for another preparation liquor than fresh 
 water; so that a second preparation, or solution of the 
 mordant, produces brighter colours than the first: for 
 
the cloth has taken away with it all foulness and he- 
 terogeneous matter, and the solution is clearer. 
 
 Delicate colours, such as a brimstone yellow, and 
 carnation, are best dyed out of a preparation liquor 
 that has been twice used. 
 
 For crimson and false scarlet with Brazil wood, the 
 mordant or preparation is, twenty-two pounds of 
 alum, and eight or ten of tartar for the first hundred 
 pounds of cloth; twenty pounds of alum, and eight 
 pounds of tartar for the next hundred pounds, con- 
 tinuing with the same water; eighteen pounds of 
 alum, and six pounds of tartar for the third hundred 
 and each succeeding one; for the water will retain 
 much of the mordant. For these colours, the boiling 
 should continue three hours. Woollens boiled in the 
 preparation for fine colours, should be left for some 
 days in an underground room, or cellar, upon clean 
 planks, but not of oak wood. But weld colours, whe- 
 ther yellow or green, should be dyed the day* after 
 their preparation. Brazil crimsons and scarlets, may 
 stay a fortnight. Flocks of wool that had been pre- 
 pared with the mordant, were as good at the end of a 
 year as the first day, for alum is a preservative. 
 
 The water used in a dye-house, ought to be tested 
 in the same way. Also, if the water meant to be cm- 
 ployed, be foul or hard, and not fit for washing, or 
 curdles soap, it is not fit for dyeing light colours." For 
 it may be considered as containing saline substances, 
 which will act as mordants where they are not want- 
 ed. This defect may be remedied by throwing a hand- 
 ful of starch and a little alum in the copper and boil- 
 
ing and scumming it before using it; or in some de- 
 gree, by boiling bran in it: but no bright colour can 
 be obtained from foul or hard water. All colouring 
 drugs, should be purchased as fresh as possible; they 
 should be kept in a dry place; and not much exposed 
 to the air. They should be used rasped rather than 
 chipped; where the powdery or rasped state is objec- 
 tionable in the copper boiler, they can be inclosed in 
 a close basket or in a bag, and occasionally pressed: 
 it is great waste to use them in large chips, or in chips 
 of any kind. When a sample is offered, it should be 
 tried as to its richness in the way above mentioned; 
 that is, make a solution of a sample, and precipitate it 
 with acetat of alumine. Acetat of alumine is made 
 thus: dissolve one part, as a pound or an ounce of 
 alum free from iron, in as much water as will dissolve 
 it, that is, about eight parts water to three of alum; 
 when dissolved, add one part and a quarter, as a pound 
 and a quarter or an ounce and a quarter, of the salt 
 called acetat or sugar of lead; stir them well together; 
 let the sediment subside, which is sulphat of lead; pour 
 off, or filter the supernatant liquor; for the purpose of 
 this experiment, it may be diluted with three waters. 
 Instead of this you may use the scarlet composition, 
 nitro-muriat of tin, or even a solution of alum; I pre- 
 fer the acetat. 
 
 Colours on woollen, are expected to stand exposure 
 to air and light; if by these tests they are fugitive, in 
 so much they are inferior, and (technically) false dyes; 
 such for instance are logwood blacks and blues. In 
 cotton goods, beside standing these tests, the colours 
 
are commonly required to stand also the test of wash- 
 ing with soap; though not so frequently in dyed cot- 
 tons as in printed cottons. 
 
 It is a general rule, admitting however of some few 
 exceptions, that colours obtained from barks and roots, 
 are more permanent than those from woods; and these 
 latter, more so than those from leaves. This rule ap- 
 pears to me not to apply to those leaves, which like 
 sumach, and perhaps weld or wold, contain astringent 
 matter; by astringent matter, meaning tannin and gallic 
 acid. Indeed, these two substances combined as na- 
 ture usually combines them, are powerful mordants, 
 and have of late years been introduced with great suc- 
 cess to give depth and permanency to colours; as in 
 the Turkey-red dye. The extent to which astringent 
 substances can be thus applied, is not yet fully known. 
 
 In extracting the colours of many colouring drugs, ' 
 as yellows and reds, it seems to me, that a full boiling 
 heat ought generally to be avoided: 180° or 190° of 
 Fahrenheit is generally more favourable to brilliancy 
 of colour, than 212°. Hence I should approve of the 
 method employed in the English dye-houses, on the 
 recommendation of count Rumford, of boiling by 
 steam; which unless the copper be very closely cover- 
 ed, which is seldom the case in a dye-house, does not 
 raise the water to a full boiling heat. Some colours 
 however require a continued boiling, and a concentra- 
 tion of the coloured liquor, in which case, the fire- 
 flues ought not to reach high up the boiler. 
 
 When a dye vat has performed its office on cloths 
 requiring full and rich colours, it may often serve for 
 
followers, (that is cloths of inferior quality) which may 
 be winced in it, till the colour be exhausted; as is done 
 in the # indigo vat, and the scarlet baths. In like manner 
 the remains of drabs and olives are used up for com- 
 mon blacks. 
 
 Of cloths to be dyed, wool retains colouring 
 matter more perfectly than cotton, and cotton than 
 linen. Hence of late, attempts have been made to ani- 
 malize cotton cloth, by impregnating it with animal 
 oils, with animal salts and mucilage, or with animal 
 gelatine (glue). The process of the callicoe printers, 
 who from time immemorial have fixed their mordant 
 by running the piece, after being printed with acetat of 
 alumine, through sheep's dung or cow dung, and the 
 very complicated but effectual and instructive process 
 for dyeing Turkey- red, have suggested this practice; 
 which I Relieve succeeds on cotton wherever it is ap- 
 plied. In this case, it seems to me that there is a 
 quadruple chemical compound, viz. the cotton, the base 
 of the mordant, the animal matter, and the vegetable 
 colouring matter. In the Adrianople Turkey-red, I am 
 persuaded it is at least a quintuple compound by the 
 addition of the astringent matter furnished by the gall- 
 ing. At all events the Turkey-red process may well 
 suggest the great importance of galls and blood, or 
 other soluble iinimal matter, in dyeing cotton. The soft- 
 ness to the touch, and the velvet feel for which fine 
 cloth is admired, depends mainly upon previous 
 scouring. 
 
 It is essential to a dye-house, that it be placed 
 where there is plenty of good water to supply it, and 
 
 B 
 

 10 
 
 plenty of fall to carry off the spent dye-stuff. The floor 
 of the dye-house should be of hard brick closely set, 
 with drains an'd channels to carry off waste liquor. If 
 not of brick, it should be of stone, or of hard cement, 
 or leached ashes; so as to admit of being accurately 
 washed. The light should be good and in plenty, with- 
 out letting in too much sunshine: it should come from 
 above; that is, the bottom of the windows should be 
 12 or 18 inches above the rim of the coppers: the 
 shade of colour is thus most advantageously discern- 
 ed. There should be conveniences for carrying off 
 steam. The coppers, except one for logwood which 
 may be of iron, should be of brass or copper, and no 
 iron nails be used about them. They should have 
 covers to be used occasionally. The scarlet dye-house 
 should be separate, and the vessels in it should be of 
 tin, or tinned copper. It would be better also, if the 
 black and blue dyes were at a distance from the other 
 colours: want of extreme cleanliness, is a want that 
 occasions great waste and expense, which ultimately 
 falls on the dyer. Over the coppers, should be poles 
 fixed in the walls for the skeins and hanks to hang on, 
 that the dye-liquor dripping from them, may fall back 
 into the copper. 
 
 Ladles, wooden shovels, barrels, ladders and bar- 
 rows, nets and crosses, for wool, winces and reels for 
 piece work, shovels for lime, &c. will be provided of 
 course. The ladders, barrows and winces, should be 
 kept as much as possible to the use of one kind of co- 
 lour, and scrupulously clean. It is common and con- 
 venient, to have a certain quantity of alum dissolved 
 
11 
 
 in a given quantity of water in a barrel, to be mea- 
 sured out by the ladle: and so of sulphat of iron, and 
 iron-liquor (acetat of iron): where care is taken not to 
 splash about, this saves much trouble. 
 
 In a dye-house, no step should be taken but by 
 weight or measure. All guess-work surely brings 
 waste. Every cotton dye-house, should have a hogs- 
 head or two, containing old iron, such as hoops, nails, 
 fragments of all kinds, which should be perpetually 
 supplied with vinegar brewed from cyder, or from 
 coarse meal. The iron liquor, or iron dissolved in 
 vinegar, is absolutely essential to a good black upon 
 cotton, and is not fit to use under six months, and is 
 the better for having been made six years. This iron 
 liquor may be made by means of the pyroligneous 
 acid, as it now is almost universally in England; but, 
 I think the common method of brewing vinegar, is 
 best adapted for the present state of this country. The 
 pyroligneous acid, and tar acid, are in fact vinegar. 
 
 Where there is room and convenience, all the parts 
 of the establishment should occupy their own quarter: 
 the scarlet dye-house, the blue dye-house, the black 
 dye-house, should not be intermingled with the ap- 
 paratus used for other colours. Scarlet, and blue, 
 should be alone. The black may be contiguous to the 
 drabs, olives, bottle greens: or to the chocolates, but 
 should not be next to the pinks or yellows. 
 
 All the dye-woods should be kept in tight barrels, well 
 guarded from damp and the steam of the dye-house. 
 The drug-house should be fitted up with shelves con- 
 veniently, and the floor swept occasionally; it should 
 
 *■* • 
 
12 
 
 also be well furnished with weights and scales, steel- 
 yards, stone- ware jugs and pans; cleanliness and neat- 
 ness are very frugal parts of every place and every 
 process belonging to a dyeing establishment. 
 
 This habit of cleanliness should be carried also as 
 far as the tenters on which the cloths are hung: they 
 should be frequently examined, wiped always, and 
 washed when necessary. The tenter hooks should be 
 of copper, brass or some similar composition. Iron is 
 only admissible to black cloths. The tenters should be 
 under a shed. 
 
 The drying-house is best heated by means of 
 iron stoves with drums and pipes. It is generally made 
 too hot, which hurts the lustre of the colours. I think 
 the heat is often injurious when it exceeds from 120« 
 to I 0° of Fahrenheit. 
 
 Stove rooms for drying goods, should not be 
 heated by means of a current of hot air thrown into 
 them, as rooms are warmed in large manufactories. 
 There is danger of a current of dust also. Iffhere be 
 current enough gradually to carry away the steam 
 driven off* in dr\ing, it is sufficient 
 
 I suggest no improvements in the construction of 
 boilers, or the mode of heating them, being persuaded 
 that in the present state of the art in this country, the 
 beaten path is the most safe and the most profitable. 
 By and by, as manufacture improves, new inventions 
 may be tried; as yet, and while we are hardly out of 
 leading strings, it is too early. 
 
 Of the Dr ug s used in dyeing. The general remarks 
 I have to make on these drugs, will as properly come 
 in here as elsewhere. 
 
13 
 
 The colouring drugs, employed in dveing blacky are 
 galls, sumach, alder bark, walnut peel, logwood. In 
 printing callicoes, madder, weld, and quercitron are 
 also employed for this purpose, but not generally in 
 dyeing. 
 
 Galls. Aleppo galls. Sometimes they are picked, and 
 the choicest sold as blue galls. They are properly as- 
 tringents, and contain gallic acid and tannin, both of 
 which seem necessary to a full black colour. Indeed 
 the gallic acid chemically separated, seems inadequate 
 to the purpose. This is a dear article, and the other 
 drugs above mentioned are used as substitutes for 
 cheapness chiefly, though not entirely so. But the fol- 
 lowing experiment of Berthollet seems to prove that 
 the price must be very high, not to preserve to galls 
 their title to preference. A solution was made of green 
 vitriol, or sulphat of iron. Decoctions were made of a 
 quantity equal to 1152 parts of each of the following 
 drugs, which were exhausted of their colouring mat- 
 ter, viz. Aleppo galls, oak bark, sumach, and logwood. 
 The decoction of 1152 parts of galls, decomposed and 
 threw down a precipitate from sulphat of iron, amount- 
 ing to 267 parts of iron; the precipitate weighed 528 
 parts. The same quantity of decoction of oak bark, 
 precipitated but 18 parts of iron, and the precipitate 
 weighed 22 parts. The same result took place, when 
 the heart of oak was used; the precipitate from the sap 
 was still less. The same quantity of decoction of su- 
 mach, threw down 162 parts of iron. The same quan- 
 tity of decoction of logwood, threw down 156 parts of 
 iron. These numbers therefore, give an approximation 
 
14 
 
 to the relative value of the drugs. Myrobolans are an 
 excellent substitute for galls. Catechu, or Terra Japo- 
 nica, is defective in gallic acid, though rich in tannin. 
 Sumach. Rhus coriaria. It grows in Syria, Spain, 
 Portugal, Montpelier; and plentifully in Pennsylvania, 
 where want of population, or want of industry, prevents 
 its being gathered. It gives of itself a brownish yellow 
 or fawn colour. It is used in grays, olives, drabs, &c. 
 Pennsylvania sumach (rhus glabrum) is now (Decem- 
 ber 1814) worth sixty dollars the ton weight. 
 
 Alder bark: vulgarly called . oler, or owler bark. I 
 believe this is not much used as yet in America; but 
 in England, particularly at Manchester, its use as an 
 astringent dye, is very extensive: it is about the same 
 value with sumach as a dye-drug. In France, they use 
 also the outward peel of ripe walnuts; Brou de Noix> 
 and that very generally. It gives without any mordant, 
 an agreeable, and permanent brownish colour to wool- 
 len, which is the more valuable, as the cloth is softer 
 to the touch after it; not being made harsh by a mor- 
 dant, which always has this effect more or less. It well 
 deserves to be introduced here. Indeed I consider it 
 as indispensable. So does the bear-berry, arbutus non 
 ursi, which is the common substitute in Sweden for 
 sumach; and grows in Pennsylvania: see Dr. Muhlen- 
 berg's catalogue, page 44. The walnut-peel and bear- 
 berry both contribute to a black with iron, and save 
 galls, in browns particularly; but we can do without 
 the bear-berry, though a dye-house would be ill fur- 
 nished without walnut-peel. 
 
 The drugs that give a red or reddish dye, are mad- 
 
15 
 
 der, madder roots, Brazil, Brazilletto, Nicaragua, 
 peach, cam, bar wood, kermes, lac, cochineal, archil. 
 I think the santal or red saunders may be dispensed 
 with. 
 
 Madder. The common madder in use, is the crop 
 (grappe) Dutch or Zealand madder, prepared and 
 ground in Zealand, previous to exportation. The 
 fresher the plant so prepared, the better. It grows in 
 any part of Pennsylvania just as well as in the Nether- 
 lands, provided the ground be good. At the settlement 
 of Harmony, about twenty miles from Pittsburgh, they 
 put in annually eight or ten acres of madder for their 
 own consumption; they use a great deal, but none ex- 
 cept what they raise upon their own lands. The only 
 precaution in purchasing crop madder, is, that it 
 should look of a bright yellowish red-brown, and 
 smell fresh and sweetish. It would be one of the most 
 profitable crops a farmer could put in, in this country; 
 and it is neither difficult to raise or to cure. 
 
 Madder roots. These are small long roots of mad- 
 der, usually imported in that state from Smyrna, 
 grown at Lizari, and universally used in the Levant 
 for the Turkey or Adrianople red. In Manchester, 
 every attempt to dye this very fine colour with crop 
 madder has failed; it will produce a good colour, but 
 not that rich full bright red, which characterizes this 
 dye, and which has not yet been produced but by means 
 of Smyrna madder roots. A cargo imported into this 
 country, and distributed for planting, would be a na- 
 tional present. They succeed now in England. About 
 three years ago, I procured some roots from Europe, 
 
16 
 
 and distributed them here, but they have been 
 neglected. 
 
 Brazil. This is a wood exported from Surinam, 
 growing in the neighbourhood of Fernambonca. 
 Doubtless the richest in colour of all the dye- woods; 
 but like the dye of almost all woods, it is fugitive. A 
 small quantity gives a liveliness and a bloom to mad- 
 der reds, that improves them greatly. It is an excellent 
 substitute for cochineal in cheap scarlets and crim- 
 sons. We get little of it now; but neither dyer or 
 printer can well dispense with it. 
 
 Brazilletto. This is an inferior kind of Brazil wood, 
 and substituted for it. 
 
 Nicaragua, Peach, Cam, and Bar Woods. These 
 also are now imported, and used as very inferior and 
 cheap substitutes for Brazil and Brazilletto. It would be 
 well worth while to make a set of comparative experi- 
 ments, as to the quantity and brightness of colouring 
 matter they contain, for the purpose of ascertaining 
 their relative value. The iiitro-muriat of tin should be 
 the precipitant for these woods. The colour being 
 equal, their relative values will be accurately expres- 
 sed by the quantity of tin which the decoction from a 
 given weight of wood will throw down combined with 
 colouring matter. Indeed no dyer ought to purchase 
 these woods, without subjecting a sample to this test. 
 It is great extravagance to use these woods unrasped. 
 
 Kermes. This is an insect (coccus ilicis, Linn.) for- 
 merly used for dyeing what were called " colours in 
 grain," the kermes having the appearance of a red 
 grain. It is now superseded by the richer dye of the 
 
17 
 
 cochineal which is not half so permanent, though 
 brighter. It appears to me, that kermes would be 
 worth importing at the present price of cochineaL 
 Their relative values might be tried in the way I pro- 
 pose, so far as relates to the quantity of colouring 
 matter contained. 
 
 Stick lac: seed lac: shell lac. The red colouring 
 mutter of the resin lacca, (choosing the stick lac) is 
 very frequently used as a dyeing material on the con- 
 tinent of Europe; but in England, I believe lac is only 
 used for sealing-wax, and black Japan varnish. 
 
 Cochineal. This is an insect whose fluids are colour- 
 ed red, by feeding upon the red juices of the opuntia 
 or prickly pear. Mr. Andrew Ellicot informs me, that 
 the prickly pear grows in most luxuriant abundance, 
 on all the small islands opposite the American coast 
 from Carolina to the Mississippi. If so, it may become 
 in time an article of cultivation worth attention, to 
 people the opuntia with the cochineal insect, and col- 
 lect them there. 
 
 Archil. Orseille, roccella of the French. A moss or 
 lichen, which when prepared with urine, is used for 
 inferior reds and purples, particularly in dyeing silk. 
 It is the plant of which the turnsole is made. The 
 usual chemical test of neutralization. I do not know 
 whether we use it much here, but I do not see how 
 the silk dyer can conveniently dispense with it. 
 
 There is only one drug used for dyeing a true pink 
 colour, to wit, carthamus or safflower. An imitation of 
 pink, or rather a rose colour, can be produced by mad- 
 der, with a little Brazil; but I know of no substance 
 
 C 
 
18 
 
 that gives a true pink except safflower. TheTmode of 
 preparing it for the purpose, will be detailed when I 
 come to the colour pink. 
 
 Mahogany sawdust or shavings, are very useful for 
 dyeing a nankeen colour, on cotton. 
 
 The drugs used for the purpose of dyeing yellow, 
 are weld or wold, quercitron, old fustic, young fustic, 
 yellow berries, turmeric, zedoary, saffron, golden rod, 
 barberry root. 
 
 Weld or wold, (not woad, which is a different sub- 
 stance). Reseda luteola. This is a plant grown in great 
 quantities in France, and in Yorkshire and Kent in 
 England, and might be grown to great advantage in 
 any part of Pennsylvania. It is the only drug used by 
 the London dyers, and callicoe printers, for their finest 
 and fastest yellow upon chintz patterns. Altogether, 
 there is no yellow drug to be compared with it in per- 
 manency and brilliancy. The colour requires blue 
 vitriol or sulphat of copper to be added to the alumi- 
 nous mordant. It might be grown in Pennsylvania as 
 easily as rye. 
 
 Querceton bark, or rather quercitron, quercus citrl- 
 na, lemon-coloured oak; the inner bark of the black 
 oak, quercus nigra. It is a good, a permanent, and a 
 cheap dye; not quite so bright, and not quite so per- 
 manent however as weld. But for common calicoes 
 and chintzes, and for patterns that are quickly wanted 
 in the market, it is preferred to weld or wold," because 
 the stain given to the white part of the piece, is sooner 
 discharged on the bleach-green. Dr. Bancroft's book 
 was principally intended to promote the sale and the 
 
19 
 
 use of this drug, which he has a patent for importing 
 into England; and doubtless, it has proved a valuable 
 acquisition to the dyer and printer. The modes of using 
 it to the best advantage have been detailed by Dr. 
 Bancroft, whose publication contains much experi- 
 ment worthy of attention. 
 
 Old Fustic. This is the bois jaune, the yellow wood 
 that comes to us in logs, and therefore distinguished 
 by the English dyers, as old fustic. It is used much 
 for drabs, olives, &c, and the callicoe printers use it 
 for their common yellows. It will not bear above one 
 or two washings. The colour is rendered more perma- 
 nent when used in dyeing, as it generally is, with 
 sumach. 
 
 Young Fustic. Fustet of the French; Venice sumach. 
 Of no peculiar value; it furnishes a reddish-orange 
 colour, while old fustic gives only a golden yellow. 
 
 Yellow Berries. Grains d'Avignon. These require no 
 mordant, but they do not produce a fast colour. The 
 silk dyers use them. And these berries furnish the 
 only chemical yellow used by the callicoe printers of 
 Manchester. For this purpose, a strong decoction is 
 made, and mixed in the proportion of a gallon, with 
 half a pint of nitrat of iron, which retains its buff co- 
 lour, when the yellow of the berries fades. 
 
 Turmeric. This drug also is not improved in colour 
 or fastness by the common mordants. I believe it is 
 only used by the silk dyers. It is very fugitive. 
 
 Zedoary. The same remarks apply to this root. 
 
 Saffron. The French saffron is the best. It is full of 
 colour, but too dear for common use, and not perma- 
 nent. It is the common family yellow dye. 
 

 20 
 
 Golden rod. Solidago. A very common plant on ail 
 the rich bottom land of Pennsylvania and the Genesee 
 country, in its natural state. It gives a tolerable good 
 and fast yellow, and might answer in point of cheap- 
 ness for common Work. So also might the hickory 
 tree, and the common arsmart, (pusicaria urens, poly- 
 gonum pusicaria;) but unless in cases of scarcity, a 
 dye r does better with three or four known drugs easily 
 procured though imported, that he is in the habit of 
 managing, than with a numerous catalogue of materia 
 tinctoria. This will apply also to the sarrette^ seratula 
 tinctoria, used in France, but little known in England; 
 and to the yellow broom, genista. Lately also, the 
 Lombardy poplar •, which the experiments of M. Dam- 
 bournay have brought into vogue, with good reason. 
 
 Barberry root. Berberis. This is a rich and bright 
 colour, and exclusively used by the red morocco 
 dyers, to mix with their cochineal red. I cannot tell 
 the exact reason of preference. In Pennsylvania they 
 import the Barberry root from Boston: I do not see 
 why we cannot raise it at home. It ought to be in every 
 garden. The fruit makes an excellent tart, and a beau- 
 tiful pickle. 
 
 The Birch tree furnishes a very useful colour for 
 woollens, and is much used by the French dyers. 
 
 Soot is also used by the French dyers for black- 
 browns: they consider it indispensable for tapestry 
 work. 
 
 The drugs used for a blue colour, are indigo, pastel, 
 woad. 
 
 Indigo is furnished by Guatimala, by South Caro- 
 T ina, by the East Indies. 
 
/><<</<- 21 
 
 j£Us far Crindma Indigo . 
 
21 
 
 Guatimala Indigo, is the lightest and the best; it is 
 called Flora indigo, and flotant or floating indigo from 
 its swimming on water: but it is too dear. 
 
 The indigo manufacture of South Carolina, is al- 
 most abandoned. 
 
 The principal source of our supply is the East In- 
 dies, where the price is greatly enhanced. I remember 
 East India indigo at half a dollar a pound in Manches- 
 ter. The indigo must be ground for half a day in a 
 mortar with a twelve or eighteen pound cannon ball. 
 Or, as the indigo dyers in the back country grind it, 
 by working a small millstone inside a stone trough 
 with a spout to it. The millstone being turned round 
 by the crank- handle of an iron bar, one end of which 
 is let into a beam in the ceiling, and the other into the 
 centre of the millstone. The man turns it round by 
 laying hold of the crank. It works inside a stone trough 
 about three inches deep, and the trough is set by 
 means of a screw underneath, that raises it nearer to, 
 or depresses it from the millstone. The trough has a 
 spout in it. The end in the beam, works in a pivot. A 
 hole can be cut any where in the stone to feed it with 
 indigo and a stopper adapted to it. There is a machine 
 something of the same kind invented and used by Mr. 
 Charles Taylor, afterward Dr. Taylor, of Manchester; 
 viz. an iron ball with a slit in it, worked by a crank- 
 handle in a mortar. The slit increases the friction. 
 (See the figures in the plate.) The indigo should be 
 worked first dry: then in a paste. It is advantageous 
 for fine colours, to wash it well in hot water after it is 
 ground, to extract a great deal of dirty matter com- 
 
22 
 
 bined with it. There is not much above one half the 
 weight of the indigo of real colouring matter. How- 
 ever, this differs so greatly in proportion to the quan- 
 tity, that no rule can be laid down concerning it. When 
 the indigo is patiently and accurately ground, it should 
 be mixed with water in a pan not too shallow but 
 rather so; and then the indigo being left to settle for 
 two or three minutes that the unground particles if 
 any, may fall to the bottom, the pan should be turned 
 round backward and forward, in a vessel of water in 
 a half circle, till the finer parts of the indigo in the 
 pan are gently thrown out, so that if there be any 
 lumps, they may be ground over again. It is essential 
 that the indigo be in an impalpable powder, first to 
 save it — to make it go farther; and secondly, to se- 
 cure evenness in the dyeing of the pieces. This drug 
 is so dear, that these directions ought to be strictly 
 adhered to. If they are well followed, and the indigo 
 carefully, and laboriously ground into a perfectly fine 
 powder, six pounds and a quarter of the best East 
 India indigo, may be made to dye one hundred pounds 
 weight pf cloth, a full deep blue. 
 
 Pastel. Woad. These are much used, both on the 
 continent of Europe and in England, to save indigo. 
 The woad is distinguished into the field woad and the 
 garden woad or pastel; but they amount to the same 
 thing. The plant, isatis, glastum, is much cultivated 
 in Holland and in Languedoc in France; and made up 
 in bundles or bales of about a hundred and fifty pounds 
 weight. It resembles little clods of dry earth of a mud 
 colour, with fibres interwoven in them. It is suffered 
 
23 
 
 to undergo a kind of putrefaction, and then made into 
 masses to dry. Berthollet details the process, which 
 will be worth consulting when we grow it at home, as 
 we ought to do. It appears to furnish a fecula of the 
 nature of indigo, and equally fast; and indeed it is 
 used for the purpose of saving indigo; I am in doubt 
 whether much is gained by it altogether here; and 
 considering the value of labour, perhaps we do not 
 lose much by confining our blues to the indigo vat. 
 But if it were not of use in Europe, it would not be 
 so universally employed. I have heard but of one par- 
 cel hitherto imported into this country (1814). The 
 mode of using it will be detailed under the blue dye. 
 
 Annatto. Spanish Annatto, Rocou. A reddish or 
 brownish-red paste, brought from South America and 
 prepared from the seeds of the bixa orellana. It is used 
 for orange colours, and salmon colours upon silks; but 
 very little in the woollen or cotton dye. The solvent 
 is an equal weight of pot or pearl ash, boiled with it in 
 water. This is Scot's patent nankin dye. The colour 
 is fugitive, being destroyed both by the air, and by 
 washing. When nankin-coloured breeches or panta- 
 loons are washed, a little of this, mixed with the last 
 rincing, gives a kind of nankin tinge to the faded cot- 
 ton. It is used also to colour cheese. 
 
 The dyer will also want drugs for mordants and 
 tests. Oil of vitriol; aqua fortis; spirit of salt; common 
 salt; sal ammoniac; tin; bismuth; alum; green vitriol; 
 green copperas or sulphat of iron; acetat of iron; blue 
 vitriol or sulphat of copper; verdigris; yellow orpi- 
 ment; argol; pot and pearl ash; lime; prussiat of pot- 
 ash; tincture of gaJR 
 
24 
 
 Oil of vitriol, concentrated, or strong sulphuric acid. 
 This will be wanted to dissolve indigo for Saxon blue, 
 used chiefly for silks. It ought to be limpid as water. 
 If it be not so, it (the oil of vitriol) must be boiled in 
 a glass or leaden vessel till it becomes limpid: this may 
 be done in a retort in a sand bath over a fire: or it may 
 be boiled in small quantities in a glass capsule, or in 
 a Florence flask; adding a very small quantity of pure 
 nitre. It ought to weigh twenty-nine and a half ounces 
 to the wine pint. The indigo ought to be well ground, 
 and well washed in boiling water till it comes off clear, 
 and then dried, before it is put to dissolve in the oil of 
 vitriol. If the oil of vitriol be not very strong, it will 
 not dissolve the indigo. 
 
 Aqua fortis, or strong nitric acid: colourless. This 
 will be wanted to make the scarlet composition, and 
 the bismuth solution. It ought to be freed from sul- 
 phuric acid by nitrat of barytes, and from muriatic 
 acid by nitrat of silver. I shall dilate upon this when I 
 come to the scarlet dye. 
 
 Spirit of salt, or muriatic acid. This should be clear- 
 ed from the contamination of volatile sulphureous acid, 
 by means of muriat of barytes. If the dyer be not, as 
 he ought to be, chemist enough to do this for himself, 
 he should employ a chemist to do it for him. 
 
 Common salt requires no observation; nor is it often 
 wanted, although the French use it with bismuth dis- 
 solved in aqua fortis. 
 
 Sal ammoniac. All the precaution about this drug, 
 necessary to be observed is, to ascertain whether it 
 contains accidentally any iron. If it does, it will sadder. 
 
 .--. ■ 
 
25 
 
 the scarlet colour. It must be tried for this purpose 
 with prussiat of potash or of lime, and with tincture 
 of galls. The dirt should be scraped off the lumps. 
 
 Tin. The remarks I have to make on the solution of 
 tin, I shall reserve for the section on the scarlet dye. 
 
 Bismuth. The solution of this semi-metal, lately in- 
 troduced in France, for the bright clarets, violets, &c. 
 I shall give when I come to those colours. 
 
 Alum. The Roman and the English alum, are gene- 
 rally free from iron. Whatever alum is purchased, 
 must be tested to ascertain its purity in this respect. 
 If it be found to contain iron, and no good alum can 
 be procured, dissolve your alum in boiling water, and 
 expose it for a week or fortnight in shallow vessels to 
 the air. The iron will gradually become oxyded, and 
 separate in the form of rust. Filter the solution, evapo- 
 rate the water, and recrystallize it. Some recommend 
 passing oxymuriat gas through the solution, or boiling 
 it with a small quantity of nitric acid: but the method 
 I propose is more simple and as effectual, with patience. 
 
 Green Vitriol. Sulphat of iron. Green copperas. This 
 is used to strike a black colour with astringent vege- 
 tables, and also to de-oxydize or de- oxygenate indigo, 
 and thereby render it soluble in alkali, and in lime. It 
 should be purchased of a light green colour, in large 
 crystals, free from rust on the outside as much as 
 possible, and should be kept close, and not exposed to 
 the air. The air oxyds the iron, which falls down from 
 the solution in a rusty state, and the solution becomes 
 acid. A solution of green vitriol, should be kept with 
 a piece of iron in it, to remedy this. It is true tne rust 
 
 D 
 
26 
 
 of iron will strike a deeper black than the fresh made 
 green vitriol, but it is the latter only that can be applied 
 evenly and regularly as a mordant; and exposing the 
 cloth to air, makes the black perfect. Moreover in the 
 blue dye, iron already oxyded, is of no use in abstract- 
 ing oxygen from the indigo. These remarks should be 
 attended to. 
 
 Nitrat of Iron, An admirable mordant where the 
 cloth will bear the expense. 
 
 Acetat of Iron. No good black can be struck on 
 callicoe by means of any other mordant, than acetat 
 or pyrolignat of iron, which are the same thing. A 
 hogshead containing any old rusty fragments of iron 
 should be filled with vinegar, which may be brewed 
 for the purpose, either from cider or from meal of any 
 kind. It should be frequently stirred, and in about six 
 months it will be tolerably good. I do not know that 
 the value of this combination of acid with iron, has 
 been tried in the woollen or silk dye, but I suspect it 
 would be worth while. 
 
 Blue Vitriol, or sulphat of copper. Blue copperas. If 
 this be rusty on the outside, it is contaminated with 
 iron. Dissolve it in boiling water, expose it in shallow 
 pans to the air: filter it, and recrystallize it, if it be 
 wanted free from iron. It is so wanted, when it is used 
 as a partial mordant to weld yellows; but it is not of 
 much consequence when merely used for a false blue 
 dye with logwood: or with logwood in finishing the 
 blacks of woollen cloth or of hats. 
 
 Verdigrease: verdigris. I think this is better for 
 being kept slightly moistened with vinegar. This drug 
 
27 
 
 is now so dear, that a precipitate of sulphat of copper 
 (blue vitriol) by means of potash may be substituted 
 for it. Verdigris might be manufactured to great profit 
 in Pennsylvania, by means of the fox grape. It is 
 preferable to blue vitriol. 
 
 Yellow Orpiment. For the indigo vat. Generally con- 
 fined to callicoe printers. 
 
 Bismuth in nitric acid has of late years been intro- 
 duced among the French dyers as a mordant, but not 
 generally. 
 
 Argol, or tartar, red and white. This is essential to 
 the dyeing of the greater part of the colours fixed on 
 woollens by means of mordants. The addition of argol 
 to alum, tin, iron, and bismuth, serves to brighten 
 the colour and render it more permanent on woollen, 
 but not on cotton; which seems to take a better colour 
 with the acetats, where the price will permit them to 
 be used. Dyers have a notion that red argol is better 
 for some colours than white, and vice versa; but I do 
 not think there is any good reason of preference. I am 
 not well satisfied on the theory of tartar as necessary 
 to the dyeing of woollen; but I think it prevents the 
 alum from crystallizing, and weakens the affinity of 
 the sulphuric acid. 
 
 Pot and Pearl Ash. Pearl ash is too often adulterated 
 with common salt. If a sample of it will not deliquesce 
 or absorb moisture, on exposure to air, it is not good. 
 
 Lime. This should be purchased fresh, slacked im- 
 mediately, and packed down into tight casks, closed 
 tightly also on top from the air. If not slacked first, 
 the steam and moisture in a dye-house will be apt to 
 slack it, and even set fire to the casks in some cases. 
 
^m 
 
 28 
 
 Prussiat of Lime, and of Potash; and Tincture of 
 Galls. These should be kept as tests of the presence of 
 iron. Prussiat of potash is made thus: take a clear strong 
 solution of potash: add to it while boiling in a Florence 
 flask, powder of Prussian blue, while it continues to 
 deprive the Prussian blue of its colour, and converts 
 it into a rusty brown: when on the addition of a little 
 more Prussian blue it ceases to have this effect, then 
 filter it and bottle it for use. If the alkali was very 
 strong, it may be diluted with an equal quantity of dis- 
 tilled or snow water. A single drop, will convert iron 
 into Prussian blue again. Prussiat of lime, which is in 
 some cases preferable, is made in like manner. 
 
 For tincture of galls; take an ounce of powdered 
 galls, and digest them in a moderate warmth in a quart 
 of fourth proof spirit, or whiskey, for a couple of days. 
 Then filter it. A drop will produce an inky tinge when 
 any iron is present. There will also be wanted, 
 
 A thermometer in a tin case, such as the brewers 
 make use of; this will be very useful. 
 
 A dyer^s establishment then, will consist of 
 
 A drug house, with shelves, steelyards, weights and 
 scales, pans, &c. 
 
 A common dye-house, with holes or flues to let out 
 the steam: furnished with the necessary vats, cop- 
 pers, casks and boilers. The fires on the outside. 
 
 A scarlet dye-house, if he dyes scarlet. 
 
 A fulling mill for cleansing the pieces when dyed. 
 
 A field contiguous to the house, for drying goods in 
 the open air, under a shed. 
 
29 
 
 A stove-house, with iron stoves, drums and pipes. 
 
 A finishing room and packing room. 
 
 A store and compting-house. 
 
 Coppers, vats, winces, ladders, barrows, shovels, 
 and other utensils. 
 
 A separate set of vats for the blue dye of cotton 
 goods. 
 
 In the whole establishment, much of the profit will 
 depend upon an accurate and incessant attention to 
 cleanliness; and next to that, a constant employment in 
 every process, of weight and measure; and the keeping 
 memoranda wherever any new process is attempted. 
 Nothing should be left, if it can be prevented, to 
 guessing or conjecturing, or to hazard. 
 
30 
 
 THE DYEING OF WOOLLEN. 
 
 ALL colours are better dyed in the wool, than in 
 the piece. It is evidently more difficult to make the dye 
 penetrate perfectly through the twist of piece goods, 
 than through the loose fibres of the wool. In this coun- 
 try, where weavers are in such demand, that they 
 sometimes refuse to weave dyed wool, piece goods 
 are dyed, but never so well. By and by, as manufac- 
 tures extend, this will be altered; as it oueht to be. 
 
 Before wool can be well dyed, it must be cleansed 
 from its natural grease, which seems much more 
 abundant in the wool of merino sheep, than in any 
 other. No cloth can receive so bright a colour, nor can 
 it have the same soft velvety character to the touch and 
 to the eye-sight, if it be dyed without scouring, as if 
 it be scoured. The brightness of the colour is also im- 
 proved by sulphuring, but I do not think it is thus 
 improved to the touch or feeling. I think no dye can 
 so thoroughly penetrate unscoured as scoured wool. 
 To cleanse or scour wool. That is, raw wool. In a 
 clean boiler of any kind that will hold twenty mea- 
 sures of w hatever kind, put three measures of stale 
 urine, and twelve measures of water: bring the liquor 
 to a moderate heat, never to reach 130° of Fahrenheit; 
 
31 
 
 about 120 is the proper temperature. Put the wool to 
 be scoured in a net loosely; about four pounds to each 
 pailful of urine. Work it about for twenty minutes, 
 then take it out and wash it well. 
 
 Or treat wool in the same way with one pound of 
 soft soap to about twenty-five pounds of wool, for 
 coarse, or fine hard soap for fine goods. The colour 
 will be better for using white soap. Take care the 
 heat is kept under 130°, and that the wool is not kept 
 in more than twenty minutes. Good soap is too dear 
 to be used for this purpose unless for fine goods. 
 
 Or to a hundred pounds of raw wool, take a bushel 
 of bran and a pound of potash. When you use pot- 
 ash the heat should not exceed 120° of Fahrenheit. 
 
 If a net be not used, the wool can be taken out and 
 laid on ladders across the copper. 
 
 The washing and beetling must be continued while 
 any, the least dirty tinge appears in the water. Wool 
 will sometimes lose nearly a fourth of its weight by 
 this indispensable operation. 
 
 Boiling sets the grease, and injures the wool. 
 As oil is often used in spinning wool, the propor- 
 tions must be greater in this case of urine or soap. A 
 • little potash may also be added, where oil has been 
 used to the yarn; but cautiously, for potash acts on 
 wool. If potash be used alone to cleanse oiled yarn, use 
 one pound potash to fifty pounds yarn, at the heat of 
 120° at the highest. 
 
 The wool of diseased sheep can never be well scour- 
 ed. If in the usual mode of scouring the wool con- 
 tinues dirty, a disease may be suspected. 
 
32 
 
 If the wool be intended for any fine and bright co- 
 lours, it will be the better for being either sulphured, 
 or exposed for a day to the action of the sulphureous 
 acid. 
 
 Woollen is sulphured, by being hung up on very 
 clean pegs or laths in a close room, but with a window 
 in it, and exposed to the fumes of burning brimstone 
 on earthen dishes beneath, for ten or twelve hours; 
 then washed well. This is generally repeated. See the 
 sulphuring of silk. 
 
 Or it may be improved in colour, by immersing it 
 for twelve hours in oil of vitriol made quite black by 
 throwing into it cork, flour, rosin, or sugar, and then 
 diluting the acid till it be about the strength of com- 
 mon vinegar; wash the cloth afterward thoroughly. 
 These acid processes are not often used, but for fine 
 goods and lively colours, in England; and in this coun- 
 try may be dispensed with, for all common colours. 
 Sulphuring is best, and cheapest. The impregnation 
 of water with sulphureous acid gas, is too trouble- 
 some. All goods to be dyed, require to be soaked in 
 water previously, and then pressed, that they may im- 
 bibe the colour evenly. This ought also to be done 
 previous to aluming. It should be done in water 
 brought to a scalding heat. But when cloths are well 
 scoured, this preliminary soaking is not absolutely 
 necessary for aluming, although it is for dyeing. 
 
 Homassel's directions for sulphuring are as follow. 
 The room should be close: for the sulphureous vapour, 
 will spoil all the colours in the vicinity. The window 
 should open on the outside, and also the door, for it is 
 
 
33 
 
 frequently necessary to stretch or to turn the goods. 
 The perches which serve for silk as well as woollen 
 should be kept very clean. Examine the sulphur, that 
 there be no accidental dirt or mixture capable of pro- 
 ducing smoke. Burn it in an earthen dish or an old 
 mortar of any kind but. iron. Before you burn it within 
 side the room, set fire to it out of doors, that you may 
 be sure it will not smoke. Leave the goods exposed 
 to this vapour twelve hours, and then dry them. This 
 is the common process. 
 
 But it is sufficient simply to detail this process, to 
 discover how imperfect it is. The sulphureous acid 
 here, does no more than attach itself to the surface, and 
 does not penetrate the interior of the silk, so that the 
 outside only is hereby partially bleached. By employ- 
 ing the modern discoveries of the properties of this 
 sulphureous acid, we can establish a practice founded 
 on surer principles. 
 
 The sulphureous acid, resulting from the imperfect 
 combustion of sulphur, differs from the sulphuric acid, 
 in containing less oxygen than this last, and is indeed 
 a middle substance between sulphur and sulphuric 
 acid. This gas unites very easily with water, and in 
 this combination it may be employed to bleach woollen 
 
 and silk. 
 
 To prepare it with economy, put chopt straw into a 
 matrass closed with a stopper, or a cork, through which 
 you may insert a glass tube, of which one end goes 
 into water at the bottom of a tubulated receiver. In the 
 tubulure of this receiver insert a tube through a cork, 
 and let the end of the tube enter the water about the 
 
 E 
 
34 
 
 eighth of an inch. To another tubulure in this receiver, 
 adapt a bent tube that goes into a second receiver or 
 bottle, and so on if you please to a third: in short use 
 the apparatus known to every chemist under the name 
 of Wolf's apparatus: (greatly improved in point of 
 safety and efficiency by Mr. W. Hembell of Philadel- 
 phia. T. C.) Pour strong oil of vitriol on this cut straw: 
 lute all the junctures: the oil of vitriol is decomposed; 
 a part of its oxygen is abstracted by the straw and 
 forms water with the hydrogen, and carbonic acid with 
 the carbon of the straw, while the sulphureous acid 
 comes over, and unites with the water. 
 
 (The apparatus employed for bleaching the silk and 
 cotton with the sulphureous acid thus obtained, may 
 be any vessel wherein the goods can be worked by a 
 wince or soaked in the liquor. This can be contrived 
 although the box be covered to keep in the gas more 
 perfectly, by means of apertures in the cover. Thus, 
 the silk or woollen, rolled on rollers at one end, may be 
 made to pass through the liquor the whole length of 
 the box, by means of a division in the middle not 
 reaching quite to the bottom. The woollen cloih for 
 instance is drawn by one end under this division, and 
 the end so passing under, immersed in the liquor, is 
 rolled on a wooden roller at the other end, and so back- 
 ward and forward: or the whole of the goods may be 
 permitted to soak in this sulphureous acid till they are 
 sufficiently bleached. 
 
 Generally for a fine white, they give two sulphur- 
 ings; then wash at the river, and finish with Spanish 
 white. 
 
 
35 
 
 Blueing is done by means of one part of Prussian 
 blue in four hundred parts of water; wincing the goods 
 in this rapidly. The goods are then entered into a 
 warm bath of soap and water to give the requisite 
 softness. 
 
 There are some plants that may be used for this 
 purpose, as the saponaica, the garden lichnis and some 
 others. But I fancy soap is the best material. T. C.) 
 
 Of Dyeing Blue on Woollens, and Cottons. First with 
 pastel, or with woad. These two plants are nearly the 
 same; the garden pastel, is the pastel; the field pastel 
 is the woad. They differ as to their dyeing properties, 
 merely in the first affording more colour. These plants 
 have not been used so extensively since the introduc- 
 tion of indigo, but they are still in common use every 
 where in Europe. The dyer may do well without 
 them, and they are troublesome to manage, owing in 
 a great degree to the variations in the quality of the 
 drug; but the colour they do afford, is good and solid; 
 and in Europe is obtained at a cheaper rate than the 
 blue from indigo alone. They do not afford a full 
 deep blue. 
 
 The pastel or woad vats, are set in the ground, and 
 project upward above the floor, no higher than is ne- 
 cessary for the dyers to work them conveniently. They 
 are nine or ten feet deep, and from five to six fret 
 diameter; made of staves six inches broad and two 
 inches thick, bound with iron hoops about three feet 
 asunder. The bottom instead of being made of wood, 
 may be made with cement, such as lime, pounded 
 bricks and leached ashes. The drugs of which the vat 
 
o6 
 
 is composed, are stirred up by means of a long rake, 
 or rather a semicircular piece of wood with a handle to 
 it, used to plunge in the liquor, and force the surface 
 down toward the bottom. 
 
 The cloth is worked by means of hooks fastened to 
 the end of a staff. An iron hoop covered with a net 
 whose meshes are* about an inch square, is let down 
 into the vat to prevent the cloth from mixing with 
 the grounds or sediment at the bottom. 
 
 Sometimes they make use of brandy puncheons, or 
 well cleansed oil puncheons, as vats for this purpose; 
 but they should be iron hooped, and the hoops painted. 
 
 The boiler or cauldron should be placed near to 
 the vat. 
 
 The process for setting a woad vat is as follows. 
 
 For a vat of nine feet deep by five feet and three 
 quarters over, take about four hundred weight of 
 woad, break it into small pieces, and throw it into the 
 vat. Boil in the contiguous boiler, thirty-three pounds 
 of weld with a sufficient quantity of water for the vat; 
 add as much madder, and about a bushel or a little 
 more of bran; continue the boiling for half an hour; 
 add a few buckets of water; let the liquor settle, and 
 take out the weld;* turn the liquor into the vat, 
 stirring the vat all the time; stir the liqour well after- 
 wards in the vat, also, for a quarter of an hour, to mix 
 together all the contents; then cover up the vat close 
 for six hours; open it at the end of that time; stir up 
 the contents for half an hour; do so every three hours 
 
 * The liquor need not be very clear: if some of the bran and 
 madder should go into the vat I see no harm it can do. T. C. 
 
37 
 
 for three or four times. When blue veins begin to ap- 
 pear in the liquor, add between eight and nine pounds 
 of good fresh burnt lime; lime that has remained ex- 
 posed to the air for some time is good for little: if you 
 can get no other, use the more of it; but spent lime is 
 worse than useless. The vat now puts on a new charac- 
 ter; its colour is much deepened, and the vapour from 
 it is more penetrating. 
 
 When indigo is used with the woad vat, this is the 
 point of time when it is to be put in, being first care- 
 fully, patiently, finely ground into a very smooth paste; 
 the quantity depends on the shade of blue you require; 
 you may use from five to five and twenty pounds 
 weight. 
 
 So soon as on plunging in the semicircular rake, 
 you perceive a fine blue froth on top of the liquor, let 
 the contents be well stirred up twice in six hours, and 
 one or two pounds more of lime may be added: take 
 care to leave the surface exposed to the air, no longer 
 than is necessary to stir it: indeed it would be an im- 
 provement to have an opening in the cover that might 
 just admit the rake, and a lid to shut down upon the 
 opening. During all this time, the warmth is to be pre- 
 served in the liquor by covering it close as much as 
 possible. 
 
 The vat is in proper order for dyeing, when the 
 sediment, and the body of the liquor are of a fine 
 brownish green colour — when the froth at the top ex- 
 posed to the air, is of a fine blue — when a pattern im- 
 mersed for a couple of hours in the liquor, comes out 
 a grass green colour, and gradually turns blue on ex- 
 posure to air. 
 
 
J8 
 i 
 
 Sometimes a vat will not furnish a good colour be- 
 cause it is too cold: sometimes, because it has been 
 overcharged with lime: sometimes because it runs into 
 a state of putrefaction. 
 
 In the first case, all that is necessary, is to heat part 
 of the liquor, and return it hot into the vat, stirring up 
 the contents for twenty minutes with the rake, and then 
 covering it up, to preserve this renewed warmth. 
 
 In the second case, reheat in the boiler part of the 
 liquor; then add about a couple of pecks of bran, and 
 a few pounds (four or five) of madder; stir these in the 
 liquor, but do not rake up the sediment; and let it re- 
 main covered. If the fault is trifling, the addition of 
 the bran and madder will answer without raking it. 
 Leave it to rest, for a day or two, or even more. Some 
 add crude tartar to a vat so circumstanced, with a 
 view to neutralize the lime; but I believe the practice 
 is not sanctioned by common usage. 
 
 If the contents of the vat putrefy, which may be 
 known by the disappearing of the blue veins, "and of 
 the blue froth — by the rusty colour of the liquor — by 
 the sediment spontaneously beginning to rise — and 
 by the fetid smell of the vat, lime must be added, and 
 the grounds raked up: in two hours more, a little more 
 lime may be added, and the sediment stirred again; 
 and so on, cautiously, till the evil be remedied. 
 
 Hence the skill in treating the woad-vat, depends 
 on the proper addition of lime to prevent the too hasty 
 fermentation of the vegetable substances employed to 
 disoxygenate the indigo, which would destroy the 
 colouring matter; and to dissolve a part of the colour- 
 
39 
 
 ing matter so disoxygenated. The lime is gradually 
 precipitated in the form of pulverized limestone by 
 the addition of carbonic acid proceeding from the 
 gradual fermentation of the madder, the bran, and the 
 decoction of weld. Hence the necessity of now and then 
 adding a small quantity of fresh lime, to renew the 
 necessary solvent. 
 
 When goods are to be dyed, the vat should be stir- 
 red, and left to settle for about two hours before the 
 goods are entered. The dyer then lets down his cross, 
 his net or his trellis, to prevent the sediment and cloth 
 coming in contact. The wool, whether unspun or in 
 the yarn or in the piece, should be pressed out of warm 
 water before it is entered into the vat. 
 
 It is not easy to dye an even colour in a full rich vat: 
 it is better done for bright colours, by making use of 
 vats that have been in part worked, and are beginning 
 to cool, finishing in a fresh vat. 
 
 When sroods have been dyed blue, thev should be 
 carefully washed to get rid of all colour that adheres 
 mechanically only: and indeed they would be im- 
 proved by being fulled with a small quantity of white 
 soap, which has no effect upon the blue colour, but 
 cleans the cloth from any superfluous sediment. 
 
 I have made no distinction between the pastel and 
 the woad vat, because the process is the same in 
 both vats. 
 
 The woad vat is used, to give a blue ground to 
 black. 
 
 In setting the vat, the old liquor of a spent madder 
 copper may be used to save madder, which like the 
 
40 
 
 weld is of no use as a colouring, but only as a ferment- 
 ing ingredient. In this point of view, the weld (espe- 
 cially in this country) might be saved, by increasing 
 the proportions of madder and bran: I do not think 
 quercitron bark would be a proper substitute, because 
 it is more astringent, and not so fermentable as weld, 
 but I think weld might be superseded by common hay. 
 
 Five pounds of indigo of the best kind, contain near 
 as much colouring matter as two hundred pounds of 
 woad, as is said. 
 
 The vat should never have lime added to it just 
 before it is reheated. In Holland, to save the trouble 
 of reheating the vat repeatedly, they have metal vats, 
 six feet deep, four feet and a half at the*bottom, and 
 five feet and a half at the top; the bottom part for two 
 and a half feet upward, is made of lead, the upper part 
 for three and a half feet is made of copper: the vat is 
 surrounded with a brick wall six inches thick, and the 
 intermediate space is filled with warm embers or wood 
 ashes, high enough to keep up a continued moderate 
 heat. When cold, the embers can be removed, by 
 taking out a brick or two at the bottom. In my opinion 
 it can be cheaply warmed by means of a supply of 
 steam even from a common kettle that would hold a 
 couple or three gallons. If the vat be of wood the steam 
 could be thrown in; if of metal, it could fill an inter- 
 stice on the outside. 
 
 All the lime used, should be previously slacked. 
 
 There is no advantage in letting the bran liquor 
 grow sour, either in the vat or out of it. 
 
 These instructions are all that are principally ne- 
 
 . 
 
41 
 
 cessary when it is intended to dye blue with woad, 
 either with or without indigo. 
 
 The JVoad or Pastel Fat according to Homassel — To 
 set this vat, it is useful to employ either putrid water, 
 or an old vat of madder, to accelerate the fermentation 
 of the woad; but if you have not these, proceed thus: 
 
 The day before you set your vat, grind twelve or 
 fifteen pounds of woad, and having put it in a basket, 
 pour hot water upon it to moisten it. Let it thus re- 
 main till it comes down to the warmth of leaven. Then 
 take four ounces of yeast, and mix it with warm water, 
 add it to the pastel or woad and stir it in; cover it so 
 that it may retain its heat. In a short time the fermenta- 
 tion begins, and the woad becomes of a fine green 
 colour; this serves as a ferment or leaven for the vat. 
 After this, common water will answer the purpose, 
 which when boiled for a short time is emptied into the 
 vat, but the woad must not be put in while boiling, 
 otherwise it will set, and be injured. Break the lumps 
 of three or four balls of pastel (they are about one hun- 
 dred and fifty pounds each) .and put them in the vat; 
 and when the heat is sufficiently moderated not to burn 
 the leaven or ferment prepared the day before, and 
 which by this time ought to be of a fine green colour, 
 and in a state of lively fermentation, put this in also; 
 stir the vat and cover it; but you must put your ear 
 close to it from time to time, to observe the gentle 
 noise of the fermentation within, which should not be 
 permitted to go on too hastily; this may be prevented 
 by throwing in a small wine glass full of slacked lime 
 each time you stir the vat, for this absorbs part of the 
 
 F 
 
42 
 
 carbonic acid gas which is extricated; this should be 
 done occasionally till the moment when the blue tinge 
 appears; at which time, and while the fermentation is 
 yet lively, add to the vat ten pounds of well ground 
 and sifted indigo, and stir the vat well, then let it rest 
 covered, during four hours. After this, try the vat with 
 small specimens of woollen, till you see them come 
 out a full green and turn blue in the air. While you 
 are trying these sample-pieces, take care that the fer- 
 mentation does not proceed too wildly, before all the 
 indigo is dissolved; if this should threaten, stop it now 
 and then with a small handful of lime. The fermenta- 
 tion ought to be nearly confined to the bottom; if the 
 liquor be ill coloured, and the working of the vat 
 throws gross particles up to the top, it is a sign it 
 works too strongly, and is to be corrected (but cau- 
 tiousl)) with small quantities of lime; for if so much 
 be thrown in as to stop the fermentation, you will get 
 no colour. Should this happen, you must refresh it with 
 some woad, set to ferment with yeast — or with tartar 
 and bran — or with madder — but the shortest way is to 
 throw in about thirty pounds of woad well prepared 
 and green, and to reheat part of the liquor, and guard 
 against such an accident in future. For this reason, in 
 all blue dye-houses, there is a guederon, or woad-man, 
 whose only business it is, to take care of the vats, to 
 stir them every six hours, and as it is wanted, to put 
 in the requisite quantity of lime. Few of these men 
 know the reason why lime is put into the vat; they say 
 it makes the vat work kindly; for when the fermenta- 
 tion is too hasty, the vat becomes greasy, and the goods 
 
43 
 
 are spotted; too much lime on the contrary, stops all 
 fermentation and kills the vat. When the specimens or 
 sample-pieces which have been an hour in the liquor, 
 exhibit the colour required, boil some river water and 
 fill up the vat. This will not weaken the liquor; on the 
 contrary the admixture of boiling water, will enliven 
 the fermentation, and increase the depth of colour. 
 When full, stir it, and let it rest covered for four 
 hours, when it will be fit to work; but before you stir 
 it this time, add a little lime, lest the warmth during 
 four hours, and the agitation of the liquor during the 
 working of the vat, should excite the fermentation too 
 strongly. 
 
 The eye and the ear, must not alone be trusted to 
 by the workmen, for the purpose of ascertaining 
 whether the vat is in order; the sense of smelling too 
 will greatly assist; for the odour is much the same as 
 in the pencil blue, and may be recognized by dis- 
 solving an ounce of indigo by means of liver of sul- 
 phur, but the pastel vat ought not to smell quite so 
 strong, although similar; but it should be like a mix- 
 ture of volatile alkali and pencil blue. The woad-man 
 will be guided by this odour, as to when the vat is fit 
 for work; and by it he will be guided also in putting 
 in his lime. If the vat should blacken, lessen the quan- 
 tity of lime. If on stirring it, you see fine blue veins 
 shoot through the yellow liquor, you may work it 
 boldly. With some practice the directions here given 
 are enough to make a good workman. 
 
 When you dye, let down your net to the middle of 
 the vat; work your cloth by means of hooks, with the 
 
44 
 
 greatest attention to prevent its taking air while you 
 are dyeing it. When dyed, hang it on hooks that can 
 be fixed as they are wanted, and one end being con- 
 nected with a wince, by turning this, the cloth may be 
 wrung to free it from superfluous liquor, and then 
 opened to be blued by the air. If the colour be not 
 deep enough, give it another dipping. The vat stirred 
 twice a-day, may be worked for three days. The cooler 
 the liquor, the lighter the blue. No dye-house for blue 
 colours, should have less than three vats in different 
 states, that a piece begun to be dyed in one, may be 
 finished in another. 
 
 But if there be only one woad vat it may be occa- 
 sionally reheated, by boiling a part of the clear liquor 
 in a boiler, and returning it into the vat; then stir the 
 vat and let it rest for six hours; then add some lime 
 and stir it again; it must be stirred every six hours, 
 but not used for dyeing till twenty-four hours after it 
 has been heated afresh. 
 
 The blue of the pastel or woad vat, is very solid, but 
 not so bright as the blue of the indigo vat. 
 
 Of dyeing Blue on Woollen with Indigo alone. Indigo 
 is made soluble in lime or alkali, by disoxygenation 
 alone. Three kinds of substances are employed by 
 dyers to disoxygenate indigo: first, fermentable sub- 
 stances, such as bran and madder. Secondly, fresh 
 green vitriol, or sulphat of iron. Thirdly, orpiment, red 
 or yellow; that is, sulphuret of arsenic. Chher sub- 
 stances will produce the same effect, such as sugar, 
 liver of sulphur, &c, but experience has given its sanc- 
 tion to these. 
 
 *M 
 
45 
 
 Of the Bran and Madder Vat. This is the vat com- 
 monly used by the blue dyers of Pennsylvania, and 
 does not differ in its mode of operation from the woad 
 vat. It is also the common vat for the wool-dye, em- 
 ployed in Europe. The vats are conical, from two to 
 four feet in diameter at the top, from five to six feet 
 deep, and from one foot to eighteen inches at the bot- 
 tom. A vat four feet at top, two feet at bottom, and six 
 feet deep, will hold about three hundred and fifteen 
 wine gallons: a vat two feet diameter at the top, one 
 foot at the bottom and five feet deep, will hold a little 
 above sixty -six wine gallons. The proportions of the 
 materials are the same whatever be the size of the vat. 
 In general the bottom of the vat should not exceed 
 eighteen inches. The lower part of the vat may be 
 copper, the upper part wood. A vat may be propor- 
 tioned in size, about fifty gallons to a pound of indigo. 
 In America, the back country d) ers use a vat of this 
 description, in which they can conveniently work 
 about two pounds of indigo at a time. A small fire- 
 place at the lower part of the copper but above the 
 sediment, in which fire is put, enables the dyer to 
 keep up a moderate heat in the vat; the flame strikes 
 against the lower part of the copper, and circulating 
 round it, passes up a flue into the chimney. A moderate 
 fire is sufficient for the purpose of keeping the vat at 
 the necessary heat. 
 
 Two pounds of indigo are very carefully and 
 patiently ground into an impalpable paste, which ought 
 to be washed through a fine sieve; very small particles 
 unground, will stain the goods unevenly. Fine and 
 
^-n 
 
 46 
 
 patient grinding are essential; I have said this more; 
 than once before, and I shall repeat it as opportunity 
 offers, that it may be taken for granted as a condition 
 absolutely necessary. In mean time from five to six 
 quarts of sifted bran, and one pound of madder, are 
 to be put into the vat half filled with boiling water. It 
 would be better to boil them separately for two or 
 three hours. Then, two pounds of potash, previously 
 broken and dissolved in hot water, are added: it is bet- 
 ter to dissolve the potash separately, for it takes some 
 time to dissolve; and lumps of it may remain too long 
 undissolved in the vat. Lime is not used in this vat, 
 but the strength of the potash itself would be greatly 
 increased by the addition of a pound of lime to the 
 liquor in which the potash is previously dissolved; as 
 the practice is with the soap boilers, and with the 
 callicoe printers, who always make use of pure or 
 caustic potash made so with lime, as the solvent of 
 their indigo for pencil blue. 
 
 Now stir up the liquor containing the madder, bran 
 and potash. When this is done, introduce the indigo 
 into the vat either through a sieve, or by washing off 
 from the indigo paste, gradually, all the finer parts of 
 the indigo, giving a little time for the sediment to set- 
 tle; this sediment must be ground again and again, 
 till it remains suspended in the water in a fine powder: 
 in this state it must be introduced into the vat. During 
 all this time, the vat must be kept closely covered, 
 unless so long as is absolutely necessary to introduce 
 the ingredients. When the indigo is put in, fill up the 
 vat with hot water, so as to make the whole body of 
 
^ 
 
 47 
 
 the liquor, below a scald. The vat should be filled 
 within four inches of the top. Cover it carefully from 
 the air, and let it rest for about ten hours. Hence it is 
 convenient to have your vat set about ten o'clock at 
 night, and open it the first thing the next morning. 
 The heat should be confined within 135° of Fahren- 
 heit's thermometer, which it ought not to exceed. It 
 is of consequence to work by a thermometer. 
 
 In the morning, open the vat and plunge your rake 
 several times with force from the top to the bottom of 
 the vat. Cover the vat closely again, and feed the fire 
 so as to keep up a warmth in the liquor, such as you 
 can just bear your hand in for a short time and no 
 more, or rather about 135° of Fahrenheit. In two 
 hours, again uncover the vat, and plunge in the rake 
 half a dozen times. If bubbles appear — if a thick blue 
 froth rises to the top and puts on presently a dark 
 green colour, and the coppery hue, the vat is ready 
 for dipping the goods. Try the state of the vat every 
 two hours until it puts on these appearances, but take 
 care to keep it covered in the intermediate time. 
 Should the froth appear of a pale blue instead of a 
 coppery green colour, sprinkle into it a quarter of a 
 pound of madder. Should the liquor be of a pale colour 
 with a whitish scum, it must be reheated by boiling 
 a part of it, and a small quantity of all the ingredients 
 with about half a pound of fresh slacked lime should 
 be put in. 
 
 Frequent opening of the vat, has two mischievous 
 effects: first, it tends to cool the liquor at the surface; 
 and secondly, it brings back the dissolved and green 
 
48 
 
 indigo into an undissolved and blue state, by allow- 
 ing it to reabsorb oxygen from the atmosphere. A 
 good workman will give a full blue to one hundred 
 pounds weight of woollen, by means of about six 
 pounds of the finest indigo, such as that of Guatimala. 
 
 I have said, that the vat should be covered: but to 
 keep in the warmth and exclude the air, it is of great 
 use to cover the wooden top with blankets. 
 
 A vat of this description being in order, and your 
 cloth intended to be dyed, well scoured from the 
 grease (otherwise it is in vain to expect an even dye, 
 or that the cloth should be soft to the feel) let it be 
 dipped in hot water and evenly pressed, so as to be 
 evenly moist throughout. 
 
 The vat being full to within three or four inches of 
 the top, and the body of the liquor of a full warmth, 
 there will be (if in order for dyeing) two or three gal- 
 lons of copper-blue froth or head, on the top of it; and 
 the body of the liquor will be green. Take off the 
 froth, and put it by in some vessel that will hold it. 
 Then let down the net gently to the top of the sedi- 
 ment, taking care not to disturb it; and then fix your 
 stick or cross about an inch and a half below the sur- 
 face of the dye liquor, for the purpose of hauling the 
 cloth over it. Haul the cloth (previously moistened in 
 hot water and evenly pressed) into the vat, beginning 
 at one end, keeping it open, till the whole is hauled 
 into the vat; persevere in hauling it backward and 
 forward for at least twenty minutes, keeping it all this 
 time in the dye, and covered with it. After this pro- 
 cess, begin at one end of the cloth, wring it up, and 
 
^!? 
 
 49 
 
 take it on the folding board, and fold it over till it 
 becomes of an even blue colour, the air giving to it 
 the blue tinge, instead of the green. When the whole 
 cloth has thus acquired an even blue colour by expo- 
 sure to air, and not till then, dip it again, hauling it 
 over the cross and under the liquor. Take it in folds 
 on the folding board as before; carry it away; take out 
 the net and cross; return the froth into the vat; plunge 
 in the rake half a dozen times; cover the vat close; 
 keep up by means of a moderate fire, a warmth some- 
 what below a scald, such as you can conveniently bear 
 your hand in; or 135° of Fahrenheit's scale: let all re- 
 main for an hour or two; then open the vat; put in 
 the net carefully, and the cross; enter the cloth again, 
 and proceed as before, until the colour required be 
 nearly obtained. 
 
 The cloth should now be milled a second time. If 
 before it be again entered for the last time, four or 
 five pounds of well powdered woad, be mixed with 
 the ingredients in the vat, the colour will be improved. 
 The woad should be put in at once, after the cloth 
 is taken out; but though convenient as an ingredient, 
 woad is not necessary. 
 
 In hot weather, the vat need not be heated more 
 than once in three or four weeks: maggots will now 
 and then appear on the surface, which must be taken 
 off. When the dye becomes glutinous by use, it must 
 be boiled (that is the clear part of it, freed from the 
 sediment,) and scummed; return the liquor upon the 
 sediment, adding a small quantity of lime, which set- 
 tles the grounds. Manganese is sometimes put into a 
 
 G 
 
50 
 
 vat to make it give out all its colour, but I think it 
 useless. Two or three small bundles of hay, or some 
 stale urine, are often of great use to make a vat come 
 to, when it does not work well. Indeed I am strongly of 
 opinion that common hay may be made to supply the 
 place of madder. The sediment should be perfectly 
 settled before the net is let down. 
 
 After full colours are dyed, the vat will serve very 
 well for light colours; indeed these last cannot be dyed 
 so well in a fresh vat, as in one that has been already 
 used. 
 
 The method of setting an Indigo vat, by M. Homas- 
 sel. — For a boiler of from thirty-six to fifty buckets 
 of water, employ four pounds of indigo of a fine cop- 
 per colour, two pounds of madder, eight pounds of 
 pearl ash (cendres gravelces, calcined wine lees) or of 
 potash, and half a French bushel of good bran. 
 
 Fill the boiler three-fourths full of river water; put 
 in four pounds of the alkali, a pound and a half of 
 madder, and a quarter of a bushel of bran. (Note: that 
 the English bushel contains 2150 cubic inches, but 
 the French boisseau contains but 640 French and 
 681 T 4 5 English cubic inches according to Rome dc 
 L'Isle, so that the quantity prescribed for four pounds 
 of indigo, is little more than one-sixth of an English 
 bushel. ) Boil these together for at least four hours; 
 this is absolutely necessary. When the liquor has boil- 
 ed during that time, let it rest for twenty minutes, and 
 and strain it clear from the sediment. 
 
 While the bath or liquor is boiling, prepare the 
 indigo, which it is absolutely essential should be 
 bruised into a paste fine enough to pass through a 
 
^— *^^w-»- 
 
 51 
 
 fine sieve, which it must be made to do. The sedi- 
 ment that will not pass through, must be ground over 
 again. Put in the indigo, and take care that the boiler 
 be not more than two-thirds full; nor should the heat 
 be now permitted to exceed 45 degrees of Reaumur's 
 thermometer or 133 of Fahrenheit, to which degree it 
 should be kept up; a few degrees below this, will pre- 
 vent its working well, and a few degrees above, will 
 scald it too much. 
 
 In twelve or fifteen hours, the liquor will be green, 
 when you must put in one pound of alkali; stir it well, 
 and let it rest twelve hours, always keeping up the 
 same degree of heat. You may then put in the rest of 
 the alkali, bran and madder, and let the liquor boil for 
 five minutes, but no more, otherwise it will become 
 greasy (gras): to conquer this if it should happen, will 
 require a four hours boiling, otherwise unnecessary. 
 Let the liquor now rest, until it be cool enough to empty 
 into the vat: empty it therein, and stir it well; let it rest 
 four hours, when it will have a fine green colour and 
 a pleasant smell. 
 
 When the wool is dyed, the liquor must be cooled 
 to the degree in which the hand can be immersed 
 without inconvenience; that is, rather under than 
 above 138 degrees of Fahrenheit. Should the vat 
 after working become black, the indigo collects and 
 is not diffused; if it become (gras) greasy, it leaves 
 white spots on the cloth. In the latter case, put half a 
 boisseau (about a gallon and a half) of bran in two or 
 three bags, and throw them into the vat; when they 
 have absorbed all the grease they will rise to the top 
 
52 
 
 of the vat, when they may be taken out and a refresh- 
 ing of madder and alkali added, according to the 
 quantity of indigo calculated to remain in the vat. 
 Stir the liquor in the vat; let it rest four hours at the 
 heat of 133° Fahrenheit. Stir it well again, and let it 
 again rest four hours. If the vat be black, add a little 
 alkali, and bring up the heat to 133° Fahrenheit, for 
 twelve or fifteen hours, till it begins to come to, and 
 then add a little madder and bran. 
 
 Woollen yarn to be dyed must be strung separately, 
 pound by pound, and wetted evenly at two or three 
 dippings: the water should not be boiling if the wool 
 be greasy; otherwise it will detach the grease, which 
 will unite with the alkali in the vat, and make the vat 
 black. The wool should not be dyed in parcels of 
 more than ten pounds at a time in a vat of this size. 
 A circular net, weighted to make it descend to within 
 one-third of the bottom, will prevent the wool from 
 disturbing the sediment. When the wool is to be dyed, 
 pass a rod or stick through the strings of ten pounds 
 of the wool, and plunge it into the vat, so as no part 
 be exposed to the air; it must be worked by separate 
 parcels in the vat (but never exposed to the air) dur- 
 ing twenty minutes, when it may be taken out, wrung 
 over the vat, and opened to be aired: then take a se- 
 cond parcel of ten pounds, and proceed as with the 
 last: then recommence with the first parcel of ten 
 pounds, and keep it in the liquor till the required 
 colour is obtained. 
 
 After having coloured twenty pounds of wool, the 
 vat may be slightly refreshed imd stirred, and left to 
 
■w 
 
 53 
 
 settle for four hours; but this refreshment need not 
 be put in, unless you observe the vat rather spent, 
 and the green colour turning blackish: too much re- 
 freshing with madder and bran, will make the vat turn 
 (gras) greasy. 
 
 A vat thus set, will dye thirty pounds of wool, a 
 royal or king's blue, for each pound of indigo; and 
 also thirty other pounds a lighter blue, and even give 
 a light blue ground to other parcels intended for 
 greens and browns. This vat ought to be worked out, 
 till it is spent and clear, that there may be no need of 
 the trouble and expense of reheating; and the quantity 
 of indigo should be previously calculated to answer 
 the quantity of blues and greens you contemplate to 
 dye in it. 
 
 It is essential to remember, that when wool pre- 
 viously dyed yellow with weld, is entered into such a 
 vat, it must be well washed and beaten, to extract 
 perfectly all the alum mordant that may remain in the 
 cloth or wool. This vat is superior in colour, when 
 the indigo is good, to the pastel or woad vat: but 
 when cloth is to be dyed in it, instead of wool, the 
 dyers proceed thus: 
 
 For a vat of a hundred buckets of water, they em- 
 ploy but four pounds of indigo, which is treated as 
 above. In another small boiler, holding ten or a dozen 
 buckets of water, they set another vat, wherein they 
 employ from ten to twelve pounds of indigo in perfect 
 solution, that is, using the proportions of madder and 
 bran necessary with the alkali to dissolve the indigo. 
 By taking a bucket full or two out of this small vat, 
 
54 
 
 and pouring it into the large one, the latter is conve- 
 niently refreshed, and kept up of any desired strength. 
 Before the cloth is dyed, it is exposed on the grass to 
 bleach, and then fulled, and the large vat is kept rather 
 weak than strong. The bleaching and milling contri- 
 butes much to brilliancy of colour. 
 
 The silk dyers use a vat shaped like a sugar-loaf. 
 The small end of the cone is kept sunk a foot under 
 ground, and the fire which strikes against the vat, 
 always strikes above the sediment, which by this 
 means is never burnt. For these vats, they use in 
 mounting the vat, no more than half a pound of pearl 
 or potash to the pound of indigo, which they boil for 
 about five minutes; then they put in another half 
 pound of indigo, four ounces of madder, and a quar- 
 ter of a boisseau (170 cubic inches, of which 231 make 
 the wine gallon) of bran. They have difficulty with 
 this vat, which often blackens, but they are of opinion 
 that the alkali injures the silk. But as they enter but 
 one small bundle or hank at a time, the loss is trifling 
 if the colour should not be good. The silk dyers vat, 
 seldom holds more than twelve or fifteen buckets, and 
 some of them use so much as ten pounds of indigo to 
 a vat. Yet if the silk intended for blue, green or vio- 
 let, be not dry in ten minutes, the colour disappears, 
 notwithstanding such a superabundance of indigo, or 
 else it becomes spotted. 
 
 (I insert the above directions of M. Homassel, be- 
 cause the directions as to the degrees of heat are 
 worth attending to, and his book is manifestly the re- 
 sult of practice. But I cannot think that a pound of 
 
 «-* 
 
p^ 
 
 55 
 
 indigo requires two pounds of the best potash to dis- 
 solve it. The cendres gravelees of the French are a 
 kind of pearl ash, not so strong as potash. I am well 
 persuaded, that a pound and a quarter of good potash 
 dissolved with an equal quantity of lime to abstract 
 the carbonic acid, is fully sufficient for a pound of in- 
 digo; nor can I conceive any reason why any carbonic 
 acid should be permitted to remain in the alkali, which 
 is rendered weak and inefficient in exact proportion 
 to its presence. Indeed, potash supplied with as much 
 carbonic acid as it can take up, crystallizes, and re- 
 mains crystallized even when exposed to the open air; 
 it is nearly tasteless, and unfit for the purpose of an 
 alkali, being in fact a neutral salt. If the potash be as 
 it ought to be, previously dissolved in water, before 
 it be put into the vat, it is not of much consequence 
 if there should be an over proportion of lime. Good 
 potash may not require of lime more than half its 
 weight, pearl ash usually contains more carbonic acid 
 and requires an equal weight. — T. C.) 
 
 The old liquor of a spent vat may be used to set a 
 new one. 
 
 This vat will dye woollen, cotton, linen, or silk: 
 but a full deep blue cannot well be given to silk by 
 indigo alone; it will require a ground of archil first, 
 for silk. Nor does so much alkali as this vat usually 
 takes, agree with silk. 
 
 The vat wherein the indigo is disoxygenated by 
 means of fresh made green vitriol, or sulphat of iron, 
 is chiefly used for the cotton dye, but as it may be 
 used for wool too, I will describe it here, so that 
 
56 
 
 whatever relates to the indigo dye, may be collected 
 and consulted together. 
 
 Every dyer has notions of his own, about the size 
 of his vats, and the proportions of his ingredients; it 
 is no wonder therefore if the processes I give, should 
 not be exactly the same in all respects as those fol- 
 lowed by twenty other good dyers, who in non-essen- 
 tial particulars may each differ from the other. I will 
 copy from my notes, two processes used by the cot- 
 ton dyers of Manchester, varying but slightly from 
 each other; and then give the methods used in France. 
 All of them may be relied on as the descriptions of 
 actual practice, notwithstanding their varying so much 
 from each other in the proportion of ingredients, and 
 the times of immersion. 
 
 Indigo vat, with lime, for Cotton dyeing. — This may 
 be constructed of stone or wood; the best material is 
 pine wood lined with sheet lead. To enable you to 
 dye two pieces of callicoe, of twenty-eight and a half 
 yards long, at a time, the dimensions of the vat should 
 be four feet, by six feet, and seven feet deep. The vat 
 should be on a level with the floor, or within a few 
 inches of it, so that two boys may be able to lift the 
 frame on which the callicoes are stretched, by taking 
 hold one at each end. There should be a series of 
 these vats (six or eight) where much of this work is 
 to be done, that there may be sufficient intervals of 
 time for the vats to be refreshed. 
 
 As blue dyeing on callicoe does not admit of 
 wincing, the pieces, two at a time, must be stretched 
 tightly on hooks on a frame, so that there may be a 
 
^r~. 
 
 57 
 
 space of at least two inches between the folds, to pre- 
 vent the opposite sides of the cloth from sticking 
 together, which would hinder the dye from striking 
 evenly. I think, notwithstanding iron stain is of less 
 consequence in blue than in lighter colours, the hooks 
 should be copper, and set two inches apart. The 
 frames may be of pine, proportioned to the size of 
 the vats, and regulated in height by the width of the 
 goods. The upper rails, which must also be furnished 
 with copper hooks, may be made to slide in a groove 
 cut in the upright or corner posts, so as to admit of 
 being adjusted to the width of the cloth. The piece 
 is hooked in folds from side to side, and stretched 
 tightly, so that the folds cannot touch each other. The 
 number of dips, each of five minutes duration, depend 
 upon the required colour. 
 
 The vats may be set either with orpiment or with 
 copperas to de-oxyd or disoxygenate the indigo, but 
 copperas (green copperas, sulphat of iron) is com- 
 monly used for the blue vat; the use of orpiment 
 being almost confined to the pencil-blue of the callicoe 
 printers. The Guatimala flotant indigo is usually pre- 
 ferred; next to that, the East India indigo. The indigo 
 of South Carolina, is so inferior as to be out of use. 
 The proportions of ingredients in common use for 
 these vats are, from two to five pounds of indigo for 
 each hundred gallons of water. Vats of the dimensions 
 above indicated will hold about a thousand gallons, 
 and forty pounds of indigo will suffice to produce an 
 intense blue at four or five immersions. To one part 
 of the best indigo, use two parts by weight of green 
 
 H 
 
 1094 
 
58 
 
 copperas, (green vitriol) and two and a half parts of 
 well burnt, recently burnt, slacked and sifted lime. 
 The copperas also should be fresh; not covered with 
 an ochry yellow rust; it should be well crystallized; if 
 it be already oxygenated by the oxygen of the atmos- 
 phere, it will not so well serve to disoxygenize the 
 indigo. I again repeat the absolute necessity of having 
 the indigo very finely ground throughout. Put in the 
 indigo first, then the copperas finely bruised, intro- 
 duced in a basket suspended in the vat, or else pre- 
 viously dissolved in water, which I think is the best 
 way; the lime should not be added till the copperas be 
 dissolved. Let the whole be then raked up for about 
 twenty minutes. If the rake worked through a hole in 
 the cover, it would be better. The vat should then be 
 covered with a cover in two pieces, to exclude as 
 much as possible the atmospheric air, which would 
 gradually furnish fresh oxygen to the oxyd of iron, 
 and to the indigo, and also carbonic acid to the lime. 
 In two hours, rake it up again for ten minutes, and 
 again cover it. In a short time it will exhibit signs of 
 the indigo being dissolved, becoming of a dark green 
 colour, with veins of blue. Rake the vat two or three 
 times a-day during two days; vvhc n it appears of a 
 yellowish green after being raked up, the solution is 
 complete; let it subside for eight or ten hours, and 
 then dye your goods. I consider this as an approved 
 process for the callicoe blue vat. 
 
 Another process for the Indigo Dye on Cotton. There 
 are various methods practised by the callicoe printers 
 and dyers to take the oxygen from indigo. The fol- 
 
■^ 
 
 59 
 
 lowing is used by the dyers of cotton goods, whose 
 pieces are generally from 24 to 28 yards long, and 
 from six -quarters to nine-eighths wide. Having two 
 vats each six feet deep, three and a half feet wide, and 
 six feet long, with a light frame to go easily out and in, 
 and two slides on the two sides, to move up and down, 
 with copper hooks on the slides, and on each side of 
 the frame, on which they can be fastened by the two 
 selvages at the top and bottom of the piece. The 
 slides are for the purpose of stretching the pieces, and 
 are moveable, that they may be placed according to 
 the width of the goods. Take eight pounds of good 
 indigo well ground, boil each pound in one gallon of 
 water with two pounds of potash for two hours, and 
 then put it in one of the vats previously charged with 
 water. Add four pounds of well burn', fresh lime, 
 slacked and sifted immediately, for each pound of in- 
 digo; that is, two pounds of lime to one pound of pot- 
 ash; stir up the vat well, then add two pounds of well 
 crystallized ckan copperas for each pound of indigo. 
 Stir it well again; let it settle (closely covered) for 
 twenty. four hours, at which time or near it, the vat will 
 be fit to work. Add or diminish your indigo, and the 
 proportions of the other ingredients, according to the 
 shade of blue your pieces require. As the vat becomes 
 weaker add lime and copperas in the above propor- 
 tions till you have exhausted all your indigo. (In this 
 vat, I do not approve of so much potash. T. C.) The 
 other vat, which is filled with pure water, is intended 
 to dip the pieces stretched on the frame, in and out, 
 on taking them out of the dye-vat, by which means 
 
60 
 
 the colour is rendered regular and even, and Iree from 
 stains: for the liquor of the dye-vat when it first re- 
 ceives the air, fixes on the piece; and in taking the 
 piece out of the vat, runs from the top selvage to the 
 bottom one, and acquires oxygen from the air: thus 
 the bottom selvage, without this precaution, would be 
 of a deeper colour than the top one; which irregu- 
 larity of colour is prevented by the water vat, as the 
 piece is plunged immediately into it, on its being 
 taken out of the indigo vat; it washes oft the colour- 
 ing matter that would lie in loose particles, while at 
 the same time the water gives out some oxygen from 
 the atmospheric air, which all water contains in small 
 quantity: this oxygen is sufficient to fix the indigo 
 that has entered the interior part of the cloth. For 
 dark blues, the water vat may be dispensed with, as the 
 marks formed by the running of the colour are not 
 observed; but for light blues it is indispensable. 
 
 The more perfectly the indigo is de-oxyded the 
 better; this is known by the uniform green colour of 
 the liquor in the vat. The cloth should remain in the 
 liquor one hour, so as to insure a complete penetration 
 of the dye: for the oftener it is dipped and receives 
 the air, and is dipped again, the more of it lies on the 
 surface uncombined, and by friction and wearing falls 
 off. There have been some dark blues that would bear 
 as much colour to be rubbed and beaten oft", as might 
 dye a good light blue. 
 
 In general, after the blues are taken out of the 
 water vats, they are run through a cold liquor com- 
 posed of water and sulphuric acid, about the strength 
 
61 
 
 of common vinegar. This neutralizes the lime and 
 alkali that may adhere to the cloth, and also turns the 
 green tinge to a blue, inasmuch as the sulphuric acid 
 oxygenates (that is, gives oxygen to) the indigo. To get 
 rid of this sour liquor they must be rinced in cold, and 
 then in hot water. If a little alum be dissolved in this 
 hot water, the colour is supposed to be improved in 
 fixity. 
 
 Before I make my remarks on these two processes 
 employed in England, I shall give those employed in 
 France, from the late work of Berthollet and Son, vol. 
 2, page 82, of the French edition of 1804, from which 
 I translate it. 
 
 Blue Indigo Vat for Cotton, according to M. Le 
 Pileur D'Apligny. — To dye linen and cotton blue. 
 Fix a vat or cask that will hold about five hundred 
 litres (one thousand and thirty-two wine gallons). For 
 such a vat three or four kilogrammes of indigo are 
 employed (from 105,8 to 141,1 avoirdupois ounces, 
 that is in round numbers, from six pounds and a half 
 to nine pounds avoirdupois). This indigo is well and 
 carefully ground into an impalpable powder (a condi- 
 tion always to be insisted on) and then boiled with a 
 ley or lixivium drawn clear from a quantity of potash 
 double in weight to the indigo, and a quantity of lime 
 of an equal weight with the indigo. This must be well 
 stirred during the boiling, which may be in an iron 
 pot well cleaned, in order that the whole of the indigo 
 may be fully penetrated and intimately mixed with 
 the clear liquor of the potash and lime; it must be 
 
62 
 
 well stirred and prevented from sticking to the sides 
 and bottom of the pot. 
 
 While the indigo is boiling, slack with hot water 
 sprinkled on it, a quantity of lime equal in weight to 
 the indigo: add to it twenty litres (5,16 wine gallons) 
 of boiling water: dissolve also of green vitriol or cop- 
 peras bruised, a quantity equal to double the weight 
 of the indigo. When dissolved, pour it into the vat 
 already half filled with water; then pour in the indigo 
 and the alkaline lixivium, then the lime and the water 
 in which it is dissolved or mixed. Stir all up once or 
 twice, then fill the vat to within three fingers breadth 
 of the top; stir it again well together; cover it close; 
 stir it up twice or thrice a day, till the vat is in order 
 for dyeing, which in summer will be about forty- 
 eight hours, in winter something more. 
 
 To this vat some dyers add a little madder and bran; 
 (which are not necessary but may be of use), they use 
 this at Ycctot. 
 
 The Process at Rouen, in Normandy, detailed by 
 M. Quatremere D'Isjonval, who has spent much la- 
 bour in the investigation of the properties of indigo, 
 is as follows. 
 
 The vats are built of a flinty kind of stone, plaister- 
 ed within side and without with a fine cement. (This 
 may be made of fresh lime slacked and sifted, one part, 
 fine sand sifted, five parts, Terras or Puzzuolana, one 
 part, beat up into a paste with beaters, and then ap- 
 plied. T. C.) There are several in the same dye-house, 
 ranged in opposite rows. The vats contain about 288 
 wine gallons, (four muids) and will bear nine or ten 
 
63 
 
 kilogrammes (about twenty-two pounds avoirdupois) 
 of indigo. The indigo is permitted to macerate or 
 soak during eight days in a caustic ley of potash of 
 strength sufficient to bear an egg: (It is not said how 
 much. T. C.) It is then ground in a hand mill into a 
 fine paste. The vat being filled with water near to the 
 top, a quantity of fresh burnt slacked lime is intro- 
 duced equal in weight to the indigo; the vat is then 
 stirred, and eighteen kilogrammes or about forty 
 pounds of pounded green vitriol or copperas are 
 thrown in; the vat is stirred till this is dissolved. 
 Then the indigo is washed in, through a very fine 
 sieve, the unground particles being ground over again. 
 It is stirred eight times the first day, and after a re- 
 pose of six and thirty hours it is ready for dyeing. 
 
 (In this receipt the quantity of lime is given, but 
 the quantity of potash used to make the caustic lixi- 
 vium in which the indigo is ground, is not given. It 
 appears to me that if potash be used at all, it ought 
 not to be less than pound for pound of indigo, for the 
 lime will be fully decomposed by the copperas. T. C.) 
 
 The dyer ought to have several of these vats, so that 
 some might be set at various periods of time. Moisten 
 the cotton equally in water before you introduce it; 
 press it so that it shall be merely but equally moist. 
 Dip it first in the vat which is the most exhausted; 
 then in the vat a little less exhausted; and so on, 
 finishing with the strongest; or until you have pro- 
 cured the required hue. It should not remain in each 
 vat more than five or six minutes at a time, for it will 
 
*r 
 
 64 
 
 imbibe in that time, as much colour as the vat in 
 which it is dipped will furnish. 
 
 A vat intended to be used, should be well stirred, 
 and left to settle twenty-four hours at least if an old 
 vat, but not quite so long if it be a new vat, before 
 the goods are entered. 
 
 When a vat has been used three or four times, it 
 begins to change: when it is stirred, it no longer ex- 
 hibits blue veins on its surface; it turns black; and in 
 this state requires to be refreshed. This is done by 
 adding about two kilogrammes (about four pounds 
 and a quarter,) of green copperas or sulphat of iron, 
 and one kilogramme or about two pounds of lime. 
 Let it be twice stirred or raked, and left to settle. A 
 vat may be refreshed three or four times, by adding 
 the quantity of ingredients which it is deficient in, 
 employing the original proportions. 
 
 In these vats (says Berthollet) it is the potash and 
 the lime that dissolve the indigo, which is first depriv- 
 ed of oxygen by means of the iron which is precipi- 
 tated from the green copperas. (But in this vat of M. 
 Quatremere D'Isjonval, it appears to me, that the 
 sulphuric acid of the copperas is very nearly sufficient 
 to convert all the lime employed into sulphat of lime 
 or gypsum, which is of no use in the vat, and that the 
 potash alone is the solvent of the indigo. T. C.) 
 
 M. M. Berthollets' proceed. Lime alone may be 
 used to precipitate the iron of the sulphat of iron, and 
 to dissolve the oxyded indigo, but the same depth of 
 colour cannot be obtained from indigo dissolved in 
 lime alone, as in potash, or lime combined with pot- 
 
vm 
 
 65 
 
 ash; at least the same depth of colour is not so quickly 
 and so readily produced: but this is frequently an ad- 
 vantage. Some dyers strengthen the lime vat by the 
 addition of orpiment and potash. (In England the 
 lime vat alone, is most used by the callicoe printers. 
 T. C.) 
 
 Bergman and Haussman have given particular de- 
 scriptions of this vat, with proportions of the ingre- 
 dients in some respects different. The last author 
 (who is by trade a dyer and callicoe printer in Ger- 
 many T. C.) observes, that the sulphat of iron (green 
 copperas) ought not to contain any copper or blue 
 copperas. For this ingredient is apt to re-oxyd the 
 indigo, that is, turn it blue; whiGh is an effect that 
 ought never to be produced but upon the dyed cloth. 
 (But green copperas or sulphat of iron, very seldom 
 contains any copper. T. C. ) He remarks also that the 
 blue tint is improved by passing the cloth through 
 water acidulated with the acid of sulphur. (It is not 
 improved, but brought on sooner. T. C.) 
 
 We {Berthollet and Son) will now describe a vat of 
 this kind, which has stood the test of experience; and 
 note the uses to which it may be put. 
 
 The ingredients are employed in the following pro- 
 portion. One part by weight of indigo, two parts of 
 sulphat of iron, (green copperas), and two parts of 
 fresh burnt lime. These ingredients must be treated 
 in the manner herein before directed, and when the 
 vat is filled, and several times raked and stirred; it is 
 then left to rest for two days, when it will be found 
 ready for use; perhaps somewhat sooner. 
 
66 
 
 Before you dye with this vat, scum off the froth on 
 the surface. Every night, when the men are about to 
 leave work, this vat is refreshed, by adding to it some 
 of the liquor out of a small vat set for the purpose, 
 with a much less proportion of water to the other in- 
 gredients, so that the small vat contains a stronger dye 
 stuff: the froth set by, is also returned into the dyeing 
 vat; which is raked and left to subside, well covered, 
 till morning. When the dye-vat becomes weak, it 
 may also be strengthened by the addition of lime and 
 sulphat of iron, in the original proportions. 
 
 The pieces are stretched on hooks on a frame which 
 is let down into the vat by a pulley: the pieces in the 
 vat are gently moved to aid their imbibing the dye 
 equally. The whole of the piece is immersed without 
 touching the sediment. Having given it time to be- 
 come oxyded, that is, to change in the air from green 
 to blue, it is carefully washed: while green, the dye is 
 soluble in water; but when by oxydation it becomes 
 blue, it is no longer so. This washing is more neces- 
 sary, if there are places in the piece protected by 
 paste- work from the dye. To dye for instance two 
 blues and a white, the paste-work is printed on the 
 white and also on the light blue part of the pattern. 
 When dyed, it is well washed, and when dry, it is 
 printed with paste- work on the white part of the pat- 
 tern; so that the blue ground is twice dyed, the pale 
 blue once dyed; and the white protected throughout 
 these operations. When the white part is to be again 
 dyed of any colour, the mordant is mixed with the 
 last paste. 
 
^r 
 
 67 
 
 For reserved parts of a pattern, it is also common 
 to make use of the known property of copper, to 
 yield its oxygen to the indigo, and by that means 
 prevent its fixing permanently on the places so pro- 
 tected. (Hence pastes usually contain blue vitriol. 
 T. C.) 
 
 Bergman and Scheffer, also describe another vat, 
 very convenient for linen and cotton thread and yarn, 
 but not particular enough as to proportions. Take a 
 strong solution of potash, add to it while hot, about 
 three drachms troy weight of finely ground indigo 
 for each wine quart of the liquor; when the indigo is 
 perfectly penetrated by and moistened with the alka- 
 line liquor, add of finely powdered orpiment six 
 drachms troy weight; stir it well; in a very short 
 time it becomes green with a blue froth; draw the fire 
 and dye with it. 
 
 Berthollet then goes on to give receipts for the 
 common pencil blue of the callicoe printers, of which 
 the last above detailed is one. Although in this part 
 of the work I have nothing to do with callicoe print- 
 ing, yet every dyer will better understand his own 
 processes, by being made acquainted with all the me- 
 thods in use to give a blue dye or tinge by means of 
 indigo. I do not therefore think it time misemployed 
 to translate the rest of this chapter of Berthollet's 
 work, adding my own receipts for pencil blue, which 
 I know to be good, though almost all the colour-men 
 at printing works vary a little in their proportions of 
 the ingredients. 
 
 This vat (say the Messrs. Berthollet, Elemens de 
 
68 
 
 l'art de la Teinture, torn. 2d, page 90, edit. 1804) 
 does not differ from the preparation used by the cal- 
 licoe printers, and called Bleu & application, pencil- 
 blue, except in the proportions of orpiment and indigo, 
 which are much greater among the last mentioned 
 artists. For this preparation, they use according to 
 Haussman one hundred parts water, fifteen potash, six 
 lime, six orpiment and eight indigo. M. Oberkampf, 
 whose processes are fixed with great consideration, 
 uses still more indigo. In Bergman's process, indigo 
 bears the proportion but of one part to twenty-four of 
 water; in Scheffer's process, a still less proportion of 
 indigo is used; in Haussman's the indigo is one- 
 twelfth; in Oberkampf's one-ninth. The proportions 
 of the several ingredients beside the indigo, vary also 
 in the several recipes: so that it should appear that 
 they admit of considerable latitude in this respect; but 
 the best proportions have not yet been determined by 
 direct experiment. 
 
 Hence it appears that the callicoe printers use three 
 methods of dyeing the cloth of which the ground is 
 intended to be blue or green; and when they are al- 
 ready printed in parts, with colours that the blue vat 
 ought not to act upon, these colours are protected by 
 a reserve of paste- work. 
 
 If the cloth is intended to have a white ground, and 
 to exhibit patterns with one or two blues, the second' 
 method is employed. Sometimes one or two colours 
 are joined to the blue thus raised; but in this case 
 they must be printed after the operation of the blue 
 
69 
 
 vat, for there are few colours which the blue-dyer's 
 liquor will not act upon and alter, if not discharge. 
 
 Thirdly, it is required under other circumstances, 
 to give a blue stain to small and minute parts of a pat- 
 tern already printed; in this case the blue is pencilled 
 on the spots required, whether it be on white to give 
 a blue, or on yellow already raised, to give a green. 
 
 Pencil blue may be printed by the block when pro- 
 perly thickened with gum, but the indigo is easily 
 oxyded, and it can only succeed for small objects, and 
 where the colour is required to be intense; and even 
 then rarely. (It is certainly liable to the objection Ber- 
 thollet mentions of being easily oxyded, but it can be 
 printed even on blotch grounds, though not so conve- 
 niently. T. C.) 
 
 Bancroft says he has substituted sugar for orpiment; 
 and others speak of grinding the indigo with oxyd of 
 tin; but as these experiments have not received the 
 sanction of practice, I shall not translate the remarks 
 of M. M. Berthollets concerning them. 
 
 The Pencil Blue of the Manchester printers, is made 
 thus: 
 
 Take eighteen parts fresh burnt lime; slack it; add 
 to it twelve parts of potash; dissolve in boiling water, 
 so as to draw off a strong ley; when this ley is drawn 
 off, add other boiling water, and pour off the clear 
 liquor; do so again; and if not exhausted, a third 
 time; add all the clear together into one lixivium or 
 ley, which should be of such a strength that an egg 
 will barely sink in it; when in this state, add an equal 
 quantity of hot water: then add to it while warm (not 
 
70 
 
 very hot) of finely-ground indigo eighteen parts; and 
 orpiment ten or twelve parts; stir them well toge- 
 ther and cover them so as to exclude the air. This 
 must be thickened with gum arabic in powder. 
 
 Another. Take one part (as one ounce) of indigo 
 finely ground as usual; half an ounce of orpiment, 
 eight ounces of pearl ashes, and as much lime; draw 
 off a clear ley from the ashes and lime; boil it to 
 the strength and quantity of caustic ley you want; 
 then put in the indigo; boil it one hour; take it off the 
 fire, and let it cool; stir in the orpiment; thicken with 
 gum arabic. 
 
 China Blue. This is a light blue, dyed by the cal- 
 licoe printers in a peculiar manner. The indigo, very 
 finely ground, is mixed with gum water of the con- 
 sistence necessary for block-printing; with this mix- 
 ture print on the table with a block, the blue part of 
 the pattern. Have ready two vats of the usual dimen- 
 sions for two pieces of callicoe, furnished with frames, 
 hooks, &c; let the water in one of the vats be satu- 
 rated with green copperas, that is, put in as much 
 copperas as it will dissolve; and the water in the other 
 with as much lime as it will take up, or rather with a 
 considerable surplus, for too much can do no harm. 
 Let the piece hooked on the frame, be dipt alternately, 
 in the one vat and the other, till the copperas having 
 de-oxyded the indigo, the lime dissolves it and fixes 
 it on the cloth; which after the operation is to be well 
 washed. 
 
 The callicoe printers commonly pencil a blue on 
 top of a yellow; in which case, orpiment must be used 
 
71 
 
 to disoxygenate the indigo instead of copperas, which 
 would strike a blackish colour with the yellow. 
 
 Another China Blue. The proportions in my time, 
 managed as above, were twelve parts indigo, twelve 
 parts lime, ten parts green copperas, and four parts 
 iron liquor, which is acetat of iron. This also was 
 used as a pencil-blue. 
 
 The following are the observations of Homassel, on 
 the callicoe dyer's blue vat. The callicoe dyers set 
 their vat cold; and employ a great many articles with- 
 out knowing why. To dye pieces that are protected 
 by paste work, nothing ought to enter the vat, which 
 will destroy the acid composition used in the paste- 
 Hence the vat ought to be set with nothing but in- 
 digo, green copperas, lime, and a small quantity of 
 soda, wherever the custom of the shop runs upon 
 paste work. Potash decomposes the blue vitriol, which 
 forms the basis of the composition, and yet many 
 dyers set their vat with potash, or with soap boiler's 
 ley, which they use to boil their indigo with. These 
 callicoe vats are generally of wood lined with lead, 
 and hold two hundred buckets of water; in such a vat, 
 they employ thirty pounds of indigo, which is ma- 
 naged just as easily as a vat made of a brandy cask. 
 The indigo is usually ground in a metal basin some- 
 what inclined, by means of three or four twelve pound 
 cannon balls, which boys roll in the basin till the in- 
 digo is ground into a paste, that can be scraped off 
 the basin without leaving any sticking to it. A boy of 
 twelve years old can thus grind ten pounds of indigo 
 in a day. But the grinder ought never to be impli- 
 
72 
 
 citly trusted. No indigo should ever be used but 
 such as has passed through a fine sieve. Even minute 
 grains unground, are mere loss. Also, diligent search 
 should be used, lest the vat should leak, for it is the 
 most valuable part of the contents that will leak out. 
 
 If a brandy cask holding about 120 or 130 gallons, 
 is used as a vat, the ingredients should be five pounds 
 of indigo, one pound of soda, five and a half pounds 
 of lime, and five pounds of copperas or green vitriol. 
 Abstain from potash, which always sets the colouring 
 particles, so that they are washed into the river to 
 mere loss, besides attacking the reserve or paste- 
 work. 
 
 Dissolve a pound of soda and half a pound of lime, 
 in which solution you may grind your indigo; when 
 ground, put it in the vat, which should be filled with 
 water within a foot of the top. Then dissolve in hot 
 water five pounds of English green copperas, which 
 must also be turned into the vat; then slack your lime 
 with a small quantity of water, and turn it in powder 
 into the vat; then throw in the grounds of the soda, 
 lime, and indigo; stir the whole together, and let it 
 rest covered all night. Early in the morning stir it, 
 and about nine o'clock it will be ready to use, if it 
 has been left to settle four hours. If the vat should 
 not be in order for some hours afterward, dissolve 
 half a pound of copperas in four or five quarts of 
 water. The vat should be of a yellowish green; if too 
 yellow, a small quantity of lime will correct it. 
 
 When this vat has once been set, and you wish to 
 refresh it, it should not be done with more than a 
 
7S 
 
 pound of copperas and about three-fourths of a pound 
 of lime at a time. When the vat has been served with 
 five pounds of indigo and ten pounds of lime, put in 
 no more, or at least very sparingly; should it blacken 
 with too much copperas, add lime till it is brought 
 about, and becomes again green. When the vat is 
 black, it wants copperas; when too yellow, it requires 
 lime. 
 
 Pencil Blue is made with one pound of indigo, as 
 much potash, as much red orpiment, and two pounds 
 of lime; they may all be ground well together if time 
 presses, and boiled in three or four gallons of water, 
 keeping it stirred all the time. Indeed the water need 
 not actually boil, but near it. To one quart of this so- 
 lution one pound of gum Senegal is put to thicken it. 
 If you are not in haste, dissolve the potash and lime, 
 and grind the indigo in the clear solution with the 
 orpiment, in which case, if the water be warm, it suf- 
 fices; it need not boil. When in order for printing or 
 penciling, it is of a fine green, with a beautiful scum 
 at the top. Linen, cotton, and even silk, may be dyed 
 in this liquor when diluted, but it does not answer 
 well for woollen. 
 
 (Upon these processes of Homassel, I would remark, 
 that the acid paste- work is acted upon by soda and 
 lime, almost as soon and as effectually as by potash; 
 and it is the business of the printer to use such a paste, 
 as will stand the usual blue vat. Such a vat as he re- 
 commends, however, may keep the indigo in perfect 
 solution if the lime be good. As to his pencil blue, 
 the quantity of orpiment is in my opinion a fourth too 
 
 K 
 
rrr 
 
 74 
 
 much, and the lime nearly twice as much as is neces- 
 sary, if it be good. Nor can silk be safely dyed where 
 the liquor is so strong of the caustic alkali. Homas- 
 sel's receipts are manifestly the result of practice as a 
 dyer, but I suspect he was not quite so well acquainted 
 with printing. T. C.) 
 
 Having now given all the known processes, for the 
 woollen blue dye vat — the cotton blue dye vat — the 
 pencil blue — and the China blue of the callicoe printers, 
 I shall give a summary of the proportions used in the 
 respective processes of the English, French, German 
 and Swedish dyers, in setting the vats with indigo; 
 and then my own remarks. 
 
 Proportions of the ingredients used for the indigo 
 
 BLUE VAT FOR DYEING WOOLLENS, bv the English 
 
 dyers. 
 
 Indigo, by weight, two parts. 
 Potash two parts. 
 Bran sifted two parts. 
 Madder one part. 
 
 By the French dyers. 
 
 The vat described by Messrs. Berthollet, from D'Or- 
 val and Ribau court, is nearly the same as the above, 
 except the proportion of madder is smaller, for which 
 it is so much the worse. 
 
 The vat used by M. Homassel, whom I regard as 
 good authority, consists of, 
 Indigo one part. 
 
 Pearl ash two parts, (which I think half a part 
 at least too much. T. C.) 
 
75 
 
 Bran, about three quarts to the pound of in- 
 digo. 
 Madder half a part. 
 
 Proportions for the Blue Indigo Callicoe Fat. 
 English. Indigo, one part. 
 
 Fresh, clear, green copperas, two parts. 
 
 Fresh lime, two parts and a half. This is good. 
 
 Another English. 
 
 Indigo one part. 
 
 Potash two parts. 
 
 Lime four parts. 
 
 Copperas two parts. 
 I consider this as a bad process: first, because the 
 potash acts too speedily on paste- work, and because 
 two parts of potash are more than sufficient to dissolve 
 the indigo, especially with lime; and because the pot- 
 ash may be well deprived of all its carbonic acid by 
 an equal part of lime, if good. 
 
 The French callicoe blue vats. 
 Messrs. Berthollets* vat. 
 Indigo one part. 
 Lime two parts. 
 Green copperas two parts. 
 This vat has the advantage of experience, but I am 
 persuaded that the lime is in too small proportion if it 
 be not quite hot from the kiln, in which case it may 
 be enough. 
 
 M. HomasseVs vat. 
 Indigo five parts. 
 
76 
 
 Soda one part. 
 Lime five parts and a half. 
 Copperas five parts. 
 The soda appears to me no better than pearl ash; 
 and the lime in proportion rather too small. 
 
 The Rouen vat for callicoe, according to M. Qua- 
 tremere. 
 Indigo, steeped for eight days in strong soap- 
 ley, one part. 
 Lime one part. (Too little. T. C.) 
 Green copperas one part and three fourths. 
 
 The French callicoe vat according to M. Pileur 
 d'Apligny. 
 Indigo one part, boiled in a ley made of 
 Lime one part and potash two parts. Then, 
 One other part of lime in hot water. 
 Green copperas two parts. 
 
 Swedish vat proposed by Bergman. Opuscula vol. 
 5, p. 43. 
 Indigo one part. 
 
 Green copperas one part. (Too little. T. C.) 
 Lime two parts. 
 
 German vat. Gulich. 
 
 » 
 
 Indigo one part. 
 
 Lime three parts. 
 
 Green copperas three parts. (Too much. 7'. C.) 
 
 Orpiment one part and a half. (Unnecessary. 
 
 r. C.) 
 
77 
 
 German vat. Haussman. 
 
 Indigo twelve to twenty parts. 
 Lime three times as much. 
 Green copperas twice and a half the weight of 
 indigo. 
 
 Pencil Blue. English. 
 
 Indigo one part and a half. 
 Potash one part. 
 Lime one part and a half. 
 Orpiment about half a part. 
 
 Another. 
 
 Indigo one part. 
 
 Pearl ashes and lime each half a part; 
 Orpiment half a part. — Both these proportions 
 are too small. 
 
 French. Homassel. 
 Indigo one part. 
 Potash one part. 
 Lime two parts. 
 Red orpiment one part. 
 
 German. Haussman and Oberkampf. 
 
 Indigo eight to ten parts. 
 
 Potash fifteen parts, or once and a half the 
 weight of indigo. 
 
 Lime three-fourths the weight of indigo. (Bet- 
 ter an equal weight. T. C) 
 
 Orpiment three-fourths the weight of indigo. 
 
m 
 
 78 
 
 Proportion of water varies from twelve to 
 twenty times the weight of indigo. 
 
 German t according to Gulich. 
 Indigo one part. 
 Potash four parts. (Nearly three parts too 
 
 much. T. C.) 
 Lime one part. 
 
 Orpiment one and a half part. 
 Gulich uses this also for the indigo vat for dyeing 
 woollens; but so much alkali is not only unnecessa- 
 ry to dissolve the indigo, but it would act on the 
 cloth. T. C. 
 
 German. Haussman. 
 
 Indigo sixteen parts. 
 
 Potash thirty parts. (Somewhat too much. 
 
 T. C.) 
 Lime twelve parts. 
 Orpiment twelve parts. 
 
 Swedish. Bergman. 5 Opusc. 43. 
 
 Strong soap- ley two quarts. (Bad for uncer- 
 tainty. T. C.) 
 Indigo three drachms. , 
 Orpiment six drachms. 
 
 China Blue. English. 
 Indigo twelve parts. 
 Green copperas ten parts. 
 Iron liquor four parts. (Bad for uncertainty.) 
 Lime twelve parts. (Too little. T. C.) 
 
79 
 
 Such are the varieties in the processes used in differ- 
 ent work-shops in the same and in different countries: 
 varieties, that show a certain latitude of proportions, 
 within whose limits success in the result may reasona- 
 bly be expected. I well know that the public calls for a 
 book on dyeing, wherein the author will confine him- 
 self to one process, and that the best in use. But who is 
 to judge of that? 7 £72010 no man who, as yet, has suffi- 
 cient pretensions both from theory and experience to 
 decide. All the receipts I have given, are the receipts 
 of actual practice. Each has its advocate, who is of 
 opinion that he understands his business as well as 
 any other dyer whatever; and each succeeds. I think 
 therefore I should have been unjustifiable, in confining 
 this book to one set of processes, selected by myself, 
 when men of great knowledge and experience in 
 business, differ on each process from each other. It is 
 a presumption, I have thought it right to avoid. But, 
 I have read enough, and seen enough, to have an 
 opinion of my own; and I shall submit that to the 
 reader, for him to adopt or reject as he sees fit. I have 
 put all the processes for dyeing blue together (except 
 in an extract I shall make on callicoe printing, by and 
 by) because I think they throw great light on each 
 other; and he who means to understand his business, 
 will study them all. 
 
 On the Blue Dye for Woollens, by the Editor. It ap- 
 pears to me, that the common vat wherein the indigo 
 is deoxyded by means of madder and bran, and then 
 dissolved in alkali, is the best for the woollen dye. 
 We certainly can do without pastel and woad. The 
 
80 
 
 other vats, wherein the indigo is deprived of oxygen 
 by copperas, are best adapted to the callicoe dyeing. 
 I am satisfied, however, that lime is an addition, ab- 
 solutely necessary to give the alkali its full effect. 
 Indigo is not perfectly soluble in carbonated alkali, 
 although it is so in caustic or pure alkali. I am satisfied 
 also, that pearl ash is one fourth less in value for the 
 purpose, weight for weight, than potash. 
 
 Hence my proportions for a vat of whatever size, 
 are, 
 
 Indigo, ground into a fine paste, and passed 
 
 through a fine sieve, by weight, one part. 
 Bran one part: Madder half a part. These two in- 
 gredients to be put in first, having been pre- 
 viously boiled for three or four hours. 
 Potash one part and a quarter. 
 Lime one part. 
 Bruise the potash in small pieces, then add the lime, 
 and pour on hot water, two gallons to the pound of 
 potash. Let it remain covered till the alkali is all dis- 
 solved, then pour it into the vat, sediment and all, 
 after the bran and madder are put in. The indigo 
 should be put in last. 
 
 I have already suggested that, in my opinion, hay 
 might be substituted for madder: but it has not been 
 tried. Nor has the effect of yeast, been sufficiently 
 tried. 
 
 For callicoe printers, I think the potash may be dis- 
 pensed with, and that a good vat may be well made 
 with 
 
81 
 
 Indigo one part. 
 
 Copperas two parts. 
 
 Lime two parts and a half, if fresh and good. 
 
 But if the dyer should be attached to his potash, 
 then 
 
 Indigo one part. 
 Potash half a part. 
 Lime two parts. 
 Copperas two parts. 
 I do not disapprove of Gulich's addition of a little 
 orpiment, but I have not known it tried. 
 
 It is very material that the lime should be fresh, and 
 put in with the copperas, before the potash is put in. 
 The copperas vat may be made without lime by 
 means of potash, but not so cheaply or so well. For 
 the sulphat of potash formed in decomposing the 
 copperas, is made at greater expense than the sulphat 
 of lime. 
 
 Pencil Blue. 
 
 Indigo one part. 
 
 A clear strong ley, drawn from potash, one part 
 
 and a quarter, and lime one part. 
 Orpiment two thirds of a part. 
 The China blue for dipping in alternate vats, is suf- 
 ficiently well given already. 
 
 There is a vat described made of urine; common 
 enough in the back country, but although it be appa- 
 rently cheaper than a potash vat, I do not think it is 
 really so, for I suspect some of the indigo is wasted 
 
 L 
 
82 
 
 for want of a sufficient solvent However, as all the 
 books contain an account of such a vat, I shall insert 
 the preparation; protesting against the use of it, 
 wherever wood ashes and lime can be procured, as 
 troublesome, filthy, and wasteful of indigo; but it has 
 this advantage, it does not spoil by age, on the contrary 
 
 it improves. 
 
 This vat may be set either with hot or cold urine. 
 
 The proportions vary according to the shade required, 
 
 from twenty to thirty gallons to each pound of indigo. 
 
 The indigo is to be ground up with urine; the urine 
 
 made hot and scummed, is then to be poured on the 
 
 indigo in the vat. It is to be well stirred twice a day; 
 
 as the urine ferments, and becomes decomposed, it 
 
 acts on the indigo, which becomes dissolved in the 
 
 urine: this usually happens in eight or ten days. Some 
 
 add a quart of vinegar for each pound of indigo and 
 
 some alum and tartar to the indigo, but I see no use 
 
 in the one addition or the other: but the vat is the 
 
 better for four ounces of madder, and as much bran 
 
 to each pound weight of indigo. 
 
 The Indigo Vat with Urine, according to HomasseL 
 This is set variously: some prepare the urine in a 
 boiler, before they turn it into the cask; others leave 
 it to ferment by itself at leisure in the cask appro- 
 priated for a vat. They then take the clear part, and 
 heat it without boiling, and scum it. Four ounces of 
 good indigo are used to a pipe (tonne:) and as much 
 alum as indigo. It is well stirred and covered, the door 
 of the fire-place shut, and so left till next day, when it 
 ought to put on the green colour. If it has not come 
 
83 
 
 to, by this time, put in a wine glass full of brandy and 
 as much vinegar mixed together, which operates as a 
 ferment, and brings on the liquor in seven or eight 
 hours. When it is in order, it is left to rest, and used 
 when it is wanted. When once in order, it continues so, 
 and improves by keeping; the only difficulty is to bring 
 it once into order, and it is valued for its age. When 
 this urine vat is used, it is well warmed, and charged 
 with indigo and alum, in the proportion of a pound of 
 each to every thirty pounds of wool to be dyed. It 
 should not be employed till twenty- four hours after 
 it is in order; the wool is plunged in »and worked 
 under the liquor, and left there for an hour, the vat 
 being covered; this is done as often as the required 
 shade of colour calls for it. The vat should not be 
 altered, but always left to rest, and to grow cold in its 
 original state. 
 
 In country places, the girls dye blue thus: they fill a 
 large earthen pot with scummed urine, in which they put 
 an ounce of indigo and an ounce of alum; this mixture 
 is heated on hot embers at first, and warmed whenever 
 it is to be used. The wool is previously well scoured, 
 and freed from its grease, by means of a weak ley of 
 fresh wood ashes. 
 
 Such are the various processes for dyeing blue with 
 woad and with indigo, which differ from each other, 
 because every work-shop has its own receipt, and no 
 set of experiments has been instituted to ascertain 
 directly and accurately the best proportion of ingre- 
 dients: this still remains a desideratum of great conse- 
 quence, though it would cost much time, trouble, and 
 expense. 
 
84 
 
 Of the Saxon Blue: or blue produced by dissolving 
 indigo in the acid of vitriol or sulphur. This was first 
 discovered by counsellor Barth at Grossenhayn in 
 Saxony, about the year 1 748, and was for a long time 
 kept secret. It is chiefly used for the silk dye, but 
 always also for Saxon blues and greens on woollen. 
 
 For Woollen, Let the cloth macerate in a hot solu- 
 tion of alum and tartar, three ounces of alum and one 
 of tartar to a pound of woollen; this is usual, but I do 
 not consider it of any use; for the indigo seems to have 
 no affinity for these mordants. 
 
 Make your Saxon blue thus. Purchase oil of vitriol, 
 colourless, that will weigh in a Florence flask twenty- 
 nine ounces and a half avoirdupois to the wine pint; 
 or it should be to water in weight as L,85 to 1. The 
 stronger your oil of vitriol, the better will be the so- 
 lution. If it be not strong and colourless, boil it in a 
 glass vessel in a sand bath, till it becomes so, adding 
 while hot by degrees about four or five grains of nitre 
 to each pound of oil of vitriol: the acid of the nitre 
 is gradually decomposed, and carries off the carbonic 
 matter that discolours the oil of vitriol; the small quan- 
 tity of alkali remaining, does no harm. 
 
 Grind very fine in water, the indigo meant to be 
 employed; wash the paste through a sieve; boil it in 
 water containing a small quantity of alkali to dissolve 
 all the dirty and extraneous matter that the indigo 
 may contain. Wash it with hot water, while the 
 indigo continues to give a dirty tinge to the water. 
 Then dry it perfectly, but not in too great a heat. To 
 six pounds of oil of vitriol, add by degrees one pound 
 
85 
 
 of such indigo well ground but dry; stirring it con- 
 tinually with a glass stick or a hard-burnt tobacco pipe, 
 and not with wood; it should be made in a platina, a 
 glass, a porcelain, or hard burnt stone- ware vessel; 
 taking care that no kind of dirt gets in. The indigo 
 thus dissolved may be used for dyeing in the propor- 
 tion of from one to two or more ounces of the solution 
 per pound of cloth, according to the depth of colour 
 required. Keep it in a glass bottle, with a glass stopper, 
 for use. When the cloth is dyed, it should be rinced 
 sufficiently to carry away all superfluous acid: whether 
 this has been sufficiently done can be ascertained by 
 pressing the cloth upon a piece of paper tinged with 
 blue litmus, or archil, which if any acid remain, will 
 be turned red. This colour will stand the air, but will 
 not stand washing. Some people add pearl ash to the 
 solution, but I think it does harm. 
 
 Navy Blue. For twenty yards of fulled cloth use 
 twenty ounces of green copperas and four ounces of 
 blue copperas. Dissolve these in a copper by them- 
 selves. When the cloth is moistened with warm water 
 and evenly pressed to squeeze out the superfluous 
 moisture, put your cloth in the liquor and there work 
 it about occasionally for an hour and a half: take it out, 
 let it drain over the copper, cool it over the folding 
 board, and let remain for twenty-four hours. The blue 
 copperas is often omitted, but the colour is the better 
 for using it. 
 
 Boil or rather scald, for at least three hours, six 
 pounds of logwood in water, so as to make a sufficient 
 quantity of solution to work your cloth in. When the 
 
86 
 
 logwood liquor is at a full scald or near boiling, enter 
 your cloth: let it be worked three quarters of an hour: 
 take it out; drain it; cool it on the folding board; the 
 colour will be better if the cloth be opened and aired 
 well. 
 
 Bring your copperas liquor to a full scald; enter 
 your cloth in it, let it stay therein three quarters of an 
 hour. Drain it; cool it; enter it again into the logwood 
 liquor, and let it be worked therein, till you obtain the 
 required colour. Drain, cool, air it, and rince it well. 
 Repeat these processes if necessary. 
 
 This is a full, cheap colour; but it will not stand air, 
 or washing, or wearing, like the indigo or woad 
 colours. 
 
 Some dyers, after preparing or mordanting the cloth, 
 dye it, not in a strong but in a weak solution of log- 
 wood, strengthened by additions of logwood liquor 
 after each dipping, till the colour is obtained. 
 
 The cloth should be kept open while running on 
 the winch or reel; otherwise the colour will be apt to 
 be spotted: if cloth lies in the dye pressed by its own 
 weight, it will not in general take an even colour. This 
 remark applies to almost all colours. Nor should the 
 cloth rest on the winch, but be kept in motion, par- 
 ticularly for half a dozen turns at first. 
 
 Black. The processes and proportions are so vari- 
 ous, and depend so much on the local, the occasional, 
 and the relarive dearness and cheapness of the ma- 
 terials, that one process may be expedient at onetime 
 and place, and another at another. One process may 
 be good in England, another in France, another in 
 
87 
 
 America. One process may be good in time of peace, 
 another in time of war. One may be eligible in a sea- 
 port town, another in the country. 
 
 For instance; during the late war, the English dyers 
 could afford to give a blue ground to their blacks, 
 when the French could hardly do it; for indigo was 
 plenty in England and not in France. To be sure they 
 used their pastel and woad vats, because they grow 
 the drug in their own country, and so might we. 
 
 In Pennsylvania, a back country dyer could procure 
 his own alder bark, walnut bark, or sumach, when a 
 sea-port dyer could obtain none imported; and so on. 
 I shall proceed therefore to give the various pro- 
 cesses of the French and English dyers, whether for 
 fine or coai se goods. 
 
 Fine goods are universally first dyed blue, either 
 with woad or indigo; of course they require less of the 
 other colouring ingredients. 
 
 Hello? s process is this. The cloth being dyed blue, 
 take eighteen pounds (eight kilogrammes) of logwood, 
 and as much powdered nut galls, for each hundred 
 weight of 112 pounds of cloth; (fifty kilogrammes.) 
 The ground or chipped logwood, and bruised galls, 
 should be put in bags, and boiled in a sufficient quam 
 tity of water for twelve hours. 
 
 Lade out into another boiler, one third of this liquor, 
 with one kilogramme or about two pounds and a 
 quarter avoirdupois of verdigris: scald the cloth in 
 this during two hours; it must not boil; it must be 
 winced or reeled all the time. Take the cloth out; drain 
 it; cool it on the folding board. 
 
^KWW 
 
 88 
 
 To the liquor add one other third of the decoction 
 of logwood and galls; also four kilogrammes or about 
 nine pounds of green copperas: lower the heat, let the 
 copperas dissolve, and in about half an hour after- 
 wards again enter the cloth, which must be well 
 winced therein for at least one hour; take out the cloth; 
 drain it; cool it on the folding board, (and air it. T. C.) 
 
 Press well the bags in the first boiler; team out the 
 last third of the decoction out of the first, into the se- 
 cond boiler; add about twenty pounds of sumach; 
 bring the liquor to a boiling heat for a quarter of an 
 hour; throw in about two pounds and a quarter of 
 green copperas; when dissolved, let the liquor cool a 
 little; again enter the cloth, and wince it therein for at 
 least an hour; drain it; cool it on the folding- board; 
 rince it in clear water; air it. 
 
 Bring it again to the boiler, at a heat a little short of 
 a scald; wince it therein a full hour; drain, cool, air it, 
 wash it well in the river or stream, full it till the water 
 comes off quite clear. 
 
 Prepare a dye liquor of weld, which should only be 
 permitted to boil for a few minutes; cool it with cold 
 water; enter the cloth for an hour; drain, cool, wash, 
 air, &c. as before. 
 
 On this process of Hellot's, (which I translate from 
 Berthollet, because the English book purporting to be 
 Hellot's art of dyeing, is often extremely incorrect) 
 I would observe, that if the cloth be dyed a good blue 
 first, the proportion of ingredients are rather large; it 
 seems to me they may be diminished nearly one 
 fourth: secondly, I think that much advantage is to be 
 
S9 
 
 found in airing the goods well between each dipping, 
 for the black is never perfect , or insoluble in water, till 
 it be well exposed to the air; thirdly, I fully agree with 
 Lewis and Berthollet, that the last working in weld 
 liquor, is totally unnecessary; fourthly, I think the pro- 
 portion of logwood might be a little increased at the 
 expense of the other ingredients; for the soft and 
 velvety lustre depends more on the logwood, than on 
 the galls and sumach, although these last afford a much 
 more permanent dye; fifthly, I think the last working 
 should be in the liquor, with a small quantity of Galli- 
 poli oil, to give the soft feel to the cloth, which is so 
 great a recommendation; always premising, an effec- 
 tual scouring. T. C. 
 
 He Hot found also that a good black might be produced 
 thus: 
 
 For eighteen metres, or about twenty yards of fulled 
 cloth, dyed blue, take about two pounds of fustic, two 
 and a half pounds of logwood, and eleven pounds of 
 sumach. Boil them for two or three hours. Enter che 
 cloth at a full scald and work it for three hours; raise 
 the cloth; drain it; throw in eleven pounds of green 
 copperas; let it dissolve; enter it again; work it for two 
 hours; drain it; cool it on the fold-board; air it well; 
 return it into the boiler with the woods and copperas; 
 work it for an hour; drain, cool, air, wash it. It is full as 
 permanent, but not so velvety a black as the preceding. 
 (For the reasons I have assigned above. T. C.) 
 
 Another process, for cheap cloths. Omit the blue 
 ground; give them in lieu of it a ground of walnut 
 peel, or walnut rind (broude noix;) then give a black 
 
 M 
 
 -. 
 
90 
 
 with logwood, and sumach as the dye woods, and 
 green copperas as the mordant. (I am fully persuaded 
 of the use whether in high priced or cheap cloths, of 
 a small proportion of verdigris: and I am strongly in- 
 clined to believe, that Aleppo galls are a cheap article 
 in fact, though seemingly dear, from the experiment 
 stated in the section on mordants. T. C.) 
 
 HomasseVs process. For each hundred pounds of 
 wool, put into a boiler, ten pounds logwood, as much 
 sumach, one (botte, I do not know exactly the quan- 
 tity, I conjecture from circumstances eight or ten 
 pounds) of alder bark, well ground; and a pound of 
 bruised blue galls. If the wool be strong enough to 
 bear it, you may put it in the boiler with all the woods, 
 and boil the whole for four hours, stirring them fre- 
 quently with a rounded stick or bar of wood. Woollen 
 yarn should be made up in parcels of about two 
 pounds each. At this first operation, the wool should 
 acquire the colour of walnut peel, or of scorched 
 paper. Take the hanks of wool out; hang them up to 
 drain over the copper; squeeze them; open them to 
 air; empty the wood and dregs out of the boiler by 
 means of a copper cullender; fill up the boiler with 
 water sufficient to work the wool. Throw in five 
 pounds of green copperas; increase the fire, but there 
 must be no boiling-heat; sweep off the sediment round 
 the boiler; stir the liquor; enter the wool again as at 
 first by means of a stick through the loops; work the 
 separate parcels thus for at least an hour and a half; 
 take them out, drain, cool, air them as before; the 
 more patience in opening them to the air, the deeper. 
 
• gM 
 
 91 
 
 the more permanent, and the fuller will the black 
 strike: keep the boiler still hot; again enter the goods 
 with three pounds more of copperas; go through the 
 same process as at the last mentioned or second im- 
 mersion, giving the cloth now a second airing; before 
 the copperas was put in, no airing was necessary. Dye, 
 drain, cool, open, air again; being three immersions or 
 dyeings after the copperas, and four in all. No airing 
 is necessary till the copperas be used. 
 
 Now put in tvyo pounds more of copperas; and one 
 pound of tallow, lard, or some fat oil; (Gallipoli is the 
 best T. C.) when the copperas is dissolved and the 
 fat melted, enter the goods and proceed as in the last 
 process to dye them, but let them stay in the copper 
 all night, before you open them and air them. The fat 
 prevents the copperas from drying the goods, and 
 makes them soft to the touch. 
 
 Dyers by profession, dye in the same boiler, their 
 silk and their wool; in which case they do not use the 
 fat at the fourth immersion; but instead of it refresh 
 the liquor with some logwood, sumach and alder bark, 
 and they give five or six airings. Other dyers are con- 
 tented to dye their blacks at twice in ten days, and 
 keep their silks after the first wool-black, till they give 
 them another; in this manner the silks and the wool 
 too are better dyed. The fat can be used for the wool, 
 after the silks are finished. 
 
 Oak balls, acorns, oak saw-dust, and tan, were pro- 
 hibited by Colbert; but they are of great use in dyeing 
 linen and flax; and any harshness they may be sup- 
 posed to give, may be counteracted by tallow or fat. 
 
92 
 
 If when you use the same quantity of logwood, su- 
 mach, and alder bark, you employ about six per cent, 
 of oak balls, or the bark of acorns, the silks will require 
 but one galling or preparation in the woods previous 
 to the copperas, and four or five airings after the cop- 
 peras; then when the silks are done, the woollens may 
 receive another dipping with fat or oil. 
 
 A black dyer on woollen should have a new hat be- 
 fore him as a pattern of colour. (Then he ought to em- 
 ploy verdigris with his copperas, or he will never come 
 up to the hat dye. The hat dye is as follows: 
 
 For twenty or four and twenty dozen, boil, or rather 
 keep at a full scald, one hundred pounds of logwood, 
 twelve pounds of galls, twelve pounds of gum, ten 
 pounds of green copperas and six pounds of verdigris. 
 Ten or twelve dozen are dyed first, they are kept in 
 the dye an hour and a half: they are then taken out 
 and well aired; this is repeated four times, the ex- 
 posure to the air being never omitted or slighted; 
 then the bath is refreshed with a small quantity of the 
 drugs in like proportion, and the hats are again dyed, 
 cooled, and aired twice more; the dye is again refresh- 
 ed in like manner, and the hats dyed, cooled and 
 aired twice more; in all eight times. Sometimes su- 
 mach and alder bark are substituted for part of the 
 galls: all this depends upon their comparative price, 
 for when galls are cheap, they are clearly the best in- 
 gredient. There is no process for dyeing woollen so 
 good as this in my opinion, except that the gum, 
 though necessary to hats, is unnecessary to woollens. 
 The superiority in the colour of hats to that of wool- 
 
93 
 
 len cloth, is owing first to the superior quantity of 
 verdigris; secondly to the more frequent dippings and 
 airings. T. C.) 
 
 The black liquor will serve for all kinds of grays. 
 The colour called Boue de Paris, (a kind of mud 
 colour) is dyed by first giving a ground with soot, 
 and then a dipping in the black dye after the woollens 
 are dyed. Every variety of gray, can be well dyed 
 with an old or spent liquor of black, another of soot, 
 and another of archil. 
 
 The black bath or liquor, will have done its duty 
 when it serves after black for the sandal wood browns; 
 indeed all browns may be finished in the old black 
 liquor: so may the Saxon greens meant to be turned 
 into bottle greens. 
 
 At the Gobelins, all blacks are forbidden, because 
 they acquire a rusty colour. (There is no good reason 
 for this, if the colours intended for tapestry are blued 
 first. T. C.) 
 
 On this process of Homassel, I have to observe, 
 first, that the colour is not and cannot be so good as 
 those that are dyed upon a blue ground. Secondly, 
 that his frequent and perfect airings after the copperas, 
 though taking up time, are not merely judicious, but 
 absolutely essential to make the colour strike deep, 
 to prevent its being washed away, and to produce a 
 full black. The gallo-tannat of iron is colourless in 
 solution till it be oxygenated. Common ink is so. 
 Thirdly, the employment of a small quantity of verdi- 
 gris would certainly improve the process. Fourthly, 
 the proportions of ingredients might be beneficially 
 augmented one fourth. T. 
 
 SI 
 
94 
 
 The proeess for dyeing black, of Mr, Haigh of Leeds. 
 Fill a vessel sufficiently large with soft water, and for 
 every hundred weight of cloth, put in thirty pounds 
 of logwood chips; with half a pail of elder (he means 
 alder) bark, and six pounds of sumach; boil thtse in- 
 gredients together for half an hour (two hours are 
 little enough, T. C.) when the cloth may be entered 
 (the copper being first cooled by the addition of cold 
 water) and boiled an hour and a half, being constantly 
 turned on the winch to prevent an unevenness of dye. 
 This operation being ended, which is called a pre- 
 paration, or stuffing the blacks, (the engallage of the 
 French, 71 C), I shall proceed to the finishing. 
 
 A small tub is to be placed by the side of the cop- 
 per, out of which it must be filled with hot liquor; in 
 which put ten or fourteen pounds of copperas to dis- 
 solve; the cloth is then kept turning whilst a man with 
 a piggin is lading the copperas liquor into the copper; 
 the cloth is turned here at a boiling heat, one hour, 
 (too short a time, T. C.) then taken out, and cooled 
 well in all parts alike. When thoroughly cold, return 
 it into the copper, with two handfuls of copperas, and 
 boil it gently as before for two hours, then cool it 
 again. (It should be well aired. T. C.) While the se- 
 cond cooling is going on, six pounds of logwood, ten 
 pounds of bark (that is I presume alder bark, T. C.) 
 and two pounds of argill (I presume argol or tartar, T. 
 C.) with ten pounds of soda or common ashes, and 
 three pounds of copperas, must be put to the liquor; 
 these ingredients must be made to boil one hour, 
 when the goods must be turned and worked one hour. 
 
95 
 
 Keep the winch perpetually turning; always observing 
 that the small portion of air which the goods receive 
 by turning on the winch, contributes much to the 
 beauty of the colour. (Hence the propriety of giving 
 the goods a thorough airing, after each dyeing in liquor 
 containing copperas. T. C.) Some dyers instead of 
 ashes, use chamberley, but this is a bad custom. If 
 they would become good black dyers, they must aban- 
 don their old practice, and by mixing their natural 
 genius with reason and good sense, they will soon find 
 by experience that the acid of the argill (argol or tar- 
 tar) acts only on the vitriolic acid of the copperas, and 
 prevents a brown or rusty hue that will unavoidably 
 proceed from the logwood; the alkaline power of the 
 ashes, at the same time, forces it to assume its natural 
 violet colour; that is, if a too great quantity of logwood 
 is not used, which would certainly prejudice the co- 
 lour; and this rule carefully observed, the black would 
 resemble a raven's feather: they must be well washed 
 at the fulling-mill. (All this reasoning is at best ex- 
 tremely dubious. I give no credit at present either to 
 the use of argol, ashes, or chamberley; but experi- 
 ments are wanting. T. C.) 
 
 I shall not entertain the reader with a tedious re- 
 cital of the manner of treating those goods whose su- 
 perior quality renders it needful that they should be 
 previously dyed blue. It is sufficient to know, that 
 they must have a less proportion of ingredients, though 
 the operation is the same as that of the common black. 
 
 When fine cloth is to be dyed black, great care 
 must be taken not to let it hang on the winch one 
 
96 
 
 minute; it must be thrown off the instant the last comes 
 up; otherwise its own weight when wet and hot, would 
 fill it with wrinkles that would never remove. The 
 same caution must be taken when the cloth is on the 
 floor, to draw it between two men over a long stick 
 by the lists; each taking hold of one end with their 
 left hand, to be continued till cold before it be re- 
 turned. 
 
 (On this process of Mr. Haigh, I would remark, 
 that I am not persuaded of the use of the alkaline 
 liquors; they make the colour of the drugs more fugi- 
 tive, and they certainly precipitate the copperas. Nor 
 can a good logwood black be dyed at all, without 
 verdigris or blue vitriol. T. C.) 
 
 A process for black, by Asa Ellis of Brookfield, 
 Massachusetts. For twenty pounds of fulled cloth, 
 take one bushel of yellow oak bark; (I presume he 
 means the bark of the black oak, which dyes yellow, 
 T. C.) or if that cannot be obtained, an equal quantity 
 of walnut bark. Boil it four or five hours. Then take 
 out the bark and add two pounds of good copperas; 
 let it dissolve; then dip the cloth for half an hour; cool 
 and repeat three or four times; the cloth will then ap- 
 pear of a heavy or dead olive colour; rince the cloth 
 well; air it; fill the copper two thirds with boiling 
 water, and add strong logwood liquor by a pail full at 
 a time, until by repeated dippings your cloth has 
 acquired a good colour. Then rince the cloth for 
 dressing. 
 
 This will do for dyeing silk. (The essential point 
 of airing the cloth is omitted. There should also be 
 four ounces of verdigris or blue vitriol. T. C.) 
 
9 7 
 
 Another American process. Use six ounces of log- 
 wood, as much sumach, and two ounces of fustic for 
 each pound of woollen; boil these drugs for a couple 
 of hours; then put in a little chamberley, which throws 
 the sumach to the top; scum it off, and throw it into 
 a tub with some water, which may be used to fill u.p 
 the copper. Enter your woollen, and wince it for a 
 couple of hours; then put in per pound of woollen, 
 three ounces and a half of green copperas, and half an 
 ounce of blue copperas; re-enter your woollen; work 
 it in this liquor for an hour, rather under a boiling 
 heat; take out the woollen; cool it; open it; air it well; 
 repeat this two or three times more; then drain, cool, 
 air, and wash your woollen. 
 
 (This is a good receipt, excluding the chamberley, 
 which injures the fastness of the colour, as I think. 
 T. C.) 
 
 Another. Dye your fine cloth a blue ground. For 
 each pound of cloth use one third of a pound of log- 
 wood, the same quantity of sumach, one eighth of a 
 pound of black oak bark, as much madder, and one 
 sixteenth of a pound of Aleppo galls. Boil these in- 
 gredients for two hours at the least, then strain the 
 liquor; cool it below a boiling heat; enter your cloth, 
 and wince it well in this liquor at a scalding heat for 
 two hours; you need not air it yet; only drain and 
 cool it. 
 
 Then, add to the liquor three ounces for each 
 pound of woollen cloth, of green copperas, and half an 
 ounce of verdigris; let them dissolve in the liquor, 
 and again enter your cloth at a scalding heat but not 
 
 N 
 
98 
 
 more; wince it therein for one hour; take it out; drain 
 and press it to get out the superfluous liquor; open it; 
 air it for a full hour; enter it again, and do the same; 
 when cooled and aired, throw into the liquor, for each 
 pound of woollen, half an ounce of green copperas, 
 and the eighth of an ounce of verdigris; bring the 
 liquor to a scald; work the goods for an hour as be- 
 fore; drain, cool, open and air them; repeat if neces- 
 sary. Now put into the liquor about a gallon of Galli- 
 poli oil for about a hundred and twenty pounds weight 
 of cloth; enter the cloth at a scald; wince it for an 
 hour; take it out, drain, open,, air and full it. If the 
 colour be not good at four dippings, give it another, 
 before the oil is used. 
 
 I regard this as the best of the receipts for pro- 
 ducing a good black, except the common hatter's dye 
 which is similar to it. T. C. 
 
 Common blacks for coarse goods may be prepared 
 with sumach and fustic, or with sumach and oak 
 bark, or sumach and alder bark, or sumach and wal- 
 nut peel, or sumach and walnut bark; boiling the 
 drugs for two hours at least; then enter the goods into 
 the bath or liquor at a scalding heat, wincing them 
 for two hours; then drain and cool the woollen; then 
 put in green copperas and wince the goods for an hour 
 in the bath or liquor so prepared; then drain, open 
 and air them; then run them through the liquor again 
 in the same manner, and repeat the process a third 
 time; airing them well always after copperas; then 
 blacken them in the old liquor of a black-dye bath, 
 adding a pail full of logwood and a little blue vitriol. 
 
99 
 
 In this way all the old liquors or baths may be used 
 up, and nothing lost. T. C. 
 
 In fulling fine cloths after they are dyed, a little 
 soap in the water is of service, to take out not only 
 superfluous colour, but superfluous oil. The cloth 
 must be fulled till the water comes away perfectly 
 clear. 
 
 Good cloths, will require not less than one prepara- 
 tion; three separate dippings and airings at least after 
 the copperas is put in; and then a fourth with the 
 
 oil. T. C. 
 
 In the black dye, the sumach, bark and galls with 
 the copperas, give the permanent black, but it is of a 
 brownish hue; the logwood gives the lustre and velvety 
 appearance; the verdigris or blue vitriol (verdigris is 
 best) gives the blue- black; and the oil or fat, gives the 
 softness to the touch, for which fine cloths are distin- 
 guished. T. C. 
 
 The black dye for woollens, will answer for silks, 
 except that they require the bath to be somewhat 
 stronger, the heat to be less, and no oil. T. C. 
 
 I have tried repeatedly to give a brilliant blue tint 
 to fine blacks by means of prussiat of potash, and have 
 succeeded; but not I think in point of expense. T. C. 
 
 Of Gray colours on Woollen. The ground work of 
 all grays, is the black dye: a diluted black, is a simple 
 gray. The black dye is ink; when diluted, it produces 
 gray colours of a tinge more or less deep, in propor- 
 tion as the bath is less or more diluted, and as the cloth 
 is permitted to remain a longer or shorter time. 
 
 Mere astringents, such as galls, sumach, alder bark. 
 
100 
 
 white oak bark, give brownish grays with copperas; 
 quercitron gives a gray with an olive tinge; logwood 
 and copperas give a gray of another tinge; with a 
 small quantity of verdigris or blue vitriol, it gives a 
 blue tint; all these tints may be varied into drabs, 
 olives, browns, and chocolates, by the yellow dye 
 drugs and madder. 
 
 Before I give the processes for gray colours, I must 
 present the reader with Homassefs mordant for fast 
 and bright colours of this description, which I know 
 by experience to be deserving of the recommendation 
 he gives it, but it is expensive. 
 
 Take of nitric acid and dilute it with an equal 
 weight of water; put in it two ounces of filings of steel 
 (iron is as good. T. C.) and let the steel dissolve for 
 two days: it will then be ready for use: the residuum 
 exposed to a strong heat in an open crucible will make 
 the English crocus martis. 
 
 This process is very unscientific. Steel is not so 
 good as iron; nor will two ounces saturate a pound of 
 nitric acid. The solution should be thus made: 
 
 Put into the nitric acid thus diluted, by a small 
 quantity at a time, as much malleable iron as it will dis- 
 solve; after letting it stand for twenty-four hours, de- 
 cant it into another bottle for use. Keep it close stopt 
 from the air. This solution makes brighter colours and 
 faster colours than green copperas, that is sulphat of 
 iron; but the preparation is dearer. T. C. 
 
 This is used with galls, with madder, with cochi- 
 neal, and wherever a gray is meant to predominate. 
 
 Common Gray; is the black dye diluted; or a bath 
 of galls, after nitrat of iron. 
 
101 
 
 .Raven Gray. Copperas with one fourth of alum; 
 then logwood liquor; repeated alternate dippings, first 
 in one, then in the other. 
 
 Mud Gray. Boil some soot in water, and ground the 
 cloth with it: then enter it in a dilute black dye. 
 
 Pearl Gray. In a diluted black dye mix some ar- 
 chil. (Orseille, well known to the silk dyers.) 
 
 Another. Pearl gray is a light brown bearing on a 
 blue. It appears to have passed but a small change 
 from the white. Particular care must be taken that all 
 the utensils are clean. Boil the water and add to it for 
 twenty yards of fulled cloth, one tea- spoonful of nut 
 galls powdered and sifted; boil them for half an hour. 
 Then enter the cloth moistened with hot water, and 
 wince it for half an hour. Take it out and cool it; add 
 to the liquor another tea- spoonful of nut galls; dip and 
 cool the cloth as before; again put in the same quantity 
 of nut galls, and dip and cool a third time. 
 
 Now add to the liquor, a piece of green copperas 
 about the size of a small nutmeg, and a piece of alum 
 about the size of a walnut, and when these are dis- 
 solved, a small tea-spoonful of the solution of indigo 
 in oil of vitriol; then dip your cloth as before; do so 
 again, adding another small tea-spoonful of the same 
 solution; and again without any addition. It' your cloth 
 lacks any thing of the required tint, add of the ingre- 
 dients in very small quantities, as you see fit. (In sub- 
 stance from Asa Ellis ) This is a good receipt. T. C, 
 
 Another. (Haigh of Leeds.) For pearl colour or sil- 
 ver gray, to dye forty pounds of woollen cloth or 
 worsted, boil in a small copper four pounds of log- 
 
102 
 
 wood chips for half an hour: add to it six ounces of 
 pearl ash, and mix them well together. While this is 
 performing, (having the worsted well scoured and 
 parcelled in hanks on the dye- sticks) heat a great 
 copper with clean water, and put one peck of wheat 
 bran in a bag into the copper; let it remain about an 
 hour, often stirring it; when the water begins to boil, 
 put in three ounces of alum which will throw the filth 
 of the water to the top, when it must be scummed off 
 with the bowl. Wash the worsted in this liquor about 
 forty minutes, when it must be taken out, and three or 
 four pails of the logwood liquor added to the alum 
 water. The goods must then be worked very quick 
 for forty minutes, when you may add more logwood 
 liquor if you see occasion. Great care must be taken 
 after washing, to dry this colour in the shade, or it 
 will perhaps change. 
 
 Some dye this colour in one liquor, and boil the 
 logwood in a bag. This process is less tedious, but I 
 prefer the former. It will be well for the dyer to take 
 notice, that if too great a quantity of alum or ashes 
 are used, the colour will be imperfect, for the alum if 
 used in a right proportion gives that bloom to the 
 goods which is necessary for a pearl. If too much, the 
 contrary would happen. The ashes also used in too 
 great quantity, would make the colour too red; this 
 may seem a contradiction, but practice will confirm 
 my remark. 
 
 (Of these receipts, which are very different in their 
 composition, I prefer Mr. Asa Ellis's. T. C.) 
 
 Mouse Gray. Soot: then log-wood with alum and 
 copperas. 
 
 . 
 
J 
 
 103 
 
 Roach Gray. Logwood, copperas and alum. 
 
 Slate Gray. Logwood, green copperas, and blue 
 copperas. 
 
 Cinder Gray. Soot; logwood, alum and copperas. 
 
 Greenish Gray. Diluted black dye with soot; or 
 black dye and fustic. 
 
 It would be well for a dyer (says Homassel) to bear 
 in mind, that all the colours imaginable, are formed 
 out of blue, red and yellow; that black with logwood, 
 is frequently a substitute for blue; that no gray can be 
 produced without copperas or a solution of iron; that 
 all gray colours are decidedly the better for a slight 
 previous ground of common soot; that colours are 
 faster and brighter for a previous ground or prepara- 
 tion, without which they will look faded, meagre, 
 hungry. 
 
 For expensive cloths, and delicate colours, in which 
 gray is meant to predominate, the nitrat of iron, that 
 is, iron dissolved in aqua fortis, is much superior to 
 the sulphat of iron, or green copperas: but it is too 
 expensive for common work. 
 
 Process for dyeing Scarlet on Woollen; and first of 
 the composition. The French scarlets, like the French 
 blacks, have usually carried away the palm of su- 
 periority. But every dyer has his own recipe for scar- 
 let. I have seen and observed the process at Messrs. 
 Godwin's and Co. in London, where Dr. Bancroft 
 made his ineffectual experiments, and after giving the 
 common processes, I shall make my own remarks. 
 
 Hellofs process for the composition. This is copied 
 in the dyer's assistant, by James Haigh of Leeds 
 
104 
 
 As it is this composition which gives a fine bright 
 fire colour to the cochineal, which without the addi- 
 tion of this acid solution would be crimson, I shall 
 from my own experience (Hellot's) give the best me- 
 thod of making this composition. 
 
 I take eight ounces of spirit of nitre, and weaken it 
 by adding an equal quantity of river water. I then dis- 
 solve by degrees, half an ounce of sal ammoniac, very 
 white, in order to make an aqua regis; for it is well 
 known that spirit of nitre alone, is not a proper men- 
 struum for tin. Lastly I add only two drachms of salt- 
 petre of the third drying: this might be omitted, but 
 I am persuaded it contributes to blend the colour, and 
 make it more uniform. In this weak aqua regis, I dis- 
 solve an ounce of English tin, previously granulated 
 by dropping it when melted from a certain height into 
 a bason of^cold water. These grains I drop into the 
 solution one by one, waiting till the first is dissolved 
 before I put in a second, in order to preserve the red 
 vapours which rise in a great quantity, and which 
 would be lost were the metal to be dissolved too pre- 
 cipitately. (All this theory about preserving the red 
 vapours is good for nothing, but the practice is good. 
 T. C.) It is necessary to preserve this red vapour, 
 which as Kunckel observed in his time, contributed 
 to the vivacity of the colour. This is doubtless a much 
 more tedious method than that used by the dyers, who 
 throw their aqua fortis immediately on the tin grains, 
 and who when it produces a rapid fermentation and a 
 quantity of vapour, allay it with cold water. When my 
 tin is thus gradually dissolved, the scarlet composi- 
 
105 
 
 tion is complete, and the liquor is of the colour of a 
 solution of gold* I use the finest tin without alloy, such 
 as the first production of the furnaces of Cornwall, 
 consequently there is neither dust or black sediment 
 at the bottom. This solution of tin, though so very 
 transparent when just made, becomes milky in the 
 violent summer heat. The dyers are generally of 
 opinion that it is then turned, and no longer good. I 
 found, however, that this apparent defect made no dif- 
 ference. Besides, in coid weather it resumes its for- 
 mer transparency, provided it be prepared with the 
 several precautions which I have just directed. I must 
 likewise add, that it should be preserved in flasks 
 well stopped with glass stoppers, to prevent the vola- 
 tile parts from evaporating. The dyer's composition, 
 for want of this attention, is frequently of no use in 
 twelve or fifteen days. I give them the best method, 
 and if they expect perfection they must alter their 
 present defective method. 
 
 The dyers have a stone vessel with a wide mouth, 
 in which they put two pounds of sal ammoniac, two 
 ounces of refined saltpetre, and two pounds of granu- 
 lated tin. They put into a separate vessel four pints of 
 water, half a pint of which they throw on the mixture 
 in the stone vessel. They afterwards add a pound and 
 a half of common aqua fortis, which produces a vio- 
 lent fermentation; when the ebullition ceases, they add 
 as much more aqua fortis, and immediately afterward, 
 another pound. After this they pour on it the remain- 
 der of the four pounds of water; they cover the vessel 
 well, and let it stand till the next day. The saltpetre 
 
 O 
 
/ 
 
 / 
 
 106 
 
 and sal ammoniac may be dissolved in aqua fortis be- 
 fore the tin is added, but this they say is the same 
 thing, though it is certain that the last is the best me- 
 thod. Others mix the water and the aqua fortis toge- 
 ther, which mixture they throw on the tin and sal 
 ammoniac. Others, in short, observe different pro- 
 portions. 
 
 The day after preparing this composition, they 
 make the preparation for scarlet. For one pound of 
 worsted they put into a small copper ten gallons of 
 clear water. When the water is a little more than 
 warm, they add two ounces of cream of tartar in fine 
 powder, and a drachm and a half of pulverized cochi- 
 neal sifted. They keep a quick fire, and when the 
 liquor is ready to boil, add two ounces of the com- 
 position, which acid immediately changes the colour 
 of the crimson to a blood colour. As soon as the 
 liquor begins to boil, they plunge the worsted, pre- 
 viously steeped in hot water and squeezed. It is then 
 stirred without ceasing, and suffered to boil during an 
 % hour and a half; after which it is taken out, gently 
 squeezed, and washed in cold water. The worsted 
 when taken out, is of a tolerably bright flesh colour, 
 or even some shades darker, according to the good- 
 ness of the cochineal, and the strength of the composi- 
 tion. The colour of the liquor is so entirely imbibed 
 by the worsted, that it remains almost as clear as 
 water. This is called the scarlet boiling; a preparation 
 absolutely necessary, and without which the cochineal 
 dye would not hold. 
 
 In order to finish, there must be another prepara- 
 
 m 
 
-*>: .-.'J 
 
 107 
 
 tion of very clear water, as the goodness of the water 
 is of infinite consequence to the perfection of the co- 
 lour. They add at the same time half an ounce of 
 starch, and when the liquor is better than warm, six 
 and a half drachms of well pulverized and sifted 
 cochineal is added to it. Two ounces of the composi- 
 tion is poured into the liquor a little before it boils, 
 which as at first immediately changes the colour. You 
 wait till it begins to bubble, and then dip the worsted. 
 It should be constantly stirred as at first, and in the 
 same manner suffered to boil for an hour and a half; 
 after which it is taken out, squeezed, rinced at the 
 river, and then the scarlet is in perfection. 
 
 One ounce of cochineal to a pound of wool will 
 give it a fine colour, and make it sufficiently deep, 
 provided it be managed with attention to my direc- 
 tions, and that there remain no colour in the liquor. 
 If nevertheless, you would have it deeper, you may 
 add a drachm or two more of the cochineal; but a 
 greater quantity would destroy all its brightness and 
 vivacity. 
 
 Though I have ascertained the quantity of the com- 
 position as well for the preparation as for dyeing, this 
 quantity should not be considered as invariable. The 
 aqua fortis generally used by the dyers, is seldom of 
 an equal strength; consequently, if it be always mixed 
 with an equal quantity of water, it will not always pro- 
 duce the same effect. There are certainly some me- 
 thods of ascertaining the different degrees of the acidity 
 of the aqua fortis; as for example, to use that acid, 
 only two ounces of which will dissolve one ounce of 
 
w 
 
 108 
 
 silver; by observing this method, you might succeed 
 in making a composition that would always be the 
 same; but then the quality of cochineal would occa- 
 sion other varieties. However, the little difference 
 which this generally produces in the scarlet shade, is 
 not of much consequence; besides, there is a method 
 of remedying this defect, and bringing it precisely to 
 what colour you please. 
 
 If the composition be weak, and less of it be added 
 than I have directed, the scarlet will be rather deeper 
 and stronger; but if on the contrary, there be a little 
 too much, it will have more of the orange colour, 
 more of what is called fire. In order to give it this 
 shade, a little more of the composition may be added 
 after the first, if the worsted appears to have imbibed 
 too deep a colour. But the wool should be taken out 
 first, and the composition well stirred in the copper, 
 for if it happens to touch the wool before it be well 
 mixed, it would spot. If on the contrary, the scarlet 
 be too fiery, that is, too much on the orange, or too 
 rusty, there is nothing to be done, but when it is en- 
 tirely finished, to dip it in hot water; this will crimson 
 it a little; that is, it will diminish the brightness of the 
 orange; but if this be not found sufficient, it will be 
 necessary to put a little Roman alum into the hot 
 water. (If the water crimsons the colour, it is owing 
 to saline impurities, such as calcareous salts contained 
 
 in it. T. C.) 
 
 When you would dye a regular series of scarlet 
 shades on worsted, half the quantity of cochineal and 
 of the composition, used for a full scarlet, will be suf- 
 
109 
 
 ficient. You also diminish in proportion the cream of 
 tartar in the preparation. The worsted should be 
 divided into as many skeins as you would have shades; 
 and when the preparation is made, you dip the skein 
 intended for the lightest shade, which should remain 
 but a very little time; the next shade should afterwards 
 be put in, and suffered to remain some little time 
 longer, and so on to the darkest shade: the worsteds 
 are then washed, and the liquor prepared in order to 
 finish them. As soon as the liquor is in a proper state, 
 every shade is dipped one after the other, beginning 
 with the lightest. If you perceive any skip in the gra- 
 dation of shades, the skein which appears deficient in 
 colour, should get another dip. This deficiency is 
 easily perceived, and a very little practice enables you 
 to sort them perfectly. 
 
 One circumstance in the art of dyeing, which 
 deserves attention, but whi6h I have not yet mention- 
 ed, is, an enquiry concerning the materials of which 
 the cauldron is made. Dyers are divided in this par- 
 ticular. Their cauldrons in Languedoc are made of 
 fine tin. Such are also used by several dyers at Paris; 
 but M. Julienne, whose scarlet is very highly esteem- 
 ed, makes use of brass cauldrons. These are also used 
 in the dyeing manufactory of St. Denis. M. Julienne 
 is careful only to suspend a large pack-thread net with 
 small meshes in his cauldron, to prevent the stuff from 
 touching. At St. Denis, instead of a net they use a 
 large open wicker basket; but this is less convenient 
 than the net, because it requires a man at each side of 
 the copper to keep it even, and to prevent it when 
 
110 
 
 loaded with the stuff from rising to the surface of the 
 liquor. 
 
 This practice, so different with regard to the mate- 
 rials of the cauldron, determined me to make an ex- 
 periment. I took two ells of white' Sedan cloth, which 
 I dyed in two cauldrons, one of copper, furnished 
 with a pack-thread net, and the other of tin. I weighed 
 the cochineal, the composition, and other ingredients, 
 with as much accuracy as possible. They boiled 
 exactly the same time. In short I was sufficiently at- 
 tentive to make the operation the same in every par- 
 ticular; that in case of any perceptible difference, it 
 could only be attributed to the different materials of 
 the cauldrons. After the first boiling, the two patterns 
 were absolutely alike, except that the piece dyed in 
 the tin cauldron, was rather more marbled and not 
 quite so even as the other; but this in all probability 
 might be occasioned by their not having been equally 
 cleansed at the mill. I finished each piece in its proper 
 cauldron; and they were both of them very beautiful. 
 Nevertheless it was very evident, that the cloth which 
 had been dyed in the tin, was more fiery, and the 
 other rather more crimsoned. They might have been 
 easily brought to the same shade, but this was not my 
 object. From this experiment it appears, that with a 
 copper cauldron, the quantity of the composition 
 should be increased; but then the cloth becomes hard 
 to the touch. Those who dye in copper, to prevent 
 this evil, add a little turmeric, which is a drug only- 
 used for false colours, and therefore prohibited by the 
 regulations to dyers in grain, but which gives scarlet 
 
 •".'.'.-'-■'■•■■.' 
 
• ' :-. 
 
 Ill 
 
 that dazzling fiery colour, so much the fashion at pre- 
 sent. It is however, if you have any suspicion, easy to 
 discover the deception by cutting the pattern with a 
 pair of scissars. If it has no turmeric, the cut edge will 
 appear white, otherwise it will be yellow. When the 
 close texture is equally dyed with the superficies, let 
 the colour be what it will, they say the colour cuts; 
 and the contrary, when the middle of the texture re- 
 mains white. Legitimate scarlet never cuts. I call it 
 legitimate, and the other false, because that dyed with 
 the addition of the turmeric, is more liable to fade. 
 But as the taste for colours is so variable, as the 
 bright scarlets are at present the mode, and as it is 
 necessary in order to please the buyer, that it should 
 have a yellow cast, it would be better to authorize the 
 use of the turmeric, though a false colour, than to 
 allow too large a quantity of the composition, by which 
 the cloth is injured; being more liable not only to dirt, 
 but also to tear, as the fibres of the wool are rendered 
 brittle by the acid. 
 
 I must also add, that a copper cauldron should be 
 kept extremely clean. I have myself frequently failed 
 in scarlet patterns, by neglecting to clean the caul- 
 dron. I cannot, in this place, forbear condemning the 
 practice even of some eminent dyers, who at about 
 six o'clock in the evening make their preparation in 
 a copper cauldron; and in order to gain time, keep it 
 hot till day light the next morning, when they dip 
 their stuffs. The preparation must undoubtedly cor- 
 rode the copper during the night, and consequently 
 by introducing coppery particles into the cloth, injure 
 

 112 
 
 the scarlet. They will tell us, that they do not put in 
 the composition till immediately before the cloth is 
 dipped; but this is no apology, for the cream of tar- 
 tar, added on the preceding evening, being suffi- 
 ciently acid to corrode the copper, forms a verdigris, 
 which dissolves, it is true, as soon as it is formed, but 
 which nevertheless produces the same effect. 
 
 As tin is absolutely necessary in the scarlet dye, it 
 were much better to have a cauldron made of this 
 metal, which would infallibly contribute to the beauty 
 of the colour. But these cauldrons, if sufficiently 
 large, cost three or four thousand livres; an object of 
 consideration, especially as they may melt in the first 
 operation, if not carefully attended to by the workman. 
 Besides, it would be very difficult to cast a vessel of 
 so large a size, without flaws, which would require 
 to be filled. It is absolutely necessary that they be 
 made of block tin. If the flaws should be filled with 
 solder, which contains a mixture of lead, many parts 
 of the cauldron will retain the lead, which being cor- 
 roded by the acid composition, will tarnish the scar- 
 let. Hence there are inconveniences in every parti- 
 cular: nevertheless if it were possible to procure a 
 skilful workman, capable of casting a cauldron of 
 melac (molucca, T. C.) without flaws, it would cer- 
 tainly be preferable to every other. (A common tin 
 boiler, where the joints are soldered with a solder 
 consisting chiefly of tin, answers all the purposes, if 
 kept clean, and frequently examined: but if the iron 
 become exposed to rust, through want of care, it 
 greatly hurts the colour. Perhaps tinned copper is the 
 
 ■'■."".'•*.'-...■■•. 
 
""• .-.-J 
 
 113 
 
 best upon the whole. The bottom is frequently made 
 of copper. T. C.) For though the acid of the compo- 
 sition should in some parts corrode it, the detached 
 particles will do no harm, as I have already ob- 
 served. 
 
 There is no danger of melting a tin cauldron, except 
 when it is emptied in order to fill it with the fresh 
 liquor; I shall therefore add the precautions necessary 
 to prevent this evil. In the first place, the fire should 
 be taken entirely from the furnace, and the remaining 
 embers quenched with water. Part of the liquor should 
 then be taken out with a bucket, while the remainder 
 should be dashed about with a shovel, by another 
 person, in order to keep the upper part of the caul- 
 dron continually moist; at the same time cooling what 
 remains in the cauldron with cold water. In this man- 
 ner it should be continued, till you can touch the 
 bottom without being burnt. It should then be en- 
 tirely emptied, and all the sediment taken up with a 
 moist spunge. This attention will preserve your caul- 
 dron. 
 
 Having given the method of dyeing worsteds in 
 scarlet, and of making the shades required for all kinds 
 of tapestry, I shall now add the method of dyeing se- 
 veral pieces of stuff at the same time; and shall in this 
 place, describe the practice used in Languedoc, as it 
 was communicated to me by M. De Fondieres, then 
 inspector general of the manufactories. I made the 
 experiment myself with several ells of stuff, and suc- 
 ceeded perfectly well, though the colour was npt quite 
 so fine as the scarlet of Gobelins. 
 
 P 
 
114 
 
 It is necessary to observe, that woollens are never 
 dyed scarlet in the fleece, for the two following rea- 
 sons. The first is, or ought to regard all stuffs of sim- 
 ply one colour; those of many colours are called mixt 
 stuffs. This kind of stuffs is never dyed in the wool, 
 especially when the colours are bright and fine; be- 
 cause in the course of the fabrication, the spinning, 
 twisting or weaving, it would be almost impossible to 
 prevent some white or other coloured wool from mix- 
 ing, which though ever so trifling, would injure the 
 stuff. For which reasons, reds, blues, yellows, greens, 
 or any of these unmixed colours, should not be dyed 
 till after they have been manufactured. 
 
 The second reason is peculiar to scarlet, or rather 
 to the cochineal, which being heightened by an acid, 
 cannot stand the fulling, without losing much of its 
 colour, or being at least excessively crimsoned. For 
 the soap, which contains an alkaline salt, destroys the 
 vivacity produced by the acids. Hence it is evident, 
 that neither cloth or stuffs should be dyed scarlet, till 
 they have been fulled and dressed. 
 
 For example, in order to dye five pieces of Carcas- 
 siomie cloth at the same time, each piece being five 
 quarters broad, and fifteen or sixteen ells in length, it 
 is necessary to observe the following proportions. You 
 begin by making the composition in a very different 
 manner from the preceding process, viz. twelve pounds 
 of aqua fortis put into a stone jar, or glazed vessel, 
 with twenty-four pounds of water, and one pound and 
 a half of tin grains (granulated tin) added. The solu- 
 tion goes on more or less slow, according to the aci- 
 
■ •-- .-.-J 
 
 115 
 
 dity of the aqua fortis, and should stand for twelve 
 hours at least. During this time, a kind of blackish 
 dirt falls to the bottom; the top should be then drain- 
 ed off the sediment: this liquor is of a clear lemon 
 colour, and is preserved by itself. This process evi- 
 dently differs from the first, by the quantity of water 
 mixed with the aqua fortis, and by the small portion 
 of tin, of which scarce any remains in the liquor; for 
 the aqua fortis, not being in itself a solvent for tin, 
 only corrodes and reduces it to a calx, provided nei- 
 ther saltpetre, or sal ammoniac be added, which would 
 convert it into an aqua regia. The effect of this com- 
 position is not, however, different from others, and is 
 perceptible to those, who from experience are compe- 
 tent judges of this colour. The composition without 
 sal ammoniac, has been for a long time used by the 
 manufacturers of Carcassionne, who doubtless ima- 
 gined that its effect was owing to a supposed sulphur 
 of tin, and may be preserved from putrefaction for 
 thirty hours in winter, and only twenty-four in sum- 
 mer. It then grows turbid, forms a cloud, which falls 
 to the bottom of the vessel in a white sediment. This 
 sediment is a small portion of the tin which was sus- 
 pended in an acid not prepared for the solution; the 
 composition which ought to be yellow, becomes clear 
 as water, and if employed in this state never suc- 
 ceeds, but produces the same effect as if it had been 
 milky. The late M. Barron, pretended to be ihe first 
 at Carcassionne who made the discovery, that sal am- 
 moniac was necessary to prevent the tin from precipi- 
 tating. Hence it follows, that there was not in this city 
 
116 
 
 a creature who knew that aqua regia was the only ac- 
 tual solvent for tin. (The precipitate, is tin too highly 
 oxyded to remain dissolved. T. 67.) 
 
 When the composition is prepared, as I have now 
 described, according to M. de Fondieres, you put for 
 the quantity of cloth last mentioned, about sixty cubic 
 feet of water into a large copper; when the water 
 grows warm, you add a sack full of bran: it is some- 
 times necessary to use sour water; they will either 
 of them do as they say to correct the water, that is to 
 absorb the earthy and alkaline substances, which as 
 I have already said, when present in water, crimson 
 the tinge of the cochineal. (A small quantity of alum 
 should be added, and the water well scummed while 
 boiling. T. C.) We should be well informed concern- 
 ing the nature of the water employed, in order to know 
 whether these correctives be necessary. Be it as it 
 may, when the water is a little more than warm, add 
 ten pounds of crystals or cream of tartar pulverized; 
 that is to say, two pounds to each piece of cloth. 
 (Very clean white tartar might answer the purpose. 
 T. C) The liquor should be then violently stirred, 
 and when rather hot, you should put into it half a 
 pound of pulverized cochineal, mixing it well toge- 
 ther; and immediately afterwards pour into it twenty- 
 seven pounds of the composition, very clear, which 
 also requires to be well stirred. So soon as it begins 
 to boil, the cloth being immersed, should boil very 
 fast for two hours, and during that time should be 
 kept in continued motion on the winch, and when 
 taken out, pass it through the hands by the listing, in 
 
^■'v I^H 
 
 117 
 
 order to open and give it air. It is afterwards carried 
 to the river and well washed. 
 
 In order perfectly to understand the method of 
 stirring the cloth, it is necessary to recollect what 
 has been said in the beginning of this work, viz. that 
 a kind of reel or winch with a handle for turning, 
 should be placed horizontally on the iron hooks, which 
 are fixt in the fellies that support the edge of the caul- 
 dron. You first join the several ends of each piece of 
 stuff to be dyed at the same time, and as soon as they 
 are immersed, you carefully keep the end of the first 
 piece in your hand, you then lay it on the reel, which 
 should be turned till the end of the last piece appears. 
 It is then turned the contrary way, and in this manner 
 every piece will be dyed as evenly as possible. 
 
 When the cloth has been well washed, the cauldron 
 should be emptied and fresh liquor prepared, to which 
 you must add, if necessary, a bag of bran (and a little 
 alum, 71 C.) or some sour water; but if the quality of 
 the water be very good, there is no occasion for any ad- 
 dition. When the liquor is ready to boil, you put in 
 eight pounds and a quarter of cochineal pulverized 
 and sifted. The whole is then mixed together as even 
 as possible; but when you cease to stir, you must 
 mind when the cochineal rises to the surface, forming 
 a kind of scum of the colour of wine lees. As soon as 
 this scum begins to divide, you pour in eighteen or 
 twenty pounds of the composition. You should have 
 a vessel full of cold water near the cauldron to throw 
 in, lest after putting in the composition it should rise 
 above the edge, as is sometimes the case. 
 
118 
 
 The composition being put in the copper and the 
 whole well mixed, turn the winch quick for two or 
 three turns, that every piece may imbibe the cochi- 
 neal equally. It is then turned more slowly, in order 
 to let the water boil. It should boil very fast for two 
 hours, constantly turning and keeping the cloth down 
 with a stick. The cloth is then taken out, and passed 
 through the hands by the listing, in order to give it 
 air and to cool it; it is afterwards washed at the river, 
 dryed and dressed. 
 
 Hence it appears that for every piece of Languedoc 
 cloth, five quarters wide and sixteen ells long, design- 
 ed for the Levant, there is required a pound and three 
 quarters of cochineal; which quantity is sufficient to 
 give the cloth a very fine colour. But if you still re- 
 quire an orange tint, and increase the quantity of 
 cochineal, you must increase the quantity of the com- 
 position, which would injure the cloth without im- 
 proving the colour. (These remarks give great weight 
 to Dr. Bancroft's proposal of flaming with quercitron. 
 
 T.C.) 
 
 There is a considerable advantage in having a great 
 quantity of stuff to dye at the same time. As for ex- 
 ample, when the first five pieces are finished, there 
 remains a certain quantity of the cochineal, which 
 supposing seven pounds at first, may amount to 
 twelve ounces; so that cloth being put into this se- 
 cond liquor, will imbibe the same shade of rose co- 
 lour, as if you had coloured a fresh liquor with 
 twelve ounces of cochineal. The quantity remaining, 
 however, may vary very much according to the na- 
 
119 
 
 ture of the cochineal, or according to the fineness of 
 the powder, but I shall speak more particularly of this, 
 before the conclusion of this chapter. Though the 
 quantity of colour remaining in the liquor may be very 
 inconsiderable, it nevertheless deserves attention on 
 account of the dearness of this drug. Of this liquor 
 therefore, a preparation may be made, for five pieces 
 of cloth; and it will require less of the cochineal and 
 less of the composition in proportion, as near as you 
 can guess, to the quantity of these remaining in the 
 liquor. This is also a saving of fuel and time; but it 
 is impossible to give positive directions on this sub- 
 ject, which must be submitted to the dyer's discre- 
 tion; for having dyed rose colour after the scarlet, you 
 may make a third preparation, which will dye a flesh 
 colour. If there should not be time to make these two 
 or three preparations in twenty- four hours, the liquor 
 spoils. Some dyers put Roman alum into the liquor to 
 prevent its spoiling, but this changes it to a crimson. 
 
 Scarlets thus crimsoned in the same liquor in which 
 they have been dyed, are never so bright as those 
 which are done in a fresh colour. Drugs which reci- 
 procally destroy each other's effect, are more effica- 
 cious when dyed in succession. 
 
 When you dye cloths of different qualities, or any 
 kind of stuffs, the best method is to weigh them, and 
 for every hundred pounds of cloth, to allow six pounds 
 of crystals or cream of tartar, eighteen pounds of the 
 composition in the preparation, and the same quantity 
 in the finishing; and in each of them six pounds and 
 a quarter of cochineal; that is, two ounces of cochineal 
 
 - 
 
120 
 
 in all, for each pound of woollen cloth. In small expe- 
 ments, use one ounce of cream of tartar, six ounces 
 of composition, and one ounce of cochineal for the 
 preparation, and then another ounce of cochineal for 
 the finishing, to a pound of wool. Some of the Paris 
 dyers succeed very well by putting two-thirds of the 
 composition, and a quarter of the cochineal in the 
 preparation, and the remaining third of the composi- 
 tion, and three-fourths of the cochineal in the finishing. 
 
 It is not the custom to put crystals or cream of tar- 
 tar f in the finishing, but I am convinced by experience, 
 that it does no harm, provided that at most you put 
 but half the weight of the cochineal, and it made the 
 colour in my opinion more permanent. There have 
 been dyers who have dyed scarlet at three times; in 
 this case they make two preparations, and then finish^ 
 but they always use the same quantity of drugs. 
 
 I observed in the preceding chapter (says Hellot) 
 that the kermes were so little used for brown 01 Vene- 
 tian scarlets, that these kind of colours were made with 
 cochineal. For this purpose the preparation is made 
 as usual, and for the dyeing, they add to the liquor 
 eight pounds of alum to every hundred pounds of 
 stuff. This alum is dissolved in a separate cauldron 
 with a sufficient quantity of water. It must be thrown 
 into the liquor before the cochineal. The remainder 
 is done precisely the same as in common scarlet: it 
 gives the cloth the same colour as Venetian scarlet, 
 but it is not by any means so permanent as the colour 
 obtained from kermes. 
 
 All alkaline salts crimson scarlet; but it is more 
 
7»?-~,--.« 
 
 121 
 
 generally the custom to use alum; for these alkaline 
 salts are no addition to the permanency of the colour, 
 and may possibly injure the stuffs; for all animal sub- 
 stances are attacked by fixed alkalies. The alum by 
 being deprived of its phlegm by calcination, will more 
 certainly crimson. The liquor which had been used 
 for crimsoning is red, and still redder in proportion 
 as the scarlet is more crimsoned, so that the colours 
 part with much of their base in the liquor, by which 
 they are darkened. It is however impossible to darken 
 in grain without salts. The late M. Barron, in a me- 
 moire which he presented to the Royal Academy of 
 Sciences, remarks, that he succeeded better with the 
 salt of urine than with any other salt, for uniting the 
 colour and preserving its brightness and fulness; but 
 as he observed, it is very inconvenient to make any 
 quantity of this salt. (Then why not use the urine 
 itself. T. C.) 
 
 I said in the beginning of this chapter, that the 
 choice of water for the dyeing of scarlet was of im- 
 portance. The greatest part of the common waters 
 sadden, because they almost always contain a quantity 
 of stony or calcareous earth, and sometimes of sul- 
 phureous or vitriolic acid. These are commonly call- 
 ed hard waters; by this term they mean waters that 
 will not dissolve soap, and in which it is not easy to 
 dress vegetables. By absorbing or precipitating these 
 heterogeneous substances, all waters are rendered 
 equally good. If the matter be alkaline, a little sour 
 water will produce this effect. Five or six cubic feet 
 of this sour water (an English cubic foot of water 
 
 Q 
 
122 
 
 weighs one thousand ounces or sixty-two and a half 
 pounds avoirdupois weight at the freezing point: as 
 a pint of water weighs one pound avoirdupois, a cubic 
 foot will be equal to sixty-two pints and a half, or 
 7,781 gallons, somewhat more than seven gallons and 
 three quarters, T. C.) added to sixty or seventy cubic 
 feet of other water before it is boiled, will cause the 
 alkaline earth to rise in a scum, which may easily be 
 taken off the liquor. A sack full of any white mucila- 
 ginous root cut in small bits, or if dry, powdered, will 
 also, if the sack be left to soak in the water for half or 
 three quarters of an hour, correct a doubtful water; 
 bran, as I said above, will answer the same purpose 
 tolerably well. (A little alum is necessary. T. C.) 
 
 What I have said in this chapter, is meant for the 
 instruction of those who wish to acquire a knowledge 
 of dyeing; I shall now endeavour to satisfy the philo- 
 sopher, and present him with the experiments by 
 which I discovered this invisible mechanism, if I may 
 be allowed the expression, of these various prepa- 
 rations. 
 
 Strong acids destroy the colour of an infusion of 
 cochineal. Alkalies turn it purple. 
 
 Any solution of iron turns such an infusion into an 
 
 ash gray. 
 
 Nitrat of zinc changes it into a violet slate colour. 
 
 Sugar of lead produces a tarnished lilac, or lay- 
 lock. 
 
 Sulphat of potash, produces an agate gray. So does 
 sulphat of soda, or Glauber's salt. 
 
 Nitrat of bismuth, a beautiful bright turtle gray. 
 
123 
 
 Nitrat of copper, a dirty crimson. 
 
 Nitrat of silver, a cinnamon. 
 
 Gold in aqua regia, a marron. 
 
 Nitrat of mercury, a similar colour. 
 
 Fixed salt of urine, a clear ash colour. 
 
 Extract of bismuth (I do not know what is meant 
 by extract, unless it be the solution in aqua fortis or 
 aqua regia, T. C.) produces a violet as^fine as if the 
 cloth, previous to the application of red, had been 
 dyed an azure blue. 
 
 (All the preceding experiments are uncertain, be- 
 cause the tinge may be in some degree owing to the 
 impurity of the acids in respect of iron. The solution 
 of bismuth is coming daily into repute as a mordant, 
 owing to the brilliancy of the tints it produces. T. C.) 
 
 Before the conclusion of this chapter, I shall make 
 some observations, which will not I think be unac- 
 ceptable to the reader. Neither the dirt of the street 
 nor acid substances, will spot scarlet if immediately 
 washed off with a clean towel and water; but if suffer- 
 ed to dry, a violet colour is produced by dirt, which 
 cannot be corrected, without a vegetable acid, such as 
 vinegar, lemon juice, or a weak solution of white tar- 
 tar made warm; but if these acids are not managed 
 with great care, they will leave a yellow spot in taking 
 off a dark one. I have before observed, that acids will 
 rust and destroy even the red of cochineal. A red cloak 
 extremely spotted with dirt may be cleaned with sour 
 water. For some kind of spots it is necessary to dip 
 the stuffs in the liquor that remains after dyeing scar- 
 
124 
 
 let, but for others you are obliged to discharge the 
 colour and dye it again. 
 
 Alkalies have not alone the property of destroying 
 the scarlet colour. A piece of scarlet cloth put into 
 the preparation for this colour, will be discharged in 
 such a manner, that if it boil but for one hour with 
 three pieces of white cloth, it will be difficult to dis- 
 tinguish that which was scarlet from the others. 
 
 If you dip a piece of scarlet cloth in the preparation 
 water it will lose all its colour, which can be restored 
 by dyeing it again in cochineal liquor, but not with 
 the same brightness. Scarlet cloih always loses some 
 of its brightness in dressing, because it lays the fibres 
 of the nap, almost parallel with the weft. 
 
 (Such is the account of the scarlet dye given by 
 Hellot; which I have extracted nearly at length, be- 
 cause although it is far from being the best account 
 of the process, either in theory or in practice, it con- 
 tains a great number of very useful practical observa- 
 tions, and it is an account also, which if followed, will 
 enable a person to dye a good scarlet. I proceed now 
 to the more modern processes of Berthollet and Ho- 
 massel. T. C.) 
 
 On the Scarlet Dye of Messrs. Berthollet. Scarlet is 
 the most beautiful of dyed colours. The public taste 
 is not constant as to the tint which is preferred. Some- 
 times a deep and perfect red is in demand, more fre- 
 quently a flame colour. 
 
 Before we proceed to the method of dyeing scarlet, 
 it will be proper to describe the method, or rather the 
 
■..■** 
 
 125 
 
 various methods of making the composition, or solu- 
 tion of tin. 
 
 On this subject, every dyer has his own receipt; and 
 indeed the results of different processes are different. It 
 is of great consequence however, that each artist should 
 adhere to one uniform mode of making it for his own 
 purposes, whatever mode he may think fit to adopt; 
 otherwise, he can derive no benefit for the future, 
 from observations he may make on processes that are 
 past. 
 
 The old dyers, and indeed many at present, use 
 nothing but aqua fortis, which is frequently an im- 
 pure acid approaching to an aqua regia; owing to the 
 impure state of the nitre used, which contains a varia- 
 ble quantity of common salt, from which the gunpow- 
 der makers find it absolutely necessary to purify the 
 nitre they make use of. Hence aqua fortis thus made, 
 can never be always of the same quality. 
 
 Pure nitric acid (aqua fortis) never holds the tin in 
 solution unless it be greatly diluted, and unless the 
 vessel in which the solution is made, be placed in 
 cold water. In this case, the metal is at the lowest 
 state of oxydation, according to the observation of 
 Proust; but it soon precipitates in the form a white 
 sediment, even at a common temperature. 
 
 Vogler used for the scarlet dye, a solution thus 
 made, but he prevented the tin from being precipi- 
 tated, by using either common salt or sal ammoniac; 
 but one might as well employ aqua regia at once, 
 which demands less attention. 
 
 If a stronger nitric acid be employed, or if heat be 
 
*r. 
 
 ■ 
 
 126 
 
 used, the tin passes to its highest state of oxydation, 
 and is entirely precipitated. (This precipitate indicates 
 the weight of tin that there may be in an alloy or mix- 
 ture of metals, for in the state of this precipitate, the tin 
 has taken up forty parts of oxygen for one hundred 
 parts of tin. The oxygen is obtained from the decom- 
 position of the nitric acid.) 
 
 Hellot takes thirty-two parts of nitric acid diluted 
 with an equal weight of pure water. In this acid he 
 dissolves gradually two parts of sal ammoniac white 
 and pure, and one part of common nitre; and then, 
 by a small quantity at a time, two parts of granulated 
 tin. 
 
 Scheffer dissolved one part of tin in four parts by 
 weight of aqua regia, or nitro-muriatic acid. 
 
 Macquer dissolved three parts of tin in eight parts 
 of nitric acid, in which he mixed one part of sal am- 
 moniac dissolved in six parts of water. 
 
 Gulich saturated the nitro-muriatic acid he employ- 
 ed with tin put in by degrees. 
 
 Posrner used other proportions. 
 
 These solutions, so different in their preparation, 
 must of course have different properties; but one es- 
 sential object is not obtained, namely, an uniform pre- 
 paration of this composition; uniform as to the kind 
 of acid, the strength of the acid, and the proportion 
 of tin and of other ingredients if any such are used. 
 For this purpose it is absolutely necessary to have 
 pure nitric acid, and of a given strength. 
 
 Take therefore nitric acid, which weighs 1,5 or half 
 as much more as water under the same bulk, (the 
 
 M 
 

 127 
 
 nitric acid of this country seldom weighs more than 
 1,33, or a third more than water, T. C.) dissolve in it 
 one-eighth part of clean white sal ammoniac or muriat 
 of ammonia, and add by very small quantities at a time 
 an eighth part of tin; dilute this mixture with one- 
 fourth of its weight of water. Common tin often con- 
 tains lead and copper, and therefore the best English 
 tin is to be preferred. Care must be taken in granulat- 
 ing it, by pouring it in water, to avoid the particles 
 being thrown out; the water should be stirred with a 
 small broom during the granulation. 
 
 When the tin is dissolved, there is usually a small 
 deposit of black powder, from which the solution must 
 be decanted. 
 
 Solutions which contain a great proportion of tin, 
 are brown, and give deeper and less brilliant colours; 
 though such solutions are occasionally wanted. Such 
 a solution, highly charged with tin, may be obtained by 
 distilling in a retort at a strong heat equal parts of sal 
 ammoniac and oxyd of tin; the residuum dissolved 
 and filtered, and then evaporated till it crystallizes, 
 furnishes a triple salt of muriatic acid, ammonia, and 
 oxyd of tin, which requires the addition of a little mu- 
 riatic acid to prevent the tin from precipitating. 
 
 As the solution of tin is apt to become gelatinous, 
 from the gradual oxydation of the tin, partly by the 
 nitric acid, and partly by imbibing oxygen from the 
 atmosphere, it is best not to make too much of it at a 
 time: this gelatinous effect is sooner produced in sum- 
 mer than in winter. (To prevent this, the tin solution 
 should be kept in a cool place, in a dark place, in a 
 
128 
 
 greenish glass bottle, well stopped with a glass stop- 
 per, with a little butter round the juncture to exclude 
 the air. T. C.) 
 
 Long experience has shown, that if the solution be 
 made so hastily and violently that the nitric acid is 
 much decomposed, and many red vapours produced, 
 the colour is never so good on the cloth, as when the 
 composition is made slowly, patiently, in a cool place, 
 the tin put in by a grain or two at a time, and the 
 composition used soon after it is made. 
 
 (Such are the judicious directions of the M. M. Ber- 
 thollets on the scarlet composition. Homassel merely 
 recommends a weak nitric acid, without indicating the 
 strength: he dissolves two ounces of sal ammoniac, or 
 two ounces of common salt, which (according to him) 
 is indifferent, and two ounces of granulated English tin, 
 in a pound of this nitric acid. But the composition is 
 so important that I shall give at length my own ideas 
 concerning it: premising that common salt ought to 
 be rejected, since one bushel of it will vary in weight 
 from fifty -six to eighty- two pounds. First of all, buy 
 the strongest nitric acid (colourless aqua fortis) you 
 can get. It is easy to buy weak nitric acid, but diffi- 
 cult to get it strong. In London or Paris you may 
 procure this acid, which shall weigh 1,5 or once and 
 a half in weight as much as water, but not here. But 
 though it is difficult to get it strong, it is easy to make 
 it weak. The dyer therefore must accomodate him- 
 self to the state of the country, and having purchased 
 his nitric acid, let him reduce it to 1,25 or once and a 
 quarter the weight of water, and never use any nitric 
 
129 
 
 acid of any other strength. To try this, let him fill a 
 Florence flask up to some certain mark in the neck 
 with rain water, and in a room where the thermome- 
 ter stands at from 60 to 65° of Fahrenheit, let him 
 weigh separately the flask and the water accurately; 
 and this weight of the flask and the water will form a 
 perpetual standard. When he buys his aqua fortis, let 
 him fill the Florence flask up to the same height, and 
 weigh it. Suppose the flask and water weighed twenty 
 ounces, and the flask weighed two ounces: then the 
 water would weigh eighteen ounces. Suppose the flask 
 and the nitric acid weighed twenty-eight ounces, then 
 a bulk of nitric acid equal to the water, would weigh 
 twenty-six ounces. But the standard I recommend is 
 twenty-two and a half ounces, that is eighteen and one- 
 fourth of eighteen, or four and a half. Then pour out 
 your strong nitric acid and add a very small quantity 
 of water at a time, till your acid filled up to the mark 
 in the flask shall weigh, flask and all, only twenty-four 
 and a half ounces. However troublesome this may ap- 
 pear, a little practice will render it easy; and unifor- 
 mity in the composition is so essential, that it will well 
 repay the trouble. 
 
 To one pound weight of nitric acid so reduced to 
 1,25, or once and a quarter the weight of water, put 
 two ounces of clean sal ammoniac dissolved in half a 
 pint of water; and when this is dissolved, add by a 
 very few grains at a time two ounces of granulated 
 tin. The more the tin crackles in bending it backward 
 and forward, the purer it is. To granulate it, melt it, 
 and pour it when melted, through some twigs into 
 
 R 
 
-■■ ..-rA 
 
 130 
 
 water. If it dissolves too quickly and with many red 
 vapours, put in smaller bits at a time; conduct the so- 
 lution in a cool place, and set the glass bottle contain- 
 ing the composition in cold water. It ought to take a 
 couple of days. When the tin is all dissolved, add to 
 the composition a little more than half a pint of clean 
 cold rain water: so that the pound of acid thus mixed 
 and diluted, will now measure one quart in bulk. But, 
 before the acid or the sal ammoniac be used, it should 
 be tested, to detect the presence of iron, by means of 
 tincture of galls and prussiat of lime or of potash. If 
 the dyer is not chemist enough for this, he should get 
 a chemist to do this for him; for aqua fortis often con- 
 tains iron, which will infallibly give a dark tinge to 
 the scarlet. In like manner, the water used by a scar- 
 let dyer should be tried; for if it contain either iron, or 
 much calcareous salts, the scarlet will be saddened. 
 Generally, mountain streams in a siliceous country, 
 are much preferable. 
 
 Again; before the nitric acid or aqua fortis be used, 
 it should be tried, not only for iron, but as it almost 
 always contains volatile sulphureous acid and muriatic 
 acid, the former at least ought to be gotten rid of by 
 means of nitrat ojf barytes. The muriatic acid in aqua 
 fortis, owing to the saltpetre used being generally im- 
 pure from a mixture of common salt, is not of so much 
 consequence. But it can easily be gotten rid of, by 
 nitrat of silver. 
 
 I believe the preceding observations are of impor- 
 tance to the perfection of the colour; and upon much 
 reflection, I am satisfied that in this country particu- 
 
. .••**! 
 
 larly, my method of making the composition, is upon 
 the whole preferable. 
 
 I proceed now to M. Berthollet's method of dye- 
 ing scarlet. T. C.) 
 
 It is in vain to expect any required shade from the 
 proportions indicated in the common receipts; for the 
 cochineal varies in quality, and the composition is lia- 
 ble to great variety in strength, but by means of trials 
 in the small way, the proportions necessary to any re- 
 quired colour may easily be ascertained. 
 
 The scarlet colour is dyed at twice; the first part of 
 the process is called the preparation, (bouillon) the 
 second the colouring or finishing, (la rougie.) 
 
 For one hundred weight (one hundred and twelve 
 pounds) of woollen cloth, throw into warm water, six 
 pounds and three quarters of pure tartar (cream of 
 tartar); stir the bath or liquor well; then add ,551 or 
 somewhat better than half a pound of cochineal in fine 
 powder. Stir it well; then add five pounds and a half 
 of a clear solution of tin, and again stir the liquor. When 
 the whole is about to boil, enter the cloth, which must 
 be turned on the wince with great rapidity three or 
 four times, and afterward more slowly. After thus 
 turning it in the boiling liquor for two hours, take it 
 out, air it, and wash it in the river. 
 
 Empty the cauldron to prepare the bath or liquor 
 for the finishing. Heat the water, and when near boil- 
 ing, throw in five pounds and a half of pulverized and 
 sifted cochineal; it must be well mixed and stirred in; 
 when you leave off stirring, and a crust appears on 
 top of the liquor, which breaks spontaneously in se* 
 
- ■•- 
 
 132 
 
 veral places, then pour in fifteen pounds and a quarter 
 of the composition. If the liquor should then boil up 
 to the edge of the cauldron, throw in some cold 
 
 water. 
 
 The composition being well mixed, the cloth is 
 turned into the bath, taking care to wince it rapidly 
 for three or four turns; then more gently, but still 
 not slowly, in the liquor during an hour, keeping it 
 sunk in the liquor by sticks as often as it rises up; 
 take it out, air it, cool, wash it, and dry it. 
 
 These proportions are not always the same; the 
 process detailed by Hellot is somewhat different from 
 the above. Some dyers never take the cloth perma- 
 nently out of the preparation liquor, but merely re- 
 fresh it with the necessary quantity of cochineal boiled 
 apart, and with the due proportion of the composition. 
 This saves time and fuel, and a good colour is thus 
 obtained. 
 
 Generally a bright flame colour is in demand; in 
 which case, a little fustic or turmeric is added to the 
 preparation. When this is the case, it can be disco- 
 vered by cutting the cloth, the inside of which will 
 show marks of the yellow dye, for in the common 
 process the cochineal does not penetrate quite through 
 the cloth. (I have no doubt about the preference of 
 quercitron to turmeric or fustic. T. C.) 
 
 A tin cauldron or boiler is to be preferred, for the 
 acid of the composition is apt to attack the copper or 
 brass. But owing to the ease with which tin vessels 
 are melted, copper and brass are frequently used; in 
 which case, they must be kept scrupulously clean, the 
 
I 
 
 133 
 
 acid liquor must be turned out the instant it is done 
 with; nor must the cloth touch the sides of the vessel, 
 for which purpose net work, or wicker work must be 
 employed inside the boiler. (I see no objection to 
 tinned copper. T. C.) 
 
 Scheffer prescribes for the preparation bath, one 
 part by weight of the composition to ten parts of 
 cloth, with a tenth also of starch, and a tenth of tartar. 
 He remarks that the starch serves to render the colour 
 more uniform. He recommends to throw into the 
 water when it boils a quantity of cochineal equal to 
 -^th part of the weight of the cloth, to stir it well, to 
 boil the cloth in it, and then cool and rince it. Then 
 to boil it in the finishing bath with ^d of starch, £th 
 of the solution of tin or composition, T \d of tartar, and 
 J^th of cochineal. The proportion of composition used 
 by Scheifer is much less than that used by Hellot, but 
 his composition contains more tin than Hellot's. 
 
 Pcerner describes three principal processes, accord- 
 ing to the shades more or less deep, or more or less 
 orange, which you wish to give to the scarlet, which 
 consist in varying the quantities of composition and 
 of tin, and of adding or omitting the tartar which con- 
 tributes to the yellow or flame coloured hue of the 
 
 scarlet. 
 
 For the purpose of conducting the scarlet dye pro- 
 perly, and to be able to vary the process according to 
 the shade of colour required, it is necessary to become 
 acquainted with the peculiar effect produced by each 
 of the ingredients employed. 
 
 If the proportion of composition be too small, all the 
 
134 
 
 cochineal will not be taken up, and the water in the bath 
 will be coloured: if too large, it reacts on the colour of 
 the cochineal, dissolves it, and renders it liable to be 
 washed out; hence the colour comes out weak and 
 faded. But if the cochineal be in proportion to the tin, 
 the colour will be full and rich when they are used plen- 
 tifully. The tartar gives the yellow tinge which with 
 the crimson of the cochineal produces the flame colour 
 so generally in demand. 
 
 Although it be true that a scarlet colour can be 
 dyed at one operation, and although for small quanti- 
 ties of cloth and light shades, this may be desirable, 
 yet in a large way, it is found by experience most 
 eligible to dye the cloth at two processes, namely, a 
 preparation and a finishing (bouillon, et rougie.) 
 
 If the yellow tint should predominate too much, it 
 is corrected by running the cloth when dyed through 
 hot water; this effect is owing to some small propor- 
 tion of calcareous salts contained in the water, which 
 if perfectly pure would not alter the colour at all. (If 
 the water is so pure as not to produce this effect of 
 slightly crimsoning the colour when too yellow, put 
 about half an ounce or an ounce at the utmost of pearl 
 ash into a hundred gallons of water, which will ope- 
 rate as a corrective. T. C.) 
 
 The bath or liquor is seldom worked out exactly; 
 it generally contains some of the mordant combined 
 with some of the colouring matters. Nothing but ex- 
 perience can teach how far these remains can be used, 
 or what cloths they are fit to give a ground to. 
 
 Besides the tartar, a yellow tinge or flame colour 
 
 ■a 
 
■ B 
 
 135 
 
 can be given, and frugally given, by dyeing the cloth 
 in an old bath wherein scarlet has been dyed, and 
 which is not used up, with a quantity of fustic or 
 quercitron, to give a yellow ground; and then pass 
 the cloth through the preparation and finishing as 
 usual. This is what Bancroft recommends: but how- 
 ever reasonable this may be, it is not yet in common 
 practice. 
 
 So a bath not quite spent may be used to dye a 
 pomegranate colour with fustic. Then refresh the bath 
 with a little of the composition and cochineal, in the 
 same relative proportions as for scarlet. 
 
 A little more fustic with some tartar and composi- 
 tion will produce a Capucin colour, and various tinges 
 of orange, gold, jonquill, &c. according to the propor- 
 tions of fustic, composition and tartar you incline to 
 use: these colours may also be varied with a little 
 madder; in this way rose colours, cherry reds, and the 
 varieties of red and yellow may be produced. 
 
 So the claret gray may be dyed in an old scarlet 
 bath, with a few pulverized galls, and then after pass- 
 ing the cloth through it the usual time, adding a mor- 
 dant of green copperas. For light and delicate colours, 
 such as orange, lobster, lilac, mallow, cherry, rose, 
 they are better dyed at once in one bath than in two. 
 The cloth need be no more than wetted in hot water 
 and pressed in the usual manner, then entered into 
 the bath, without being first passed through a mordant. 
 The colour takes more slowly, but as certainly. So 
 far Berthollet. 
 
 HomassePs Process. To employ cochineal in dyeing, 
 
.■'* 
 
 136 
 
 it is absolutely necessary that it should be well ground 
 and then sifted through a fine sieve: all the particles 
 that do not pass the sieve, are found at the close of 
 the operation undissolved, and without having parted 
 with their colouring matter. 
 
 The colour produced by cochineal with alum and 
 tartar, is crimson. The wool must first be boiled in 
 the mordant of alum and tartar, (two to four ounces 
 of alum per pound of wool, according to the fulness 
 of colour required, and half the quantity of tartar, 
 T. C.) then rince the wool. Have ready for one hundred 
 pounds of wool, a boiler that will hold fifty buckets 
 of water; when the water boils, put in an ounce of 
 sifted cochineal to a pound of wool, or more if the 
 colour be expected very deep. Let the cochineal boil 
 ten minutes, and then stir the liquor, and enter the 
 wool, which must be worked very quickly in the 
 liquor, and constantly during one hour and a half; 
 and during a quarter of an hour also, even after all 
 the cochineal seems exhausted. Then take out the 
 woollen, wash and dry it. 
 
 Hose colours are dyed the same way, only one half 
 or one quarter of the cochineal is used, and from one 
 ounce to half an ounce per pound of wool, of the scar- 
 let or tin composition is added. Some dyers dye their 
 rose colours thus: they take of alum two ounces, 
 cream of tartar one ounce, scarlet composition (solu- 
 tion of tin that is) one ounce, sifted cochineal a quar- 
 ter of an ounce, for each pound of wool: boil the 
 cochineal for a quarter of an hour; dissolve in a sepa- 
 rate vessel the alum and tartar, to which when dis- 
 
 maa 
 
137 
 
 solved add the composition, stir this liquor well, and 
 then add it to the cochineal liquor, and enter the 
 goods, which must be worked in the mixture for an 
 hour and a half. No rose colour will require half an 
 ounce of cochineal; one third of an ounce, if good, is 
 the fullest proportion. 
 
 As to Scarlets. The drugs used to a specimen of 
 scarlet can easily be distinguished by the magnifying 
 glass, however united the colours may appear to the 
 eye. The tint of the cochineal, the madder, the tur- 
 meric, are all separable by this means. 
 
 A good and true scarlet is dyed with cochineal: the 
 false scarlets are dyed with madder and turmeric. (Or 
 brazil, brazilletto, peach, &c. and turmeric. T. C.) The 
 scarlets usually sold, are thus dyed. A boiler or caul- 
 dron of fifty buckets is used for a hundred pounds of 
 wool. For each pound of wool, there are employed 
 two ounces of cream of tartar, two ounces of scarlet 
 composition, one quarter of an ounce of madder, one- 
 eighth of an ounce of turmeric, and one quarter of an 
 ounce of cochineal sifted. 
 
 Let the whole boil five minutes before you put in 
 the cloth, which ought to be well moistened in hot 
 water and pressed as usual. Enter the goods and keep 
 them worked in the liquor as rapidly as you can, for 
 else they are apt to be spotted; and although this defect 
 disappears frequently during the process, it is better 
 avoided. In this mixed liquor, the cloth ought to be 
 worked for two hours and a half. 
 
 The woollen yarn or cloth is now raised out of the 
 bath, drained and cooled. The boiler is emptied, and 
 
 S 
 
 HOI 
 
W T7F-... 
 
 138 
 
 charged afresh with water, which is made to boil; then 
 three quarters of an ounce of sifted cochineal per 
 pound of wool, is thrown in and the cochineal per- 
 mitted to boil (being stirred) for five minutes; then 
 put in for each pound of wool two ounces of scarlet 
 composition; stir it well; enter the yarn, and work it 
 till the colour is exhausted, and a few minutes longer. 
 Some dyers (not without reason) do not permit this 
 liquor to boil, but so soon as the cochineal scum ap- 
 pears on the su face, they throw a little cold water in; 
 the liquor is also cooled by the woollen let down into 
 it, and in this state the goods are worked rapidly and 
 without ceasing in the cauldron, till the heat is brought 
 up, and the goods are fully dyed: this happens in ten 
 minutes or a quarter of an hour; and when the re- 
 quired tinge is obtained the goods are taken out, for a 
 longer continuance in a boiling heat would detract- 
 from the vivacity of the colour. All this the eye can 
 easily discern in practice. 
 
 In this bath by means of additional turmeric, Jubeb 
 and orange colours of all kinds of shades may be dyed. 
 But in regular dye-houses, these colours are dyed 
 thus: To the finishing bath of scarlet already used, 
 add by way of refreshment, two ounces of cream of 
 tartar, two ounces of scarlet composition, and two 
 gros (one fourth of an ounce) of cochineal for each 
 pound of woollen; also one eighth of an ounce of tur- 
 meric and one quarter of an ounce of madder. Such a 
 bath will also serve exceedingly well for fresh cloth for 
 scarlet: which if not enough in quantity for a finish- 
 ing, may be kept even a fortnight or three weeks, till 
 
 MB 
 
139 
 
 others come round. (But not in a copper or brass 
 boiler. T. C.) 
 
 A dyer who would acquire reputation for his scar- 
 lets, even if he has but a hundred pounds to dye, 
 should dye them at four times, giving the first twenty- 
 five pounds, a quarter of an ounce of cochineal per 
 pound in addition to the usual quantity, which can be 
 distributed by subsequent operations through the 
 three other twenty -five pounds, that come in succes- 
 sion. When d) ed in the finish, wash and dry the 
 goods. 
 
 The process of the London dyers ; is much the same 
 as the French. 
 
 To each pound of the weaker or single aqua fortis, 
 add two ounces of common salt, or of sal ammoniac 
 (the last is the best, if it were for no other reason than 
 that its strength is uniform under the same weight, 
 which is not the case of common salt. T. C.) then add 
 about half the quantity of water that there is of aqua 
 fortis; in this mixture dissolve two ounces of granu- 
 lated tin very slowly; the solution ought to occupy 
 three days, and the tin dissolved therein will be about 
 one fourteenth part of the solution in weight. Accord- 
 ing to the depth of colour required, from eighteen to 
 twenty-five pounds in weight of this composition are 
 used to a hundred pounds weight of cloth. 
 
 In the first boiling, or preparation, two-thirds of the 
 composition are used, in conjunction with eight 
 pounds of crude tartar or argol, in a vessel of block 
 tin; these are put in a sufficient quantity of good 
 water. Hard waters that contain calcareous salts, sad- 
 
■^H 
 
 140 
 
 den the colour, and produce a rose-coloured tint; such 
 water should be previously boiled with bran (and a 
 little alum, T. C.)and scummed before it is used. Into 
 this water, after the tartar is dissolved and the propor- 
 tion of composition put in, throw six or eight ounces 
 of powdered and sifted cochineal, then enter the cloth 
 when the liquor is nearly ready to boil, and wince it 
 very quickly at first, and afterwards more slowly 
 while the liquor continues to boil for an hour and a 
 half or two hours. Then take it out, drain it and rince 
 it in clean water; but not with repetitions. The cloth 
 will now have acquired a flesh colour, and will be 
 ready for the second or dyeing process. 
 
 For this purpose a tin vessel is nearly filled with 
 clean water, and when this appears about ready to 
 boil, five, or (if a full colour is wanted and twenty to 
 twenty-five pounds of the composition are intended 
 to be used) five and a half pounds of powdered and 
 sifted cochineal are put into the water and stirred for 
 five minutes, when the remaining two-thirds of the 
 composition is also thrown in and the whole well 
 stirred: now enter the flesh-coloured cloth, and wince 
 it very rapidly for five or ten minutes, in order that 
 both ends may receive an equal portion of the dye, 
 after which it may be turned slowly for half an hour, 
 or during ten minutes after the liquor appears ex- 
 hausted of colour. It is then to be taken out, rinced 
 and dried. 
 
 Fine cloths take from six pounds to six pounds and 
 a half of cochineal, and from twenty- two to twenty- 
 five pounds of the composition prepared as above, for 
 
m^^m 
 
 141 
 
 each hundred pounds weight of cloth: but the same 
 quantity of coarse goods seldom have more than two 
 pounds and three quarters to three pounds of cochi- 
 neal bestowed on them. 
 
 A false scarlet can be given to coarse goods, by 
 grounding them with alum and tartar, and madder, 
 then finishing with cochineal and brazil or brazilletto, 
 with the composition or tin mordant. 
 
 Although the common and better method is to dye 
 the goods at twice, first irWthe preparation, then in the 
 finishing or dyeing liquor, they may be dyed in case 
 of emergency, at once. 
 
 (The fault of the preceding process, is, that we 
 know not the strength, that is, the specific gravity of 
 single aqua fortis. The use of common argol, or crude 
 tartar, instead of cream of tartar, which is only crude 
 tartar dissolved, filtered and crystallized, deserves to 
 be followed. T. C.) 
 
 The process I (T. C.) would recommend, would 
 be the preceding, excepting that as my composition 
 made with acid of 1,25 and diluted with an equal 
 weight of water is not so strong, weight for weight, 
 it will require for one hundred pounds of fine cloth, 
 twenty-five or thirty pounds weight of composition 
 and six to seven pounds of sifted cochineal. 
 
 (I am persuaded that cochineal may be saved, first 
 by giving the cloth a yellow dye of fustic or quercitron 
 in the preparation, and by the use of Brazil wood, 
 either then or in the finishing. T. C.) 
 
 The colour called Barry Red is made with half the 
 quantity of the ingredients of scarlet with the addition 
 
 mtBM 
 
142 
 
 of two ounces of alum per pound of woollen; the cloth 
 is dipped three times. There is neither tartar, nor any 
 yellow colour employed. 
 
 I would not be doing justice to the subject to omit 
 the proposals of Dr. Bancroft, who has made so many 
 experiments on this subject. But as they have not yet 
 received, so far as I know, the sanction of the generality 
 of dye-houses, I can mention them merely as proposals 
 and experiments undoubtedly worth trying, but not 
 to be relied on till they have been tried. If they sue 
 ceed, they will no doubt greatly diminish the expense 
 of this expensive dye. 
 
 Take three pounds of muriatic acid or spirit of salt, 
 of the specific gravity 1,16 (remember, spirit of salt 
 as commonly made, contains iron, and therefore it 
 ought to be tried with this view. T. C.) put to it 
 about eight or ten ounces of granulated tin; for the 
 proportions are not yet precisely ascertained; add by 
 degrees two pounds of common pellucid oil of vitriol; 
 the solution should be made in a capacious glass ves- 
 sel. These acids gradually and slowly mixed, will act 
 upon the tin in the common temperature of the atmo- 
 sphere. This solution of tin, will remain undecom* 
 posed and transparent for years. 
 
 For one hundred pounds weight of cloth, use in the 
 first liquor or preparation, in a tin boiler with a suffi- 
 cient quantity of water, eight pounds weight of this 
 murio-sulphat of tin, to be put in when the water is 
 about. to boil. Turn the cloth in this bath for a quar- 
 ter of an hour; then take it out, and add to the liquor 
 four pounds of sifted cochineal, and two pounds and 
 
■■ -m 
 
 143 
 
 a half of quercitron bark in powder, and having mixed 
 them well for five minutes, return the cloth into the 
 liquor, making it boil, and continue the operation till 
 the colour be duly raised, and the dyeing liquor ex- 
 hausted, which will be the case in about fifteen or 
 twenty minutes; after which the cloth may be taken 
 out and rinced as usual. In this way the time, labour, 
 and fuel necessary for filling and heating the dyeing 
 vessel a second time will be saved; the operation much 
 more speedily finished than in the common way; and 
 there will be a saving of all the tartar, as well as of 
 two-thirds of the cost of the spirit (composition) or 
 nitro-muriat of tin commonly used; which for dyeing 
 one hundred pounds of wool will amount to ten shil- 
 lings sterling, whereas eight pounds of the murio- 
 sulphat of tin will only cost about three shillings ster- 
 ling. (That is in London in the year 1812.) There 
 will moreover be a saving of at least one-fourth of the 
 cochineal commonly employed (which is usually com- 
 puted at one ounce for every pound of cloth) and the 
 colour will certainly be not inferior to that which is 
 dyed at much more trouble and expense in the ordi- 
 nary way. When a rose colour is wanted, it may be 
 readily and cheaply dyed in this way, only omitting 
 the quercitron bark, instead of the complex method 
 now practised, of first producing a scarlet, and then 
 changing it to a rose by the volatile alkali contained 
 in stale urine, set free or decomposed by potash or 
 lime. Even if any one should still unwisely choose to 
 continue the dyeing of scarlet without quercitron bark, 
 he need only employ the usual proportions of tartar 
 
144 
 
 and cochineal, with a suitable quantity of the murio- 
 sulphat of tin, which while it costs so much less, will 
 be more effectual than the dyers' spirit. 
 
 (Such is Dr. Bancroft's proposal, which well de- 
 serves to be tried here. He says, it has been tried with 
 success by many dyers in Yorkshire and in Lanca- 
 shire. If the acid does not act too much on the cloth, 
 this will turn out a great improvement. The following 
 additional remarks on this proposed improvement, 
 are worth consideration. T. C.) 
 
 Several hundreds of experiments, says Dr. Ban- 
 croft, vol. i, p. 361, warrant my assertion that at least 
 one fourth of the cochineal generally employed in dye- 
 ing scarlet, may be saved by obtaining so much yel- 
 low as is necessary to compose this colour, from 
 quercitron bark: and indeed nothing can be more self 
 evident, than that such an effect ought cieteris paribus 
 to result necessarily from this combination of different 
 colouring matters, suited to produce the compound 
 colour in question. Let it be remembered that the 
 cochineal crimson, though capable of being changed 
 by the acid of tartar toward the yellow hue on the one 
 hand, is also capable by different means, of being 
 changed towards a blue on the other, and of thereby 
 producing a purple without the aid of indigo, or any 
 other blue colouring matter. Yet I am confident that 
 nobody would believe that a pound of cochineal so 
 employed, is capable alone of dyeing as much cloth, 
 of any particular shade of purple, as might be dyed 
 with it, if the whole of its colouring matter were em- 
 ployed solely in furnishing the crimson part of the 
 
145 
 
 purple, whilst the blue part of the purple was obtain- 
 ed from indigo. 
 
 To say that a pound of cochineal alone, would pro- 
 duce as much effect or colour as a pound of cochi- 
 neal and a pound of indigo together, would be an im- 
 probability much too obvious and palpable for human 
 belief; and there would be a similar improbability in 
 alleging, that a pound of cochineal employed in 
 giving another compound colour (scarlet) could alone 
 produce as much effect as a pound of cochineal and a 
 pound of quercitron bark, when the colour of this last 
 was employed only in furnishing one of the com- 
 ponent parts of the scarlet, for which a considerable 
 portion of the colouring matter of the cochineal must 
 otherwise have been expended. This certainly hap- 
 pens in the new mode of dyeing scarlet now proposed, 
 because the colour produced with the addition of 
 quercitron yellow inclines no more toward a yellow, 
 than the scarlet produced by yellowing a part of the 
 cochineal colour in the usual method with tartar. I 
 retain therefore at this moment as much confidence 
 as I ever had, in the reality and importance of my 
 proposed improvements in this respect. 
 
 The scarlet composed of cochineal crimson and 
 quercitron yellow, is moreover attended with this ad- 
 vantage, that it may be dyed upon wool and woollen 
 yarn, without any danger of its being changed to a rose 
 or a crimson by the process of fulling, as always hap- 
 pens to scarlet dyed in the usual manner. This last 
 being in fact nothing but a crimson or rose colour, 
 yellowed by some specific action of the acid of tartar on 
 
 T • 
 
 .. 
 
146 
 
 the cochineal, is liable to be made crimson again by 
 the application of many chemical agents, which readily 
 overcome the changeable yellow produced by the tar- 
 tar, and particularly by calcareous earth, soap, alka- 
 line salts, &c. But where the cochineal colouring 
 matter is applied and fixed merely as a crimson or rose 
 colour, and is rendered scarlet by the superaddition 
 of a very permanent quercitron yellow, capable of re- 
 sisting the strongest acids and alkalies, which it does 
 when dyed with solutions of tin, no such change can 
 take place; because the cochineal colour having never 
 ceased to be crimson, cannot be rendered more so, and 
 therefore cannot suffer by those impressions or appli- 
 cations, which frequently change or spot scarlets, 
 dyed according to the present practice. 
 
 (I refer to Bancroft, vol. i. p. 353> for the rest of his 
 observations on the scarlet dye, and the use of his new 
 invented composition. I cannot help thinking how- 
 ever, that the remarks I have just copied, are so obvi- 
 ous and reasonable, that it is almost impossible to 
 refuse assent to them; and I have no hesitation what- 
 ever in recommending the rejection of tartar, and the 
 employment of the cheap articles of weld, fustic, tur- 
 meric, or quercitron (especially the last) for the pur- 
 pose of yellowing the cochineal, instead of that ex- 
 pensive drug cochineal itself. I say nothing about 
 substituting the murio-sulphat of tin, for the nitro- 
 muriat, because I have no experience to guide me. 
 T. C.) 
 
 The following processes for common scarlet and 
 
 rose colour, are from Homassel. 
 
 t 
 
147 
 
 Scarlet Preparation. Clean out the boiler with great 
 accuracy; even if necessary with vitriolic acid, and 
 afterwards with ashes. Rince ft, even if it has been 
 well cleaned the day before. Moisten the cloth in hot 
 but not in boiling water. Remember that all cloths pre- 
 pared with alum or alum and tartar should be washed 
 (read for washed, rinced. T. C.) before they are dyed, 
 nor will any fine colour be obtained in a bath that has 
 served for an alum preparation. Make up your bath 
 with two ounces of cream ot tartar, a quarter of an 
 ounce of madder, the eighth of an ounce of turmeric 
 and a quarter of an ounce of sifted cochineal for each 
 pound of woollen. Boil for two hours and a half, then 
 raise the woollen, cool it, and wash it at the river. 
 
 Scarlet Finishing or colouring bath. A fresh bath 
 well cleaned and filled with water; two ounces of scar- 
 let composition, three fourths of an ounce of sifted 
 cochineal; let the liquor boil four minutes; cool it with 
 some cold water down to a scald; enter the goods and 
 work them for ten minutes. 
 
 Rose Colour. Preparation bath of alum; from a quar- 
 ter to half an ounce of cochineal per pound, according 
 to the price; one ounce of scarlet composition. 
 
 Light Crimson. Preparation bath of alum; then an 
 ounce of cochineal per pound of cloth. (As to the 
 above precaution of Homassel, about the scrupulous 
 washing of cloths after they are prepared or mordant- 
 ed, I am far from being satisfied that it is a point ab- 
 solutely determined: for it has been ascertained that 
 all the alum may be washed out. If the crystallized 
 lumps only be washed away, it is an improvement, 
 
148 
 
 otherwise not. Bancroft dyes with quercitron without 
 even rincing his cloths after, the preparation or mor- 
 dant. The letting the cloths remain in a damp place 
 after preparing them, may be of use in aiding by time, 
 the mutual action of the cloth and the base of the 
 mordant. T. C.) 
 
 Of the Venetian Scarlet, or the scarlet from the 
 Kermes insect, {Coccus Ilicis.) The colouring matter 
 is soluble in water and in alcohol, of a deep red co- 
 lour. To dye scarlet with this substance, more solid, 
 but not so brilliant as the cochineal scarlet; boil your 
 yarn for half an hour in bran water, then for two hours 
 in a bath composed of alum one fifth of the weight of 
 the yarn, and tartar one tenth, or half as much. Put 
 the yarn moist as it is but not wet, in a bag, and let 
 it lay for a week in a cool under-ground place. Then 
 prepare a bath of water that should not exceed a full 
 scalding heat, or 150° of Fahrenheit's thermometer; 
 for Kermes, like madder, at a great heat gives out a 
 yellow colour; put to this warm bath a quantity of 
 kermes equal to three- fourths of the weight of the 
 jvool; work the yarn in this bath for an hour; rince it; 
 and finish in a half spent scarlet bath for a very few 
 minutes. Cloth will not require so much either of the 
 salts, or of the kermes as yarn, by one-fourth. 
 
 Hellot prescribes to dye some refuse wool for a 
 few moments first, which takes up a kind of black 
 fecula, after which the wool is dyed of a brighter 
 colour. 
 
 In my opinion the process would be improved thus; 
 put to the preparation bath of alum and tartar mor- 
 
149 
 
 dants, one twenty-fifth of the weight of the cloth of 
 quercitron bark; then proceed as above, and when the 
 cloth is dyed, run it through warm water in which 
 you have previously dissolved a pound of white soap 
 to about fifty pounds weight of wool. T. C. 
 
 The half scarlet, is dyed with alum and tartar in 
 the preparation, and finished in a colour-bath of half 
 madder and half kermes, at 150° of Fahrenheit. It may 
 then be run through a half spent cochineal vat. 
 
 But the effect of acid liquors on kermes is to turn 
 the red into a cinnamon colour, so that it must not be 
 kept in the scarlet finishing but for a minute or two. 
 Indeed if my proposal of giving a slight ground of 
 yellow be adopted, the safest way is to add to the 
 kermes bath, a small quantity of Brazil or cochineal. 
 
 The proper colour of kermes is a blood red, much 
 more fast than any colour from cochineal, and there- 
 fore the disuse of kermes is to be regretted. T. C. 
 
 The Scarlet from Stick Lac. This is a fast colour 
 not used alone, but employed in France to give solidi- 
 ty to cochineal colours. The stick lac contains about 
 one-sixth of colouring matter. A small quantity of the 
 lac in powder is thrown into the scarlet finishing bath, 
 after the cochineal has been boiled and the bath cool- 
 ed; for the lac will not bear a very hot liquor. I do 
 not find however that its efficacy is of importance suf- 
 ficient to bring it into general use. It is used to dye 
 morocco leather, but for this purpose, kermes and 
 cochineal are equally used. 
 
 Of the Reds from Brazil, Brazilletto, Nicaragua, 
 Peach and Redwood. These are seldom employed to 
 
150 
 
 give a red colour alone: their best use is to heighten 
 and give brilliancy to madder reds. But a crimson red 
 is often dyed with Brazil. 
 
 For this purpose make a strong decoction of rasped 
 Brazil wood tied up in a bag: the colour is faster and 
 not weaker for the decoction being old, although it 
 puts on a kind of orange colour. 
 
 To make a decoction of Brazil, put the rasped or 
 chipped wood into a bag, and boil it for three hours: 
 empty your coloured liquor into another vessel, and 
 pour more water on the Brazil wood, with one third 
 or half an ounce of pearl ash in this last liquor to each 
 pound of the wood: boil for three hours, and mix the 
 two liquors together: if this decoction be kept for a 
 month it is not the worse. 
 
 Cloths or yarn, that are to be dyed in Brazil or 
 Brazilletto, should not have a greater proportion of 
 tartar to alum than one fourth part, for the acids are 
 apt to turn the colour yellow. T. C. 
 
 HomassePs process is this. Woollen cloth one hun- 
 dred pounds; alum twenty-two pounds; gray tartaf 
 eleven pounds; (which is twice as much as Hellot or 
 Berthollet or I would recommend.) Boil the cloth two 
 hours and a half; you may keep it a long time in a 
 cellar and the decoction also; (deposee le bouillon un 
 mois a la cave.) 
 
 When you dye, rince the cloth at the river, and to 
 thirty buckets of water, add two buckets of Brazil 
 liquor, which has been made for a month: dye in it 
 thirty pounds of woollen, and it will produce a crim- 
 son. 1 he second thirty pounds run through the same 
 
151 
 
 finishing, will produce a scarlet; the* third parcel of 
 thirty pounds will also be scarlet. Remember to add 
 two buckets of Brazil liquor to the bath for each 
 thirty pounds of cloth or yarn; and that the liquor 
 must never boil. The scarlet can be rosed or crim- 
 soned by running it through warm water, containing 
 a fourth part of urine. 
 
 The liquor must be scummed, and the cloth exa- 
 mined while it is dyeing, by wringing out one end of 
 it; for the colour appears two or three shades deeper 
 when wet, than dry. The dye of these woods is ren- 
 dered faster, by a small quantity of galls. 
 
 Of Reds from Madder, This is the colouring sub- 
 stance principally to be depended on for permanent 
 reds. The madder commonly used, is the Zealand 
 grapp, or as we call it crop madder, dried and ground. 
 The Smyrna madder roots, are confined to the dyeing 
 of Turkey or Adrianople red; but fresh madder roots 
 give a better colour than the Zealand crop madder; 
 though Berthollet says otherwise. It is a root that 
 would grow and indeed does grow excellently well 
 in Pennsylvania. 
 
 Madder is a colouring drug so important, that a 
 knowledge of its properties is indispensable to a dyer 
 who would understand his business. I shall therefore 
 give an account of madder, chiefly from Mr. Watt of 
 Birmingham. 
 
 A. Crop madder is a drug of an orange-brown co- 
 lour, in powder, not coherent; it attracts the 
 moisture of the air, and by this means gradu- 
 ally loses its properties until it becomes 
 spoiled. 
 
152 
 
 B. Water, whether hot or cold, extracts the colour 
 
 of madder, but a considerable quantity is re- 
 quired for this purpose. The colouring matter 
 of madder consists of two kinds, a red colour, 
 and a fawn colour. Cold water will dissolve the 
 red colour and leave the fawn colour unaffect- 
 ed. According to the experiments of Sir H. 
 Englefield, two ounces of madder will require 
 five pints of water at the common temperature 
 to extract the red colour. At what degree of 
 the thermometer the fawn colour is extricated, 
 has not been precisely ascertained; every dyer 
 knows that his madder bath must not boil; in 
 my opinion the heat ought not to exceed from 
 160° to 170° of Fahrenheit, otherwise the fawn 
 or brown tint will predominate too much: 155° 
 is hot enough. 
 
 C. When the watery extract is slowly evaporated in 
 
 an open vessel, a pellicle forms at the surface, 
 and falls down to the bottom, and so on, till 
 the evaporation ceases. 
 
 D. The extract thus formed, is of a dull brown co- 
 
 lour: it is but slightly soluble in water, to 
 which it imparts a brownish tinge. 
 
 E. When the infusion is evaporated in an open 
 
 vessel with the neck so high that the vapours 
 condense and fall back, pellicles form of a 
 deep brown colour, easily soluble in water, 
 which acquires a brown tinge. 
 
 F. Alum put into the red watery infusion, forms a 
 
 deep red precipitate, leaving the water of a 
 yellowish brown. 
 
153 
 
 G. Alkaline carbonats throw down a precipitate 
 from this yellowish brown liquor, of a blood- 
 red, deeper according to the quantity of alum 
 that had been employed at first. In this manner 
 lakes of a blood-red colour can be obtained, but 
 not to equal the colour of cochineal. As an oil 
 colour it is transparent, but in water opake. 
 
 H. If a superabundance of alkali be employed, the 
 precipitate is dissolved and the liquor becomes 
 red. 
 
 I. The alkali of soda, does not produce so fine a 
 colour as the alkali of potash. 
 
 K. Calcareous earth, produces a duller colour than 
 the alkalies. 
 
 L. A few drops of alkali in the water of B, extracts 
 much colour of a brownish red. 
 From this slightly alkaline infusion, 
 
 1. Alum throws down a deep brown lake. 
 
 2. Acids added to this liquor, occasion no preci- 
 pitate, but change the infusion to a yellowish 
 brown. 
 
 3. This infusion being evaporated to dryness, 
 / * forms a gummy extract, which dissolves easily 
 
 in water. 
 M. If the infusion B, instead of being alkaline, be 
 made with a few drops of mineral acid, the 
 colour is yellowish. 
 
 1. This yellow liquor by long digestion becomes 
 of a greenish brown, and the yellow seems 
 destroyed. 
 
 2. The addition of an alkali, re-establishes the 
 
 U 
 
154 
 
 red colour, and then by evaporation, an extract 
 is obtained, soluble in water. 
 N. If in the water used for the infusion B, you put 
 carbonat of magnesia, a blood-red colour is 
 produced; and on evaporation, a deep red ex- 
 tract is procured, soluble in water. 
 
 1. If this infusion made with magnesia, be used 
 as an ink and exposed to the sun, it becomes 
 yellow. 
 
 2. Alum precipitates from this infusion a small 
 quantity of ill coloured lake. 
 
 3. The alkalies produce in it a deeper colour and 
 more fixed. 
 
 O. The infusion made in a solution of alum, is of 
 an orange yellow. This infusion being pre- 
 cipitated by an alkali, gives a red lake not so 
 good as F. 
 
 P. A solution of sugar of lead added to the infusion 
 B, forms a reddish brown precipitate. A solu- 
 tion of nitrat of mercury, a brown purple pre- 
 cipitate. A solution of sulphat of iron, a lively 
 brown precipitate. A solution of sulphat of 
 zinc was not tried. A solution of sulphat of 
 manganese, a brown purple precipitate. A so- 
 lution of nitro-muriat of tin was not tried. 
 
 Q. The infusion B being mixed while hot with an 
 infusion of cochineal, a precipitate appeared of 
 a brownish red colour, inclining to deep pur- 
 ple; the quantity of this precipitate was- in- 
 creased by continuing the boiling; it did not 
 dissolve easily in water. 
 
155 
 
 1. A sample of cloth dipt in the acetat of alumine 
 or printer's mordant, and then dyed in this 
 mixture, took a red brown colour, which after 
 being boiled in a solution of soap, changed 
 into a tolerable good red. 
 
 2. The solution of soap was of a deep red colour, 
 but it produced a very indifferent tinge on 
 paper. 
 
 The preceding facts we owe chiefly to Mr. Watt. 
 
 Sir Harry Englefield's madder lake, is thus made: 
 Put two ounces of madder in a bag, press it and 
 bruise it in a china or porcelain or stone-ware vessel, 
 with repeated portions of cold water till all the colour 
 is forced out. This will require about five pints of 
 water. The madder remaining will weigh five drachms, 
 so that the red colouring matter in two ounces of mad- 
 der will weigh nearly eleven drachms (troy weight.) 
 Mix all the coloured liquors together, and add to them 
 a solution of one ounce and a half of pearl ashes, and 
 then one ounce of alum in solution. Wash the preci- 
 pitate well with warm water, and dry it on filtering 
 paper or a chalk stone. 
 
 M. Merime, a painter, has made several interesting 
 experiments on madder, with a view of improving his 
 own art, and obtaining a lake which should combine 
 solidity with brilliancy. The result of his experiments 
 which may be of use to the dyer, he has communi- 
 cated to us (Messrs. Berthollet.) 
 
 He separated the pellicle which serves as a kind of 
 bark to the madder root, from sap and from the woody 
 part, and he obtained from both the one and the other 
 
156 
 
 a lake approaching in vivacity to carmine, but much 
 more solid, after he had submitted them to washings 
 which separated a substance that gave a fawn colour. 
 The woody part yielded more than the bark. His pro- 
 cess after the preliminary washings, was, to keep the 
 madder in digestion in a slight solution of alum: after 
 that he precipitated, by an alkali, this coloured alu- 
 minous solution. 
 
 Hence it appears that madder must be considered 
 as consisting of two different substances, one fawn 
 coloured, the other red: each of these substances may 
 combine with the stuff, but we want the red colour 
 only. The fawn coloured part seems most soluble in 
 water, but its fixity on the stuff may be augmented by 
 its affinity to the red part. 
 
 The different additions which we make to the mad- 
 der, and the multiplied processes to which we submit 
 this drug on some occasions, may possibly be of no 
 other service than to separate this fawn colour from 
 the red. 
 
 The red colouring matter of madder, seems soluble 
 in water in small quantity only, so that the solution 
 cannot be much condensed: if the proportion of this 
 substance be much increased, we increase, also in 
 greater proportion, the more soluble fawn coloured 
 part. 
 
 The solution of tin gives but dead colours with 
 madder. It revives the colour of the Turkey red in- 
 deed, but that seems to be in a part of the process 
 when all the fawn colour of the madder is washed 
 away during the process. 
 
157 
 
 After these remarks on the component parts of this 
 useful drug, I proceed to the method ot dyeing with it. 
 
 The cloth or wool must be prepared in a mordant 
 liquor of alum and tartar. Every dye shop has its own 
 proportions. Upon the principle of the preceding ex- 
 periments, it is clear that ail acids have a tendency to 
 convert the red of madder into a brownish yellow: 
 and experience in the dye house confirms the theory. 
 Therefore, for a moderately full, but not the deepest 
 red, I prefer {T. C.) three ounces of alum and one 
 ounce of tartar (red or white appears to me indiffe- 
 rent) to each pound of wool or yarn or cloth. The 
 goods should be boiled in this; and they will be the 
 better for being left for a week either in the liquor, or 
 taken cut and drained and left in an underground 
 room. * 
 
 For the finishing or colouring bath, use three* 
 fourths of a pound of madder, one ounce of galls, and 
 one ounce of brazil to each pound of woollen. The 
 bath should not be brought beyond a scalding heat, 
 that is 140 or 145° of the common thermometer of 
 Fahrenheit. I can just bear my hand in water of 130°, 
 but a dyer accustomed to warm liquors can bear ten 
 degrees more of heat. At this heat it should be kept, 
 and the cloth winced in it for an hour. The colour is 
 improved by a little brazil or brazilletto wood in the 
 above proportion, but the hue thus given is fugitive. 
 It is improved too by the use of a pound of white 
 soap, and a couple of ounces of potash in the water 
 for one hundred pounds weight of wool, to rince it in 
 after it is dyed, or when fulled. For a full colour, use 
 
 
158 
 
 four ounces of alum, one ounce and a half of tartar, 
 and eighteen or twenty ounces of madder. 
 
 It is not found that the scarlet composition (the 
 nitro-muriat of tin) does any good to the colour, 
 either in the dyeing or after. 
 
 Any mixture of sour water, with the madder, how- 
 ever common, does no good, but harm. 
 
 The great value of madder, is chiefly known to the 
 cotton dyer and callicoe printer. Archil is sometimes 
 used for fugitive reds, but as it never ought to be 
 used, I omit it in the woollen dye. 
 
 Having gone through the scarlets, crimsons, rose 
 colours and reds on woollen, I proceed to the colour 
 next in similarity as a self-colour, the pink. 
 
 Of the Dyeing of Pink on Woollens. Carthamus, 
 safflower, or bastard saffron, is grown in Egypt, in the 
 Levant, in Thuringia, and various parts of Germany 
 and France, and might be grown in Pennsylvania and 
 the southern states. It contains two colours; a dull 
 yellow, soluble in cold water, and a pink colour solu- 
 ble in alkaline salts. It is seldom used on woollen, 
 because colours near to it in tint, more permanent and 
 equally beautiful, may be procured by cochineal, and 
 it requires the woollen to be as white as possible, in 
 order to have the colour in its utmost brilliancy: but 
 as a true pink can no otherwise be dyed, I shall give 
 the process as well as I can. I have repeatedly dyed 
 it on cotton, but never on woollen, so as to ascertain 
 the proper proportions. The processes for dyeing this 
 colour on silk, I shall give from Macquer and Ho- 
 massel, but the following transcript of my own notes. 
 
-■■rm 
 
 159 
 
 will contain some remarks not included in their ac- 
 count. What the English call a pink, the French call 
 a rose colour. 
 
 One pound of woollen bleached as white as possible, 
 will require four pounds of safflower to dye it a good 
 pink. 
 
 Let the safflower be put into a very clean and strong 
 linen bag that will hold twelve pounds. In this bag, 
 put eight pounds of safflower. Let a man carry it to 
 the river and tramp it with his feet in the current for 
 four or five hours, till all appearance of yellow colour 
 be washed away. The water must be clear and soft. 
 As this will be done at a dyer's, he must take care 
 and wash it in that part of the stream that is above the 
 works. The man should have a pole to rest himself 
 upon, while he tramps it. 
 
 Or, a trough may be used for this purpose, through 
 which a current of pure water is turned; in this case 
 two cords should hang from the beams of the ceiling, 
 by which the man can take hold, and support his body- 
 in some degree, while he tramps with his feet. This ope- 
 ration might be contrived to take place by means of 
 stampers or a fulling mill, but I think not so safely. 
 One man can thoroughly wash two bags of eight 
 pounds each in one day, but not much more. 
 
 When the water comes away clear, empty the wash- 
 ed safflower into a trough lined with tin or lead, or any 
 other similar vessel. 
 
 Dissolve for sixteen pounds of safflower, two pounds 
 of good pearl ash, in as much hot water as will serve 
 to make the safflower into a liquid kind of paste: skim 
 
160 
 
 the solution, pour it off clear from the sediment; and 
 when hardly blood warm, pour it on the safflower, and 
 let this liquid mass remain together three or four 
 hours. 
 
 The great point in dyeing pink, is, so to apportion 
 your alkali to the safflower, that all the colour may be 
 extracted, but no more alkali used than is absolutely 
 necessary for the purpose; for the acid necessary t© 
 saturate an over proportion of alkali, greatly adds to 
 the expense. It is with this view that Berthollet pre- 
 scribes no more than an ounce of pearl ash to the 
 pound of safflower, which I am persuaded is greatly 
 too little. 
 
 Have ready a frame of wood, on which is tied some 
 clean, strong, white callicoe as a filter: the frame 
 should rest on the edges of the vessel wherein you 
 dye your goods: the callicoe need not be stretched 
 very tight; if it sinks in the middle, so much the bet- 
 ter; on this filtering frame put the safflower and alkali, 
 and wash it well with as much water as will be neces- 
 sary to' work your woollen in. 
 
 This alkaline liquor of safflower, is of a yellowish 
 colour, and requires to be neutralized with an acid. 
 Of acids, lemon juice is the only one I know of, that 
 brings out the colour in full perfection. Next to that, 
 is" cream of tartar; next to that, is distilled vinegar. 
 Hence it becomes an object of importance not to ex- 
 ceed greatly in the quantity of alkali, or to put in your 
 acid at random. To avoid this, attend to the following 
 directions, that I found necessary in point of eco 
 nornv. 
 
■..'*■ 
 
 161 
 
 Lemon juice is purchased in casks in the West 
 Indies. 
 
 The silk dyers use a lichen called archil, for most 
 of their fine colours. 
 
 Take a pinch of archil, add to it some boiling water, 
 and a very small quantity of pearl ash, the size of a 
 garden pea for instance, just to turn the decoction of 
 archil blue. This is the litmus of the chemist. 
 
 Dye white blotting paper, or pieces of white cotton 
 or linen rags, in this blue liquor, and dry them. Keep 
 them by you as tests of alkalescence and acidity. 
 
 Suppose you have sixteen pounds of safflower, 
 (original weight,) then you will have to saturate two 
 pounds of pearl ash with lemon juice. Put in two 
 quarts of lemon juice, by a pint at a time, on account 
 of the effervescence that will take place. When the 
 eifervescence is over, dip a piece of rag or paper 
 tinged blue with archil into the liquor; if the colour 
 does not change, put in half a pint more of lemon 
 juice; try it again after stirring it; and so on, adding 
 acid by degrees till you find the blue colour on the 
 paper begin to turn red. Then stop. Just at this point 
 also, all effervescence ceases on the addition of fresh 
 acid. You may now enter your goods at any degree 
 of heat from 60° of Fahrenheit's thermometer to 90°. 
 Work them in the liquor till all the colour is taken 
 up, and the liquor in the vat is not coloured any 
 longer. Wring the wool, wash it in clean water and dry 
 it. The colour is improved in tint by running it again 
 through a water slightly acidulated with lemon juice. 
 
 If the colour be not deep enough, as when full 
 
 X 
 
162 
 
 poppy reds are required, you must repeat the process 
 with a liquor containing the colouring matter of a 
 pound more of safflower per pound of woollen. 
 
 Very dilute sulphuric and nitric acids are also used 
 instead of lemon juice, but the colour is manifestly 
 inferior. 
 
 The pink dye can also be procured by soaking pink 
 rags in an alkaline liquor, which may be treated with 
 lime or lemon juice as above. It is the fecula of the 
 carthamus liquor, precipitated by lemon juice, dried 
 at a very gentle heat, and when dry, ground up with 
 fine white talc, that forms the basis of the Spanish 
 wool, and the rouge with which females paint their 
 faces. 
 
 Of Red mixed with Blue Colours. Violets, Purples, 
 Lilacs, Colombines, &c. According to Hcllot and Ber- 
 thollet, stuffs dyed scarlet, take a superadded blue 
 dye unequally. They must be dyed of a light or sky 
 blue first. Then give them a mordant or preparation 
 liquor of alum and tartar, two ounces and a half of 
 alum, and one ounce of tartar; work them in this for 
 an hour; drain them and cool them; then run them 
 through a dyeing or finishing bath of cochineal, from 
 one half to two-thirds as strong as you want it for 
 scarlet, according to the shade of purple you require. 
 Violet requires not so deep a blue and not so deep a 
 red as purple. Frequently these colours are finished 
 in a scarlet bath, adding to the bath the quantity of 
 tartar and of cochineal that may be thought neces- 
 sary. 
 
 Lilacs, pidgeon's breast, mallow, &c. are usually 
 
163 
 
 passed through the liquors that have served for violets, 
 adding some alum and tartar. The blue ground is 
 made of such a tint, and the cochineal added in the 
 finishing, in such proportion as the colour requires. 
 
 When you want a reddish shade, as for peach blos- 
 som, add a little of the scarlet composition or nitro- 
 muriat of tin. 
 
 When you want a very bright tint, though you may 
 diminish the quantity of cochineal, you must not di- 
 minish the quantity of tartar. 
 
 It is obvious that the various shades required may 
 be obtained by slight variations of the blue ground, 
 and of the proportions of cochineal, alum and tartar; 
 also by using brazil or madder, or a mixture of these, 
 with or without the cochineal. 
 
 Processes of Homassel for violets and purples. 
 
 The finest tints of these colours can only be made, 
 by means of a mordant or composition of bismuth dis- 
 solved in the nitric acid. To make this solution, pro- 
 ceed thus. Dissolve gradually in the strongest nitric 
 acid, bismuth carefully reduced to a coarse powder 
 in a mortar, taking care that there be no dirt, or ex- 
 traneous matter, particularly no ferruginous matter. 
 Add the powdered bismuth by degrees to the nitric 
 acid to the amount of two ounces of the semi- metal 
 to a pound of the acid: (this is too small a proportion 1 y 
 one ounce at least, T. C.) Add no water, no sal am- 
 moniac. When all is dissolved, pour it off clear into a 
 bottle with a glass stopper. Make no more than you 
 want to use at a time, for it is very apt to oxygenate 
 by exposure to air. This mordant requires no alum 
 
164 
 
 or tartar to the cloth; use about two ounces of this 
 solution in water to the pound of cloth, and for bright 
 colours, about half an ounce of cochineal also to the 
 pound. 
 
 Common Violet. A blue-vat ground; then a prepa- 
 ration of alum. Dye with half an ounce of cochineal 
 per pound of wool. 
 
 Another. A light blue ground; then half an ounce of 
 cochineal, and two ounces of solution of bismuth per 
 pound of woollen. Boil for an hour. 
 
 Light Violet. Half an ounce of cochineal per pound, 
 after a preparation of two ounces of solution of bis- 
 muth per pound of woollen for half an hour; without 
 any previous blue ground. 
 
 Common English Process for Fast Purple. Alum, 
 four ounces, tartar, two ounces, as the mordant or 
 preparation for a pound of wool; boil for an hour and 
 a half; drain, cool and rince the cloth: then enter it 
 into a finishing or dye liquor of madder three-fourths 
 of a pound, red wood two ounces for each pound of 
 wool. Do not let the liquor exceed the heat of 145° 
 of Fahrenheit's thermometer. Wince your pieces for 
 an hour. Then drain, cool and rince them, and give 
 them a single dip in the blue vat. 
 
 Common Purple. English. For each pound of cloth 
 use a mordant or preparation of two ounces of alum, 
 one ounce of tartar, and one-eighth of an ounce of 
 blue copperas; boil for two hours; then drain and 
 rince the cloth, and dye it in a bath of six ounces of 
 logwood to the pound of woollen. This is reddened 
 by alum, and blued by blue copperas. 
 
165 
 
 Claret. Add to the above dye liquor half an ounce 
 madder and one-fourth of an ounce brazilletto, or 
 cam wood, or red wood, per pound of cloth. 
 
 It is evident that with cochineal, kermes, or lac, 
 the colour will be finer, but neither so cheap or so fast 
 as with madder; and so with brazil or brazilletto. 
 
 Of the various shades of Black with Red. — A grayish 
 Red. Homassel. Nitrat of iron (iron dissolved very gra- 
 dually in aqua fortis, and kept close stopped) and cochi- 
 neal. All grays will be fast colours, if they are dyed with 
 nitrat of iron instead of sulphat of iron, which in fast- 
 ness and brilliancy is far inferior to the nitrat. 
 
 Common Grayish Red. Sulphat of iron and madder, 
 with a little red wood. 
 
 It is evident that these colours may be varied ac- 
 cording to the proportions of red and black, and tht 
 ingredients used for each. 
 
 Of Yellow Colours. — The substances that dye yellow 
 on woollen, are Weld, Quercitron, Fustic, Turmeric. 
 I say nothing about the Sarrette, Sarratula, or Saw 
 Wort, the Yellow Broom, the Golden Rod, the Ber- 
 berry Root, the Lombardy Poplar, the Hiccory, the 
 Fenugreek, the Polygonum Persicana or Arsesmart, 
 and a hundred other articles that may be used. But if 
 a dyer on wool can be supplied with Weld, Fustic, and 
 Quercitron, I do not think he stands in much need of 
 any other drug. Where weld cannot be had, saw wort 
 and golden rod come near it in point of colour. 
 
 I have mentioned these substances and their general 
 qualities and properties, when I noticed the various 
 dyeing drugs at the beginning of this work. For fur- 
 

 166 
 
 ther information, I refer to Dr. Bancroft's book, under 
 the respective heads. 
 
 Weld: this plant is used for bright greenish yellows, 
 and where a fast colour is required. The properties 
 of its decoction are as follow (from Berthollet.) 
 
 First. When full charged with colour, it is of a 
 slightly brownish yellow; when diluted, it passes to a 
 greenish yellow. 
 
 Second. If to this decoction some alkali be added, 
 a small ash coloured precipitate, insoluble in alkalies, 
 falls down. 
 
 Third. Acids render the colour paler, and throw 
 down a precipitate soluble in alkalies; this solution of 
 the precipitate is of a yellow, bordering upon brown. 
 
 Fourth. Alum forms a yellowish precipitate. The 
 supernatant liquor is of a lemon colour. If an alkali 
 be added to this liquor, a light yellowish precipitate 
 is formed, but the liquor remains coloured. 
 
 Fifth. Common salt and muriat of ammonia, trouble 
 the liquor and render the colour deeper. By degrees 
 a yellowish precipitate is formed, and the supernatant 
 liquor is of a greenish yellow. 
 
 Sixth. Solution of tin produces an abundant pre- 
 cipitate of a light yellow colour; the supernatant 
 liquor is of a brownish yellow. 
 
 Seventh. Sulphat of iron produces an abundant 
 grayish black precipitate; the supernatant liquor is of 
 a brownish colour. 
 
 Eighth. Sulphat of copper forms a greenish brown 
 precipitate, and the supernatant liquor is a pale green. 
 (Copper, that is verdigris and blue vitriol in small 
 
167 
 
 quantities, agree very well as mordants with weld. 
 T. C.) 
 
 Process of Dyeing with Weld, by Hellot. Prepa- 
 ration or mordant liquor. Alum, four ounces, tartar, 
 one ounce; boil the usual time; about an hour and a 
 half; drain the cloth; rince it; dye it in a bath of five 
 pounds of weld to one pound of cloth, if you want a 
 full colour. (Hellot goes even so far as six pounds of 
 weld, which I deem two pounds too much. T. C.) 
 
 For a lighter yellow, half the above quantity of 
 ingredients. 
 
 Other French dyers use half the quantity of tartar 
 that they do of alum; the colour is brighter for it, and 
 the tint greener, but not so deep with equal propor- 
 tions of weld. The colour is heightened and made 
 fuller by the addition of one pound of whiting, or 
 powdered chalk in the dyeing liquor for each hundred 
 pounds weight of wool. 
 
 For lighter shades, it is better to use fresh prepara- 
 tion and dyeing liquors, diminishing the quantity of 
 ingredients in the same proportion, than to use the old 
 and spent baths or liquors; in this latter case, the co- 
 lour is never so bright: but they may do for drabs, 
 olives, and browns of various kinds. 
 
 Common salt, and ground plaister of paris, also 
 make the colour of the finishing or dye liquor deeper 
 than otherwise it would be. Tartar weakens it; the 
 salts of iron convert it into a brown. The vivacity of 
 the colour is improved by the tin composition. 
 
 On Yellow Colours, by Homassel. Weld, Broom, 
 Yellow Berries, Fustic, Chimney-soot, Iron, Birch 
 
168 
 
 Bark, Quercitron, Turmeric, Safflower, Berberry, are 
 all employed to produce yellow colours, according to 
 circumstances. But in dyeing wool, they seldom use 
 anything but weld, fustic, soot, turmeric, and fustet, or 
 young fustic (Venetian sumach). For the fresher tints 
 they use weld; for duller yellows and Saxon greens, 
 the yellow woods; for golden yellows, weld and soot; 
 or better still, old fustic and young fustic. Soot serves 
 to give a preliminary tint, or ground to several varie- 
 ties of yellows, according to circumstances. Turmeric, 
 though often employed in scarlets and carnations, is so 
 fugitive in the sun and air, that it is unpleasant to 
 use it. 
 
 Weld gives a fast and beautiful colour for yellows 
 and fast greens. The method of dyeing with weld is 
 this. Fill a boiler with weld as full as you can, for a 
 hundred pounds of cloth will take not less than an 
 equal weight of weld, and for very deep yellows you 
 require four times as much. Before the weld liquor 
 boils, you must dye the cloths intended for light and 
 bright yellows. It is good to wash them first at the 
 river, to detach the grosser particles of alum that 
 merely stick to the cloth. It is an useful precaution 
 to empty into another boiler as much of the dye liquor 
 as is necessary to dye the light yellows, for the alum 
 washed off into the dye liquor will injure it and weaken 
 it. When you do, so, you need not let this dye liquor 
 for the light yellows boil more than ten minutes; throw 
 in some cold water to bring it to a scald, and dye your 
 cloth. 
 
 When the weld is taken out of the first boiler, boil 
 
169 
 
 it again in another, with four ounces of potash, which 
 has the property of extracting all the colour from the 
 weld; when the weld is exhausted take it out, and use 
 this second boiling, either to dye fresh goods, or to 
 strengthen the first liquor. 
 
 It is the alum and tartar that give fastness to the weld 
 colour. (A little verdigris is an improvement. T, C) 
 Weld is also boiled in bags, which are kept down 
 with a heavy cross of wood till the colour is ex- 
 tracted. 
 
 Yellow from Fustic. The fustic should be used in 
 chips inclosed in a bag that they may not tear the 
 cloth. (No wood ought to be used at all, unless ground 
 or rasped. T. C.) In a boiler of twenty -five buckets 
 of water, put fifty pounds of fustic, which you boil 
 for three hours. (If rasped, two hours are enough. 
 T.C.) 
 
 Empty the liquor into a wooden pipe or tun; boil 
 the fustic in a second liquor, and empty this also into 
 the tun. Never let any dye liquor remain with the 
 wood in your boiler, even for a quarter of an hour, for 
 the wood is apt to re-absorb the colour. It should be 
 laded off while boiling, and strained through a wicker 
 basket with a cloth. For like reason, take care that you 
 throw no wood into the tun. 
 
 The finishing liquor or dyeing bath of fustic, should 
 be used not later than two or three days after it is 
 made, for it is apt to spoil. 
 
 This dye is used also for Saxon greens. The wool is 
 boiled in a preparation of two ounces of alum per 
 pound of wool, for an hour and a half. You add to the 
 
 Y 
 
170 
 
 same water liquor, fustic, and Saxon blue, in propor- 
 tion to the shade of colour you require. The wood 
 should be put into bags, for if the colour inclines too 
 much to yellow, they can be easily taken out in time, 
 and replaced if needful. (It is better to have a separate 
 fustic ' 1 uor, which you can add as occasion requires. 
 
 T. C.) 
 
 For a tolerably full Saxon green, use four ounces 
 of fustic, and one ounce of the solution of indigo; you 
 may put your alum, fustic, and indigo, all at once into 
 the liquor, and boil your woollen in it for two hours 
 or two hours and a half. This method has perfectly 
 succeeded with me (Homassel.) The cloth should be 
 well washed after the operation. 
 
 Of Soot in yellow colours. Soot is so far from being 
 a despicable ingredient in dyeing, that when it balls 
 well in handling it, you may be sure it will give out an 
 useful colour. The colours of tapestry borders cannot 
 receive their golden tint without soot. The colour of 
 ozier and wicker baskets require soot, so do all the 
 landscape colours in tapestry. 
 
 Although the colour produced from soot is very 
 solid, it must never be used in conjunction with the 
 mineral acids, which degrade it. 
 
 In a boiler of thirty buckets of water, put from ten 
 to twenty buckets of soot. Boil it for two hours, till 
 the soot no longer rises up on boiling: fill the boiler 
 with water, and let it remain for an hour, that the soot 
 may subside. In this liquor pass the yellow cloth which 
 has been already dyed with three or four pounds of 
 weld to one pound of cloth. The colour is browned in 
 
171 
 
 proportion as the cloth is permitted to remain in the 
 liquor; which may be from half an hour to two hours, 
 at a pretty high degree of heat, not boiling. 
 
 If intended for browns, wash the cloth in the river, 
 and give them afterward a tint of madder, and of black, 
 according to your pattern. Or in some cases, in a fresh 
 but weak indigo vat, when you want it for green flies, 
 &c. in tapestry. 
 
 (The use of soot is too little known in England and 
 this country; but it is of more use as it seems to me 
 in drabs, olives, and browns, than in yellows. T. C.) 
 
 Of Turmeric Yellow. This colouri s so fugitive in 
 the sun, that it flies even in the drying. It is of use 
 almost alone in scarlets and carnations; where the ni- 
 tric acid contributes to fix it. 
 
 A tolerably good and fast yellow, that is, one that 
 will resist the sun and air tolerably, but not hot water, 
 can be given by turmeric four parts, in nitric acid ten 
 parts by weight, which has already dissolved one part 
 of yellow orpiment. (I do not understand the use of 
 the orpiment. Nitric acid alone will give a yellow 
 colour to all animal substances. T. C.) 
 
 The spirituous tincture of turmeric is very rich: 
 but it is used for muslin and silk chiefly: it will not 
 do for woollen. 
 
 English Process for Yellow. — Preparation, three 
 ounces of alum, and one ounce of tartar ground fine 
 per pound of woollen. Boil for a couple of hours: 
 drain, cool, and rince the cloth: then dye it iu a bath 
 made of fustic, weld, or quercitron: if you use fustic, 
 take something more than weight for weight of the 
 
172 
 
 wool; if quercitron bark, take one third the weight; or 
 from that to one half; if weld, use three pounds of it 
 to a pound of wool. These drugs may be mixed in 
 any proportion you choose, as fustic with weld, or 
 quercitron with either of them. Weld furnishes upon 
 the whole the best colour; next to that, quercitron 
 bark; which, considering its richness and fastness of 
 colour, is upon the whole the cheapest drug. Mixed 
 with fustic, quercitron greatly improves the colour. 
 It would be a saving for full fast yellows to use two 
 pounds of weld and a quarter of a pound of quer- 
 citron. 
 
 If you want a bright yellow of a greenish cast, use 
 only weld, and add a quarter of an ounce per pound of 
 blue copperas or verdigris, to the preparation. Boil in 
 the dye colour for three hours. Increasing the tartar 
 also greens the tint of yellow. 
 
 Ii you want lighter shades, lessen proportionably 
 both the mord ;nts and the dye stuffs. — If a very full 
 colour, increase all the drugs one fourth. 
 
 Dr. Bancroft, who has had great experience of dye- 
 ing with quercitron bark, prescribes three or lour 
 ounces of alum without tartar, as the mordant for a 
 pound of woollen. Boil the cloth in it a couple of 
 hours; take it out, drain it, but do not rince it: then 
 dye it in a bath of quercitron bark of an equal weight 
 with the alum used. Then at the close of the dyeing, 
 throw in a pound of whiting for a hundred pounds of 
 wool. 
 
 Another yellow, by the same. For one hundred 
 pounds of wool, take seven or eight pounds of Dr. 
 
173 
 
 Bancroft's murio-sulphat of tin described in the sec- 
 tion of scarlet; add to it in the preparation bath, five 
 pounds of alum; dye with ten pounds of quercitron 
 
 bark. 
 
 If a greenish yellow be wanted, use tartar for the 
 purpose, thus; take for one hundred pounds of wool, 
 six pounds of murio-sulphat of tin, six pounds of 
 alum, four pounds of tartar; boil in this preparation; 
 dye with eight pounds of quercitron bark. 
 
 The bark should be tied up in a coarse cotton bag, 
 that will hold a third more; the bag should have a 
 rope to it, to drag it backward and forward in the 
 liquor and diffuse the colour. 
 
 (I am fully persuaded that the proportion of quer- 
 citron bark prescribed by Dr. Bancroft, is greatly too 
 small for a full colour: twice the quantity he pre- 
 scribes would not be too much. The bark he used for 
 his experiments, consisted, I dare say, of selected 
 samples. T. C.) 
 
 Buff Yellow. Although this may be dyed with the 
 usual yellow drugs, it can be better and faster dyed 
 by means of iron stain. That is, by staining the whole 
 cloth with one universal iron mould. 
 
 For fine work. Dip your cloth in water impregnated 
 with a strong solution of iron slowly made in aqua 
 fortis diluted with an equal quantity of water; which 
 when made must be used in a few days or else kept 
 from the air. It will require two gallons for one hun- 
 dred pounds weight of cloth, mixed with a sufficient 
 quantity of warm water. Turn the cloth in it for a 
 quarter of an hour. Drain it: then run it through a 
 
T^---- 
 
 174 
 
 mixture of lime water, three or four pecks of lime to 
 water enough to turn the cloth in: or instead of lime 
 you may use three pounds of potash to the same 
 quantity of water: then expose the cloth after washing 
 it to the air until the greenish colour turns to a buff. 
 Then repeat these alternate dippings, washings, and 
 airings, till the colour is produced. The callicoe 
 printers use lime and potash alternately. 
 
 For common goods, dissolve for one hundred 
 pounds of woollen twenty pounds of green copperas 
 in water, then work the goods in this liquor warm for 
 a quarter of an hour: then in a bath either of lime 
 water or potash. Proceed as above, always airing the 
 goods to give time for the colour to become buff, after 
 each immersion in the lime or the potash liquor. 
 
 This colour diluted is a most excellent ground for 
 grays, and for all colours in which gray is meant to 
 form a part. T. C. 
 
 Of Yellow with lied. This combination in various 
 proportions gives the orange, aurora, marigold, lobster, 
 pomegranate, and other similar colours. 
 
 It is useless to give particular proportions for shades 
 so various. It may be well to remark, 
 
 First, that for bright and lively colours, these mix- 
 tures may be made followers to use up the baths or 
 dye liquors of scarlet, crimson, Brazil, Brazilletto and 
 the other brighter coloured woods. 
 
 Secondly, for fast colours, the common processes 
 in which turmeric is used for the yellow, ought abso- 
 lutely to be rejected. Weld, quercitron or fustic may 
 be used: of these the quercitron is the cheapest in 
 
175 
 
 proportion to the quantity and quality of the colour, 
 and really deserves very nearly, to take the place of 
 all other yellows in dyeing woollen. 
 
 Thirdly, tartar, like all acids, has the property of 
 yellowing red colours. 
 
 Fourthly, for common work, alum and tartar, with 
 quercitron and madder, may be used. The alum about 
 two ounces and tartar one ounce to the pound of wool- 
 len, on the average. 
 
 Fifthly, the red ought to be dyed first: it is easier 
 by this means to hit the required tint, than if the red 
 were dyed last. 
 
 Sixthly, if you dye to pattern, dye specimen pieces 
 first 
 
 The adding or leaving out the tartar, the addition 
 of a minute quantity of sulphat of iron or of copper 
 to the preparation liquor, will vary the shades greatly, 
 where colours of a saddened tint are wanted. 
 
 I insert a few varieties from Homassel. 
 
 Orange and Aurora. Scarlet bath, with the addition 
 of turmeric (rather of weld or quercitron. T. C) 
 
 Mordore. Preparation of alum: dye-bath, madder 
 and weld. If the colour should be too lively, sadden 
 it with walnut peel, or rind. 
 
 Carmelite. The same, but with a proportion of 
 walnut rind. 
 
 Wood Colour. Alum bath: walnut peel and madder. 
 
 Hazle. Light ground of walnut peel: then alum bath 
 with a small quantity of madder. Or a light dye of 
 scarlet upon walnut peel ground. 
 
^^7. ■ " 
 
 176 
 
 Of Yellow with Black: olives and drabs. 
 
 Dark Olive. For one pound of woollen, one ounce 
 of green copperas, the eighth of an ounce of blue cop- 
 peras, two ounces of alum: boil for two hours, rince 
 moderately: then enter the goods into a dye-bath of 
 six ounces of fustic, four ounces of logwood, and two 
 ounces of sumach: boil for an hour. 
 
 Light Olive. For one pound of woollen, one ounce 
 and a half of alum, half an ounce of green copperas, 
 the eighth of an ounce of blue copperas: dye with six 
 ounces fustic, an ounce of logwood and an ounce of 
 sumach. 
 
 In the back country of Pennsylvania they dye olive 
 with equal parts of green copperas and alum, and 
 equal parts of black oak and hickory bark. 
 
 Greenish Olive. For a pound of woollen, one ounce 
 of green copperas, two ounces of alum, half an ounce 
 of blue copperas. The dye drugs as in dark olive. 
 
 Bottle Green. Increase the proportion of green and 
 blue copperas and of logwood, each about one eighth. 
 Or dye first in walnut peel, then in Saxon blue. 
 
 Drab. For a pound of woollen, take two ounces of 
 alum, one ounce of green copperas: dye with eight 
 ounces of fustic, and two of sumach. The colour will 
 be saddened by increasing the proportion of copperas 
 and sumach and diminishing the alum. Sumach gives 
 a reddish brown tinge with alum, though its natural 
 colour is greenish. 
 
 Forrest Drab. For twenty yards of fulled cloth, 
 your copper being filled with pure water, put in one 
 pailful of sumach, one pound of fustic, half a pail of. 
 
171 
 
 alder bark, and two ounces of nut galls, well pounded. 
 Boil them together three hours. Dip your cloth half 
 an hour and then cool it; repeat this twice more, but 
 the last time put into the bath about an ounce of 
 powdered alum. See that the scum is taken off every 
 time you dip. 
 
 Take out the cloth and add a small handful of cop- 
 peras to the dye; then dip the cloth half an hour; take 
 up and cool. Thus proceed till the colour desired is 
 obtained. But note that you must increase the quantity 
 of copperas every time you dip. Rince the cloth well 
 when dyed. 
 
 By adding a little yellow oak, hemlock or butter- 
 nut bark, and boiling it well, a cheap and good brown 
 colour may be produced, which many people prefer 
 for common use. (Asa Ellis.) 
 
 Dark Drab Brown. (From the same.) For twenty 
 yards of fulled cloth, put into the copper half a bushel 
 of hemlock bark, and a peck of yellow oak bark, or 
 walnut bark; boil them till the strength of the bark is 
 exhausted, and then take the bark out. Dip and cool 
 two or three times, as in laying the ground of other 
 dyes; then raise the colour with copperas, dipping and 
 cooling until it becomes as dark as you desire. 
 
 Savoy Brown. To each pound of wool, take one 
 ounce and a half of alum and half an ounce of tartar, 
 dissolve them, and boil the wool in this mordant for 
 two hours: drain it, and rince it to take off superfluous 
 alum: dye it in a bath of two ounces quercitron, six 
 ounces fustic, and one ounce red- wood, at about 180° 
 of Fahrenheit for an hour and a half. Wash it and dry 
 
 Z 
 
178 
 
 it. Refresh the alum liquor with an ounce of alum per 
 pound, and work the wool in it for half an hour; drain, 
 rince slightly, dye in a liquor of six ounces madder to 
 the pound of wool, entering the cloth at a blood heat, 
 and keeping the madder liquor not exceeding 160° of 
 Fahrenheit, for an hour. Drain, and wash the woollen. 
 
 Then make a bath of two ounces of logwood and 
 half an ounce of green copperas to the pound of wool- 
 len, enter the goods at a boiling heat, and continue 
 them an hour. The shades given by red- wood and log- 
 wood will not stand the sun and air. Nothing but 
 madder gives a fast colour. You may sadden with 
 sumach. 
 
 Snuff Brown, To each pound of wool, mordant with 
 an ounce of green copperas, half an ounce of alum, 
 and half an ounce of tartar in the usual way: rince 
 moderately. Dye with two ounces madder, one ounce 
 red- wood, four ounces fustic and two ounces sumach 
 per pound, at about 180° of Fahrenheit. Take out the 
 goods, drain and wash them. A little more alum will 
 brighten and a little more copperas sadden the colour. 
 The goods may be dyed first, and then the mordant 
 put in, as in the following process. 
 
 London Brown. For each pound of woollen, boil 
 two ounces madder, two ounces red- wood, four ounces 
 logwood, and as much sumach for an hour; then enter 
 the goods and boil for an hour. Raise the goods out 
 of the liquor, and add to it a solution of an ounce and 
 a half of copperas and half an ounce of alum. Enter 
 the goods again, and work them till the required co- 
 lour is obtained. 
 
 

 179 
 
 It is common to add alkali or urine to heighten the 
 colour, but I am of opinion they always do harm by 
 causing the colour to change more easily in the air. 
 
 All these colours may of course be varied in shade, 
 by slight variations in the proportion of ingredients 
 used. For this no particular directions can be given, 
 nor are they needed. 
 
 I do not approve of dyeing first and mordanting 
 afterwards, so much as the contrary practice; but it 
 answers better on woollen than cotton, and better 
 where the quantity of mordant is small. But alternate 
 dippings are best where a good colour is wanted. The 
 most durable browns, however, are those dyed with 
 walnut rind and madder, or sumach and madder: 
 walnut rind deserves great attention. 
 
 Brown, Nankin, Cinnamon, fcfc. Walnut rind; wal- 
 nut peel; the green external shell of the walnut, is the 
 substance chiefly used for dyeing brown or fawn co- 
 lour. Sometimes the walnut root is used, which has 
 nearly the same properties. Sometimes this colour is 
 produced by alder bark, and also by sumach. The 
 walnut rind is the best and most convenient substance, 
 as it can be used either with or without a mordant. It 
 is the better for being gathered and kept for two years 
 before it be used. 
 
 Brown from walnut rind. Boil in water for half an 
 hour, a sufficient quantity of walnut rind to produce 
 the colour you wish. With cloth, begin with the 
 deepest colour, with yarn begin with the lightest. The 
 cloth and yarn must be moist with hot water before 
 you enter them into the dye. Add walnut rind accord- 
 ing as you find the bath requires it. 
 
180 
 
 The preparation of the cloth in alum water, about 
 two ounces to the pound, makes the colour take more 
 fully, and be more lively. 
 
 The addition of a small quantity of green copperas 
 saddens the colour, turning it to a brownish black. 
 (Hellot.) 
 
 On the Brown of Walnut Rind, by Homassel. The 
 outer green rind or peel of the walnut, is employed 
 only for fast colours. The leaf and the root of the wal- 
 nut have the same properties with the rind, but they 
 are not so rich in colour. 
 
 In the season when this fruit is beaten off the trees, 
 tun-casks or cisterns must be filled with the rind, and 
 then the vessels filled with water. They may thus stay 
 and ferment for six months if you please, or even for 
 three years; but the vessels must always be kept filled 
 with water; and the walnut peels must never be stirred; 
 if either of these precautions be neglected, worms will 
 breed in the walnut peel, and its properties will be 
 injured. Mere putrefaction will not injure the colour. 
 
 Carnation colours, whatever be their delicacy or 
 their force, can never be of the good dye (that is fast 
 colours) if the principal brown or light ground be not 
 dyed with walnut rind. In defect of this ingredient, a 
 black tint must be used, but the black of a light shade 
 is of the false tint (fugitive.) Now whatever the skill 
 of the workman may be who employs this fugitive co- 
 lour, he can gain no credit by it, for it will alter be- 
 fore it has received the last finish. 
 
 Carnation colours, as they are called, are so various, 
 that they admit of twenty-five thousand shades: hence 
 
181 
 
 some idea may be formed of the immense consump- 
 tion, as a dyeing ingredient, of walnut rind. 
 
 The method of using walnut rind, is this. To thirty 
 buckets of water in a boiler, put ten or twelve buckets 
 of walnut rind or peel, which should be boiled for 
 three hours. Lade out the walnut peel into baskets 
 that they may drain, and then throw them away. Fill 
 the boiler to the top, and keep a gentle fire under it 
 so as to keep the liquor below a boiling heat. This 
 heat causes a thick oily scum to rise, and at the mo- 
 ment when this is about to separate by the boiling of 
 the water, let it be scummed off very clear, so that 
 not a trace of it remains; for if this be not done, there 
 will be spots on the cloth that cannot be effaced. The 
 cloths may be entered without being wetted, and 
 without any aluminous mordant as a preparation. (But 
 the colour is improved by such an aluminous prepara- 
 tion. T. C.) 
 
 The woollen cloth and yarn intended for brown or 
 fawn colour, may be worked in this walnut liquor, till 
 they have acquired the wished for tint. This bath is 
 excellent for bottle greens, and other brown mixtures 
 of Saxon greens. After having produced browns of 
 this description, the same bath or liquor is excellent 
 also as a ground for many other colours, as hazle, 
 flesh colour, Paris mud, fast gray, &c. &c. 
 
 A skilful dyer may finish all the colours that have 
 been previously grounded with walnut, at a very 
 little expense. 
 
 To finish common browns grounded with walnut 
 rind, after washing them at the river, run them 
 
182 
 
 through a hot alum preparation (of an ounce to the 
 pound of wool, T. C.) and then finish with a small 
 quantity of madder: (about two ounces to the pound 
 of cloth. T. C.) 
 
 The colour thus produced with walnut rind and 
 madder, is unalterable, and resists all proof. The hazle 
 colour, dyed in the same way, is as solid as the 
 brown. 
 
 Flesh Colours, are finished with a small quantity of 
 madder in a scarlet vat nearly worked out. 
 
 Paris mud, is finished with a little logwood and 
 copperas; but if the colour be required to stand, it 
 must be finished with a small quantity of nitrat of 
 iron, and galls. (Nitric acid is so dear in this country, 
 that nitrat of iron, though excellent, can seldom be 
 used. T. C.) 
 
 Grays intended to be fast, must be finished in the 
 same manner. 
 
 Amiens Gray, is finished with a solution of indigo 
 prepared with Spanish white. (Les gris d'Amiens avec 
 un dissolution d'indigo preparee au blanc d'Espagne: 
 I do not understand this: blanc d'Espagne or Spanish 
 white, is nothing but a very finely washed whiting, 
 which may be of use to take off the superfluous quan- 
 tity of sulphuric acid, but common whiting would 
 answer this purpose. T. C.) 
 
 American Gray, is finished in the same manner, 
 with the addition of a soot bath. In a word, walnut 
 rind or husk, and soot, are of such extensive and in- 
 dispensable use in the practice of dyeing, that I may 
 renture to say (says Homassel) without exaggeration. 
 

 183 
 
 that these colours are to the dyer, what the founda- 
 tions of a building are to the mason, who means to 
 erect upon them the most beautiful structures. 
 
 Of Sumach for the Browns. (Hellot.) This drug is 
 used much in the same manner as the walnut rind, but 
 its colour is not so deep, and is somewhat greenish. 
 It is of a brown colour when used with alum. It is an 
 astringent substance, and is used as a substitute for 
 galls, but it requires a great deal more in quantity. 
 The colour of sumach is solid and permanent. It may 
 be mixed with galls, or alder bark, or walnut rind, or 
 all of them, in the production of browns and fawn co- 
 lours; the various hues of these colours must be 
 judged of by the eye, but they are not difficult to 
 manage. 
 
 Of Sumach. (Berthollet.) Rhus coriaria, a shrub 
 grown in Syria, Palestine, Spain and Portugal. The 
 shoots are cut to the roots; they are then dried, and 
 ground in a mill for the use of dyers and tanners. 
 The sumach cultivated near Montpelier is called 
 rondou or redoul. Bancroft says the Pennsylvania su- 
 mach is the rhus glabrum: but almost all the kinds 
 grow here. 
 
 The infusion of sumach, which is of a greenish 
 fawn colour, becomes brown On exposure to the air. 
 When fresh, potash produces but little change in it; 
 acids brighten and weaken the colour; solution of 
 alum produces a precipitate not abundant; the super- 
 natant liquor is yellow. 
 
 Sugar of lead produces an abundant yellow-brown 
 precipitate, brown at the top; the supernatant liquor 
 is a light yellow. 
 
184 
 
 Sulphat of copper gives an abundant precipitate of 
 a greenish yellow, which after some hours is changed 
 into a greenish brown; the supernatant liquor is clear 
 but slightly yellow. 
 
 Common sulphat of zinc (which always contains 
 iron, T. C.) muddies and blackens the liquor; a deep 
 blue precipitate is deposited. Pure sulphat of zinc 
 deepens the colour, and gives a fawn coloured brownish 
 precipitate. 
 
 Common salt produces at first no sensible change, 
 but after some hours the liquor becomes troubled, 
 and the colour lighter. 
 
 Sumach acts upon a solution of silver, just as galls 
 do, and the reduction of the metal is promoted by the 
 action of light. 
 
 By itself, sumach affords a greenish fawn colour; but 
 it gives several shades on cotton according to the mor- 
 dant used. Thus as we have already said, with con- 
 centrated acetat of iron, it gives a black; with diluted 
 acetat of iron various shades of gray. With acetat of 
 alumine, a yellow with a tint of green, very fast; so 
 that in a pattern the gray, yellow, brown, and black 
 may all be produced by raising in sumach. 
 
 To dye cloth, or woollen yarn with this drug, heat 
 the water to about 50' of Reaumur, 145° of Fahren- 
 heit; throw in the sumach, enter the goods and work 
 them for fifteen or twenty minutes, raising the heat a 
 little. If the heat be too much raised, or the goods 
 kept in too long, the colour is weakened instead of 
 being deepened; and those that have been prepared 
 with iron, in a short time lose their colour altogether. 
 
185 
 
 This effect may be observed, but in a less marked 
 manner, in several other dyes, which require the goods 
 to be taken out the instant the required colour is ob- 
 tained. Also, for the purpose of dyeing evenly, but a 
 few pieces should be dyed together at a time. (Ber- 
 thollet.) 
 
 Alder or owler bark for browns. This substance 
 is more used than spoken of. It is, like sumach, an as- 
 tringent, and gives out a brown colour, which with 
 an alum mordant is good and fast. With copperas of 
 iron, it gives a brownish black; and when diluted, a 
 mud colour. The cotton dyers use it more than the 
 dyers on woollen, but it is a drug of considerable 
 value, from its cheapness, and the permanence of the 
 colour it affords. When sumach is scarce it supplies 
 its place. 
 
 As walnut peel, sumach, alder bark, and soot, each 
 give a different shade of brown, the colours of which 
 brown is the basis may be varied at pleasure, with 
 these dyeing ingredients and different proportions of 
 alum and green copperas, with or without madder. If 
 in lieu of madder, quercitron, weld, or fustic be used, 
 you get the different tints of drab; and with a shade of 
 blue, olive, bottle greens, goose dung greens, &c. 
 Walnut, sumach, alder and soot are all fast colours, 
 and calculated to do credit to the dyer. 
 
 Every dyer should keep by him a specimen of every 
 colour he dyes, with the ingredients and the propor- 
 tions; these should be pasted or sewed in a book, 
 having a book for each class of colours; he may then 
 know at any distance of time, the ingredients neces- 
 
 2 A 
 
186 
 
 sary> with their proportions, for any particular shade 
 of colour. In this way, he will never be at a loss to 
 dye to pattern, which otherwise he can never be sure 
 of without previous trials, which always occasion waste 
 of time. 
 
 The false dye, or fugitive shades of brown, are 
 made with red saunders, or some of the red woods, in 
 lieu of madder. The fugitive and cheap bottle greens, 
 have their blue tinge given, either by the solution of 
 indigo in sulphuric acid, or by logwood and blue cop- 
 peras. It is in some cases desirable to use these for 
 cheapness, but I am well persuaded, it is not the per- 
 manent interest of a dyer to do so. I shall give some 
 of these processes immediately. 
 
 Yellow and Brown with Blue. Fast Green. Dip the 
 cloth in the blue vat, giving the shade of blue you re- 
 quire; either the pastel vat or the indigo vat will pro- 
 duce a fast colour; drain, open, and air the cloth till it 
 acquires the blue colour from the air: then wash it 
 well, but not before: for if the cloth be washed before 
 it be blue, the indigo will wash out. 
 
 Proceed to give a yellow dye, with the usual mor- 
 dants of alum and tartar for the preparation; the quan- 
 tity of these salts may be less for a green than for a 
 yellow; so may the quantity of weld or quercitron, 
 using them however in the same relative proportions 
 as for yellows; thus, if for cloth intended to be a full 
 yellow, you use three ounces of alum, and one of tar- 
 tar, or for the deepest yellow four ounces of alum and 
 two of tartar, with from three to four pounds of weld 
 per pound of woollen, a green will seldom require 
 
187 
 
 more than half the quantity. Quercitron, according to 
 Dr. Bancroft, is used in more than a full proportion, 
 when it amounts to double the weight of alum em- 
 ployed; but as I have said before, I think he gives 
 more credit to his patent drug in this respect than it 
 deserves. 
 
 No blue is a fast colour but that from the woad 
 (pastel) vat, or from the indigo vat: nor is any yellow 
 fast, but that from weld or quercitron: that is of the 
 drugs in common use; I believe the hickory and the 
 barberry root give out very fast and bright yellows. 
 Fustic is so cheap that it is commonly employed, but 
 it ought not to be used for fine cloths. 
 
 Most dyers, dye both their shades of blue and of 
 yellow at two dippings each, beginning with the 
 deepest shade; in this case the cloth need not be long 
 in the dye -copper. 
 
 It is common, in a regular dye-house, to dye cloths 
 a succession of shades, which, where there is much 
 business, is convenient. 
 
 For clear and light colours, the yellow- copper ought 
 not to boil. 
 
 Greens may be saddened with a little copperas of 
 iron, either with or without an additional astringent 
 of galls or sumach. 
 
 The blue should be dyed first, whether the blue vat 
 be used, or the sulphat of indigo: for the yellow dye 
 is injured both by the alkali of the one, and the acid 
 of the other. 
 
 Saxon Green. Homassel. Two ounces of alum per 
 pound of woollen. Boil the cloth in it for an hour: 
 
188 
 
 take it out, drain it; put into the boiler one ounee of 
 the solution of indigo per pound of cloth, and four 
 ounces of fustic. Boil these for an hour and a half. If 
 you dye to pattern increase or diminish accordingly. 
 Saxon greens are also frequently dyed with turmeric 
 for the yellow colour. 
 
 (I have great respect for a practical book like Ho- 
 massel's, but I greatly object to every part of this 
 process. First, there is no reason why the usual dose 
 of tartar should be omitted in the preparation. Se- 
 condly, I object to the yellow being dyed first, for the 
 acid of the indigo solution will certainly impair it. 
 Thirdly, I object to the indigo solution being boiled 
 in the liquor, for it will certainly act on the copper 
 and sadden the colour. Fourthly, I protest against all 
 use of a drug so fugitive as turmeric in the woollen 
 dye. T. C.) 
 
 Same Colour. Berthollet. Experience has taught us 
 that this colour can be dyed more expeditiously than 
 by the former practice. A preparation is given to the 
 cloth in the usual way of dyeing yellows; the cloth is 
 then washed; (it ought to be no more than rinced at 
 any rate, T. C.) put into the same preparation liquor, 
 fustic in chips according to the shade required; the 
 fustic must be enclosed in a bag; (in England all 
 woods are used rasped, T. C.) boil this for an hour 
 and a half; take out the bag; cool the bath so that you 
 bear your hand in it; (this will vary from 130° to 140° 
 or even 145° of Fahrenheit's thermometer, T. C.) pour 
 in about twenty ounces troy weight of the solution of 
 indigo, for every twenty-five yards of cloth. Turn the 
 
189 
 
 cloth quickly at first, and then more slowly; take the 
 cloth out of the dye- vessel before the liquor boils. It is, 
 however, a good practice to put in but two-thirds of the 
 solution at first, then to give the cloth two or three 
 turns in the liquor and then put in the other third; the 
 colour is more even in this way. 
 
 If you perceive that the colour does not take well, 
 throw in a little powdered calcined alum. (There is 
 no use in calcining it, but to make it dissolve a few 
 minutes sooner. T. C. ) 
 
 The apple green, is usually dyed after the Saxon 
 green, refreshing it with a third of the original quan- 
 tity of ingredients; and cooling the bath. The cloth 
 may be turned in it, till the heat approaches boiling. 
 
 It is evident that several shades of green may be 
 dyed, according not only to the proportions of the in- 
 gredients, but the kinds of yellow dye-stuff employed. 
 But fustic is generally preferred, because the acid of 
 the solution acts less upon it, than upon the other 
 yellow drugs, whose colour it enfeebles and in part 
 discharges. 
 
 To avoid this, (says Berthollet) Bancroft proposes 
 to dye the cloth blue first; to rince it well in clear 
 water; then to give it a preparation of three parts of 
 washed chalk, or whiting, and ten or twelve parts of 
 alum, to a hundred parts by weight of cloth; at the 
 end of a quarter of an hour, he adds one part of the 
 chalk, and another part in six minutes afterward, and 
 then another, till a good green be produced. He ad- 
 vises also, as others do, to add chalk to the sulphat of 
 alumine (alum), but by this means he decomposes the 
 
190 
 
 alum, and precipitates the basis of this salt. The effect 
 of carbonat of lime (chalk or whiting) is very different 
 from that of the alkalies on alum; for these, whether 
 caustic or carbonated, are able to redissolve the alu- 
 mine precipitated, which whiting or chalk cannot; for 
 it is converted into a sulphat of lime or gypsum. The 
 sulphuric acid of the solution of indigo, may be neu- 
 tralized by chalk, after the cloth is dyed blue, before 
 it be alumed for the yellow. 
 
 (All this difficulty is owing to the wish to save 
 time by doing at once, what in my opinion, can only 
 be well done at twice. Dye the cloth first any shade 
 you require of Saxon blue. Rince it; or if you will, 
 run it through whiting and water first, and then rince 
 it. Then dye it yellow with fustic or any other dye- 
 wood in the usual way; for the acid can now no longer 
 act either on the alum or the yellow colour. T. C.) 
 
 It is objected to Saxon blue, that it has a greenish 
 tinge, which is probably owing to some peculiar ac- 
 tion of the acid on the particles of indigo: (it is not; 
 it is owing principally to impurities in the indigo 
 which ought previously to be washed out; very little 
 of this tinge will be seen, if the solution be made with 
 the precautions I have recommended, under the article 
 of Saxon blue. T. C.) It is objected also that this kind 
 of dye is not solid. In England the dyers have endea- 
 voured to make it approach in solidity, as well as 
 brilliancy, to the vat blue. Gulich gives a process for 
 the English Saxon blue and green, of which he boasts 
 much. 
 
 He employs a cold vat for dyeing his blue, com- 
 
191 
 
 posed of three parts good quick lime, three parts 
 green copperas, one part and a half of orpiment, and 
 one part indigo. The indigo, ground and sifted in the 
 usual manner, is put into a wooden vat with the ne- 
 cessary quantity of water; the lime is added, and the 
 vat well raked; after resting some hours, the copperas 
 reduced to powder (or better in solution) is put in; it 
 is again raked, and left to repose for a few hours; then 
 the orpiment in powder is thrown in; it is again raked, 
 and left to rest for a few hours. 
 
 When the liquor is well coloured, and clear under 
 the froth, the goods are dyed in the usual way. He 
 recommends this particularly for silk; and is of opinion 
 that the want of success in a cold vat among the silk 
 dyers, has been owing to a want of orpiment. (Ber- 
 thollet.) 
 
 Another* Haigh of Leeds. Eight ounces of indigo 
 is sufficient for four pounds of oil of vitriol for green, 
 and would even dye a pea green if used very hot, and 
 therefore would not do for blue. (He recommends 
 twelve ounces of indigo to this quantity of oil of 
 vitriol for blue; but in fact he knows little about it. 
 These are receipts that will do tolerably well for 
 Saxon blue, but I know of no good one except that 
 which I have given under the head of Saxon blue. T. 
 C.) The indigo is better suspended in this liquor than 
 when twelve ounces are used, and is supposed to go 
 further in green. (That is, the impurities of unwashed 
 indigo carbonate the oil of vitriol and give it a 
 brownish-yellow tinge, which with the blue, makes 
 a green. T. C.) The goods being well scoured, are to 
 
193 
 
 be alumed. For this purpose, two pounds of alum are 
 to be put into a copper with fair water, and the goods 
 boiled gently an hour and a half. Whilst this is per- 
 forming, another copper is got ready, in which fustic 
 chips are put to boil. (In a bag. T. C.) If there are 
 any to be dyed a pea- green, it is best to dye them 
 first; not as practised in some dye-houses; for this 
 reason, that when several parcels of goods have been 
 through the same liquor, there remains a scurf which 
 the acid extracts, and that is sure to stick to the next 
 parcel that goes in; and if pea-green was the last, the 
 colour would be dulled thereby. The greens (pea- 
 green excepted) are to be turned about ten minutes 
 in the alum liquor after they are dyed, in order to 
 clear them of the stuff, and render the colour brighter. 
 The liquor is not to be hotter than the hand can be 
 borne in. (140° of Fahrenheit.) Observe also, if the 
 alum was put in (as is the custom in some dye- 
 houses) with the fustic, it would retard its working 
 so well. For alum being an acid, would discharge if 
 used with, as well as to prepare for, fustic. 
 
 The reader will perhaps think me too tedious in 
 this process, and say (because he has not used this 
 method) it is a superfluous work; but be assured that 
 the time lost in the process, will be saved in the fustic, 
 if attention be paid. 
 
 (I have already given my opinion, that the blue 
 should be dyed first, and then rinced in whiting and 
 water. Then prepared with alum and tartar for an 
 hour and a half: then dyed in the usual way with 
 quercitron or fustic. T. C.) 
 
193 
 
 I do not think it necessary to give any particular 
 details on the intermixture of yellow and red, yellow 
 and brown, yellow and black, brown and red, brown 
 and black, and so on, because they are sufficiently 
 obvious and easy; and no directions can be given 
 which the eye of a tolerable dyer will not anticipate. 
 It may be worth while to state briefly the general 
 effects of the primitive colours taken three by three 
 from Haigh's Dyer's Assistant. 
 
 From blue, red, and yellow, the red olives and 
 greenish grays are made. In the mixture where blue 
 is a shade, it is usual to begin with it. The stuff is 
 afterward boiled to give it the other colours, in which 
 it is alternately dipped. Sometimes they are mixed 
 together, which may be done, if they require the 
 same preparation, as madder red and yellow. As to 
 cochineal and kermes, they are seldom used in these 
 common colours, but only in light colours, which 
 have a bloom or vinous hue, and are required to be 
 bright. In this case they are not used in the last liquor, 
 that is, the stuff is only dipped in when it has received 
 the other colours, unless they are to be grayed a little, 
 which is lastly done by passing them through the 
 browning. 
 
 Olives are made from blue, red and brown, from 
 the deepest to the lightest; and by giving a light shade 
 of red, the slated grays, lavender grays and such like 
 are produced. 
 
 From the blue, the red, and the black, an infinite 
 number of grays of all shades are made, as the sage 
 gray, the pidgeon gray, the slate gray, the lead gray, 
 
 2B 
 
194 
 
 the king's and prince's colour browner than usual, 
 and a variety of other colours almost innumerable. 
 
 From yellow, blue, and brown, are made the greens, 
 goose dung, and olives of all kinds. 
 
 From brown, blue, and black, are produced the 
 brown olives, and the green grays. 
 
 From the red, yellow, and brown, proceed the 
 orange, gold colour, marigold, dead-leaf, old carna- 
 tions, burnt cinnamon, and tobacco. 
 
 From the red, yellow, and black, pretty nearly the 
 same as the last, and the deep feuille-mort (dead-leaf;) 
 as also the ox hair and brown nut, and others of the 
 like kind. 
 
 The preceding is a sufficient specimen of the va- 
 rieties that may be produced by a mixture of several 
 colours: it is seldom that practice extends further 
 than these. 
 
 I am not well acquainted with the following singu- 
 lar process, either in theory or in practice: I copy it 
 from Homassel, whose book, both on account of the 
 author and editor, is entitled to as much attention as 
 any other treatise on dyeing I am acquainted with. 
 
 On the Produce of Woollen Flocks. Du produit de la 
 
 Bourre. 
 First operation. Wash the flocks well in a wicker 
 basket at the river: then boil them for five hours in 
 alum, at the rate of pound for pound. Take out the 
 flocks; leave it in an underground room or cellar 
 (cave) during one month to feed upon the alum. (Is it 
 possible that half so much alum can be of use? T. C.) 
 
195 
 
 Second operation. Wash the flocks at the river scru- 
 pulously and with great care. (It is impossible that 
 this can be proper, unless too much alum has been 
 used or rather wasted in the first operation. Indeed, I 
 cannot see how the wool can be benefited by an alum- 
 ing beyond four or six ounces to the pound of wool. 
 I am fully persuaded, that until colouring matter is 
 brought to act upon the alum, it is not decomposed: 
 it rests intermingled with the fibres of the wool, in 
 the form of alum, and can be completely washed out 
 by water. Hence I object in all cases to these careful 
 and scrupulous preliminary washings. T. C.) This 
 manoeuvre takes much time to cleanse it well in close 
 wicker baskets. The flocks are then dyed in a bath of 
 two pounds of good madder to each pound of flocks. 
 They are put in while the water is warm, the liquor is 
 heated gently and gradually; it is kept under a boiling 
 heat as usual for madder, during three hours; it is 
 then taken out, cooled and washed at the river with 
 the same precautions as have been prescribed for 
 washing after the aluming. It is then spread out on 
 planks in an upper floor to dry. The flocks thus pre- 
 pared, are employed in commerce. 
 
 Third operation. The solution (fonte) of the flocks, 
 forms a third operation, which must be begun at four 
 o'clock in the morning, so as to be finished at eight 
 o'clock at night. A boiler is half filled, and two pounds 
 of potash (cendres gravelees, ashes from calcined 
 wine lees) are used to each pound of flocks. There 
 must not be more water than a small bucket full, to 
 each pound of flocks. When the potash is well melted, 
 
M 
 
 196 
 
 put in the flocks. Have ready at the side of the boiler, 
 a barrel containing urine in the proportion of a small 
 bucket full to each pound of flocks. The liquor in the 
 boiler, must be well stirred, and boiled till the flocks 
 are completely dissolved: the liquor will then swell 
 up, and be apt to boil over, and will be of the con- 
 sistence of milk soup. It must then be checked by 
 letting the urine run into the boiler through a pipe 
 not thicker than a straw. This operation, which from 
 beginning to end requires sixteen hours, demands 
 that the urine shall be ten hours in running out of the 
 barrel, and that the boiling shall continue five hours 
 afterwards. When the operation is finished, there 
 ought not to be in the boiler more than two quarts of 
 fluid substance for each original pound of flocks, ex- 
 cept the sediment, which is not calculated. Twenty- 
 five years ago, this liquor was sold to the makers and 
 dealers in feathers and plumes at a pound sterling the 
 bottle. 
 
 With this solution of flocks, rose colours are dyed 
 upon woollen, as beautiful as with saiflower upon silk, 
 by diluting the liquor in warm water, but they are not 
 solid. 
 
 The sediment, which often makes half the quantity 
 of the mass, is used for orange tints. 
 
 General Remarks on the Woollen Dye. 
 Having thus finished all the processes I think ne- 
 cessary to detail upon the subject of dyeing woollen, 
 I would sum up with some remarks that for the most 
 part have been directly made or hinted at before in 
 the preceding pages. 
 
197 
 
 First, in impregnating woollen with alum, I do not 
 believe that there is any use in employing more than 
 six (or rather four) ounces to the pound; because the 
 quantity of madder or other colouring drug which the 
 cloth will take up, can be fully precipitated by that 
 quantity of alum. I put a solution of one part alum, to 
 a boiled decoction of four parts madder: an additional 
 quantity of alum solution threw down no precipitate. 
 
 Secondly, the cloth after aluming may be rinced to 
 get off small lumps of alum, but if it be washed scru- 
 pulously, all the alum will be washed out: for the 
 cloth does not decompose it: it is only decomposed 
 and fixed on the cloth, by the action of the colouring 
 matter of the drugs used. 
 
 Thirdly, it is of use to keep the cloths after alum- 
 ing in a damp place, because by this means the alum 
 is prevented from crystallizing and more equally dif- 
 fused in solution throughout the cloth. 
 
 Fourthly, in general a tolerably full colour will be 
 obtained by three ounces of alum and one of tartar to 
 a pound of the cloth: but the colour may be increased 
 in intensity to the amount of four but hardly of six 
 ounces: that is, if the proportion of colouring drug be 
 increased in proportion. The tartar I think prevents 
 the alum from crystallizing. 
 
 Fifthly, I think woollen requires tartar; and that in 
 general one half of tartar to one of alum, is not too 
 much: but where acids weaken the colour less may 
 be used. 
 
 Sixthly, in the dye-bath, a heat beyond 180° of 
 Fahrenheit is not desirable: for madder, it ought not 
 to go beyond 150° to 160°. 
 
ON DYEING SILK, 
 
 SlLK is not of so decidedly animal a nature as wool- 
 len, as to its properties in dyeing. It unites very well 
 to alum, but the acid of nitre decomposes it, and pre- 
 vents its retaining the colouring matter. It has little 
 affinity with sulphuric acid; but if it be forced to re- 
 ceive a dye by means of this acid, it loses its lustre in 
 the air in a very short time. 
 
 The colouring matters used in dyeing wool, are 
 employed also to dye silk: but the method of ma- 
 naging the dyeing drugs upon silk is very different. 
 For many colours, you must not employ a degree of 
 heat beyond the thirtieth degree of Reaumur's ther- 
 mometer, (equal to about 100° of Fahrenheit,) and 
 always in troughs (Baquets.) The necessary dexterity 
 in handling silk stuff's, can only be acquired by long 
 apprenticeship; but as to the mere dyeing, that can 
 soon be taught to any one accustomed to dye woollen. 
 Indeed I never knew a good silk dyer who had not 
 been a woollen dyer; a good workman ought to be 
 both. 
 
 On boiling raw and unbleached Silk. HomasseL In 
 the first place, you must divide it into hanks of a 
 
199 
 
 pound weight each, strung upon ozier or wicker. 
 Pass a string or cord through ten of these hanks. 
 When the hanks are at half twist, put them into a bag 
 or pocket of thick linen, open at the side; put three 
 strings (thirty hanks) into one pocket, arranged one 
 on the other, in such a way that there is no danger of 
 their entangling while they boil. Then sew up the 
 side of the pocket. 
 
 For one hundred pounds of silk put into a boiler 
 from thirty to thirty-six buckets of soft river water, 
 or such as will mix well with soap. Take for each 
 pound of silk, four ounces of good white soap, cut it 
 in pieces, and dissolve it in the water. When the soap 
 is perfectly dissolved, put more water into the boiler 
 to cool it; then put in the pockets of silk, and keep 
 the liquor not at a boiling heat, but at such a degree 
 as will make the soap and water boil up like milk over 
 the fire just about to boil over. But if the heat be kept 
 up to the full boiling point, the silk will open and be- 
 come furzy; and if it be permitted to touch the sides 
 of the boiler, it will burn; in which case you occasion 
 yourself a great deal of trouble, and incur the hazard 
 of spoiling the whole batch. 
 
 In this manner you keep up the boiling not less 
 than four hours, keeping the pockets constantly stirred 
 and turned one over the other, and preventing their 
 resting against the sides of the boiler: if they burn at 
 all, you must take out the pockets, open them, exa- 
 mine the silk, and then if you think fit, return it into 
 the boiler again sewed up, calculating and allowing 
 for the time this operation takes. 
 
200 
 
 At the end of four hours take out the pockets of 
 silk with two poles, beat them, open the pockets, and 
 hang up the hanks by the cord or strings that were 
 passed through them, to drain and cool. Then wring 
 them upon the pegs, so that they can be handled, and 
 then wash them thoroughly at the river. 
 
 When the silk is washed, it must be spread out in 
 the water, by a turn of the wrist every time it is turn- 
 ed, changing hands. It must then be well beaten or 
 beetled on a flat stone, turning it so as to expose it in 
 all parts, before it is again plunged into the river. It is 
 absolutely necessary that the workmen should under- 
 stand and be able to manage the different turns of the 
 wrist in handling and working silk, otherwise they 
 will entangle it, and make no good work. To acquire 
 this dexterity, the silk dyer should make his apprentice 
 boys exercise themselves at it during their leisure 
 hours, with a parcel of Grenada siik tied up in hanks 
 and worked in a trough. This is very essential to the 
 interest of the boys, for a workman who knows how 
 to handle silk, will earn more wages than one who 
 merely knows how to dye it. The most essential parts 
 of the management of silk, is to know how to wash it 
 well, to wring it well, and to smooth it well (lisser.) 
 Silk not well washed, is very troublesome. If you dye 
 it in a vat, the soap is extricated from the silk, and 
 mixes with the dye stuff in such a manner as to pre- 
 cipitate the colour, so that you can hardly recover the 
 tone of the vat again. I know of no enemy so dreadful 
 to the warm indigo vat, as soap. 
 
 Silk which is alumed without being well washed, 
 
201 
 
 takes the alum imperfectly, so that when it comes to 
 be dyed, it is stronger of colour in some places than 
 others, and appears spotted. 
 
 A parcel of silk, not dexterously wrung, and the 
 fibres laid smooth and even, does not dry equally and 
 perfectly; and when dyed, it is apt to spot. If you pass 
 it into an indigo vat, the colour will disappear in those 
 places where it is moist; you must then discharge the 
 colour, and begin your labour anew. When you take 
 a hank of silk in the left hand, and turn it upon the 
 stick, it soaks up too much water where the hand 
 presses it, and if it be not dextrously and evenly turned 
 upon the stick by a turn of the wrist, it will become 
 spotted in the places that are pressed by the hand, 
 when it is dyed. Hence it is evident that the art of 
 handling the silk in a workman-like manner, is of the 
 first importance to the dyeing of it well. All this can 
 only be attained by example and practice. When the 
 silk is well washed, and beaten at the river, it some- 
 times happens that you discover spots where the natu- 
 ral gum-resin of the unbleached silk has not been 
 thoroughly removed; the workman calls this biscuit, 
 because those places have not been sufficiently boiled. 
 This may arise from the hanks having been too closely 
 confined in the pockets, or that they have not been 
 sufficiently stirred and moved in the boiler, by bring- 
 ing the bottom pockets to the top in rotation continu- 
 ally, or that the heat has not been sufficient, or that the 
 quantity or quality of the soap has been deficient. In 
 this case, the spotted hanks must be separated, and 
 boiled over again, either in a separate quantity of soap 
 
 2C 
 
202 
 
 and water expressly prepared, or with other hanks in- 
 tended to be still further bleached for white silk. "The 
 above described process being sufficient for silk meant 
 to be dyed, but not for silk meant to be made up white. 
 As yet, it is only ungummed. 
 
 For the boiling of silk, it is necessary to use the 
 best white soap, which goes farthest, and is cheapest > 
 
 upon the whole. Some coarse soaps unite with the gum- 
 resin of the silk and form a varnish difficult to be dis- 
 solved. 
 
 Fat soaps (soft soaps) are sometimes used for the 
 purpose of boiling silk, but the operation is not per- 
 fect; and the colour not so good at first, is apt to red- 
 den by time and exposure. 
 
 Silk loses from twenty-five to thirty per cent in 
 boiling, to deprive it of its gum-resin. Hence it 
 should be remembered, that in dyeing, one pound of 
 silk weighs and means only twelve ounces. 
 
 The soap suds used to boil silk, soon putrefies and 
 becomes good for nothing, (except perhaps as a ma- 
 nure. T. C.) If the silk is heaped when warm out of 
 the suds, before it is washed, it will heat, putrefy, and 
 generate worms, which however will not feed on the 
 silk, but on the soap and gum only. Such silk will be 
 harsh. 
 
 If your water be muddy when you want to wash 
 the soap and gum out of the silk, you may clear it 
 either by boiling some bran in it and scumming it, or 
 by putting a pound of common soap to about thirty 
 buckets of water, and boiling and scumming it. 
 fit has been proposed to substitute soda for soap 
 
M 
 
 503 
 
 but it is not used, nor do I understand the advantage 
 or superiority of this substitute. T. C.) 
 
 Of White Silk. String your hanks two on a stick. 
 Prepare an oval boiler; dissolve in soft water in this 
 boiler, soap in the proportion of one part soap to silk 
 four parts by weight. When the soap is melted, cool 
 the suds with cold water, and draw out most of the 
 fire from under the boiler. Place the hanks of un- 
 bleached, ungummed silk suspended on their sticks 
 on this boiler. Turn them in the boiler, so as to 
 moisten them thoroughly and equally, till the gum 
 entirely disappears in that part which was in the boiler. 
 For this purpose, keep the sticks moving downward 
 and upward in the soap liquor, as if you were wash- 
 ing the silk in the soap suds, which are to be kept 
 nearly at a boiling heat. In about half an hour, the 
 portion of the silk thus worked in the boiler will be 
 deprived of its gum: take it out, and enter the rest, 
 and proceed in the same manner. 
 
 When all is deprived of its gum, it is washed, 
 wrung, and sewed up in pockets to be boiled again 
 for white. The boiler is emptied, and cleaned, so that 
 no gummy matter remains in it. Charge it again with 
 water and soap, as before, four ounces to the pound 
 of silk. 
 
 As whites are of different shades, silver white, 
 thread white, bonnet white, blue white, a quantity of 
 indigo finely ground and passed through a sieve, is 
 put in the boiler, according to the tone of colour re- 
 quired. Boil for four hours with exactly the same 
 management and manoeuvre as with the raw silk. 
 
 
mm 
 
 204 
 
 When the silk will take too much time to deprive 
 it of its gum by means of dipping the hanks on sticks, 
 or that you have no oval boiler fit for the purpose, 
 you may make the raw silk up into loose bundles, 
 and boil it in the first soap for half an hour; but this 
 method is never so certain as when it is handled upon 
 the sticks. If in a boiling of raw silk after four hours, 
 you are liable to biscuit spots, (imperfectly deprived 
 of the gum,) you must give it half an hour more boil- 
 ing. This renders the management of it on sticks 
 passed through the hanks so convenient, where the 
 progress can be so much better observed. 
 
 When the silks are sufficiently boiled, take them 
 out, open the pockets, wring them on the peg, expose 
 them in a room to be sulphured for twelve hours, 
 when you may withdraw and dry them. Silks meant 
 to be made up white, are not washed out of the brim- 
 stone vapour, unless they are meant to be dyed. (I 
 think this is dangerous practice. T. C.) 
 
 When the silks come out of the sulphur room, they 
 are not always conformable to pattern: sometimes they 
 are not blue enough: in this case mix a little Saxon 
 blue with well water, and run them through that and 
 dry them. If they are too blue, which can be seen by 
 wringing a hank upon the peg till it is dry, before 
 you sulphur it, prepare a bath of white soap and water, 
 two ounces of soap to the pound. Work the hanks in 
 this, till they have given out their superfluous blue: 
 then wring them, and without washing send them to 
 the brimstone room. 
 
 Bonnet whites are never sulphured: the acid would 
 
205 
 
 rust the needles. In lieu of this, when they come out 
 of the white soap-boiling, they receive another boiling 
 in soap with a little blue. They are then wrung, and 
 dried quickly. 
 
 Bonnet grays are made after the silk is white: they 
 are prepared in numbers from the lightest shade to the 
 deepest. For this purpose the dyers rince them in 
 the water which has been used to rince the black silks, 
 either diluted or not, as occasion may require. They 
 must be washed afterward; for the soap, and the iron 
 with which the black dye is charged, will otherwise 
 have a bad effect on the silk. But as the hosiers do not 
 pay more for the grays than for the whites, some dyers 
 are skilful enough to dye their grays on the whites 
 without washing. The soap and the black dye unite, 
 and adhere to the silk, adding to the weight of it; 
 which is their inducement to proceed in this manner, 
 as the dyer gains by the additional weight. 
 
 If the soap suds which have served to boil the silks 
 are not quite spoiled, they are used together with the 
 third soap bath of the white silks, as a first boiling for 
 the raw or unbleached silk, adding only two ounces 
 of fresh soap to the pound. It is supposed that a hun- 
 dred pounds of whitened silk will yield no more than 
 seventy-five pounds; and no more is delivered to the 
 merchant. The rest is the affair of the dyer. 
 
 White silk intended for any kind of manufactures, 
 except that made up at the hosiers — that meant to be 
 dyed — or that meant to be watered, is usually sul- 
 phured. 
 
206 
 
 Of Sulphuring, Macquer. The hanks should be 
 spread on perches seven or eight feet from the ground, 
 choosing for this purpose a high room without a chim- 
 ney, or an elevated barn, where you can procure a 
 current of air when you want it. 
 
 A pound and a half of roll brimstone, broken into 
 small lumps, is lighted on earthen pans: when one piece 
 is lighted, it will communicate with the others: there 
 should be a few ashes in the bottom of the pans. 
 
 Shut the room, and close the chimney, if there be 
 one, to prevent the vapour from being dissipated. It 
 should burn all night. Next morning the windows 
 should be opened to admit the air, and dissipate the 
 vapour. This current of air is sufficient in summer 
 time to dry the silk. But in winter, as soon as the 
 vapour is dissipated, the windows should be again 
 shut, and chafing dishes or a brazier of charcoal intro- 
 duced to dry the goods. (The chafing dishes or brazier, • 
 should have perforated covers, to prevent the dust from 
 flying about. T. C.) It is of great consequence that the 
 door and windows of the room should open outward, 
 otherwise it would be unpleasant to go in, when the 
 vapour required to be dissipated. If in dressing, the 
 silk sticks or adheres together, it is not sufficiently 
 dry. 
 
 The sulphuring destroys the yellow tinge of the 
 silk: it gives it firmness, and occasions that rustling 
 noise which is so much desired. When this hardness 
 of fibre and rustling is not wanted, as when silks are 
 meant to be watered, it can be taken away by dipping 
 the silk in hot water; this indeed takes away the harsh- 
 
*..T» 
 
 207 
 
 ness in question, but silks to be dyed or watered, 
 should never be sulphured. 
 
 If when sulphured, the silk is not blue enough, it 
 must be blued with a sirtall quantity of Saxon blue, 
 without being again soaped. For blueing, use hard 
 water: soft water sometimes produces a reddish tinge 
 on the silk. 
 
 Some stuffs, as silk laces, blonds, and gauzes are 
 manufactured of raw silk: for these articles the silk 
 need only be soaked for a short time in warm water, 
 containing a little soap and blue, then washed in clean 
 water, and sulphured. But when the silk is naturally 
 white, like that of nankin, it requires no such ope- 
 ration. 
 
 Of Aluming. Keep by you a cask containing alum 
 liquor, made by putting about two pounds of alum to 
 four gallons of water; or strong enough to be unplea- 
 santly astringent on putting it to your tongue. 
 
 Having washed the silk, it is beetled; and the better 
 to clear it from any remaining soap, drain it on the 
 pegs, and tie it up in hanks as for boiling. The hanks 
 are then dipped in the alum liquor one after another, 
 taking care to prevent them from tangling and twist- 
 ing together. They should be loosely tied, that every 
 thread may be evenly dipt. In this situation it should 
 remain from night to morning. After this it is taken 
 out, and when wrung by hand over the tub, it is rinced 
 at the river, and beetled as long as necessary. (A pro- 
 cess that I think may be dispensed with. A slight 
 rincing seems to me enough. T. C) In some manu- 
 factories, instead of steeping, the hanks are worked 
 
£()8 
 
 in the liquor hung upon rods or sticks. The quantity 
 you can alum at once depends on the size of your 
 vessel. When a good deal of silk has been alumed ? 
 the alum liquor must be renewed and refreshed. When 
 it becomes offensive by frequent dipping, use it up as 
 much as possible for browns, maroons, and such like 
 colours, and then throw the rest away. 
 
 The cask should be frequently stirred and swept, to 
 detach all the particles of crystallized alum from the 
 sides of it: some dyers prefer its remaining, but the 
 soap also remaining in the silk sticks to the sides, and 
 it is this in general that produces the bad smell in the 
 casks. 
 
 Silk should always be alumed cold: if alumed in 
 warm liquor, it is apt to lose its lustre. It is better to 
 make the alum liquor strong than weak; the alum 
 combines with the silk in this case more evenly and 
 surely. (After aluming, the silk must be sufficiently 
 washed to prevent any crystallized alum sticking to 
 it, but no more. T. C.) 
 
 Of Annatto. Usually called in the shops here, 
 Spanish Annatto; but it is a kind of gum-resin that 
 comes from Cayenne. The French call it Rocou. It 
 gives nearly the same colours as iron, more lively, but 
 less deep, and less solid. It resists washing tolerably, 
 but it flies before the sun and air. Almost all the co- 
 lours that annatto can give, can be produced by iron; 
 still annatto is generally and extensively used, for 
 orange, aurora, mordore, gold, and buff colours. 
 
 Take by weight equal parts of annatto and pearl ash 
 or potash, and four ounces of each for a pound of silk 
 
209 
 
 meant to be dyed a full orange colour. Put the neces- 
 sary quantity into a boiler of soft water, large in pro- 
 portion to the quantity of silk you mean to dye at 
 once. 
 
 In dyeing, the pound of silk is only twelve ounces, 
 allowing four ounces deficiency in weight by bleach- 
 ing the raw silk. A hank of silk is fifteen ounces. But 
 equal weights of the annatto and bleached silk, is about 
 the proper proportion. The annatto should be cut in 
 pieces, and put into a copper cullender, about ten 
 inches deep, that will hold three or four gallons. The 
 cullender must have two handles; the annatto being 
 put in the cullender, this last is sunk into the warm 
 water in the boiler, into which the alkaline salt has 
 been previously put to melt, and rubbed through the 
 holes of the cullender with a stick; when every thing 
 has passed through that the water will dissolve, bring 
 the liquor to a boil: if the dull brick colour of the 
 crude annatto is not conquered, although all the alkali 
 is dissolved, it is a sign that a little more of the pot or 
 pearl ash is needed. The annatto will be uniformly 
 dissolved in about twenty minutes: the liquor must 
 then be cooled with cold water, and the silks dyed in 
 the liquor under a scalding heat, till they acquire the 
 colour of the specimen, which may be ascertained by 
 wringing hard a hank of it, and observing the tint when 
 thus nearly dried. The colour should be brought up 
 deeper than the specimen, because much false colour 
 will be washed and beetled out when the silk after 
 being dyed is carried to the river. It should be twice 
 beetled, else the colour is apt to smear. The hanks 
 
 2 D 
 
 - 
 
210 
 
 should be wrung upon the peg over the boiler, to save 
 the colour. Annatto dissolved in alkali, will keep good 
 a long time. 
 
 It is not necessary to wash the goods out of their 
 soap, when they are intended to be dyed in annatto, 
 because soap and annatto agree very well together. 
 (Nankin breeches are refreshed by putting a tea- 
 spoonful of an alkaline solution of annatto, into the 
 last soap suds. T. C.) 
 
 When you have dyed any quantity of silk in an- 
 natto liquor thus made, put it by, and if it be not 
 strong enough for your next parcel, it may be refresh- 
 ed with more annatto; but when you thus refresh the 
 annatto bath, do not put more than eight ounces of 
 alkali to twelve of annatto. 
 
 Coquelicot. Give your bleached silk a good ground 
 of fresh annatto: wash and beetle it; wring it. Leave 
 it loosely in the alum liquor cask, taking care, as in all 
 other cases of silks that are alumed, that no part be 
 exposed to the air; otherwise the alum water pene- 
 trating one part more than another, the silk will spot 
 in the dyeing. 
 
 When the silk has remained immersed in the alum 
 liquor for twelve hours, take it out and wash it at the 
 river. When the annattoed silks are taken out of the 
 alum liquor, they will have put on a bright red, which 
 is owing to the acid of the alum, which always reddens 
 and enlivens annatto colours. 
 
 When the annattoed silk has been thus alumed, and 
 washed after aluming, pass it through a bath of brazil 
 wood at the heat of 100° of Fahrenheit, and bring 
 
 
211 
 
 your silk to the tint of the pattern, trying it by wring- 
 ing a specimen on the peg. 
 
 To make this colour in perfection, the brazil liquor 
 should be two or three months old; by which time it 
 will have acquired its perfection of colour. When 
 dyed, it is taken to the river, washed, and evenly 
 wrung: then dried upon poles in the shade. 
 . An Aurora colour is dyed with annatto alone. It 
 can be reddened at pleasure by alum or by any acid. 
 But this reddened colour will be browned again by 
 soap. 
 
 Mordore. When the silk has taken an aurora colour, 
 been washed and alumed as usual, it is then rinced at 
 the river, and a fresh hot liquor prepared, to which is 
 added some decoction of fustic and decoction of log- 
 wood. The silk is returned into the liquor. If too 
 red, it can be saddened with a little green copperas. 
 
 Orange, is produced by using a little more annatto 
 than is necessary for aurora, and reddening it slightly, 
 by vinegar, tartar, alum, or any other acid. If a still 
 redder and deeper tinge be wanting, it can be given 
 by a little decoction of brazil or carthamus. Old baths 
 of brazil, and carthamus or safflower, can be used up 
 for these colours. 
 
 Gold and Buff, can be dyed after an aurora colour 
 in the same bath. Either with or without a little fustic 
 liquor. 
 
 All annatto colours should be well washed and 
 beetled after they are dyed, on account of small grains 
 of sediment that are apt to smear the cloth and prevent 
 the uniformity of the dye. For nice work, the alkalized 
 
212 
 
 annatto should be filtered through a piece of callicoe 
 and the sediment ground with alkali, and again washed 
 through. 
 
 In dyeing annatto colours, as alkalies make them 
 yellow, and acids turn them reddish or salmon colour, 
 the colour will incline more to an orange by lessening 
 the quantity of alkali. 
 
 Alkalized annatto, is Scot's patent nankin dye. 
 
 The following properties of annatto, are noticed by 
 Berthollet. 
 
 The experiments of Le Blond and Vauquelin have 
 shown that the following preparation of annatto is far 
 better than that usually sold. 
 
 Let the grains of annatto (the seeds of the Bixa 
 Orellana of Linnaeus) be washed till all the colour is 
 extracted, which is external only: let it then be preci- 
 pitated by vinegar; the precipitate may then be de- 
 prived of moisture by filtering, and thus made up in 
 cakes. The annatto thus prepared, they say, is more 
 easily worked, gives brighter, richer, and more even 
 colours than the common annatto; and is worth four 
 times as much. 
 
 Spirit of wine dissolves annatto better than water; 
 hence it is used to give a yellow orange colour to 
 varnishes. 
 
 Alkali dissolves it, but better by heat than cold. 
 
 Acids form an orange coloured precipitate from 
 this liquor; this precipitate is soluble again in al- 
 kalies. 
 
 Muriat of soda, common salt, and muriat of am- 
 monia, produce no sensible change in the colour. 
 
 t 
 
213 
 
 Solution of alum affords a considerable orange co- 
 loured precipitate, deeper than that which is formed 
 by acids. The supernatant liquor retains a greenish 
 yellow colour. 
 
 Sulphat of iron produces a brown orange precipi- 
 tate: the liquor retains a pale yellow colour. 
 
 Sulphat of copper, produces a brown yellow pre- 
 cipitate, lighter than that with iron. The liquor of a 
 greenish yellow. 
 
 Solution of tin produces a lemon yellow, that sub- 
 sides very slowly. 
 
 Of Puce Colour. (Flea colour.) There are many 
 shades of puce colour dyed on silk, but the finest and 
 richest is the following. Having dyed your silk a 
 coquelicot colour, give it as strong a decoction of in- 
 digo as it can take up. That is, dye a ground of annat- 
 to, in a bath prepared with fresh annatto so as to fill 
 the silk; wash it and beetle it; soak it for a night in 
 alum liquor; rince it and beetle it; for if any crystallized 
 alum sticks to the silk, the colour will be spotted. 
 Then dye it in a strong decoction of brazil wood, old 
 if you have it; if not, fresh made; neither wash nor 
 beetle it; then dye it out of the brazil liquor in a strong- 
 logwood liquor fresh made; wash it and dry it. 
 
 Brown Puce, is dyed with annatto; wash it; alum 
 it; then without brazil, -dye ic at once after aluming 
 and rincing, in a strong decoction of logwood. Care 
 must be taken, that the silk when dyed with annatto 
 should be very well washed, else the alkali of the an- 
 natto will decompose the alum, and the alum liquor 
 will also be coloured by the annatto. 
 
214 
 
 Of Young Fustic, Fustet, Venetian Sumach. This is 
 used in the silk dye, boiled like logwood. Its colour 
 is absolutely the same as that of walnut rind; only 
 this last does not require a mordant, and young fustic 
 does. (I think this imported drug may be discarded. 
 T. C.) This drug is used for specimen patterns: it 
 unites well with brazil, weld, and logwood, the princi- 
 pal dyeing ingredients which are used for specimens. 
 
 Fustet or young fustic, is also used for puce co- 
 lours and browns, but they are never so full as with a 
 ground of annatto. Indeed a good silk dyer may dis- 
 pense with young fustic even for his pattern colours, 
 if he understands how to alum upon annatto. 
 
 Carmelite. Dye in an old bath of annatto; wash 
 well; alum as usual; a small quantity of brazil; then 
 with the logwood liquor, hot. Do not mix the logwood 
 and brazil; dye with brazil first. Also, remember in 
 all cases never to dye alumed silk in a very hot bath, 
 for when hot the alum quits the silk, the colour pene- 
 trates it with difficulty, and if you have to dye again 
 with some other decoction, you may be obliged to 
 alum the silk over again. 
 
 Prune Colours: there are several shades of these. 
 To dye them, aium your silk, wash, ground with a 
 strong decoction of brazil, then without washing dye 
 in a logwood liquor. When the colour is raised in this 
 manner, for the purpose of fixing it, and reducing its 
 too great brilliancy, throw in a little old annatto, un- 
 less the pattern require great vivacity of colour, in 
 which case dispense with the annatto. Do not, as many 
 do, mix your logwood and brazil. 
 
215 
 
 Many Violets are dyed on Grenada silk, by aluming 
 and logwood simply. So Grenada colours, Grenadines, 
 and false crimsons, are made by aluming" and then 
 dyeing with brazil. The brazil decoction should be 
 old, the logwood decoction fresh. 
 
 These logwood violets are rather dull. Soap turns 
 them of a bluish colour, of course so do alkalies. 
 
 The logwood decoction may be a few days old, but 
 it must not be kept so long as the brazil liquor. This 
 last will bear to be kept two or three months; but if 
 the logwood decoction be kept a month, its dark 
 brown red colour is by the air converted into a fawn 
 colour which spoils it. 
 
 Logwood violets are best dyed cold, or very mode- 
 rately warm. When dyed hot the colour is rough, un- 
 even, and tarnished. 
 
 Violets are also dyed with logwood and verdigris, 
 thus: the silk being well washed out of the soap, dis- 
 solve in water an ounce of verdigris for each pound 
 of silk; it is usually directed to be dissolved in cold 
 water, but it may be best dissolved in hot water, 
 which may then be suffered to cool. 
 
 Let the silk be immersed in this liquor for an hour 
 or two. This gives no perceptible colour. The silk is 
 then wrung, and put on rods or sticks, if in hanks. 
 Make a decoction of logwood and dye the silk in it, 
 without previous washing. 
 
 The silk is then taken out, and when dipped in a 
 clear solution of alum, acquires a red colour, that with 
 the previous blue makes a violet. The more alum the 
 redder the colour. Any acid would produce the same 
 
216 
 
 effect, but alum is preferred. The silk having acquired 
 the colour you wish, is wrung over the liquor, washed, 
 and again moderately wrung on the peg, that the co- 
 lour may remain on drying; for if it be wrung hard, 
 the part most squeezed will be the lightest, and the 
 others will appear dark and coppery: this is an incon- 
 venience to which logwood colours are liable, and k 
 should be attended to, not only in this colour, but 
 also in the logwood violets that are dyed without ver- 
 digris. 
 
 Logwood violets with verdigris, are not more bril- 
 liant or faster than others; but the verdigris serves as 
 a mordant. The logwood blue thus produced by verdi- 
 gris, is fugitive, and by no means to be compared with 
 the blue of pastel or indigo. 
 
 The most brilliant violet on silk is made, not with 
 logwood, but with archil, orseille; using one pound of 
 archil to one pound of silk. The silk is prepared as 
 usual upon sticks or rods. Boil the archil for five 
 minutes, or ten at the utmost, then cool the liquor to 
 a scald with cold water. Enter the silk quickly, and 
 keep it dipped in the bath for fifteen minutes, then 
 take out the hanks, wring them moderately so as not » 
 
 to lose the liquor; if the colour is not yet deep enough, 
 make the liquor boil again before you put in the silk, 
 then lower the heat as before with cold water, and 
 enter the silk again. You may repeat this boiling three 
 or four times. When the violets are raised to a colour 
 sufficiently deep, wash them at the river, and if when 
 washed they are too red, pass them through some 
 water in which a little pearl ash is dissolved. Potash 
 and soda do not very well agree with silk. 
 
 I 
 
217 
 
 All archil colours must be wrung in such a manner 
 that they are equally moist, and they must be equally 
 dried: for I have often observed accidents in the dye- 
 ing. To remedy these, you must heat your archil 
 liquor, and dye the piece over again, then run it 
 through pearl ash and water, and dry it out of this 
 last liquor. 
 
 A violet bath of archil, will do afterwards for lay- 
 locks, pearl grays and such colours: it can be refreshed 
 with a little archil. 
 
 (The Dutch archil is the litmus, so useful to a 
 chemist. T. C.) 
 
 Violet with Brazil Wood and Archil. Alum the silk 
 in the usual way, dip it in a decoction of brazil, wash 
 and beetle it, then dip it in archil liquor; again wash 
 and beetle it. Then give it a slight dip in the blue vat; 
 wring it, wash it and dry it. 
 
 The Dutch violets are dyed with archil, and then 
 dipped in the blue vat. The brazil saves the archil, 
 but should only be used when a deep shade is wanted. 
 It gives a good ground for the archil in this case, 
 but the colour is not so lively as when archil alone is 
 used: for the aluming which is necessary as a mor- 
 dant to the brazil, saddens the colour. 
 
 Fine violets are never dyed on raw silk. 
 
 Of Purples and July- fiowers. Alum the boiled silk 
 as usual. Dye it for two hours in two ounces of co- 
 chineal to the pound of silk: wash and beetle it. If a 
 purple inclining to blue is wanted, it requires only to 
 be dipped in a weak blue vat, after which wring evenly, 
 and dry the silk with all possible expedition, which is 
 
 2 E 
 
218 
 
 a precaution absolutely necessary for all colours dipped 
 in the vat. But the vat is apt to produce too dark a 
 shade, and therefore the liquor of the vat can be di- 
 luted with water in another vessel, and the silk dipped 
 in, this solution, according to the required colour. 
 
 About half an ounce of white arsenic is usually 
 added to each pound of silk, to assist in turning the 
 colour. 
 
 The shade next to purple is July-flower or gilly- 
 flower; then grisdelin, then lighter still, peach blossom: 
 all these are made with somewhat smaller proportions 
 of the ingredients, or are made followers to the deeper 
 colours. 
 
 False purples are alumed slightly, then dipped in a 
 decoction of brazil, then in a decoction of archil, 
 which last alone would be too violet. For browning 
 the colour, logwood is used in the brazil liquor, for 
 dark shades, and in the archil liquor for light ones. 
 
 The lightest tints of purple may be produced with 
 brazil alone, and after that with a slight alkaline solu- 
 tion; but the addition of a little archil is the best mode 
 of dyeing these shades. 
 
 Maroons, Cinnamon, Wine Lees, are colours pro- 
 duced by logwood, fustic and brazil woods. For cin- 
 namon, the boiled silk is alumed, then a decoction of 
 each of these woods is made separately. The fustic 
 decoction makes the base of the liquor, to which add 
 about one-fourth of decoction of brazil, and one- 
 eighteenth of decoction of logwood. 
 
 This liquor should be of a temperate heat, the silk 
 is then entered, and when the liquor is exhausted of 
 
 V 
 
219 
 
 colour and the colour even, it is wrung by the hand; 
 it is then put on rods or sticks, a second liquor made, 
 in which the proportions of these three decoctions are 
 made according to the tint called for. Fustic gives the 
 yellow, brazil the red, logwood the darker shades. 
 
 Maroons are produced exactly in the same way, 
 only the colour being darker, the proportion of log- 
 wood is increased. So of the other colours of similar tint: 
 their varieties can be produced by varying the pro- 
 portions of these decoctions. 
 
 The fustic liquor spoils soon and therefore should 
 be used fresh: if kept too long, it becomes slimy, tar- 
 nished, and puts on an olive hue; when it does so, it 
 may be somewhat restored by reheating. 
 
 Many dyers wash the silk out of the aluming, at the 
 river, before it is dipped, and then by one liquor pro- 
 duce these several colours; but the following method 
 seems better, because the first liquor is a sufficient 
 wash, and the silk retaining more of the alum takes 
 the dye better. Besides, as it is impossible to produce 
 these shades but by perpetual handling, the second 
 liquor may be useful in rectifying the defects of the 
 first, and in finishing the colour, especially the fustic 
 ground, which requires the alum to assist in raising it 
 sufficiently, for fustic will neither dye a fast or a 
 bright colour without a sufficient mordant. You may 
 therefore dye in the fustic without washing, only 
 wringing evenly and moderately, then wash after the 
 fustic, and dye in the brazil and logwood separately. 
 The marones and cinnamons may be obtained by a 
 different method. 
 
!£." 
 
 220 
 
 When the silk is boiled, or bleached for dyeing, the 
 grounds of the annatto may be dissolved in the same 
 soap liquor that had been last used for clearing the 
 silk. The annatto should be strained through the cul- 
 lender. When boiled for about a quarter of an hour, it 
 should be left to settle: the silk is then returned into 
 this liquor without having been washed; it then ac- 
 quires a yellow ground. It is afterwards washed and 
 beetled at the river and then alumed as usual. After 
 this, the fustic, brazil and logwood liquors are given 
 for the cinnamon, but for the marones the brazil is 
 omitted, unless they seem to want red: but remember 
 that the alum always reddens the annatto. If they are 
 too red without the brazil, the colour can be saddened 
 by a very small quantity of copperas, which gives it a 
 greenish colour: you must therefore use your logwood 
 decoction cautiously, that you may be able by means 
 of copperas, to correct the reddish colour of the 
 annatto. 
 
 This method may be more advantageous than the 
 first, as the annatto reddened with alum, is much more 
 solid than the red of brazil. 
 
 If you dye raw silk, brown or marone, the natural 
 yellow of the silk is no prejudice to the colour, but 
 otherwise; for it serves as a ground. 
 
 Having dipped the silk as usual, proceed as for 
 boiled silk. 
 
 Genoa Crimson. (Hellot.) At Genoa the silks in- 
 tended for crimson are boiled in a much less quantity 
 of soap than those intended for any other colour. 
 Twenty pounds of soap sufficing for a hundred pounds 
 
221 
 
 of silk meant for the crimson dye. For any other co. 
 lour, the Genoese use forty or fifty. 
 
 When the silk is boiled it is dipped in the alum 
 liquor, and to a quantity of silk which when raw 
 weighed seventy-two pounds, they put from sixteen 
 to eighteen pounds of roach alum finely powdered, in 
 a copper full of cold water. When the alum is per- 
 fectly dissolved, they put in the silk, and let it soak 
 in the alum liquor four hours, or longer, without any 
 inconvenience: the crimson requires more perfect 
 aluming than any other colour. When taken out of the 
 alum liquor it is shook and dressed on the pegs, but 
 without wringing, which would leave it not sufficiently 
 impregnated with the alum. 
 
 Of the seventy-two pounds of silk above mentioned, 
 thirty-two pounds is organzine, the remainder woof. 
 At Genoa it is the custom to allow two ounces of co- 
 chineal to twelve of organzine, if designed for the 
 warp of damask furniture, and one ounce and three 
 quarters of cochineal for the woof; supposing it ne- 
 cessary to the beauty of the colour, that the warp 
 should be something fuller than the woof; and to bring 
 the colour of the damask to still more perfection, they 
 add to the organzine a quarter of an ounce of cochi- 
 neal to every pound of silk, that is, instead of two 
 ounces they add two ounces and a quarter, adding no 
 more to the woof than an ounce and three quarters. 
 
 As the above thirty-two pounds of organzine should 
 be of the finest colour, they allow two ounces and a 
 quarter of cochineal to every pound of silk: so that 
 upon the whole they use one hundred and forty-two 
 
222 
 
 ounces of cochineal, or eleven pounds ten ounces: 
 viz. seventy-two ounces to thirty-two pounds of or- 
 ganzine, and seventy ounces to forty pounds of woof. 
 
 In order to dye these seventy-two pounds of silk 
 alumed as above, they make use of an oval copper, 
 containing when full, two hundred quarts of water; 
 they fill this two- thirds full of soft water, adding to it 
 two ounces of tartar, as much safFranum or safflower, 
 and two pounds and a half of Aleppo galls. 
 
 They wait till the drugs have boiled two minutes in 
 this liquor, after which they add eleven pounds ten 
 ounces of cochineal finely powdered and sifted; and 
 while one of the workmen by degrees makes it sink to 
 the bottom, another keeps violently stirring the liquor 
 with a stick to promote the solution. 
 
 This done, they fill the vessel with clean water, to 
 about a foot of the edge; immediately afterwards 
 dipping the thirty-two pounds of organzine divided on 
 fourteen rods. They let it remain till the vessel which 
 they fill with clear water, and under which they put a 
 large fire, is ready to boil. They then (to make the 
 silk take the colour more evenly) raise the rods with- 
 out ceasing one after another, that each may alternately 
 reach the bottom of the copper, which being but two- 
 thirds full, the upper part of the silk would else re- 
 main out of the liquor, the rods being supported on 
 the edge of the copper. 
 
 When the liquor is ready to boil, the forty pounds 
 of woof divided on eighteen rods, are dipped; raising 
 the rods both of the organzine and the woof one after 
 another for half an hour, that each may alternately 
 
223 
 
 reach the bottom; so that when the workman comes 
 to the last, he returns to the first, and so on suc- 
 cessively. 
 
 After the first half hour, they stop for a quarter of 
 an hour between every operation, the workman still 
 raising the rods from the first to the last, five or six 
 times repeated in the space of an hour and a half; all 
 the time keeping a good fire under the copper. The 
 organzine is then steeped in this liquor two hours and 
 a quarter, and the woof only two hours. The fire is 
 then drawn from under the copper, and the workman 
 taking out one dip of the organzine and another of the 
 woof, wrings and dries them as much as he can to see 
 if the colour be what he wishes; if not, the silk is left 
 for half an hour longer in the copper. The silk is then 
 taken out, wrung on the peg; washed several times in 
 clear water, wrung again and dried. 
 
 It must be observed with regard to the organzine 
 and woof, that though dyed in the same liquor, they 
 arc not however of the same shade at the conclusion 
 of the operation, the organzine being deeper from 
 staying a quarter of an hour longer in the cochineal 
 
 liquor. 
 
 It is not the custom at Genoa, to wash the silk out 
 of the cochineal with soap and water; on the contrary, 
 they are persuaded that this practice dulls the bright- 
 ness of the colour, and that the water, both for the co- 
 chineal liquor, and washing afterward, should be the 
 finest spring water; for they remark that the crimson 
 dyed in summer with cistern water, is by no means 
 so bright as the crimsons dved at other seasons when 
 the fountains are full. 
 
224 
 
 According to the dyers of Genoa there is a kind of 
 cochineal, which, though apparently beautiful, is not 
 so in effect. That in using this cochineal it is necessary 
 to alum the silk as much as possible, and to add to it 
 more tartar than before mentioned. It is, however, im- 
 possible to lay down any certain rules as to this matter, 
 as the dyer himself will judge of the quality of the 
 cochineal fit for his use. The necessity of using the 
 very best cochineal is so well known, that the Genoese 
 manufacturers do themselves furnish to the dyers, the 
 cochineal intended for the parcel of silk they send. 
 
 Fine Crimson (cochineal crimson.) Macquer. Silk 
 intended for this crimson, should have only twenty 
 pounds of soap to the hundred pounds of silk, and no 
 blue. For the small quantity of natural colour still re- 
 maining in the silk, is favourable to the colour, which 
 is enlivened by yellow. 
 
 Soak your silk when boiled, washed, and beetled, 
 in strong alum water for a whole night: then wash and 
 beetle it again. 
 
 Fill a long boiler, or trough of metal, two-thirds full 
 of soft water. Boil it. Throw in from one to two 
 ounces per pound of silk, of white nut galls well 
 bruised, and from two ounces and a half to three 
 ounces of sifted cochineal. It is seldom necessary to 
 use quite three ounces. Let all boil together. When 
 boiled add an ounce of scarlet composition for each 
 pound of cochineal. 
 
 Make your composition thus: aqua fortis one pound, 
 sal ammoniac two ounces, dissolved in twelve ounces 
 of water. Add this to the aqua fortis, and dissolve in 
 
225 
 
 the mixture, by a little at a time, six ounces of grain 
 tin. This composition is purposely intended to con- 
 tain more tin than the scarlet composition for woollen, 
 but it is absolutely necessary. 
 
 This composition being put in the liquor, the vessel 
 is filled up; it should hold eight or ten quarts to each 
 ), pound of silk, if fine: coarse silk requires less. In this 
 
 liquor turn the silk uniformly, about half a dozen 
 times. Then bring the liquor to a boil and work the 
 silk in it for two hours. After this draw the fire, let 
 the liquor gradually cool, keeping the silk immersed 
 in it for several hours, or even from night to morning. 
 Then take it out, wash it, beetle it twice; wring it, 
 and put it on the perches to dry. 
 
 It can be saddened with copperas according to the 
 shade required. It should be turned in the copperas 
 liquor, and wrung out of it, and dried if you will 
 without washing. The copperas deprives the cochi- 
 neal of its yellow colour and gives it a violet hue. 
 Nothing but copperas is fit to sadden cochineal scar- 
 lets, which it does by means chiefly of the nut galls 
 employed in this dye. 
 
 This is the best method of obtaining a beautiful 
 shade of crimson, but as many dyers proceed in the 
 old way, we shall describe it. In the above process the 
 crimson is fired by means of tin composition; and it 
 can be done by means of tartar; but in the common 
 way, it is done by means of annatto, about an ounce 
 to a pound, washed through a cullender. In other re- 
 spects the process is the same as above given. 
 
 2F 
 
226 
 
 * 
 
 The cochineal used, is always the best picked co- 
 chineal, which is in all respects the cheapest. 
 
 Although tartar is of use to give the flame colour to 
 cochineal, yet it does not produce it so well as the tin 
 composition. But if you use an over proportion of tar- 
 tar to enliven the colour, it weakens and dissolves it. 
 Nut galls do not produce a good effect, unless you 
 want to sadden the red instead of enlivening it; but 
 custom sanctions the proportions we have prescribed. 
 But nut galls give the silk that rustling property heard 
 and felt on handling it: an effect which cannot be pro- 
 duced with brazil wood, of which the colour is greatly 
 injured by nut galls. So that you may be sure when 
 you find this rustling, that it is a cochineal colour. 
 
 Galls moreover greatly add to the weight of the silk, 
 making it take up more colour. So that even when it 
 is useless for the tint of colour, the dyers add it for the 
 profit it affords them. White galls injure the colour 
 less than black. The colour is much more improved 
 by permitting the silk to soak for some hours in the 
 liquor, than by working it: but it requires to be well 
 washed and beetled after soaking. 
 
 If the silk were not twice beetled before dyeing, a 
 quantity of superfluous alum would remain in the silk, 
 which would injure the colour of the bath or dye 
 liquor. 
 
 Cochineal crimson is distinguished from brazil 
 crimson, first, by the rustling of the dyed silk. Se- 
 condly, drop a drop of vinegar on the silk: if dyed 
 with cochineal it will not change: if dyed with brazil, 
 it will turn yellow. 
 
227 
 
 Of the False or Brazil Crimson. This is not quite 
 so beautiful, far less durable, more changeable, but 
 much cheaper than the red or crimson produced by 
 cochineal. It is therefore on some occasions a desira- 
 ble mode of dyeing red. 
 
 The silk unbleached, should be boiled with twenty 
 pounds of soap to the hundred pounds of silk. It should 
 be alumed as usual, but not quite so strongly as for 
 grain or cochineal crimson. When alumed it should 
 be washed and cooled at the river. 
 
 Heat some water in the copper; meanwhile prepare 
 a trough with a strong decoction of brazil wood, half 
 a bucket, more or less, to the pound of silk; add to it 
 warm water sufficient to work the silk in; enter the 
 silk; work it in this liquor till it takes a red, which 
 will be more crimson if the water be hard, and less sc 
 if soft water be used. Sadden this colour, by running 
 the silk through a warm solution of a pound of pearl 
 ash to forty or fifty pounds of silk. Then wash it, drv 
 it and so forth. 
 
 The brazil decoction is usually made in the pro- 
 portion of a hundred and fifty pounds of chipped bra- 
 zil, to sixty buckets of water, boiled for three hours. 
 Then turn out the decoction into a barrel, and pour 
 hot water again on the chips and boil them; thus 
 should four decoctions in all be taken from one parcel 
 of chips. (If the wood be, as it ought to be, rasped, it 
 can be exhausted at twice and will go much further. 
 T. C.) The decoctions should, or may be mixed to- 
 gether: but when a black skin forms on the suiface, it 
 should be taken off. The last decoction is of as good 
 
 ... , ■-* -— 
 
228 
 
 a colour though not so strong as the first. It is usual 
 to keep it a fortnight or three weeks, till it undergoes 
 a kind of fermentation that greatly improves the co- 
 lour. Some dyers let it stand three or four months, till 
 it becomes thick and oily: but for silk, it does not im- 
 prove after three weeks. When used fresh it gives a 
 more rosy colour, and does not go so far. Hard water, 
 and alkaline salts, crimson the colour of brazil. The 
 brazil of St. Martha, is redder and deeper coloured 
 than that of Fernambouca, but it is not so good. 
 
 Orange Reds; Cherry Reds; Pink Reds: are made 
 by mix cures of cochineal or brazil red with yellows: 
 or with the pink of safflower. The yellow being an- 
 natto or turmeric. 
 
 Violet Crimson of Italy. The silk being alumed as 
 for red crimson, take it out of the aluming and dye it 
 with cochineal. For this purpose dissolve two ounces 
 of gum arabic in the copper, and take for every pound 
 of silk two ounces of cochineal, one-third of an ounce 
 of agaric, and as much turmeric. Mix and pour them 
 into your copper; when they begin to boil, and the 
 gum is perfectly dissolved, arrange your silk on the 
 rods, and immerse it in the copper, let it boil for two 
 hours, and it is then dyed. Let it grow cold, wash it 
 and wring it on the peg, then wash it again lightly. 
 To make it violet plunge it into the blue vat to make 
 it a fine violet. Then wash it well in clear water, and 
 dry it when opened and spread out, in the air, but not 
 in the sun. (I doubt whether the silk ought ever to be 
 brought to a full boiling heat. T. C.) 
 
 Half Violet. For one pound of silk, use one pound 
 
229 
 
 and a half of archil, mix it well in the liquor; make it 
 boil for a quarter of an hour, dip the silk quickly; let 
 it cool; wash at the river, and you will have a half vio- 
 let or laylock more or less full. 
 
 Fine Crimson. Homassel. (N. B. Fine crimsons are 
 cochineal crimsons.) These crimsons are dyed upon 
 boiled silk. Sometimes the hue of the pattern is such, 
 that the silk must be boiled expressly for this colour, 
 as we may want to give it a ground of annatto. 
 
 Crimsons are also dyed on silk bleached for white; 
 they all take the same quantity of cochineal, but the 
 silks boiled out of their gum, and grounded with an- 
 natto, will be deeper than those dyed upon white. 
 
 The silks are alumed very strongly, and washed 
 several times at the river, (which I think only serves 
 to wash away the alum. T. C.) Fill your copper with 
 clear water two-thirds full; arrange all your silk on rods 
 or sticks. Bruise and sift your cochineal, two ounces 
 to the pound; adding also one ounce of white nut galls. 
 Boil the cochineal and galls a quarter of an hour, not 
 more. (This is not enough to get out half the virtue 
 of the galls. T. C.) Fill the boiler, arrange your hanks 
 of silk, resting them on the edge of the boiler. Half 
 an hour afterward, raise the fire so as to make the 
 liquor boil an hour or more. This colour requires two 
 hours in all in the boiler: at the end of this time, the 
 colour ought to have acquired its perfect shade. 
 
 When fine crimsons are washed and dyed, they 
 ought to have the same handling as roses and bright 
 coquelicots: that is, they should rustle when handled. 
 
 It may be well to remark, that the patterns do not 
 
230 
 
 always require a deep crimson, but frequently a crim- 
 son bearing upon yellow. In that case, you may put 
 into the copper with the cochineal and galls, a quarter 
 of an ounce of scarlet composition to the pound of 
 silk; sometimes a little more. 
 
 Bright Violets > are made by giving crimsons a dip 
 in the blue vat. For this purpose, the crimson should 
 be as deep as possible. In entering them into the blue 
 vat, take care to observe the precautions I have sug- 
 gested upon blue dyeing, otherwise you will be apt to 
 subject yourself to a serious loss, both of the crimson 
 and the colour of the vat. 
 
 Bright Puces, are dyed on the same principles with 
 annatto crimsons; but in lieu of white galls, put in two 
 ounces per pound of black galls: when the crimson is 
 thus dyed, it is brought to a puce colour by a little 
 copperas dissolved in cold water. 
 
 You must take care in stringing and working the 
 hanks, otherwise they will streak by taking the air 
 unequally. 
 
 The copperas also must be previously dissolved, and 
 added by a little at a time, raising all the silk out of 
 the bath or liquor every time you put any of the solu- 
 tion in; stirring it to mix it equally. When the puce 
 colour is sufficiently raised, wash and dry the goods. 
 
 Light shades of brown are also given upon crimson; 
 but they do not answer to the beauty of brown colours: 
 this shows that for silks dyed in cochineal the colours 
 must be full and deep to have their proper effect; and 
 that all silk dyed with less than two ounces of cochi- 
 neal to the pound of silk, has not yet received its per- 
 feet hue. 
 
231 
 
 Of Scarlet on Silk, Homassel. To dye scarlet on 
 silk, take as many pounds of wool as you mean to dye 
 of silk. The wool at sixteen, the silk at twelve ounces 
 to the pound. Dye this woollen yarn of a scarlet co- 
 lour as follows. 
 
 For the preparation bath, use for each pound of 
 woollen yarn one ounce of cochineal, a quarter of an 
 ounce of madder, three-eighths of an ounce of tur- 
 meric, two ounces of cream of tartar, and three ounces 
 of scarlet composition. (Tin in aqua regia.) 
 
 Boil the yarn two hours and a half; wash and beetle 
 it at the river, and then give it the red dye without 
 drying it. For this red dye, use an ounce of cochineal, 
 three ounces of composition, an eighth of an ounce of 
 turmeric, and a quarter of an ounce of madder. 
 
 You may boil for a little more than ten minutes 
 without danger of tarnishing, to make the yarn take 
 up the cochineal as fully as possible. Then take it out 
 of the liquor, wash it, beetle it, and dry it. 
 
 Then charge a boiler about the same size with 
 water; put into it four ounces of alum per pound of 
 wool, and boil the coloured wool in it, till the colour 
 is all extracted. Take out the wool, cool the bath to 
 a scald, enter the silk bleached white by boiling, and 
 it will take up all the colour which has been extracted 
 from the wool. 
 
 If they are not sufficiently yellow, they may be en- 
 livened with safflower and lemon juice, which also 
 enlivens the cochineal colour. Or the silk may be 
 tinged with turmeric dissolved in spirit of wine with 
 lemon juice. If the colour be not red enough, the rea- 
 
232 
 
 son is that you have attempted to dye too much silk 
 for your proportion of colouring materials. 
 
 Of Pink from safflower. Homassel. This plant is 
 grown in the departments of Aude and Herault, in 
 France. It contains two colours, a dull yellow that is 
 perfectly soluble in water, and a pink-red soluble in 
 alkaline salts. The yellow colour is sometimes, but not 
 often used, for it is not so cheap or convenient as 
 
 turmeric. 
 
 The saffranum or safflower, cannot be used for reds 
 till all the yellow colour is completely extracted. For 
 which purpose it is put in a bag, and tramped either 
 in the current of the river or in a trough through 
 which a current of water passes. Two bags of saf- 
 flower, containing eight pounds each, will occupy the 
 whole day of a man accustomed to this operation. 
 The beauty of the colour depends on the accuracy of 
 this washing. In the country, the bags can be fastened 
 to a water wheel, and left in that situation the whole 
 day, when the yellow colour will be sufficiently ex- 
 tracted. Take care you do not wash it just below a 
 bleachery, lest the alkali used for bleaching, should 
 extract all the colour. 
 
 The safflower is then put on a cloth stretched on a 
 frame, and two ounces per pound of potash, or even 
 two ounces and a half; it is best put on in powder, and 
 well mixed with the safflower; if you are not pressed 
 for time, let them remain together for two hours be- 
 fore you add any water. (I do not think this practice 
 so good as that, where the potash, dissolved in a small 
 quantity of water, is mixed with the safflower, and 
 
233 
 
 made into a kind of paste. T. C.) There must be a 
 tub underneath to catch the drops of liquid that soak 
 through. When the safflower is well mixed with the 
 alkali, pour water on it, and wash the mixture just as 
 you would a quantity of wood ashes to make a ley. 
 The liquid should be in quantity proportioned to the 
 silk you mean to dye. The safflower is not exhausted 
 till it assumes the colour of wet bran. 
 
 The liquor that passes is not of a red colour, but a 
 brownish yellow, and you would in vain attempt to 
 dye with this. The colour would run off from the silk 
 as it ran off from the safflower. The alkali that holds 
 it in solution must be neutralized by an acid of some 
 kind. The best acid is lemon juice. If you have none 
 of this or of vinegar, add with caution very dilute ni- 
 tric or sulphuric acid, taking care that the fermenta- 
 tion or effervescence is not too suddenly excited. 
 When this effervescence is over, the liquor assumes a 
 bright rose colour. (In England this colour is called 
 pink, I believe exclusively. T. C.) 
 
 The silk dyed in this liquor, should be bleached 
 white, without blueing. There must be no remains of 
 the natural yellow of unbleached or half bleached silk. 
 The silk is worked in this bath, till it has extracted 
 all the colour. It should be used cold. 
 
 These rose colours are numbered from one to ten, 
 which vary in their price, according to the depth of 
 colour, and the price of safflower. The deepest colour 
 is the Coquelicot, which cannot be dyed of a full tint 
 under four pounds or four pounds and a half of saffron 
 to the pound of silk. Sometimes a ground of annatto 
 
 2G 
 
 _ 
 
234 
 
 is given before the safflower is dyed. The acid red- 
 dens the annatto as well as the safflower. 
 
 To ascertain exactly the ground of annatto neces- 
 sary to be given previous to the safflower, when you 
 dye to pattern, tear oft' a small piece of the pattern, let 
 it soak in water wherein some alkali is dissolved: the 
 alkali will wash out all the pink colour of the safflower, , 
 and leave behind the yellowish colour of the annatto. 
 Keep this by you in a moist state, and then you can 
 give to the silk you mean to dye, precisely the same 
 tone of annatto colour. 
 
 If in dyeing your silk, you have failed in any re- 
 spect, soak it in a dilute alkaline solution, and this 
 will extract all the pink colour; which you may again 
 neutralize with an acid, and use for dyeing afresh. 
 
 It may be useful sometimes to brighten the colour 
 by passing it through warm lemon juice and water, 
 or vinegar and water; even warm. 
 
 Of all acids for the purpose, lemon juice is the best: 
 but it is sometimes difficult to be procured, and it 
 will not pay to use the juice of fresh lemons for the 
 purpose. (I am persuaded from experience, that next 
 to vinegar the best acid is cream of tartar, in point of 
 qualitv combined with cheapness. I have not tried 
 acid of sorrel. Common vinegar does not produce a 
 srood colour, but a better than any of the mineral 
 acids, such as the sulphuric, nitric or muriatic. Dis- 
 tilled vinegar mixed with lemon juice, produces a 
 tolerable gcod colour; next in beauty to lemon or lime 
 juice. In France they procure the lemon juice from 
 
235 
 
 Provence: we might procure it in our seaport towns 
 from the West Indies. T. C.) 
 
 The merchants who deal in "Vegetable Rouge," 
 where the colour requires to be produced of the 
 utmost brilliancy, always precipitate the safflower 
 pink with filtered lemon juice. Some make, use of 
 vinegar, but the colour is inferior. They proceed 
 thus: 
 
 They use the best safflower, and the purest pearl 
 ash. (They should use the salt of tartar, for pearl ash 
 now and then contains iron. T. C.) The safflower is 
 very accurately washed in the purest water: they 
 make their safflower ley very strong, subjecting the 
 safflower to a press, to procure all the liquid colour. 
 To three parts by measure of the alkaline ley of saf- 
 flower, they use one part of lemon juice. This they 
 leave to settle in china bowls, till the supernatant 
 liquor is quite clear, which they draw off by means of 
 a glass siphon. 
 
 When they have drawn oft* as much of the fluid as 
 they can by this means, they add together the sedi- 
 ments of the operation, which have now acquired a 
 certain consistence. On this sediment, still liquid, 
 they place a piece of very fine white muslin, or any 
 other kind of filtering cloth that will soak up the mois- 
 ture, and prevent the sediment from passing through: 
 on this muslin, cut to the size of the surface it is to 
 cover, (for if it hangs over the sides, the liquor and 
 the colour will filter over,) they put clean blotting 
 paper, and on the top of that a sponge, which occa- 
 sionally they press gently, so as to imbibe the mois- 
 
236 
 
 ture; by this means the colour is dried, free from dust 
 and access of air. When sufficiently dry, it is put into 
 china cups, and packed up for sale. 
 
 The colour may be dried on straw filters fabricated 
 on purpose, and in the form of grains. 
 
 For the rouge used by women, the finest Venetian 
 talc is reduced to an impalpable powder (etant rape 
 sur de la Perelle. I do not know what the Perelle is. 
 T. C.) which is dyed to whatever depth of colour you 
 please with the coloured liquor of the precipitated 
 safflower. It is then dried on small earthen or china 
 cups made on purpose, and thus sold. 
 
 Of the False Poppy or Fire Colour, of brazil wood. 
 Ratine. This colour is produced on boiled silks as 
 for common colours. It should have the annatto 
 ground of a tolerable shade, stronger than for the fine 
 poppy, because the red of brazil wood is yellower 
 than the red of safflower; the shade given by this 
 ground, is almost a demi-aurora. It is however ad- 
 viseable as well for the false as the solid poppy, when 
 a proper ground is obtained, to keep a skein by way 
 of pattern, and to serve for a future guide. 
 
 Give a full colour of annatto as a ground. Wash 
 and beetle it. Alum it as usual; wash and beetle it; then 
 dye it with brazil to the shade you wish; adding to the 
 brazil liquor, a small quantity of soap and water. If 
 you want it browned, add a decoction of logwood to 
 the decoction of brazil. 
 
 The soap added to the brazil, improves the shade 
 of the colour, and takes off the harshness to the touch, 
 which the aluming is apt to give. Some dyers instead 
 
237 
 
 of soap, throw in a small quantity of powdered nut 
 galls, which they think produces the same effect; but 
 the greater number prefer soap. (Macquer.) 
 
 False Rose Colours. Alum your boiled silk, wash it 
 as usual after wringing it: then dye it in decoction of 
 brazil. This is a very inferior colour, but as all kinds 
 > of colour are wanted, so is this sometimes among the 
 
 rest. 
 
 I do not know whether the other red woods have been 
 tried. I suspect the nearest imitation of safflower pink, 
 may be given by peach wood, which the English 
 printers now use for a second chemical red, and which 
 I have suspected in the pink reds of some Swiss 
 prints. Safflower, however, would be cheap enough in 
 America, if it were grown there; which it surely can 
 be, as well as in France. 
 
 Of Black. Homassel. All silk dyers have a boiler 
 or cauldron on purpose for black. (So should all 
 woollen and cotton dyers. T. C.) 
 
 This black vat, holding about thirty-six buckets, is 
 filled with the hatters' black dye (which I have already 
 given, T. C.) to which they add twenty pounds iron 
 filings, twenty pounds of agaric, (I do not know why 
 this is used in preference to galls: it is a fungus of the 
 oak, T. C. ) twelve pounds of green copperas, and six 
 pounds of gum arabic: this vat remains always thus 
 filled, being from time to time refreshed with similar 
 ingredients in the same proportion. 
 
 To dye silk black, four ounces of galls are boiled 
 in water during two hours for each pound of silk. Wet 
 the silk in the clear part of this bath or liquor before 
 
238 
 
 you enter the silk. Then plunge the silk in this gall 
 liquor, where it may remain eight or ten hours. Take ) 
 
 it out, wring it; heat the gall liquor again; and again 
 plunge in the silk as before in the clear part of the 
 liquor, letting it remain the same length of time. 
 
 The silk being thus twice galled, heat to boiling 
 the black liquor in the black vat, stirring it well, that v 
 
 the sediment may not burn to the bottom, for it would 
 occasion the bottom to burn out. Dye the galled siik 
 in this colour, repeatedly, airing it also after each dye- 
 ing, until the colour is what you wish. 
 
 The gum and the galls give an addition of twenty- 
 five per cent, which, as the dyer returns to the mer- 
 chant weight for weight of silk, allows a good profit 
 on the black dye. 
 
 Raw silk is not galled, it is dyed at once in the 
 black without any preparation: the liquor should be 
 hot. 
 
 Before the silks are returned to the merchant, each 
 skein should 'be wrung on the peg, to soften the silk, 
 made harsh by the dye; it also improves its appearance. 
 Then weigh it. The manufacturer or merchant is not 
 entitled to more than weight for weight. 
 
 When the silk is dved it is sent to the silk dresser 
 to give it softness and lustre. This is done principally, 
 by twisting the skeins against each other, in pig- tail 
 fashion; they are then separated and made up in par- 
 cels of about a pound each. (See hereafter the process 
 of softening black silk. T. C.) 
 
 Such is Homassel's process. I should substitute 
 sumach for agaric. Lewis in his Commercium Philo- 
 
239 
 
 sophico-technicum, says that the colour is improved 
 by the addition of logwood and verdigris, which I can 
 easilv believe. 
 
 The processes for dyeing silk black given by Mac- 
 quer, as the methods usually followed by the silk 
 dyers, are so complicated, and so unscientific, that I 
 think it needless to copy them. Berthollet, however, 
 has given the substance of them, with the obvious re- 
 mark, that many of the ingredients are now disused, 
 although each dye- shop has its own receipt for the 
 purpose. 
 
 The following observations however, of Messrs. 
 Berthollet, (father and son) are worth translating. 
 
 Macquer describes a process for dyeing black much 
 more simple, which is used for dyeing the black silks 
 and velvets of Genoa; and somewhat improved in the 
 following receipt, which has been practised with suc- 
 cess at Tours. 
 
 For fifty pounds of silk (I presume boiled, or half 
 bleached) proceed thus. Take ten pounds of powdered 
 Aleppo galls, and boil them for an hour in a sufficient 
 quantity of water. (An hour is hardly enough if they 
 are only bruised. T. G) Let the liquor rest till the 
 galls have fallen to the bottom, when they are to be 
 taken out. Then put in fifteen pounds of green cop- 
 peras, six pounds of iron filings, and ten pounds of 
 gum. The gum broken into small lumps, is put into 
 a cullender with two handles, which must be sus- 
 pended in the boiler by sticks so as not to touch the 
 bottom. (The gum is directed to be the gum of the 
 country, such as plumb tree or cherry tree gum. It is 
 
240 
 
 a large proportion, if gum arabic or Senegal be em- 
 ployed. T. C.) The gum is left to dissolve during an 
 hour, stirring it from time to time. If at the end of 
 that time, there still remains some gum in the cul- 
 lender, it is a sign that the liquor has taken up enough; 
 if not, a pound or two more must be put in the cullen- 
 der, which is left continually suspended in the boiler, 
 except when you are about to dye; and when you 
 have finished dyeing it must be restored to its place 
 in the boiler: during all these operations the liquor is 
 kept not at a boiling, but scalding heat. 
 
 The previous galling is performed with a third part 
 of the weight of the silk of Aleppo galls, boiled as 
 usual for about two hours; the silk is left in it to soak 
 for six hours. (This galling should be repeated as 
 Homassel prescribes. I believe this repetition is always 
 necessary, whatever proportion of galls be used. This 
 receipt is very different from the English translation 
 of Macquer. T. C.) Lewis says he has repeated this 
 process, adding more green copperas, and repeating 
 the immersions several times. (Indeed, as I have urged 
 repeatedly under the article of dyeing black on wool- 
 len, no good colour can be expected, unless by means 
 of repeated immersions in the black dye, and patient 
 airings afterward. T. C.) 
 
 The quantity of sulphat of iron, says Berthollet, is 
 doubtless too small: and Lewis thinks the gum in too 
 great a proportion, which may be; but the gum never- 
 theless keeps up the proper state of the bath: an ad- 
 ditional proportion of sulphat of iron can be put in, at 
 each renewed boiling, if it be necessary. 
 
241 
 
 This process will give a good colour, says Lewis, 
 without logwood and verdigris, but a better with 
 these ingredients; which is doubtless true. 
 
 The quantity of galls here prescribed, must make 
 this dye very expensive. It is of importance therefore 
 to diminish the quantity. This object is attempted to 
 be attained in the following process of M. D' Angles, 
 which was one of the prize dissertations offered to the 
 academy of Lyons in 1776. 
 
 Make a strong decoction of walnut rind, by boiling 
 it for a full quarter of an hour; then draw the fire, and 
 when the ebullition subsides, put in the silk previously 
 boiled or half bleached, and moistened in warm water. 
 Let the silk soak in this liquor, till it has imbibed as 
 much colour as it will take up. Wring it upon the peg, 
 and wash it at the river: do not wring it very hard. 
 Then dye it a logwood blue, with the proportion of 
 one- sixteenth the weight of the silk of verdigris dis- 
 solved in cold water, wherein soak the silk for two 
 hours; then dye it in a strong decoction of logwood; 
 wring it slightly, and wash it at the river. A light 
 black does not require galling; but if a deep black be 
 required, the silk must be galled, with a decoction of 
 one half its weight of galls, boiled in the usual way 
 till the galls are quite soft. 
 
 To prepare the dye liquor, let two pounds and a 
 quarter of galls, and three pounds and a quarter of su- 
 mach, macerate in a gentle heat, in one hundred quarts 
 of water, for twelve hours. When the liquor is clear, 
 and the sediment taken out, dissolve in it three pounds 
 and a quarter of sulphat of iron, and as much gum 
 
 2H 
 
242 
 
 arabic: when all is perfectly dissolved, enter the silk 
 and let it be worked in this dye liquor for two hours^ 
 when it must be taken out, opened and well aired till 
 it has acquired as deep a black as the air will give it: 
 then let it dry, and again pass it through the dye 
 liquor for two hours; again open it, air it, wash it, 
 beetle it twice, and then dry it. Pass it again into the 
 same dye liquor, and let it remain four or five hours: 
 drain it, wash and beetle it twice (taking care, however, 
 previously to air it well.) The heat should not exceed 
 125° of Fahrenheit's thermometer. Also, before the 
 two last dyeings, add to the dye liquor about three 
 quarters of a pound of sulphat of iron and as much 
 gum arable. (If the stuff be not previously galled, this 
 quantity of sulphat of iron is very great in proportion to 
 the galls and sumach. T. C.) 
 
 To deprive the silk of the harshness which this 
 process is apt to give, it is boiled in a solution of 
 soap, or in a decoction of weld. M. D' Angles prefers 
 the latter, (for which in this country quercitron may 
 be substituted.) 
 
 M. D'Angles asserts, that if the silk be previously 
 dyed blue in the indigo vat, it will only take a mealy 
 kind of black with the usual black dye; but if it first 
 receives a blue ground with logwood and verdigris, a 
 full velvety black is obtained. He says also, that the 
 walnut rind softens the silk. That although a good 
 black can be obtained when the silk is first grounded 
 with walnut rind, and then dyed in the black dye 
 above described, yet the logwood and verdigris pre- 
 vents the necessity of so much green copperas or sul- 
 
24S 
 
 yhat of iron, which makes the silk harsh to the touch, 
 and wears it. He is also of opinion that the nut galls 
 are of use indeed to give weight to the silk, but that 
 in point of colour they can be superseded by a suffi- 
 cient quantity of sumach. 
 
 (Ail these remarks of M. D'Angles, are so reasona- 
 ble, that I have no doubt of the truth of them; nor do 
 I see any objection to his process but the expense of 
 the galls, which is made up by the additional weight 
 they give to the silk, where the dyer delivers his silk 
 by weight. The objection I have to the process is, that 
 the quantity of sulphat of iron prescribed, amounts to 
 four pounds, and the galls and sumach together to no 
 more than about five pounds. If the silk be previously 
 galled this may be remedied, but I hold it univer- 
 sally true that the proportion of galls ought to be at 
 the very least three times that of the sulphat of iron. 
 Dr. Lewis has ascertained by direct experiment, that 
 a less proportion will not make a permanent ink; and 
 I know of no difference between ink and the black 
 dye for silk. In all other respects I have no doubt of 
 the propriety of this process of M. D'Angles, except 
 indeed that in galling the silk one half its weight of 
 galls is a very unnecessary quantity. There are no 
 experiments yet made to determine, what quantity of 
 galls a given portion of silk, woollen, or cotton will 
 take up to produce saturation; the same of alum. But 
 I suspect, that if the galls or the alum are in greater 
 proportion than the fourth of the weight of the cloth, 
 they are wasted. Until this be tried, what I have sug- 
 gested is conjecture only; except as to the aluming of 
 
244 
 
 woollen, on which point I ascertained that no propor- 
 tion of alum beyond a fourth appeared of any use, or 
 to give any additional weight. I think three ounces to 
 the pound nearly the proper proportion. More can be 
 taken up when tartar is used than without; the tartar 
 seems to obstruct the crystallization of the alum. 
 
 Upon the whole, it appears to me that the best pro- 
 cess for black on silk is, to give the silk a ground of 
 walnut rind: then a deep logwood blue, which can be 
 done by adding the verdigris to the logwood decoction 
 and dissolving it therein; then the black dye, either of 
 Homassel, or any other wherein the galls are in pro- 
 portion to the copperas as four to one: this will take 
 three separate immersions at least in the black dye, 
 with subsequent airings, and washings: always recol- 
 lecting that if the goods of whatever kind are not aired 
 out of the black dye, that black dye will be in part 
 washed out. Unoxygenated gallat of iron is soluble in 
 water, does not precipitate, is not black; gallat of iron 
 exposed to the atmosphere becomes black, precipi- 
 tates, and is not easily washed away. The gallat of 
 iron in the dye bath is but imperfectly oxygenated. 
 T. C.) 
 
 Although Macquer says that the process he gives 
 for dyeing black, is the common process used at se- 
 veral dye-houses, and that it has succeeded with him, 
 yet no chemist surely can read the following list of 
 drugs to be put into the dye copper, without being 
 persuaded that the theory of the art was very little 
 understood by those who thus practised it. 
 
245 
 
 2 pounds of black nut galls pounded, 
 4 pounds of sumach, 
 
 4 pounds of cummin seed, 
 
 5 pounds of buck-thorn berries, 
 
 6 pounds of pomegranate rinds pounded, 
 
 1 pound of bitter apple, 
 
 2 pounds of pounded agaric, 
 
 2 pounds of coquede Levant, (coculus indicus) 
 
 5 pounds of linseed. 
 Then, 
 
 8 ounces of pounded litharge, 
 
 8 ounces of pounded antimony, 
 
 8 ounces of pounded piomb de mer, 
 
 8 ounces of white arsenic, 
 
 8 ounces of crystal mineral, 
 
 8 ounces of rock salt, 
 
 8 ounces of fenugreek, 
 
 8 ounces of corrosive sublimate, 
 
 8 pounds of copperas, 
 20 pounds of gum arabic. 
 But, however complicated and unscientific the pro- 
 cess recommended even by so good a chemist as 
 Macquer may be, there are remarks and variations in 
 it well worth attention. Thus he employs a considera- 
 ble quantity of vinegar, which I think obstructs the 
 inconvenient crystallization of the alum, and with the 
 iron filings makes an acetat of iron. He directs the silk 
 to soak in the gall liquor three days. He uses verdi- 
 gris in considerable quantity. He galls twice, but with 
 an extravagant proportion of galls: viz. three quarters 
 of a pound to the pound of silk, if he did not assure 
 
246 
 
 us, that some dyers use a pound and a half of galls to 
 the pound. He uses a sufficient quantity of logwood 
 and copperas to give the required blue black. He in- 
 sists with great propriety on at least three dippings in 
 the black dye, and scrupulously airing the silk after 
 each dipping. 
 
 Nor arc the following remarks without their use. 
 
 Silk dyers never dye black but by coppers; that 
 is when they have a sufficient quantity of silk for three 
 dips if for heavy black, but if light black, only two 
 dips, which is done in the following manner. 
 
 If heavy black, a third of the silk is put upon rods, 
 and three times returned into the black ground; it is 
 afterwards wrung on the peg over the copper; this is 
 done by giving it three twists; in this manner three 
 hanks may be wrung at once; because it should be 
 done gently, and only to drain; it is again put upon 
 rods, and suspended between two perches to air. 
 
 While the first silk is airing, the second third part 
 is dipped in the same manner, and afterwards the 
 third portion, always in the same manner. It must be 
 remembered that while the silk is on the rods, it 
 should be turned from time to time to give it air. 
 
 When the last third part is wrung, the first part is 
 put in, and then the two others successively for three 
 times, always airing each time. This is commonly 
 called giving the three wrings, and these three wrings 
 are called one fire or heating. 
 
 The light blacks should also have three wrings to 
 one fire. 
 
 The black ground is again heated after each fire, 
 
247 
 
 giving an addition of copperas and gum. This opera- 
 tion is thrice done for the heavy blacks, that is three 
 fires, each fire consisting of three wrings; but for 
 light blacks only twice, each also consisting of three 
 wrings. 
 
 It must be observed that at every reheating, it is 
 requisite to change the order of dipping in such a 
 manner that each may in its turn have the first of the 
 liquor. If the black dye is strong and good, the heavy 
 blacks may be done with two fires only; and for the 
 light blacks, one wringing less may do for each 
 heating. 
 
 When blacks are finished, they are returned in a 
 trough of cold water by dips one after another; this 
 is the rincing; they are then twice or thrice beetled at 
 the river. When washed, put them on the cords, only 
 take care not to press them too much. 
 
 Of Softening Black. Macquer. The silk, when taken 
 out of the black dye, is extremely harsh; which is by 
 no means wonderful, considering the number of acids 
 and corrosives in its composition. It is therefore ne- 
 cessary to soften it in the following manner. 
 
 Dissolve about five pounds of soap, in two buckets 
 of water, and while the soap is dissolving, throw in a 
 handful of aniseed or any aromatic plant. (Not I pre- 
 sume for the same purpose as the soap. T. C.) It 
 should boil till the soap is entirely dissolved. In mean 
 time a trough should be provided full of cold water, 
 and large enough to dip all the silk at the same time. 
 The soap water should be strained through linen, the 
 whole mixed well together, and the silk put in, where 
 
248 
 
 it should remain a full quarter of an hour. It is then 
 taken out, wrung on the peg, and dried as usual. As 
 the quantity of soap can do no harm, too much is 
 better than too little. This softening is very necessary, 
 in order to divest the black silk of that stiffness and 
 rustling which is so prejudicial in the manufacture of 
 black goods. (I think that a moderate washing after- 
 wards would be necessary; for the soap remaining on 
 the silk, would certainly render ii liable to attract dust, 
 and contribute to soil it. I do not see why the prac- 
 tice of the woollen dyers is not at least as good; viz. 
 adding a small quantity of oil to soften the goods. 
 Macquer does not say for what quantity of silk five 
 pounds of soap should be used. It appears to me 
 enough for fifty pounds of silk. T. C.) 
 
 Of Nut Grays, Thorn Grays, Black and Iron 
 Grays. Macquer. All these colours, except black gray, 
 are produced without aluming. The silk being washed 
 from the soap, beetled, and drained on the peg, a 
 liquor is made of fustic, logwood, archil and copperas. 
 Fustic gives the ground, archil the red, logwood 
 darkens, and the copperas softens all these colours, 
 turns them gray, and at the same time serves instead 
 of alum to extract the several colours. As there is an 
 infinite variety of grays without any positive names 
 and produced by the same methods, it would be end- 
 less to enter into a detail that would be to no practical 
 purpose. 
 
 Suffice it to remark, that in producing a reddish 
 gray the archil should predominate: for those more 
 gray, the logwood; and for those still more rusty and 
 rather greenish, fustic. 
 
249 
 
 In general, when obliged to complete the colour with 
 logwood, it should 1 e used rather sparingly, because 
 it is apt in drying to darken too much, differing in 
 this particular from all other colours. 
 
 (Grays are made by grounding them in a very weak 
 or dilute black dye. The different shades of gray can 
 be given by additions to this ground: thus, for pearl 
 gray, a very dilute logwood blue, on the black gray: 
 for dove, a very slight tinge of red on the black gray, 
 and so on. On these shades, no dyer can be much at a 
 loss. T. C.) 
 
 Of Indigo Blue upon Silk, The first observation to 
 be made is, that the raw silk ought to be previously 
 boiled in soap and water, thirty pounds to the hun- 
 dred weight; and that by scrupulous washing and 
 beetling, every part of the silk should be perfectly 
 freed from soap; for soap spoils the indigo vat, and 
 occasions the goods to be spotted. 
 
 The vats are conical, such as are commonly used 
 for the blue dye of woollen by our back country dyers, 
 and mounted in the same manner. There should be 
 three vats of different degrees of strength, and size: a 
 vat of ten buckets to be charged with a pound of in- 
 digo, one of twelve buckets to be charged with three 
 pounds, and one of fifteen buckets to be charged with 
 six pounds of indigo. The first and smallest vat should 
 be kept weak; it can be strengthened, when necessary, 
 by means of the third. 
 
 The vats are charged exactly as for woollen, that is, 
 the indigo is ground and sifted carefully. Then from 
 three-fourths of a pound to a pound and a half of pot 
 
 21 
 
 
 _ 
 
250 
 
 or pearl ash, half a pound of madder, and about three 
 quarters of a pound of bran, are used to one pound of 
 indigo. Generally the flour is washed out of the bran, 
 as the dyers think it is too glutinous otherwise. The 
 indigo vat is made up at twice, or at two brevets, as 
 the French term it. The quantity of alkali to the indigo 
 varies as usual in different dye-houses. Homassel pre- 
 scribes half a pound, Macquer three quarters of a 
 pound, Berthollet a pound, and then a brevet or re- 
 freshing of one sixth of a pound. My own opinion is, 
 that although to ensure the perfect solution of all the 
 indigo, one pound and a quarter of potash will be 
 necessary to one pound of the finest indigo; yet for 
 the silk vat, a pound is the better proportion, on ac- 
 count of the action of the alkali on the silk. 
 
 The management of the vat is much the same as in 
 the case of the woollen indigo vat. 
 
 When the silk is entered into the vat, it should be 
 done by a hank at a time, of not more at the utmost 
 than eight or ten ounces weight; it should be worked 
 on a pe g under the liquor, and after being turned four 
 or five times, taken out to air, that it may acquire the 
 indigo blue: this will not take more than half a minute 
 or less; it should then be dipped again and worked in 
 the liquor until it has acquired the colour you wish. 
 When you work your first hank in the liquor, mind 
 how many turns you give it in the dye, and how often 
 you take it out to air it, and give exactly the same 
 work to each succeeding hank, else your colour will 
 be deeper on some hanks than, on others in the same 
 parcel. 
 
 
 
251 
 
 When a bundle of silk is dyed in the vat, and taken 
 out, wring it well but expeditiously with the hand; 
 and do not permit it to turn blue in the air, but carry 
 it to the water without delay and let it be deprived of 
 its green colour there. For this purpose, you ought to 
 have at hand two tubs of water, and begin to wash the 
 silk in one, and finish the washing in another. If there 
 should be a dry wind or current of air, your silk will 
 not be dyed evenly, if you do not wring it dry quick- 
 ly, or carry it to a room warmed by a 6tove, in which 
 there is mounted a swing ventilator, which must be 
 kept in motion till the silk has acquired its blue, other- 
 wise it will spot. 
 
 Indeed all silk dyed blue, should be dried in ten 
 minutes; and it should be shaken and kept in constant 
 motion all the time it is drying, otherwise it will turn 
 blue unevenly and in streaks. It is for this reason that 
 on taking it out of the vat, it is necessary to plunge it 
 into water to take off the green colour; (the air in the 
 water answering this purpose: a little sulphuric acid 
 would ensure and expedite this use of the water* T. 
 C.) But no deep blue can be given by the indigo vat 
 alone. It must be dyed after a strong grounding with 
 archil. But before you dye with archil, you must from 
 time to time try the strength of your vat, to know the 
 depth of the archil colour that you must previously 
 give. And when you have dyed the ground of archil, 
 you must wash it well and beetle it well, before you 
 dye the blue. Ail these directions are necessary, as well 
 as dexterity in handling and turning the silk, other- 
 wise there is great hazard of its being spoiled. 
 
252 
 
 To dye silk in the blue vat, employs four work- 
 men. One dyes and washes it; another wrings it care- 
 fully and equally; a third opens it; a fourth moves the 
 swing fan. The man who wrings it should wring it ten 
 or twelve times quickly. 
 
 When the silk is opened, the strings of the hanks 
 should be cut that the air may have access to every 
 part of it. Every part of the operation after the silk is 
 taken out of the vat should be performed rapidly, and 
 the silk dried in ten minutes, or it will spot. Fine dry 
 weather should be chosen for this operation: if any wet 
 falls on the silk it will spot it red. 
 
 When silk is to be dipped of various shades, the 
 silk meant for the darkest shade should be dyed in the 
 freshest vat, and so on, continuing to dip in the same 
 manner; only as the vat weakens, the silk should be 
 left in a little longer each time, till the vat is so much 
 exhausted, that even after two or three minutes or a 
 little more, the shade appears still weaker. The vat 
 thus exhausted, serves for the lighter shades. 
 
 After dyeing a quantity of silk, the vat is apt to tire, 
 and lose its green colour; in which case it is necessary 
 to refresh the vat wiih pearl ash, madder and bran, in 
 the original proportions, about a fourth part of the 
 first dose. This brevet, as it is called, should be boiled 
 together for a few minutes before it is put in the vat, 
 which should then be well raked up, covered, and 
 suffered to rest for a few hours before it is used again. 
 
 The blues are divided by dyers into five, light blue, 
 sky blue, middle blue, king's blue, Turkey blue. The 
 two last require a previous ground of archil. 
 
253 
 
 Raw silk takes a deeper colour than boiled silk: 
 therefore dye this last, first. 
 
 False Blues are also made by means of logwood 
 and verdigris: an ounce of verdigris to the pound of 
 silk, is dissolved in water, in which the silk is well 
 soaked. It is then drained and dried, and dyed in cold 
 logwood liquor strong in proportion to the shade. 
 Blue vitriol is also used for this purpose: it makes a 
 colour somewhat different from verdigris. Homassel 
 directs but one half ounce to the pound of silk, with a 
 little alum if you want a reddish tint on the blue. Soak 
 in the blue vitriol liquor, and dye without washing in 
 cold logwood liquor. 
 
 Sometimes, an archil liquor is superadded to the 
 logwood blue, and then the silk is dipped in an indigo 
 vat. 
 
 Deep blues are also given upon a ground of brazil, 
 for which you previously alum the silk as usual. Then 
 dip it in the blue vat. This indeed is rather a violet, 
 than a blue. 
 
 Light blues may also be dyed in an indigo vat, but 
 it is not often that dyers are able to manage a vat so 
 weak as is necessary for this purpose. Hence they are 
 usually made followers, after deep blues have been 
 dyed. (I see no reason why the callicoe printers' vat 
 should not answer; or still better, a diluted pencil blue. 
 Gulich's recommendation to the silk dyer, to add or- 
 piment to the cold vat of lime and copperas, deserves 
 to be tried. T. C.) 
 
 Nothing is easier than to make a temporary blue vat 
 in the first vessel that is at hand, by means of liver of 
 
254 
 
 sulphur; this substance is made by fusing together in 
 a crucible or an earthen pot, equal parts of sulphur 
 and potash previously ground together; or rather pearl 
 ash, which is usually drier. Or you may boil together 
 equal parts of sulphur and potash till they are mutually 
 dissolved. Take equal parts of indigo and liver of sul- 
 phur, and half a part of potash, and dissolve them to- 
 gether in a close vessel of any kind by a moderate 
 heat. This can be diluted with warm water, and when 
 cold, used for dyeing. Should it become black by too 
 much heat, or any other cause, add a small quantity 
 of lime and red orpiment. When you use this, take 
 care to scum it, otherwise the silk will be spotted. 
 When you have dyed with it, put it by well covered. 
 When you want to dye again with it, warm it, adding 
 a little lime and orpiment. This succedaneum, how- 
 ever, is not necessary to dyers who understand how to 
 keep the common indigo vat in good order, though 
 weak. 
 
 Saxon Blue, is dyed on silk with sulphat of indigo 
 in the same manner as on woollen. 
 
 Of Yellow on silk. The raw silk should be boiled 
 with about twenty-five pounds of soap to the hundred 
 pounds. Then washed, and beetled, and alumed in 
 the usual way: after aluming wash it; put it on rods 
 in hanks of half a pound each. Then dye with two 
 pounds of weld to the pound of silk: keep the weld 
 down by heavy pieces of wood. Boil it till all the co- 
 lour is extracted: take out the weld, and dye the silk 
 when the liquor is about 120° of Fahrenheit. Some 
 dyers use a small quantity of pearl ash with the weld, 
 
255 
 
 which heightens the colour, but does not add to Its 
 permanency. (Though I am of opinion it aids the 
 aluming, by suddenly fixing it before any of the alum 
 is dissolved in the bath. T. C.) Work the silk in the 
 weld liquor till you have obtained your colour. Mac- 
 quer directs two baths or liquors to be made from 
 the weld, and the silk to be dyed first in one and then 
 in the other; but I do not see the advantage of it. Ho- 
 massel, however, gives the same directions under the 
 head of bottle green, which see. 
 
 I presume that although quercitron was not known 
 in Macquer's time, it may be made to supersede weld 
 in most cases, using half a pound to the pound of silk. 
 
 If you want a lemon colour, you can best obtain it 
 by weld, using a little verdigris and less alum. 
 
 If you want a jonquil, you must give a ground of 
 annatto. 
 
 For many shades of yellow, the French or yellow 
 berries (graines d' Avignon) may be used; and in point 
 of price they will answer for the cheaper goods. 
 
 The brightness of the colour will be best obtained 
 by using white silk, but in general rhe natural yellow 
 of the silk, that is not quite discharged by boiling the 
 raw silk in soap and water, does no injury to yellow 
 colours. 
 
 Auroras, oranges, mordores, &'\ are dyed with 
 annatto or rocou, as before mentioned. But other 
 shades may be given, by the mixture of red and yel- 
 lows, whether of weld or quercitron. 
 
 It does not appear that tin answers as a mordant on 
 silk with the same effect as it does on woollen. Bi§« 
 
256 
 
 muth has not been tried so far as I know. Nor the 
 acetat of iron for black in lieu of the sulphat of iron. 
 Though in Macquer's black process, there is some- 
 thing like it. 
 
 In this country, weld can hardly be used till we 
 grow it ourselves. Indeed I do not see why a dyer, 
 who must live for the most part out of town, cannot 
 appropriate one field to madder, another to weld, and 
 another to safflower, for his own consumption. T, C. 
 
 Green. Macquer. This colour, composed of blue 
 and yellow, is with difficulty produced on silk, be- 
 cause the blue vat is liable to spot, and to give a party 
 colour, an inconvenience more perceptible in green 
 than blue. Greens are produced in the following 
 manner. 
 
 The boiling of silk for this colour, is the same as 
 for common colours. 
 
 There are several shades of green known to the 
 dyers: thus a sea green or Tourville green, has twenty- 
 five or thirty gradations, from the weakest, called 
 Pistachio green, to the darkest called Terasse green. 
 
 To produce these greens after boiling, the silk is 
 strongly alumed; it is then cooled at the river, and 
 distributed into hanks of about four or five ounces. 
 This precaution is necessary for giving the yellow 
 ground to all silk intended for green; because thus 
 distributed in smaller hanks, the silk is more evenly 
 dyed, which with regard to green is of the greatest 
 consequence. The weld is then boiled as in the direc- 
 tions concerning yellow. 
 
 The weld having boiled, a liquor of it is prepared 
 
257 
 
 with clean water strong enough to give a good lemon 
 ground. The silk should be then returned in this 
 liquor with great care, because an uneven ground 
 would be very discernible in the green. When the 
 ground seems nearly full enough, some threads of the 
 silk are dipped in the blue vat to try whether the co- 
 lour of the ground be sufficiently full for the shade. 
 If not, some of the weld decoction is added and again 
 tried. 
 
 When the colour comes out good, the silk is cooled 
 at the river, and once beetled; it is then wrung and 
 formed into hanks convenient for dipping in the vat. 
 Being dipped skein by skein as for blues, it is wrung 
 with equal care and quickness and with the same pre- 
 cautions. 
 
 The fifteen or sixteen lighter shades of this green, 
 only require to be dipped in the vat to be completely 
 finished. As to the Pistachio green, if the vat be yet 
 too strong, the silk should be taken out, and carefully 
 opened and aired, but not washed. It is then worked 
 in the hands, that is, held in one hand and struck with 
 the other, by which means the silk being disentangled 
 and aired, the colour becomes equally clear. A few 
 threads are then rinced, and if the colour be right the 
 whole is washed. 
 
 For the dark shades, when the weld is exhausted a 
 little logwood is added to the liquor; and for the 
 darkest, some decoction of fustic also: the silk is 
 afterward washed and beetled, then dipped in the vat; 
 always remembering that the perfection of the colour 
 
 2K 
 
258 
 
 greatly depends on washing and drying quickly, when 
 it comes out of the vat. 
 
 There are many other shades, differing from the 
 sea green, because they have a yellow cast: they are 
 however produced by the same ingredients: for exam- 
 ple, the willow green. These greens when alumed are 
 dipped in a very strong weld liquor, and when ex- 
 hausted, the fustic or rocou (annatto) is used, added 
 to the same liquor to complete the shade. If the co- 
 lour requires darkening, a little logwood may be added 
 after the fustic or annatto: they are afterwards dipped 
 in the vat. 
 
 The second shade of green is the meadow or eme- 
 rald green. These are alumed as for the sea greens; 
 after having cooled and rinced the silk at the river, it 
 is dipped and worked in the weld liquor that had been 
 previously used for a sea green. When the colour 
 seems even, some threads are put into the vat to try 
 the effect of the ground: if the green be too blue, it is 
 again put into the decoction of the weld, or a fresh one. 
 The vat is then stirred, and the silk again entered, till 
 by making a fresh essay you find the ground proper 
 to the shade required. 
 
 The only difference between the meadow and the 
 emerald greens is, that the first is rather the darkest. 
 
 In manufactories where savory (this is a mistake; 
 the original is sarrette, serratula tinctoria, in English, 
 saw-wort, T. C.) is easily procured, it is used in these 
 kind of shades in preference to weld, the saw-wort 
 yielding more juice than the weld; or rather because 
 the stuff when dry, retains the same colour which it 
 
 n 
 
259 
 
 had taken from the liquor; whilst on the contrary, the 
 colour of the weld always grows yellower and redder 
 in the drying. (This is in some degree prevented by 
 mixing a little verdigris, or blue vitriol, with the alum. 
 T. C.) Genestrolle, genista tinctoria, dyers' broom, is 
 sometimes used instead of weld, only in larger pro- 
 portion. 
 
 All the other shades of green, are varied by the 
 addition of logwood or not, according to the tint. The 
 dyers' broom is either used alone, or mixed with weld, 
 producing the same colour. The saw-wort is prefera- 
 ble to either; except where logwood, fustic, or annatto, 
 are also to be employed. 
 
 Green. Homassel. All greens that are made simply 
 from yellow and blue, are made in the same manner, 
 using the materials according to their strength. But 
 for landscape greens, a mixture is necessary to give 
 them something of a red tint in addition. This is done 
 by mixing a small quantity of brazil with the weld 
 liquor. 
 
 In all natural colours, there may be observed a 
 delicate grayish tint, which hitherto has never been 
 imitated but with very dilute black colour or logwood 
 and copperas. 
 
 For greens, boil the weld; and let it cool, that the 
 alum on the silk may not dissolve in the hot liquor. 
 You give a yellow ground, deep in proportion as your 
 pattern requires. To hit this more exactly, you try a 
 small specimen every now and then in the blue vat; 
 dry it quickly by squeezing out the colour by means 
 »f your thumb nail and finger. When you have hit 
 
 
260 
 
 the required shade, wash your welded silk at the river, 
 for weld like soap is poison to the indigo vat. Then 
 dye in the blue vat in the same manner, and with the 
 same precautions as you do for blues and violets: the 
 least variation will render your silk streaked or spotted. 
 
 Mixed greens, that require brazil, or Venice su- 
 mach (fustet), ought to receive the colour of these 
 drugs, either on the weld yellow, or previous to weld- 
 ing. For when once the silk has entered the indigo 
 vat, it is un alumed; nor can it then take any other 
 colour but black, which stripes without any additional 
 mordant; or else by means of logwood and copperas. 
 These two colours are always given upon the blue, 
 but no otlur. 
 
 Silk may be alumed, in the proportion of four 
 ounces of alum to the pound of silk. The alum liquor 
 should never be hotter than 120° of Fahrenheit at the 
 utmost; if it be, your silk is spoiled: the silk may be 
 immersed in it a quarter of an hour. (I think an hour 
 is little enough. T. C.) 
 
 Of Bottle Green. Homassel. There are in com- 
 merce, several shades of this colour, all managed in 
 the same way. The silk must be well alumed, in a 
 strong liquor. Then washed. Then dyed in a weld 
 liquor; after the weld has boiled five or six minutes, 
 it must be taken out in baskets, and the liquor suffer- 
 ed to cool — from 110' to 120° of Fahrenheit at the 
 farthest. 
 
 If the silk be common stuff, it must not be beetled 
 after alu ming; but otherwise if it be fine. It should be 
 twice welded pretty strongly, and wiil then be of a 
 
261 
 
 rich golden yellow. Then without washing, dye it in 
 a decoction of logwood, till you have obtained a brown 
 tint as deep as you wish. If the silk be not sufficiently 
 alumed, the logwood liquor will sometimes produce a 
 brownish red so strong that the weld yellow is not 
 sufficiently brought out. In this case, some alum must 
 be put in the weld decoction to make the logwood 
 strike properly, and then pass the bottle greens 
 through soap and water, or in an old vat, where the 
 alkaki blues the logwood. You may if you please, 
 omit putting alum in the weld decoction. If the cloths 
 are deprived of their alum in welding, you may com- 
 pel the logwood to strike by means of verdigris dis- 
 solved in hot water. 
 
 It is necessary to observe, that the weld should boil 
 twice: first for five or six minutes, then for at least 
 half an hour. If you wish for a strong weld decoction, 
 after the last half hour's boiling, take out the weld, 
 and add a fresh bundle to the same decoction. 
 
 American Green. This colour is no more than a 
 weaker shade of bottle green. It requires much less 
 weld, and logwood, and a very small quantity of green 
 copperas. 
 
 Olive. Boil the silk in soap and water as usual, to 
 get rid cf its gum. Wash and beetle it; alum it strong- 
 ly; then dye it in weld liquor very strong, in the same 
 manner as for yellows, adding to this liquor when ex- 
 hausted some logwood, and when the logwood is 
 exhausted a small quantity of the solution of pearl 
 ash, which greens the liquor and gives it an olive cast. 
 The silk is again dipped in this liquor, and then 
 drained, put on the rods and dried. 
 
 
 
262 
 
 There are two shades of olive; one the green olive 
 above mentioned, the other a reddish and rusty olive. 
 For this second shade, having given the weld, some 
 fustic and logwood may be added without pearl ash. 
 The logwood should be used in greatest proportion 
 for the deepest shades. 
 
 The indigo vat would make the colour too blue; 
 the blue shade is deep enough by means of the effect 
 of the pearl ash on the logwood. 
 
 Fustic gives a drab colour, when previously alumed, 
 and then passed through logwood and copperas. 
 
ON THE DYEING OF COTTON. 
 
 COTTON, considered with respect to the art of dye- 
 ing, differs from woollen in the following particulars. 
 
 First, it receives the colouring matter of dyeing 
 drugs, and retains it with less permanency than wool- 
 len. Take a piece of linsey-woolsey, or of cotton 
 woven with woollen, and boil it in a decoction of weld 
 or quercitron, or madder, the woollen will receive a 
 dye, while the cotton and linen are nearly white. 
 
 Secondly, it will not therefore form so quick, pro- 
 bably not so strong a chemical combination with co- 
 louring matter as woollen will. 
 
 Thirdly, it will however combine (intermediately 
 by means of mordants) with a greater quantity of co- 
 louring matter than woollen will, to produce the same 
 shade of colour: thus, to produce the fullest tinge of 
 Turkey red, a pound and a half of madder at least, is 
 required per pound of cotton: the same depth of co- 
 lour can-be given on woollen with the proportion of 
 a pound of madder. 
 
 Fourthly, cotton resists the operation of acids and 
 of alkalies more than woollen does: thus, boil a piece 
 of cotton and woollen cloth in a strong alkaline ley; in 
 
 ■ ■ i — "* 
 
264 
 
 five minutes the woollen threads will be dissolved, the 
 cotton will remain, the liquor will contain a soap of 
 wool. 
 
 Fifthly, cotton will receive a full colour from any 
 drug that requires a mordant or preparation, such as 
 madder, weld, quercitron, fustic, logwood, galls, su- 
 mach, walnut or alder bark, with a preparation of alum 
 in the proportion of one-fourth of the weight of 
 cotton. 
 
 Sixthly, whereas woollen requires for a full and a 
 fast colour, a mixture of tartar, so as either to form a 
 tartrite of alumine, or else to render the alum more 
 decomposable by means of the double affinity of the 
 supertartrite of potash (which, I cannot tell) cotton re- 
 quires no tartar. The aluminous mordant is just as 
 good for cotton, alone, as with tartar. 
 
 Seventhly, the most efficacious mordant for cotton 
 has been found by experience to be the acetat of alu- 
 mine, which should be made in the proportion of 
 one pound and a quarter of sugar of lead to one pound 
 of common alum (free from iron.) But this is too ex- 
 pensive a mordant for the dyer, and is confined to the 
 callicoe printer; it has not, however, been as yet fully 
 ascertained, whether acetat of lime in about double 
 weight to the alum, would not produce a mordant 
 equally good and cheap. I have seldom been able to 
 get it by vinegar and whiting free from iron. The pro- 
 portion of sugar of lead to alum, I have ascertained, by 
 direct experiment, to be nearly one part and a half of 
 sugar otlead, to one of alum. 
 
 Eighthly, cotton goods may be made to approach in 
 
265 
 
 dyeing properties to woollen, by impregnating them 
 with animal substances and astringents: as with blood, 
 urine, cow or sheep's clung, glue, &c. and galls, su- 
 mach t or bark. 
 
 Ninthly, cotton goods do not require to be perfectly 
 bleached for any but very delicate colours, such as 
 scarlet, crimson, pink, purple, light blue, &c. Com- 
 mon colours will do better on half bleached cotton, 
 which will answer even for that finest of colours the 
 Adrianople red. 
 
 Tenthly, the looser twisted cotton receives, gene- 
 rally, a fuller and finer colour from the same ingre- 
 dients, than hard twist. 
 
 On the Bleaching of Cotton Goods. Wherein first of 
 half bleaching them for common colours: next of 
 bleaching them white for the more delicate tints. 
 
 Cotton goods may be sufficiently bleached for dye- 
 ing common colours thus. Gather them up in the 
 usual loose knot: throw them into a keer or keeve 
 (cuir or cuve) sunk in the ground and rising about 
 six inches or a foot above ground, in common water. 
 The water should cover them; for this purpose they 
 should be pressed down with a board and weights on 
 it. The paste and sowings used in weaving, will begin 
 to ferment in a couple of days in winter, and sooner in 
 summer. Six hours after the bubbles of fermentation 
 begin to appear, take them out, carry them to the 
 dash wheel, dash them well, run them through the 
 squeezers, gather them up in the usual loose knot, 
 without laying them down on the green to bleach, and 
 put them into the bouking keer. 
 
 2L 
 
266 
 
 To about one thousand pounds weight of cotton 
 goods, use thirty pounds of potash, and five pounds of 
 soap. The keer should hold two thousand weight of 
 goods in the gray, and then sixty pounds of potash 
 and ten pounds of soap will be wanted. Let this ley 
 be cohobated in the usual way on the cloth, well 
 covered with a layer of twisted pieces, and also a 
 coarse and open cloth over all. The pump is used to 
 pump up the ley upon the top of the cloth, through 
 which it pucolates and runs out at the bottom spigot 
 into the boiler, whence it is again pumped up; and so 
 on for twelve hours. The cloth, moist with the hot 
 ley, remains in the keer all night. In the morning 
 carry it to the dash wheel, and dash it well. The dash 
 wheel should be six feet and a half diameter, two feet 
 and a half wide, and make two revolutions per minute. 
 See the plate in Brewster's Encyclopaedia. Then 
 throw it into a souring keer, sunk in the ground to 
 within a foot, holding vitriolic (sulphuric) acid and 
 water in the proportion of one part oil of vitriol of 
 spec, gravity 1,85 to about fifty parts water: or, let the 
 mixture be of the strength of common vinegar. In this 
 country it will require not more than forty parts water 
 to one of oil of vitriol, such as is usuallv sold. In this 
 acid liquor, let the goods stay from eighteen to twenty- 
 four hours. Then carry them to the dash wheel; dash 
 them well, and without squeezing, lay them down on 
 the grass for three days on each side. Then take them 
 up, again dash them well, squeeze them, and then dry, 
 and make them up. If a further degree of whiteness 
 is wanted, bouk them again the usual time with thirty 
 
267 
 
 pounds of pearl ash per thousand pounds of cloth, 
 with the addition also of about five pounds of soap. 
 Dash, squeeze, sour, dash, bleach on the grass for two 
 days, dash again and make them up. 
 
 This will produce a degree of cleanness, and white- 
 ness, fully sufficient for all common purposes. 
 
 If the goods are required to be bleached white, pro- 
 ceed thus. 
 
 First, steep in common water for two or three days; 
 dash, and squeeze. Take care not to let them ferment 
 too long, or they will rot. 
 
 Secondly, Bouk early in the morning with forty 
 pounds of potash and five pounds of soap per thousand 
 pounds weight of cloth: dash them well in the 
 morning. 
 
 Note. Callicoes of twenty-eight yards and a half, of 
 quality sufficient for good common work, ought to 
 weigh in the gray, unbleached, seven pounds and a 
 quarter each, and when bleached six pounds and a 
 half each. About two hundred and thirty callicoes are 
 usually bouked at once with seventy pounds of pot- 
 ash. 
 
 Gray muslinets of forty- two or forty-three yards, 
 
 will weigh unbleached about eleven pounds. 
 Half yard velverets, gray, undressed, about six- 
 teen pounds. 
 Do. dressed and half bleached, about eleven 
 
 pounds. 
 Muslin cords, gray, unbleached about twenty- 
 three pounds, bleached seventeen pounds. 
 Of course these goods vary in weight with the cir- 
 cumstances of the trade. 
 
 — _ 
 
268 
 
 Thirdly, lay the goods down on the grass during 
 three days, turning them each day; then dash and 
 squeeze. 
 
 Fourthly, bouk with thirty-five pounds of pearl ash 
 and five pounds of soap; dash and squeeze. (The first 
 bouking should be of potash, the succeeding ones of 
 pearl ash.) 
 
 Fifthly, lay down on the grass for three days, turn- 
 ing them each day. Dash and squeeze. 
 
 Sixthly, sour in sulphuric acid and water of the 
 strength of vinegar for two days: dash and squeeze. 
 
 Seventhly, bouk with twenty-five pounds of pearl 
 ash, and five pounds of white soap per thousand 
 weight of cloth: dash and squeeze. This will make of 
 soap and alkali together, half a pound to each piece 
 of callicoe. 
 
 Eighthly, lay the goods on the grass for three days 
 as before. Then without washing or squeezing them, 
 when they are dry, 
 
 Ninthly, bleach in oxy muriatic acid, oxymuriat of 
 lime, or oxymuriat of potash. 
 
 Tenthly, dash, and lay them down on the grass for 
 a day. 
 
 The above process is the same nearly with one 
 which I formerly communicated to Dr. Mease, who 
 published it under the article " Bleaching" in his 
 edition of the Domestic Encyclopaedia. 
 
 As to the method of making the oxy muriatic acid, 
 and the oxymuriat of potash and of lime, I refer the 
 reader to the article Bleaching in the Domestic En- 
 cyclopaedia; to two papers on the oxymuriats in my 
 
269 
 
 edition of the Emporium, and to the articles Bleaching, 
 in Rees, and in Brewster's Encyclopaedia. The method 
 of bleaching with oxymuriatic acid made from red 
 lead, beyond all doubt the most expeditious, the most 
 convenient and the cheapest, is my own, exclusively. 
 It is not known in England, unless by two or three 
 gentlemen formerly concerned with me. 
 
 The above is the method of bleaching calculated 
 for the climate of England. I am persuaded, that the 
 efficacy of the sun in this country, may supersede the 
 necessity of oxymuriatic acid, or any of its combina- 
 tions. 
 
 Goods that require to be fired, will take a little 
 longer time, and perhaps a slight bouking and sour- 
 ing in addition. But under the preceding process, the 
 goods can be got out in a fortnight from the gray, 
 which is early enough for the usual routine of work. 
 I think too that the warm sun of this country, and 
 wetting the goods on the green, may supersede a 
 bouking and souring now and then. 
 
 As to the proposed methods of bleaching by steam, 
 by sulphuret of potash, and by oxymuriat of magnesia, 
 I have no faith in their pre-eminence over the well- 
 tried common method above detailed. As to the oxy- 
 muriat of magnesia, whatever advantage it may pos- 
 sess is fully counteracted by the extravagance of its 
 price here. As to the danger of the oxymuriatic acid 
 uncombined rotting the cloth, I can only say that 
 having directed the bleaching of very many thousand 
 pieces, I have no reason to make the complaint. But 
 in truth, the excessive whiteness, required by the 
 English dealers in cotton goods, is not desirable. 
 
270 
 
 It is purchased very much at the expense of the 
 cloth, and in this country we may well dispense with 
 it. Indeed, unless for cotton twist, I would discard the 
 oxymuriats altogether. 
 
 I am perfectly satisfied that the alkali would be 
 greatly improved, and might be diminished one-fourth, 
 by using lime to draw a caustic ley, but I am afraid 
 of its abuse. 
 
 Of the Blue Dye on Cotton. I have nothing to say 
 as to the preparation of the vats for dyeing blue on 
 cotton, naving exhausted that subject, in the section 
 relating to the dyeing of woollen a blue colour, in the 
 various vats there described, and meaning to say what 
 I wish in addition, under the head Dipping and Paste 
 Work, by and by, which the reader ought not to pass 
 over. 
 
 In general, the blue upon cotton is dyed in the cold 
 vats, where the indigo being disoxygenated or de- 
 oxyded by means of green copperas, (sulphat of iron) 
 or yellow orpiment, is dissolved by means of potash or 
 lime, generally by lime alone. I do not see much ob- 
 jection to dyeing a blue upon cotton by means of the 
 common indigo vat, of bran, madder, and potash, but 
 common usage and experience rather sanctions the 
 cold vat. Gulich's practice of using orpiment with the 
 copperas in the cold vat, deserves to be verified. 
 
 In dyeing cotton, the light shades are usually dyed 
 first: very full blues are seldom wanted unless for 
 Guineas, which require to be so deep that the coppery 
 hue is perceptible on casting your eye along the piece. 
 
 No mordant is necessary for an indigo blue: nor 
 
271 
 
 unless the shade required be very light, need the 
 goods be bleached quite white. But they must be 
 very clean from dirt and sowings. 
 
 A false, fugitive and fraudulent blue on cotton, even 
 as deep as a Guinea blue, can be dyed with logwood 
 and blue copperas. 
 
 Of Dyeing Cotton a Black Colour. The first thing 
 necessary is to prepare the iron liquor, which may be 
 made, either with vinegar from cyder, or brewed pur- 
 posely from grain, or made with pyroligneous acid. 
 In England it has long been a separate trade. 
 
 In a large cask of size or in number proportionate 
 to the work in the establishment, put a quantity of old 
 refuse iron of any kind; pour on it vinegar made from 
 cyder, or brewed from any kind of grain; let it stand 
 till the acid becomes saturated with the iron, which 
 usually requires three months to be good. The older 
 it is, the better. The stronger the vinegar, the better. 
 
 If pyroligneous acid be used, it must be used 
 merely to supply the place of vinegar. 
 
 Pyroligneous acid, now in common use in Man- 
 chester, and other parts of England where cotton 
 manufactures are established, is usually the refuse of 
 the making of charcoal. 
 
 Formerly in the gunpowder manufactures, the char- 
 coal used, was made in the common way of open 
 fires: of late years it has been made in close vessels, 
 wherein it is made more perfectly, and all the pro- 
 ducts of the distillation are saved. 
 
 The products of the distillation of wood, are a gas, 
 or air, called by the chemists carburetted hydrogen, 
 
 «■ 
 
272 
 
 which is permitted to escape: together with this gas, 
 an empyreumatic fetid oil comes over, which collects 
 at the top; and also an acid liquor, which is the pyro- 
 ligneous acid. 
 
 The wood is cut up in small billets, put into a 
 cylinder of iron, open at one end, to which end a cover 
 is fitted, and where the wood is put in; after which 
 the cover is put on. At the other end a large tube is 
 adapted, and the fire is made under the cylinder. The 
 wood thus exposed to heat, is distilled. The end of 
 the tube goes into a hogshead containing some water, 
 and is permitted to enter the water about six inches; 
 the gas that comes over is permitted to escape through 
 a tube inserted in the top of the hogshead. The oil 
 separates and swims on the top of the water, the acid 
 liquor mixes with the water, which by repeated dis- 
 tillations becomes strongly impregnated with the acid 
 of the wood. The charcoal, especially if near a gun- 
 powder manufactory, will pay all the expense of this 
 process. This acid liquor is an empyreumatic vinegar, 
 which perfectly answers to dissolve the iron, and is 
 used for that purpose. The smell attending this acid 
 is of no consequence, and the solution of iron is 
 equally valuable and efficacious as if common vinegar 
 had been used. 
 
 No good and permanent black can be dyed on cot- 
 ton, unless by means of the acetat or pyrolignat of 
 iron*. The sulphat of iron, or green copperas, is \ 
 
 * An acetat of iron for sudden experiments can be well made 
 ihus: dissolve in as small a quantity of hot water as possible one 
 
 . 
 
273 
 
 detrimental when used alone, to the texture of the 
 cloth, and never gives a full and lively black with the 
 common astringents. 
 
 To dye a good and permanent black upon cotton, I 
 should recommend the following process, after the 
 cloth or yarn has received a light indigo blue. 
 
 Make an astringent bath by boiling for an hour and 
 a half, two ounces of galls, four ounces of sumach and 
 as much alder bark to the pound of cotton; strain the 
 liquor clear: in this liquor work your goods for an 
 hour or more at about a scalding heat; take out the 
 cotton, and if yarn put it into a tub with as much of 
 the liquor as will cover it and let it remain for some 
 hours. Then dfain and wring it, but do not dry it. 
 Work it in iron liquor five or six quarts to the pound 
 according to the strength of it, at the heat of 120°, for 
 an hour; drain it, open, air it, and when well aired, 
 rince it in water. 
 
 Refresh your astringent bath, pouring into it the 
 liquor from the tub, with one ounce of madder and as 
 much quercitron to the pound of cotton; bring it to 
 the heat of about 160° or even 180°. Work the cotton 
 in this bath for an hour; drain, and wring it. 
 
 Refresh your iron liquor with an ounce of green 
 copperas and half an ounce of blue copperas to the 
 pound; work the goods in it as before; wring them, 
 open, air, and rince them. 
 
 part of green copperas: dissolve in as small a quantity of hot 
 water as possible one part and a quarter of sugar of lead: stir 
 them about and filtre the solution. For printing, thicken it with 
 bruised gum arabic. 
 
 2M 
 
274 
 
 Refresh your astringent bath, with a decoction of 
 four ounces of logwood to the pound of cotton. Dye 
 the goods in this bath, till the colour is exhausted; 
 wring them, open, air, and wash them well. 
 
 Dip them again in the same bath (the last mention- 
 ed) with two ounces Gallipoli oil to the pound of cot- 
 ton. Wash and dry. 
 
 Airing the goods after each dyeing, is indispensable 
 to a fine colour: I add madder, quercitron and log- 
 wood to the astringents, because I do not believe a 
 perfect black can be procured by any one colouring 
 drug alone. The oil improves the cotton both to the 
 sight and the touch. 
 
 This process will dye a good black, and I should 
 prefer it, but so will any of those that I am about to 
 mention, w r hich I insert that the artist may exercise his 
 own judgment in choosing. 
 
 For common blacks upon cotton, Mr. Wilson of 
 Manchester, the best cotton dyer of his day, (and who 
 first introduced the Adrianople or Turkey red, long 
 before the chamber of manufactures of that town pur- 
 chased the secret from M. Borell, a dyer from Rouen) 
 dyed his blacks on cotton in the following manner. 
 
 The cotton goods were peifectly freed from dirt 
 and sowens, by a half bleach, which is essential. The 
 goods were then passed through a bath of galls and 
 sumach for an hour at a boiling heat: they were then 
 drained and cooled. Then passed through a prepara- 
 tion or mordant bath of acetat of iron, (the common 
 iron liquor, made at that time with brewed vinegar 
 and iron, and used at six months old. Each dyer 
 knew by experience and repeated trials, the strength 
 
275 
 
 of his own iron liquor; it was not then (1788) a se* 
 parate trade to make iron liquor, as it is now.) The 
 goods were then drained and aired: after that they 
 were again passed through the astringent bath re- 
 freshed with alder bark: again through the iron liquor; 
 and lastly through a bath at a boiling heat, of logwood 
 with a small quantity of verdigris. After each dyeing 
 operation, however, the goods were drained, opened, 
 aired, and dried in the shade; for each dyeing process 
 is incomplete until the air strikes as full a black as the 
 materials are capable of giving. In this process, the 
 blue tinge is given to the black by the logwood and 
 verdigris. It will do very well for common blacks, but 
 the former process is better for high priced goods. 
 
 The Rouen process from Pileur D'Apligny, is 
 worth inserting. 
 
 In the states of Genoa, Florence and Naples, every 
 manufacturing city has a place of reserve called the 
 seraglio, where at the public expense, eight or ten 
 vats are constantly supported. These vats (containing 
 iron dissolved in vinegar) have been set from three to 
 four hundred years more or less; that is, prepared for 
 the dipping of silk designed for black, and only re- 
 quiring to be supplied with proper materials in pro- 
 portion as they are diminished by use. The ground 
 remaining always the same, acts as a kind of leaven, 
 by which the fermentation of the necessary additional 
 drugs is assisted. 
 
 The process at Rouen for dyeing linen and cotton 
 thread black, is first to give it a sky blue ground, and 
 then to wring and dry. It is afterwards galled, a quar- 
 
276 
 
 ter of a pound of galls for every pound of the sub- 
 stance, as for reds: having remained four and twenty 
 hours in the gall liquor, it is then wrung and dried. 
 
 About five quarts of the black liquor (strong iron 
 liquor, T. C.) is then poured into a trough; in this 
 liquor the cotton is dipped and worked with the hand 
 pound by pound, for about a quarter of an hour, and 
 then wrung and aired. This operation is twice repeat- 
 ed, adding each time a fresh quantity of the black 
 liquor carefully skimmed; it is again aired, wrung, 
 washed at the river, well drained and dried. 
 
 When this cotton is to be dyed, about one pound 
 of the bark or rind of the^ alder tree for every pound 
 of thread, is put into a copper and boiled in a sufficient 
 quantity of water during one hour; about half the 
 liquor that had been used for the galling is then add- 
 ed, with about half the weight of alder bark or of su- 
 mach. The whole is again boiled for two hours, after 
 which it is strained through a sieve. When it is cold, 
 the cotton is dipped in it on the rods and worked 
 pound by pound; from time to time airing, and re- 
 turning it into the liquor, where having remained 
 twenty- four hours, it is wrung and dried. 
 
 For softening this cotton when too harsh, it is the 
 custom to soak it in the remainder of the weld liquor, 
 that had been used for other colours, adding a little of 
 the logwood liquor. It is then taken out and instantly 
 plunged into a trough of warm water, into which had 
 been poured, an ounce of olive oil for every pound of 
 the substance. 
 
 I shall now (says D'Apligny) describe a process by 
 
277 
 
 which I myself have succeeded perfectly. It is neces- 
 sary to begin by cleansing the thread, then by galling 
 in the same manner as for reds, aluming afterwards, 
 and then dipping in a weld liquor. When taken out of 
 this lirjuor, it must be dyed in a decoction of logwood 
 to which has been added a quarter of a pound (a very 
 large quantity, T. C.) of blue vitriol for every pound 
 of the substance. It is then taken out, washed at the 
 river, wrung, and washed several times, but not wrung 
 hard. Ii is at last dyed in a madder liquor, about half 
 a pound of madder to the pound of materials to be 
 dyed. By this process we may rest assured of obtain- 
 ing a very beautiful and permanent black, that will 
 not be liable to be discharged, provided that after 
 • having been dyed, the thread be dipped in a boiling 
 soap liquor. 
 
 (The first of these processes is a good one; but the 
 reader may rest assured that a colour depending chiefly 
 on logwood and blue vitriol, can never be a very per- 
 manent one. These substances will answer to brighten 
 the black, but there must be previously a tolerable 
 black without them. T. C.) 
 
 In dyeing common blacks, they may be frugally 
 passed through old baths of drab and olive colours, so 
 as to work up the remains of half spent liquors, that 
 nothing may be lost. 
 
 Upon the black dye on cotton, I would remark, 
 
 First, that no good black can be dyed, with green 
 copperas or sulphat of iron alone. 
 
 Secondly, that the proper mordant, is clear iron 
 liquor, or iron dissolved to saturation in a vegetable 
 
278 
 
 acid; but toward the last part of the process, a small 
 quantity of green copperas with a much smaller of 
 verdigris, or blue vitriol, may be added with advan- 
 tage. 
 
 Thirdly, I believe a perfect black cannot be dyed 
 with any single astringent. For a perfect colour, mad- 
 der and logwood, and I am inclined to think a small 
 quantity of quercitron also, are necessary, which I have 
 accordingly added. 
 
 Fourthly, in the last dye-bath, if the goods are con- 
 tinued too long in the liquor, it is apt to dissolve some 
 of the black. 
 
 Fifthly, To give the blue shade so necessary to a 
 full and brilliant black, logwood and verdigris, or log- 
 wood and blue copperas (sulphat of copper) are both 
 necessary. 
 
 Sixthly, it is indispensable to air the goods after 
 dyeing them out of an astringent liquor. The oxy- 
 gen of the atmosphere alone, strikes the black, and 
 fixes it. 
 
 Seventhly, The addition of a small quantity of 
 grease or oil, is a modern improvement that answers 
 upon cotton as well as upon woollen. 
 
 For blacks, it is said that linseed oil may be used, 
 but for no other colour. 
 
 Eighthly, I am persuaded, that the modern theories 
 about animalizing cotton are well founded, and will 
 answer for blacks, as well as for other colours. Hence 
 
 Ninthly, I think it would be worth while to try the 
 following variation in the process for dyeing black. 
 Commence with a strong iron liquor containing two 
 
279 
 
 ounces of alum to the pound of cotton. Make a bath 
 of 120° hot, of a pint of sheep's dung, half an ounce 
 of pearl ash, and a couple of ounces of oil to the pound; 
 work the cotton in this for an hour and a half. Wring 
 and rince. Then through an astringent bath of two 
 ounces galls, two ounces of madder, two ounces of 
 quercitron, and four ounces sumach to the pound, 
 strained. This may boil, for the fawn colour will not 
 hurt a black though it will make a red dull. Then 
 (after wringing, airing, and rincing moderately) 
 through the iron liquor; then again the dung liquor 
 and the astringent liquor as before, only refreshing 
 this last with four ounces logwood, and one verdigris, 
 repeating ff necessary the iron liquor. 
 
 It is of great importance to give a good and per- 
 manent black to cotton goods so much in demand, as 
 all the class of velverets, velveteens, janes, &c; and 
 although a tolerable good black can be cheaply dyed 
 in the common way, I think they would pay for more 
 care and attention than is usually bestowed upon them. 
 
 The processes for grays, muds, dove colours, drabs, 
 olives, chocolates, clarets, &c. depending as in the 
 case of woollen, upon diluted black, with or without 
 the admixture of other colours, such as yellow, green, 
 red, &c. can be sufficiently well understood by those 
 who have attended to the preceding pages: but I shall 
 presently give a separate though brief section on these, 
 founded on the actual practice of Manchester. 
 
 Of dyeing Cotton a Scarlet colour. This is very sel- 
 dom dyed. Dr. Berkenhout's flimsy process, contain- 
 ing nothing new, may be found in 1 Bancroft, p. 398. 
 If this colour be wanted, let it be dved thus. 
 
280 
 
 Boil the bleached cotton in a preparation of two 
 ounces of alum per pound of cotton, for an hour and 
 a half. Then take it out, drain it, and without rincing, 
 run it through water heated to 110 Fahrenheit, in 
 which fresh blood has been mixed in the proportion 
 of half a pint of blood to a pound of cotton. Do this 
 for an hour: take out the cloth, drain and rince it. 
 
 Dye it with an ounce of quercitron to the pound of 
 cloth: drain it, wash it well, and dry it. 
 
 Run it for an hour and a half through a boiling pre- 
 paration, consisting of a sufficient quantity of water, 
 mixed with the common composition for the scarlet 
 dye: drain it, rince it slightly. Then dye it in the 
 common finishing or cochineal scarlet bath, and wash 
 it well. If too red, it can be flamed by running it 
 through a very dilute preparation liquor. If too yellow, 
 run it through hot water with about an ounce of the 
 whitest soap dissolved in it, to twenty pounds of 
 cloth: or the quantity of cochineal may be increased. 
 
 The blood certainly makes the colour more perma- 
 nent, but the colour of cochineal is fugitive upon 
 cotton at the best. 
 
 I have never tried a second blood liquor after the 
 tin preparation, but I am of opinion it would be of 
 use. Galls also would render the colour more perma- 
 nent, but they would sadden it a little. Dr. Bancroft's 
 remarks should be perused. 
 
 Brazil Reds on Cotton. False scarlets and crimsons 
 on cotton are usually dyed with brazil. The difference 
 between a scarlet and a crimson, can be made by a 
 previous yellow dye of a very light shade, which gives 
 the flame colour. 
 
281 
 
 For a Crimson with Brazil. Prepare with an ounce 
 of alum to the pound of cloth: run it through a blood 
 liquor made' as above: rince it. Run it during an hour 
 and a half through a bath of nearly boiling water, or 
 rather water at 180 of Fahrenheit, impregnated with 
 with a decoction of an ounce of bruised galls to the 
 pound of cloth: wash it. Run it the usual time through 
 a dye liquor of brazil wood, taken out of a decoction 
 made apart, with half a pound of brazil wood to the 
 pound of cloth; use one third of this decoction each 
 time. Rince it. Run it through the common scarlet 
 preparation liquor of tin in aqua regia; let it drain, 
 rince it; then add of the brazil decoction one other 
 third, previously taking out of the old dye-bath as 
 much in quantity. Drain, rince. Again run it through 
 the preparation tin liquor the usual time; drain, rince: 
 then take out of the dye-bath as much of the old liquor 
 as will admit of the remaining third of the brazil decoc- 
 tion, in which let the cloth boil, wincing it as usual, 
 for the usual length of time. Drain, wash. A small 
 quantity of cochineal decoction in the last liquor would 
 improve it. 
 
 Dyeing of Pink on Cotton. For the purpose of dye- 
 ing this colour on cotton cloth, (which is frequently- 
 required mixed with black for the Spanish market,) 
 I refer to the method already given for dyeing wool- 
 lens with carthamus or safflower. The black is usually- 
 dyed first with paste work, or else printed as a blotch 
 ground with chemical black, and then dyed with the 
 alkaline solution of safflower, and then in a solution 
 of white tartar: or these two solutions may be mixed. 
 
 2N 
 
282 
 
 Where lime or lemon juice can be cheaply obtained, 
 they are preferable to tartar. The mineral acids do not 
 produce a bright colour. 
 
 This colour will not stand washing with soap, nor 
 long exposure to air. 
 
 Of Madder Red upon Cotton; and first of the com- 
 mon madder red. 
 
 Rouen Process: from Pileur D\4pligny. The cotton 
 being cleansed, or half bleached, the next operation 
 is galling, then aluming, then dyeing, then enlivening. 
 
 Galling. Use one quarter of a pound of bruised 
 white galls, boiled till they are quite soft, in six quarts 
 of water to each pound of cotton. It will take about 
 two hours to boil the galls. Strain the liquor or draw 
 it off clear, which will now be about five quarts; divide 
 the cotton into hanks of about half a pound each, tied 
 separately, and having laded into a separate vessel five 
 quarts of the gall liquor, soak thoroughly two hanks 
 of the cotton in it. Then take them out, lay them in 
 another tub, and pour the gall liquor upon them: do 
 the same to two more hanks, till the whole are tho- 
 roughly soaked, taking care each time to stir the gall 
 liquor, that the whole may be soaked equally. Let 
 them remain in this gall liquor twenty-four hours; 
 take them out hank by hank, wring them moderately, 
 and let them dry. 
 
 Aluming. Bruise and dissolve in hot water a quarter 
 of a pound of alum for each pound of cloth. The so- 
 lution must amount to five quarts for a pound of cot- 
 ton. It is customary to add to this solution arsenic, 
 white tartar, and kelp, dissolved in water, (which as 
 they are worse than unnecessary, I omit. T. C.) 
 
283 
 
 Proceed with this alum solution exactly as you did 
 with the galling, soaking the cotton in the same way, 
 for the same time, then wring and dry it slowly, to 
 give time for the alum to combine with the cloth. 
 
 Dyeing. This should not be done with more than ten 
 pounds at a time, if you would be sure of dyeing 
 them equally. They should be dyed in a copper of an 
 oblong square shape, two feet deep. For ten pounds 
 weight of cotton it should hold sixty gallons. Heat the 
 water to a scald, and then put in six pounds and a 
 quarter of good madder; u hen the madder is equally 
 diffused through the water, enter the cotton by means 
 of sticks or rods passed through the strings, and work 
 them regularly in the liquor, turning them upside 
 down successively in rotation for three quarters of an 
 hour at a regular heat, but without boiling. Then raise 
 the cotton, and let it rest on the side of the copper, till 
 you put in about a quart of a solution of kelp or ba- 
 rilla; stir the liquor, enter the cotton again, keep it 
 immersed, and boil it for a quarter of an hour. Then 
 raise it, wring it, wash it, and wring it again. 
 
 Two days afterwards, refresh the madder bath with 
 five pounds of madder, making in all eleven pounds 
 and a quarter to ten pounds of yarn. Work the cotton 
 in this a second time, just as at first, but without any 
 alkaline lixivium. 
 
 To brighten or enliven the colour. Boil the dyed cot- 
 ton in water with a small quantity of solution of kelp 
 or barilla. Then wash it, wring it, and spread it on 
 the grass, where the colour is still further improved. 
 
 Editor's Process: for a full rich colour. Prepare the 
 
 — = 
 
284 
 
 eotton in a clear mordant liquor of four ounces of alum 
 and two ounces of sugar of lead, to the pound of cot- 
 ton, bruising the alum and dissolving it in no more 
 water than is needful conveniently to work the goods. 
 They should soak (after being well worked) immersed 
 in this hot solution for six hours. Take them out, 
 wring them over the vessel, so that no moisture will 
 drop from them: let them thus rest in a damp place 
 for twelve hours, for the remaining moisture to equa- 
 lize itself. 
 
 Prepare a bath of half an ounce pearl ash, two 
 ounces galls, six ounces sumach, and four ounces 
 madder, to the pound of cotton; keep it at a full scald 
 for two hours, or till the galls are quite soft: separate 
 the galls, madder and sumach by a sieve. Enter the 
 cotton, and keep it worked regularly in this liquor at 
 a full scald, for at least an hour and a half. Then drain, 
 wring it, rince it, and wring it again. 
 
 Prepare a dye liquor of sixteen ounces of madder, 
 and half a pint of blood, to the pound of cotton. Enter 
 the cotton at 150 , and keep it at that heat, or not 
 beyond 160' of Fahrenheit, well worked in the liquor 
 for a full hour or more, if need be. The white scum 
 or froth will show when the bath is exhausted. Drain, 
 wring, rince, wring the cotton, and dry it. 
 
 Run the cotton again through the alum bath, only 
 refreshing this last, with one ounce of alum to the 
 pound of cotton; and then through the astringent bath: 
 and dye it again with four ounces of madder and half 
 an ounce of brazil to the pound of cotton, and a little 
 more blood, a gill to the pound. 
 
285 
 
 If the cotton be in hanks or skeins, it is probable 
 that it will have to go through processes that will an- 
 swer for enlivening it: but if you wish it enlivened, 
 boil it for twenty minutes, or half an hour, in a solu- 
 tion of white soap, an ounce to the pound of cotton. 
 Then wash and dry it in the shade, or in a stove not 
 heated beyond 100° at the utmost. 
 
 The braail colour is fastened by the blood and 
 
 galh. 
 
 For cheap goods and common colours,*make them 
 the followers of fine goods, so as to use up the mate- 
 rials not quite spent, and employ upon them a quan- 
 tity of ingredients lessened in proportion to the expense 
 you choose to lay on them. But as sheep's dung and 
 blood certainly contribute to the fixity of the madder 
 red, if not of almost every other colour upon cotton, 
 I would employ the one or the other. 
 
 Generally, the blood and the dung are neglected, or 
 rather they are not in use, but I am well satisfied that 
 the colour is more full and more permanent when they 
 are used; and as the articles are cheap, there is no suf- 
 ficient reason for omitting them. It is impossible to 
 reflect on the usual practice of the callicoe printers, 
 and on the theory of animalizing cotton, which the Tur^ 
 key red must suggest, without being convinced that 
 these substances are of great use. Blood, cow dung, 
 sheep's dung, a solution of common glue, may be 
 used for one and the same purpose; I prefer them in 
 the order here stated. 
 
 The common prejudices are in favour of the Zea- 
 land grapp, or crop madder, which is certainly a good 
 
286 
 
 article, when well grown and well cured, well ground, 
 and well preserved, tightly packed til close casks. 
 Moisture spoils it. But, I have used enough of the 
 Smyrna madder roots, to know that a better colour 
 can be obtained from them, than from the common 
 crop madder. This last will not produce a genuine 
 Turkey red. The roots are indispensable. I know too, 
 that madder, which while I am writing, sells here at 
 Carlisle at a dollar a pound, can be grown at Carlisle 
 as well as in Holland. It requires, to be sure, more 
 hands to bring it into market than a common crop, 
 but a farmer would not be ill paid for his ground and 
 labour at ten cents a pound. 
 
 I now proceed to the colour which, of all others, is 
 the most complicated, and the fastest of beautiful co- 
 lours, the Turkey red. Mr. Wilson, of Manchester, 
 whom I well knew, in the year 1782 or 1783, was at 
 the expense of sending a man to the Levant, to learn 
 how to dye this colour, and he brought home, if not 
 the process, the principles. Mr. Wilson dyed a mad- 
 der red, and indeed every other colour, in a manner 
 hardly, if at all, exceeded by any knowledge of the 
 present day. Indeed he went to the expense of the 
 printer's mordant for his common madder reds. In the 
 year 1765, the French government published an im- 
 perfect account, which may be seen in D'Apligny, 
 but the dyers of Rouen, from 1780 to 1790, dyed it 
 so well, that they obtained almost a monopoly of the 
 market. 
 
 About the year 1785 or 1786, a M. Borell, who had 
 worked at Rouen, sold the process to the chamber of 
 
287 
 
 manufactures at Manchester, where it has since been 
 dyed as well as ay where else. The process of Borell 
 has been published by Mr. Henry of Manchester. In 
 1790, a M. Papillon sold to the dyers at Glasgow ano- 
 ther Turkey-red process; Bancroft has given it (vol. 
 2, p. 186) with remarks; but as I prefer Borell's upon 
 the whole, and have my own remarks to make on it, 
 I shall give it here; the more especially as Turkey or 
 Adrianople red is the only process of the cotton dyer 
 which throws light on the theory of cotton dyeing, 
 and points out the real path that leads to future im- 
 provement. 
 
 The process T am about to give differs from Dr. 
 Bancroft's, which is Papillon's, and which I disapprove 
 of in many respects: I extract the following from Mr. 
 Henry's paper, who copied it from a process purchas- 
 ed of M. Borell, who dyed the colour very well; and 
 who went through the process in the dye house of 
 John Philips and Company. 3 Manchester Transac- 
 tions, p. 380 et seq. 
 
 " It is proper to premise that all the wooden vessels 
 employed should be made of deal, or some white wood 
 free from astringent matter; (that the cotton should 
 not be more than half bleached, or rather perfectly 
 cleansed from dirt and sowens. T. C.) and that the 
 most convenient quantity to operate on, in proportion 
 to the ingredients used in the several operations, is 
 sixty-six pounds of cotton. 
 
 " From sixty pounds of Alicant barilla, a lixivium 
 or ley is drawn by means of soft water, amounting to 
 sixty gallons; and then by the pouring on of fresh 
 
 mm 
 
288 
 
 water, a second ley is formed, measuring forty gal- 
 lons; after this a third ley is also extracted from the 
 same barilla, the quantity of which should be about 
 fifty -two gallons. 
 
 " A liquor-is also prepared consisting of four gallons 
 of sheep's dung, collected after it has been excreted 
 from the animal, and before it has been exposed to 
 rain, dissolved in twenty gallons of water, and strained 
 through a hair sieve to separate it from the grosser 
 parts. 
 
 " These preparatory measures being taken, the 
 first operation consists in adding nine pounds of Galli- 
 poli oil to eight gallons of the second barilla liquor; 
 this forms a kind of soap, to which are to be added, 
 twenty-four gallons of the first barilla liquor, twelve 
 gallons of the dung liquor, and forty-eight gallons of 
 soft water. Into this liquor, when nearly of a scalding 
 heat, the cotton is to be put, room being made for it 
 by taking out about twenty gallons of the liquor, 
 which is to be gradually returned into the pan in pro- 
 portion to the waste by evaporation, and the whole is 
 to be kept boiling during five hours, after which the 
 cotton is taken out of the pan, suspended over it to 
 drain, and then well wrung, washed in clear water, 
 and hung on sraooh poles to dry, either in the open 
 air or in the stove room; but the former is to be pre- 
 fered if the weather be fair. 
 
 " The liquor wrung out of the cotton, is to be pre- 
 served, together with the remainder in the pan, for a 
 future operation; and at this time sixteen gallons of 
 soft water are to be added to the dung liquor. 
 
289 
 
 " The second operation consists in pouring three 
 pounds and a half of Gallipoli oil into a bucket con- 
 taining four gallons of the second barilla liquor, and 
 adding this mixture to six gallons of the first barilla 
 liquor, and four gallons of the dung liquor: of this 
 composition two or three gallons are to be put into a 
 tub, and in it about a pound and a quarter of the cot- 
 ton is to be well soaked, and afterwards wrung, but 
 not too closely, over a tub kept for that purpose. A 
 similar portion of cotton is then to be treated in the 
 same way, and so on till the whole has passed through 
 the mixture, adding about a pint or three half pints of 
 liquor, on the immersion of every fresh parcel of cot- 
 ton. The cotton is then to be thoroughly dried, which 
 also it must be after the subsequent operations; and 
 these are to be conducted in the same manner with 
 respect to the manipulations, (workings or handlings 
 of the goods,) as in the present one. 
 
 " In the third operation, the liquor which had been 
 wrung out of the cotton, is to be poured back into the 
 tub in which the soaking has been performed: and to 
 this are to be added of Gallipoli oil three pounds and 
 a half, and of the second barilla, dung, and first barilla 
 liquors, four gallons each. After this operation the 
 dung liquor is to be strengthened by the addition of 
 about two handfuls of sheep's dung diluted with a 
 little water. 
 
 " The fourth operation is similar to the third: the 
 liquor which remains is to be set aside for the pur-, 
 pose of mixing with the residuary liquor after the 
 
 20 
 
290 
 
 eighth operation, to be used for other cotton in any 
 subsequent process. 
 
 " The dung liquor is omitted in the fifth operation, 
 and the mixture employed in the three following ope- 
 rations is called the white liquor, to distinguish it 
 from that used in the four preceding parts of the pro- 
 cess, which from the colour imparted by the dung is 
 named the green liquor. 
 
 " The same quantity of oil as before is to be mixed 
 in a bucket with four gallons of the second barilla 
 liquor, and poured into a tub, where are to be added 
 to it three gallons more of the same liquor, and four 
 gallons of the first barilla ley. About four gallons of 
 this liquor remain after the wringing, and these are to 
 
 be added in the 
 
 " Sixth operation, to the same quantity of oil, first 
 mixed with four gallons of the second ley, and then 
 with two gallons (more or less in proportion to the 
 quantity of white liquor remaining after the preceding 
 operation) of the same ley, and four gallons of the 
 
 first. 
 
 " In the seventh operation the quantities of all the 
 ingredients are the same as in the sixth. The residuum 
 of the white liquor, after the three last operations, will 
 be about eight gallons, and is to be preserved to be 
 used in the fourteenth operation. 
 
 " The eighth operation consists in heating the third 
 barilla liquor, amounting to fifty gallons, to about the 
 warmth of new milk, removing it when thus warmed 
 from the copper to a tub; immersing the whole of the 
 cotton therein, and suffering it to remain for twelve 
 
291 
 
 hours or longer. It is then to be taVen out and laid on 
 a cloth spread on four or five sticks placed across a 
 large tub, into which the liquor drains as it runs from 
 the cotton. The cotton is then to be well wrung, and 
 afterwards thoroughly washed, that no loose oil may 
 remain, which would be injurious to the next ope- 
 ration. 
 
 " The wringing tub and peg are now to be well 
 washed, and a fresh set of poles used: for if any oil 
 were to come into contact with the cotton in the next 
 parts of the process, it would receive a blackish tinge 
 in the dyeing. 
 
 " The galling forms the ninth operation. Sixteen 
 pounds of galls, or if blue galls be used, a somewhat 
 smaller proportion, are put into twenty-four gallons of 
 water nearly boiling. The liquor is then brought to 
 boil and the ebullition continued for fifteen minutes; 
 but as soon as the boiling commences, the fire should 
 be withdrawn, as the heat already received will keep 
 it up for a sufficient time, and the galls will not settle 
 if the boiling be too violent. The liquor is to be car- 
 ried to the wringing tub in the quantity of three or 
 four gallons at a time, according as it is soaked up by 
 the cotton, till one half of it has been thus employed; 
 and the cotton is to be worked in it as hot as possible, 
 by means of a stick passed through the skeins: after 
 this it is to be dried either wholly or in part in the 
 open air; if it cannot be thus completed, (for rain 
 would in this state, and especially as the cotton ap- 
 proaches to dryness, be highly prejudicial,) the drying 
 must be finished in a stove room. The liquor which 
 
292 
 
 has been wrung out is to be added to the remaining 
 half in the copper. 
 
 "For the tenth operation, this remaining decoction 
 of galls is to be heated; the thick sediment at the bot- 
 tom being previously separated by a hair sieve, and 
 the cotton again treated as in the ninth operation. 
 
 " The eleventh operation is the aluming of the cot- 
 ton. Thirty pounds of Roman alum, finely powdered, 
 is put into sixteen gallons of water, gradually heated 
 and continually stirred. When it becomes so hot that 
 the operator cannot easily bear his hand in it, the fire 
 is to be removed. Six gallons of the first barilla 
 liquor, are then to be added by degrees, and the 
 whole agitated till the solution is complete. The cot- 
 ton is to be placed in the wringing tub, about three 
 gallons poured on it, and in proportion as the solution 
 is soaked up, more is to be added till about one half 
 of it is employed. The cotton having been thoroughly 
 worked in the alum liquor, is to be well wrung and 
 dried, and the portion which is wrung out, is to be 
 returned to the remainder in the pan, and used in 
 the twelfth operation, which is performed exactly 
 in the same manner with the eleventh. After this, the 
 dried cotton is to be well washed by handfuls in run- 
 ning water, the workman holding in each hand about 
 twenty ounces of cotton for two minutes. Each por- 
 tion is then wrung and separated, washed and wrung 
 again, and laid upon a coarse cloth. The whole is then 
 carried up from the river, wrung a third time, and 
 hung to dry. The cotton will now be ready for the 
 thirteenth operation, in which the colouring substance 
 is applied to the cotton. 
 
293 
 
 " The cotton is first divided into four equal parts, 
 each of which is to be dyed separately: and these are 
 subdivided into skeins or parcels of about a pound 
 and a quarter each. The copper pan is then to be filled 
 with water within about six inches of the top; and 
 twenty-six pounds of Smyrna, or rather of Cyprus 
 madder, added to it. So soon as the water becomes 
 milk warm, fourteen pounds of sheep's blood as fresh 
 as it can be procured are to be stirred into it: when 
 the liquor is so warm that the workman can just bear 
 his hand in it, one-fourth part of the cotton is to be 
 put into it, suspended on sticks, by means of which 
 it is moved backwards and forwards in the pan every 
 five minutes, and the skeins are to be inverted every 
 ten minutes, so that they may receive the dye equally 
 in every part. This business is continued for about 
 fifty minutes. The cotton is then hung on five sticks 
 only, and so suspended by strings as to be wholly 
 immersed in the liquor, which is now to be made to 
 boil, and continued boiling for forty-five or fifty mi- 
 nutes. A white froth about this time appears on the 
 surface, and is a sign that the madder is exhausted of 
 its colouring matter, and the cotton can receive no 
 benefit, though it will get no injury through continuing 
 longer in the liquor. It is then to be withdrawn, car- 
 ried to be well washed in the river or wash wheel, and 
 then wrung and dried. 
 
 " The other three-fourths of the cotton are then to 
 be successive dyed in the same manner, fresh ingre- 
 dients being used for each parcel. 
 
 " The fourteenth operation is represented as highly 
 
 
294 
 
 essential to the success of the process: should it be 
 omitted, the colour it is said would not only be so un- 
 fixed as to lose much in the subsequent operation, but 
 would likewise require more time for the enlivening 
 (avivage.) About eight gallons of the white liquor, 
 which remained after the seventh operation, and were 
 directed to be reserved, are now to be mixed with 
 four gallons of the first barilla ley. Two gallons of this 
 mixture being put into the wringing tub, the whole of 
 the cotton is to be washed in it, adding more liquor in 
 proportion as it is soaked up by the cotton, which is 
 afterwards to be wrung, washed and dried. (This 
 amounts to soaking the dyed cotton in a solution of 
 imperfect soap, made with carbonated soda and oil. 
 
 T.C.) 
 
 " To this succeeds the fifteenth and last operation, 
 namely, that of enlivening or reviving the colour. The 
 copper pan being about half filled with water, twenty- 
 eight or thirty gallons of the liquor remaining after 
 the first operation, are to be added, so that the liquor 
 may reach to within six inches of the top. When the 
 liquor is nearly boiling, the cotton is to be put in, 
 being previously formed into parcels of about two 
 pounds and a half each; nearly four ounces being kept 
 separate for a purpose to be hereafter described. 
 
 " The cotton is be well pressed down in the pan, and 
 confined by sticks. The pan is covered with a wooden 
 lid, having a small hole, through which the small por- 
 tion of cotton reserved for that purpose, may be occa- 
 sionally withdrawn, in order to observe the progress 
 of the operation. This hole has a moveable cover. 
 
295 
 
 The lid is then to be secured by a strong cross of 
 wood with a straight piece over it, and the sides made 
 close, so as to confine the vapour, by laying round the 
 edges of the lid, a quantity of damp linen cloth. The 
 fire is then to be raised, so as to make the liquor boil; 
 and the boiling to be continued for nine hours. 
 
 " The process is finished by taking the cotton out 
 of the liquor, wringing, washing and drying it. But 
 the drying is never to be performed either in a stove 
 room or in strong sunshine. The colour will be most 
 brilliant if the cotton be dried in the shade, with free 
 access of air." 
 
 It appears from the account of the gentlemen ap- 
 pointed at Manchester to superintend and repeat M. 
 Borell's process, that the cotton had increased to the 
 amount of one-fifth of its original weight, previous to 
 the maddering or imparting the colouring matter, 
 though it had been well washed previous to that ope- 
 tion. This increase arose assuredly, from the effect 
 produced by the oil, and by the galls, in combining 
 with the earth of alum and fixing upon the cloth. For 
 there is no doubt whatever, but the alum would be 
 decomposed by both these substances, and insoluble 
 compounds would be thus formed. 
 
 The reader having attended to Borell's process, as 
 I have thus given it, which I well know to be sufficient 
 to produce a good colour, living at Manchester at the 
 time and long after, and being attentive to the pro- 
 ceedings that took place on the occasion, I wish him 
 carefully to read over the process of Papillon, as de- 
 tailed by Dr. Bancroft, with the Doctor's remarks 
 
296 
 
 upon it, wherewith I fully agree. If a man will be a 
 dyer and understand his business, he must study and 
 repeat in a small way the Turkey red process, which 
 however complicated, and in many respects unscien- 
 tific, is the most instructive process in the whole art 
 of dyeing upon cotton. 
 
 I mean this book to consist of practice and not of 
 theory; but some remarks and explanations — some 
 reason for prefering one process to another, is indis- 
 pensable. Rut it would lead me beyond my proposed 
 limits of remark, if I were to discuss at length, all the 
 circumstances that induce me to make the following 
 observations on the Turkey red dye. 
 
 1. The decreasage or half bleaching may be done 
 in the common way at a bleacher's, better than in the 
 first step of the Adrianople red. The goods should 
 be perfectly clean from all kind of dirt and no more. 
 
 2. The Gallipoli oil is used commonly for cheap- 
 ness; but it has a far better recommendation. It con- 
 sists of the dregs and mucilaginous part of olive oil 
 after the clear part long left to settle, is drawn off. It 
 is in my opinion of value in the Turkey red, in propor- 
 tion to the mucilage it contains: for chemists know 
 that mucilage forms an insoluble substance with tan- 
 nin, as well as gelatine. 
 
 The Gallipoli oil might be superseded by the oil of 
 poppies, of the sun- flower, or by the oil of the Benny 
 nut, which I think is sesamum. But I am inclined to 
 believe, that whale oil, spermaceti oil, or hogs lard, 
 would answer a purpose at least equally good. I think 
 the tannin of the galls would unite more insolubly 
 
297 
 
 with the animal mucilage of these impure oils, than 
 with vegetable oils. 
 
 3. The intent of mixing alkali with the oils is to 
 form an imperfect soap. Papillon's proposal of adding 
 lime, although it sharpens the alkali, is unscientific. 
 We do not want to form a perfect soap: such a soap 
 could not be easily decomposed. The substance want- 
 ed is that kind of uniform but still imperfect mixture, 
 which the common carbonated alkali will form with 
 the oil: the oil must not separate by the addition of 
 water, but it must not be in perfect chemical union. 
 
 4. Alicant barilla is an extravagant article, that 
 ought never to be used at all unless by the soap 
 makers: it does not contain one-fourth of its weight of 
 pure alkali in general. From an ounce, or 480 grains, 
 115,2 grains of pure soda were procured. The rest 
 consists of neutral salts and other impurities. I am per- 
 suaded (not from practice, for the process is so trou- 
 blesome, that dyers do not like to vary from the 
 receipt) that one-third of the weight of potash would 
 effectually answer all the purposes. 
 
 5. In Borell's process about one pound of barilla to 
 the pound of cotton is used in 152 gallons of water. 
 About thirty pounds of Gallipoli oil, as much alum, 
 and sixteen pounds of galls, are used to sixty-six 
 pounds of cotton. This does not vary materially from 
 Papillon, whose oil of vitriol and sal ammoniac are 
 manifestly deceptions. Borell uses somewhat more than 
 a pound and a half of madder per pound of cotton. It 
 appears to me that the alum is in proportion unneces- 
 sarily large 
 
 2P 
 
298 
 
 Papillon uses one hundred pounds of barilla, one 
 hundred pounds of lime, twenty pounds of pearl ash, 
 fifty pounds of oil, twenty-five pounds of galls, fifty 
 pounds of alum, and (if I understand it rightly) two 
 hundred and fifty pounds of madder. An enormous 
 proportion both of alum and madder. At Rouen they 
 use, according to Vitalis, two pounds of madder per 
 pound of cotton; a quantity, of which I am well per- 
 suaded, one fourth at least is wasted. I do not believe 
 that cotton can be made to take up per pound, the co- 
 louring matter of more than a pound and a half of 
 good madder. 
 
 6. I greatly approve of the two distinct processes 
 of animalization, in this dye: first with the sheep's 
 dung, secondly, with the blood. I know the effect 
 is not only good but indispensable to the perfec- 
 tion of the colour, and I strongly incline to recom- 
 mend this practice to be extended to all madder reds 
 and colours of which madder red is the basis. It well 
 deserves to be tried also on blacks; a colour, which 
 on cotton is apt to wear very rusty. 
 
 7. Whether the alkali added to the alum liquor is 
 of use, I am not prepared to affirm or deny. It will 
 certainly precipitate the earth of alum: whether that 
 can be taken up again and uniformly combined with 
 the cloth appears to me uncertain. 
 
 8. The avivage or enlivening, is a very clumsy 
 part of the process. I know by experience of my 
 own in a large way on the Turkey red, that the best 
 and simplest avivage, (brightening, or enlivening 
 after dyeing) is by boiling the dyed goods in soft 
 
299 
 
 water with an ounce of white soap to the pound of 
 
 dyed cotton. 
 
 This process is so dear, from its tediousness and com- 
 plication, that I have made many attempts to shorten 
 it, and make it come cheaper. When madder is two 
 shillings sterling per pound, this colour cannot be 
 dyed much under five shillings sterling per pound. 
 No brilliant Turkey red can be procured from grappe 
 or crop madder. The Lizari madder roots, or the 
 madder from Cyprus, are necessary. But a colour 
 nearly approaching to the Turkey red, I have dyed 
 
 thus. 
 
 The Editor's Process for dyeing an imitation of 
 
 Turkey red. 
 
 Take your half bleached cotton hanks. Work them 
 for an hour and a half in a bath composed of two 
 ounces of bruised galls and six ounces of sumach to 
 the pound, boiled for two hours previously, and strain- 
 ed through a sieve. Wring them, open, and cool. 
 While they are very slightly but uniformly moist, boil 
 them in an alum bath of two ounces of alum to the 
 pound of cotton for about an hour; drain, wring the 
 cotton moderately, so as to leave it equally moist: then 
 run it for half an hour through a warm sheep's dung 
 liquor, of a pint of fresh dung to the pound of cotton; 
 mix the dung with a sufficient quantity of water at the 
 heat of about 115° or 120°. Then stream or rince the 
 cotton in clear water immediately out of the dung 
 liquor. 
 
 Fill up the astringent bath of galls and sumach with 
 a sufficient quantity of water to work the cotton in, and 
 
 — ■ 
 
300 
 
 then break into it four ounces of madder to the pound; 
 bring the liquor to a scald, or from 150 to 160° of the 
 thermometer, and work the cotton in it at this degree 
 of heat for an hour, or till the froth is no longer co- 
 loured by the madder. Drain, wring, and rince the 
 cotton well: dry it in a moderate heat not exceeding 
 115° of Fahrenheit's thermometer. 
 
 Prepare a solution of the acetat of alumine or com- 
 mon mordant used by the callicoe printers, thus: for 
 each pound of cotton, take four ounces of alum, and 
 five ounces of sugar of lead; dissolve the alum and the 
 sugar of lead separately, each in one quart of hot 
 water, and when dissolved add the two hot solutions 
 together, stirring them for five minutes. Let them set- 
 tle for an hour: pour off the clear liquor; wash the re- 
 mainder in a quart of hot water, let it stand for an 
 hour; pour off the clear liquor and add it to the first or 
 strongest portion. You will now have not quite three 
 quarts of liquor for each pound of cotton. Put this 
 liquor in a copper with two quarts more of water, and 
 heat it; when blood warm enter your cotton, and work it 
 for half an hour at a heat you can bear your hand in, 
 or about 130° of Fahrenheit, bv which time the cotton 
 will be thoroughly soaked; take it out, lay it in a tub, 
 and when this preparation liquor is brought to a full 
 scald, team it upon the cotton, and let the cotton re- 
 main soaking in this liquor all night, covered with 
 cloth to keep in the heat. Then drain it, wring it, and 
 run it for twenty minutes through a blood-warm 
 liquor of sheep's dung. Then immediately rince it, and 
 wring it again, leaving it moderately but evenly moist. 
 
301 
 
 Now dye it in a bath at 160° (not higher) of twenty- 
 ounces of madder, and half an ounce of brazil, and 
 half a pint of blood to the pound of cotton, till the 
 madder colour is exhausted. (If the colour is not full, 
 run it through the printers' liquor again with water 
 enough to work the cotton in, and then through a 
 madder bath with two ounces of madder and half an 
 ounce of brazil to the pound.) Enliven by boiling in 
 white soap and water, an ounce to the pound of cot- 
 ton, for a quarter of an hour. 
 
 A good colour and fast may be dyed thus. Steep 
 for six hours or more in a bath of printers' liquor, 
 made as above, using four ounces of alum to the 
 pound of cotton. Drain, wring. Then run it through a 
 moderately hot sheep's dung liquor; rince it; then dye 
 with fourteen ounces of madder and half a pint of 
 blood to the pound of cotton. Wash the dyed cotton 
 and dry it. Then run it again through printers' liquor 
 and sheep's dung. Then dye with ten ounces of mad- 
 der, and half an ounce brazil to the pound. Wash and 
 dry. Enliven with an ounce of fine white soap to the 
 pound of cotton, boiling it in water so mixed with 
 soap for half an hour. The brazil improves the hue of 
 the dye. A little olive oil in the enlivening would im- 
 prove the cotton both to the sight and the touch. 
 
 HaussmarCs method of dyeing Madder Red. Dissolve 
 one part potash in four parts boiling water, and add 
 half a part of lime. Dissolve separately one part alum in 
 two parts boiling water, pour the clear alkaline solu- 
 tion into the solution of alum, which will be first pre- 
 cipitated and then the precipitate will be redissolved. 
 
^~ 
 
 302 
 
 Mix with this liquor a thirty-third part of linseed oil, 
 and shake it well. Let the skeins remain immersed 
 therein for some hours; press them equally, and hang 
 them on poles to dry in a warm place. When dry 
 wash them well in clear water. Repeat this operation 
 (the immersion and the drying). Dye with madder 
 from an equal weight to thrice the weight of the cot- 
 ton, adding always one part of chalk or whiting to six 
 of madder. Repeated immersions and dyeings will 
 make the colour fuller and faster. If you dye with 
 three pounds of madder to one pound of cotton, this 
 last will require at least three immersions in the oily 
 liquor. 
 
 On this process I would observe, that I do not 
 know that it has been employed. Fish oil or Gallipoli 
 oil would doubtless answer as well as linseed oil. The 
 proportion of a thirty-third part of oil must not be 
 exceeded. Haussman sometimes gives four pounds of 
 madder to one of cotton. It is certainlv a mistake not 
 to employ galls. The experiment has not been repeat- 
 ed that I know of. 
 
 The proper proportion of water to madder in a 
 madder bath, is from ten to twelve quarts to the 
 pound of madder; a very concentrated decoction does 
 not give out the colour freely. 
 
 This colour is not so bright or so fast as the Tur- 
 key red, but it is a better colour than the common 
 madder red in all respects; and intermediate between 
 the printers' red upon printed callicoes, and the Tur- 
 key red. 
 
 It may be taken for granted, that cotton is made to 
 
303 
 
 approach the nature of woollen, and all dyed colours 
 upon cotton are rendered more permanent than other- 
 wise they would be, by the use of blood, and sheep or 
 cow dung, or of a solution of glue. Soaking in oil 
 also makes the colour somewhat more fixed. After 
 making this observation, founded on the practice of 
 the callicoe printers, and on the method of dyeing 
 Turkey red, I shall not insist on the use of these ani- 
 mal substances in the other dyes, because I believe 
 they have never yet been adopted, although I am 
 fully convinced that they ought to be. 
 
 Browns and Chocolates, are dyed with various pro- 
 portions of iron liquor mixed with the alum. They are 
 merely mixtures of black and red, wherein the black 
 colour is produced by iron. 
 
 Violets. The cotton being dyed a light blue, is gall- 
 ed with two ounces of galls, and four of sumach; in 
 this liquor they remain for a dozen hours: drain, wring 
 them: then prepare them with half an ounce of alum 
 and a quarter of an ounce of verdigris; drain, wring, 
 rince and dry them: prepare a bath of half a pound of 
 logwood for each pound of cotton: dye them in one 
 half of this logwood liquor; take them out and wring 
 them. Run them again through the alum liquor, re- 
 freshed with half an ounce of alum: drain and wring 
 them. Then dye them in the other half of the logwood 
 liquor with half an ounce of red-wood. 
 
 In this dye, which is not very permanent, you may 
 alter the proportion of the ingredients, according to 
 the shade of colour required. 
 
 Permanent violets can'be dved with madder and 
 
304 
 
 logwood, after preparing in iron liquor, with alum 
 and blue vitriol: or still better, by giving a ground of 
 blue in the blue vat, and then dyeing a red with mad- 
 der and brazil or brazilletto. 
 
 It is impossible to give directions for all the various 
 shades of browns, chocolates, purples and violets, as 
 slight variations in the proportions of the ingredients 
 may be easily made to suit each tint of colour. 
 
 Of the Yellow Dye upon Cotton. For this colour, it 
 is not necessary that the goods should be more than 
 half bleached. 
 
 For a full colour of a bright greenish yellow, use 
 weld. 
 
 Prepare in a bath of four ounces to the pound of 
 alum and half an ounce of blue vitriol, by boiling the 
 cloth or yarn in it for an hour, and letting it remain in 
 the liquor till cold. Drain it, wring it so as to be mode- 
 rately moist. (I should then run it through a sheep's 
 dung liquor at the heat of 120° at the utmost, using a 
 pint of dung, and half an ounce of pearl ash, to the 
 pound of cotton; but this is never done, because the 
 dyers do not improve their own processes by those of 
 the callicoe printers. T. C.) Let it remain in this 
 wrung and slightly moist state, for twenty- four hours. 
 
 Prepare a dye bath of a pound and a quarter to a 
 pound and a half of weld and two ounces quercitron to 
 the pound of cotton, by boiling the weld and bark in 
 a sufficient quantity of water for two hours; then take 
 out the bundles of weld, and strain the liquor. Enter 
 the goods when the liquor is warm, and bring it up to 
 a scald, at which heat continue the dyeing, till the co- 
 
305 
 
 lour is exhausted or the required shade is obtained. 
 This colour may be enlivened by boiling for half an 
 hour in an ounce of white soap to the pound of cotton. 
 
 The shade of yellow may be altered by omitting the 
 blue vitriol or blue copperas, by diminishing the alum, 
 by adding an ounce of pearl ash per pound of cotton 
 to the weld liquor. 
 
 D'Apligny, whose directions I have not exactly 
 followed, says that a good yellow may be dyed on cot- 
 ton by turmeric; and that it can be fixed by means of 
 a solution of sulphur of antimony in fixed alkali. This 
 may be so, but I do not know any thing practically on 
 the subject. I am not sanguine about its success, not 
 having any approbation to bestow upon turmeric. 
 
 I say nothing about dyeing cotton yellow with the 
 numerous tribe of yellow drugs that are mentioned in 
 the common books of dyeing, because, as I have said 
 before, two or three drugs easily procured, and with 
 which the dyer is well acquainted, will answer all the 
 required purposes. I know that the hickory, the bar- 
 berry root, the golden rod, the yellow broom, the 
 poplar, and many others, may be employed for yellows; 
 but a dyer needs only weld, quercitron and fustic (old 
 fustic). Indeed the latter might be discarded, for it is 
 a dull and fugitive colour, and not much cheaper here, 
 if at all, than our native quercitron, which is now the 
 staple yellow of Europe. 
 
 When quercitron bark is used instead of weld, Ban- 
 croft prescribes at the utmost but eighteen pounds of 
 bark to one hundred pounds of cloth, or of yarn. The 
 quercitron I know goes far in point of colour, but it 
 
 2Q 
 
306 
 
 must be very ehoice to produce a full colour with a 
 quantity so small. If for eighteen pounds we read 
 twenty- five, I do not think there will be reason to com- 
 plain of the alteration. The preparation or mordanting, 
 may go on as above directed in the case of weld. But 
 the cloth or cotton, he says, should be entered into the 
 dye bath when cold, and the heat brought up gradually, 
 and a boiling heat should not be used for more than 
 five minutes, because it is apt to brown the colour; 
 which I think is right. 
 
 He is of opinion with Chaptal, that a small quantity 
 of lime added to the quercitron bath improves the 
 
 colour. 
 
 He finds that the durability of the colour, both of 
 weld and quercitron, is improved by the additon of 
 a small quantity of sulphat of copper (blue vitriol or 
 blue copperas); but he, with D'Apligny, advises it to 
 be applied in a separate bath after the cotton is dyed. 
 I am not persuaded that the difference is worth the 
 trouble of a separate operation. 
 
 He seems to think favourably of Haussman's re- 
 commendation of adding chalk to the aluminous solu- 
 tion to destroy the effect of the superfluous acid: I 
 have read so many processes of Haussman in which 
 I put but little faith, that I am not inclined to adopt 
 this. If my method of using the dung liquor with 
 pearl ash, after aluming, be adopted, the chalk is ren- 
 dered unnecessary. Of the utility of my proposal 1 
 entertain no doubt. 
 
 Bancroft recommends as an aluminous mordant, the 
 acetat of alumine or printers' liquor, to be substituted 
 
307 
 
 instead of the sulphat of alumine, or common alum. 
 For this purpose, he recommends, to obviate the ob- 
 jection of expense, only one pound of sugar of lead to 
 three pounds of alum, though he acknowledges that 
 it requires a pound of sugar of lead to decompose a 
 pound of alum. For my own part, having made ex- 
 periments to ascertain this important fact, I find that 
 one pound and a quarter of sugar of lead is hardly 
 sufficient, but that it requires nearly one pound and a 
 half of this substance to decompose a pound of alum, 
 and to form a perfect acetat of alumine. A fact which 
 the reader would do well to ascertain for himself. Of 
 this I shall say more when I come to the mordant for 
 callicoe printing. 
 
 I have no objection to the acetat of alumine as a mor- 
 dant, of which I full well know the value; but it is 
 still too dear for common work: nor can this objection 
 be fully obviated, by employing white lead or litharge 
 dissolved in vinegar, though I believe some expense 
 may now and then be thus saved. But common vine- 
 gar is foul, and often contains iron; whereas sugar of 
 lead, which is made from distilled vinegar, can always 
 be depended on. 
 
 Bancroft recommends using the acetat of alumine in 
 solution, warm and not hot: then to drv the cotton im- 
 pregnated with it, in a stove heat: then to soak it again 
 in the acetat of alumine: then to moisten, or rather 
 wet it with lime water, to prevent the bad effect of the 
 vinegar on the colouring matter in the dye-bath: then 
 to dry it again in a stove heat: then to soak it again 
 (for a full colour) in the acetat of alumine, and again 
 
308 
 
 to moisten it with lime water; then to dry it, and after - 
 wards dye it. I have no objection to all this, but the 
 trouble and the expense. 
 
 I think the sheep's dung or cow dung liquor will 
 answer a better purpose than the lime, and it has the 
 sanction of experience in every callicoe printing shop 
 to support it: but I have no objection to two soakings 
 for a full colour. 
 
 Of Yellow with Fustic. This is a cheap, and there- 
 fore an useful dyeing drug, but the colour is neither 
 so good nor so fast as weld or quercitron. 
 
 The common mordant is alum and verdigris in the 
 usual proportion; but fustic is better adapted for drabs 
 and olives than it is for yellow alone. Chaptal says 
 that the muddiness of the fustic colour is owing to an 
 astringent part, or coloured tannat, which can be 
 thrown down by a solution of glue, and then the yel- 
 low is as clear and as bright as a weld colour. 
 
 Of Buff Colour upon cotton. The finest buff I ever 
 saw I dyed myself on some white velveret with nitrat 
 of iron recently made, and raised it in lime water; but 
 this colour is too dear for common use, though it will 
 pay well enough in fine goods. In Manchester, they 
 use tinned iron plates dissolved in nitric acid, which 
 is no improvement, for the tin is so much oxyded by 
 the aqua fortis, that it falls down in a white insoluble 
 sediment. I do not know that the tin would be any im- 
 provement if it could be applied to the cloth, for a 
 buff colour; but to do this, the mordant must be tin 
 plates in aqua regia made with equal parts nitric and 
 muriatic acid, and the tin dissolved slowly. 
 
309 
 
 Common buffi? are made by an iron stain, given by 
 dipping the goods in a hot solution of green vitriol; 
 then take them out, wring them, open, and air them; 
 then raise the colour in lime water. Repeat this ac- 
 cording to the depth of the colour required. All these 
 buffs stain with tea. 
 
 Fugitive buffs are made with fustic and annatto, 
 but this ought not to be used even on the commonest 
 goods. 
 
 Nankin Colour. I am not certain whether the im- 
 ported nankin coloured callicoe be dyed or not. I have 
 seen cotton wool of that colour. Be that as it may, we 
 have no perfect imitation of it. The best I know of is 
 this. 
 
 Prepare your cotton in printers' mordant diluted as 
 little as possible, soaking the cotton in the mordant 
 blood warm for several hours. The quantity of mor- 
 dant used may be in the proportion of four ounces of 
 alum to the pound of cotton, with the necessary por- 
 tion of sugar of lead. Then wring the cotton, and 
 having made a solution in five quarts of water of two 
 ounces of galls to the pound by boiling them till soft, 
 and then straining the liquor, let it remain till it is at 
 the heat of 120°, and then add a pint of sheep's dung 
 to the pound; work the cotton in this liquor during an 
 hour at this heat, and let it remain soaked therein for 
 a couple of hours more; wring it, and rince it. Then 
 dye it in a decoction of mahogany shavings at the rate 
 of a pound and a half to the pound of cotton, at a full 
 scald or boiling heat, for an hour. Drain and wash it. 
 If you want a deep colour, repeat the whole process. 
 
■' 
 
 310 
 
 If the acctat of alumine made as above directed 
 (with about a pound and a quarter of sugar of lead to 
 a pound of alum) should be too dear, Bancroft's pro- 
 portion may be used of one pound sugar of lead to 
 three pounds of alum; or even alum alone might be 
 used, putting half an ounce of pearl ash into the dung 
 liquor. 
 
 Orange. Dye the cloth a crimson with the tin mor- 
 dant, and brazil, with a little cochineal: then run it 
 again through the mordant and use two ounces of 
 quercitron to the pound of cotton. 
 
 Med Cinnamon. Madder will not produce an orange 
 colour, but it will produce a red cinnamon colour. 
 Dye the cotton with alum two parts, blue vitriol half 
 a part, and weld or quercitron in proportion. If weld, 
 use half a pound to the pound of cotton; if quercitron 
 use three or four ounces to the pound. Wash the 
 cotton. 
 
 Then refresh your preparation bath with two ounces 
 of alum to the pound; work the goods as usual for an 
 hour: then dye with two ounces of galls and fourteen 
 ounces of madder to the pound. Brighten the colour 
 by boiling for half an hour in an ounce of soap to the 
 pound of cotton. 
 
 The following transcript of my notes on dyeing, 
 taken while I attended to those subjects at Manches- 
 ter, are worth perusal as a summary of the actual pro- 
 cesses there for dyeing on cotton. I copy them some- 
 what enlarged from the Domestic Encyclopedia of 
 Dr. Mease, to whom I gave them. 
 
 Drab Colours. The mordant or preparation, two 
 
311 
 
 ounces of alum and as much green copperas to the 
 pound of cotton. Dye with fustic and sumach, of each 
 half a pound, for a full colour. There can be no doubt 
 with me but an intervening dung liquor would fasten 
 and deepen the colour. 
 
 Greenish Olive. The mordant or preparation, three 
 ounces green copperas, and one ounce of blue cop- 
 peras. Fustic and logwood, of each half a pound. 
 
 Brownish Olive, In lieu of three ounces of fustic 
 and as much logwood in the preceding receipt, added 
 six ounces of sumach. If for a reddish olive, add a 
 couple of ounces of madder, and an ounce of alum in 
 the preparation instead of an ounce of the copperas. 
 
 Mud Colour. Prepare with equal parts of alum and 
 copperas, and dye with sumach. 
 
 Bloom. Prepare with alum and copperas, three 
 ounces of alum and one of copperas. Or for a fine co- 
 lour prepare with the common scarlet composition, or 
 tin in nitric acid with sal ammoniac and nitre. Dye 
 with equal parts of logwood and sumach. Tin dis- 
 solved in three parts nitric acid, and one muriatic acid, 
 will answer: or equal parts of the two acids. 
 
 Purple. Prepare with the common tin mordant. Dye 
 with logwood and brazilletto, adding an ounce of 
 verdigris to the pound of cotton. 
 
 Chocolates mid Browns. Prepare first with green 
 copperas two ounces to the pound of cotton; then dye 
 with twelve ounces of fustic, and half an ounce of 
 pearl ash: wash and dry: then add to the green cop- 
 peras liquor, an ounce of blue copperas, and work the 
 goods in it: then dye in logwood liquor, four ounces 
 
312 
 
 to the pound: then finish with Brazil and the tin com- 
 position if a bright colour be wanted. I think the cloth 
 might be prepared at once and dyed at once, with the 
 above ingredients of green and blue copperas together 
 in the preparation, and fustic and logwood in the dye 
 liquor, and then finished if necessary with tin and 
 brazil. 
 
 Fast Buffs. Tinned iron plates, (refuse cuttings of 
 a tinman's shop) dissolved in aqua regia, three parts 
 nitric and one muriatic acid. Then raise the colour in 
 lime water, about half a pint lime to the gallon of 
 liquor. Repeat the process for a full colour. 
 
 Nankin. Prepare with alum: add to a decoction of 
 fustic, as much solution of Spanish annatto in pearl 
 ash as is necessary to give the required colour. This is 
 not a colour that will bear washing, the annatto being 
 fugitive. 
 
 • Another. Prepare with a mordant of three ounces of 
 alum and as much tartar or argol dissolved in water, in 
 proportion of a pound of alum and a pound of argol, 
 to two gallons of water. Immerse the cotton yarn in 
 this hot solution for two hours; drain it; wring it; dye 
 it in a decoction of mahogany shavings pound for 
 pound. 
 
 Or, prepare the cotton in the second red of the 
 printer's mordant, then dye with mahogany. Finish by 
 running it through a weak tin mordant. 
 
 Chamois. Add a little sumach to the mahogany. 
 
 Fast Yellow. Prepare with alum and dye with weld 
 or quercitron. Or prepare in the second red liquor. 
 
 Common Yellow. Alum, then dye with quercitron 
 or fustic, and verdigris. 
 
^ 
 
 313 
 
 Fast Green, Indigo blue ground, prepared with 
 alum, or second printers' red, and dyed with weld or 
 quercitron. 
 
 False Green. Prepare with one ounce alum, and two 
 ounces blue copperas: dye with four ounces fustic and 
 twelve logwood. 
 
 Bottle. Instead of fustic, take fustic and sumach 
 equal parts, with a little green copperas in the pre- 
 paration. 
 
 Fast Violets. A light indigo blue; then prepare either 
 with two ounces alum, or a second printers' red, and 
 dye with madder and brazil. 
 
 Common Violets. Prepare with alum; dye with log- 
 wood. 
 
 Plumb Colour. Prepare first with galls an ounce to 
 the pound. Then with alum. Then dye with brazil, 
 and logwood. 
 
 Flea or Puce Colour. Dye first with annatto and 
 pearl ash: then prepare with galls; then with alum; dye 
 with logwood and a little brazil. 
 
 Coquelicot. A ground of annatto; galls an ounce to 
 the pound; alum two ounces to the pound, or even 
 three ounces; dye with logwood, putting in a little 
 brazil toward the end of the dye. 
 
 A more fugitive coquelicot is made with saffron in- 
 stead of annatto, but a brighter colour. 
 
 Grays. Galls, logwood, oak sawdust, according to 
 the required shade; preparation, green copperas, and 
 now and then a very small quantity of blue copperas. 
 
 Black. Dye a deep fast buff, raised either in lime or 
 
 2R 
 
 5=^ 
 
314 
 
 alkali; dye with oak sawdust, logwood, and either 
 galls or sumach, with a little verdigris. 
 
 Or, dye a deep raised buff; then with half a pound 
 logwood, two ounces galls, twelve ounces madder, 
 with about six ounces sumach or alder bark. If the 
 colour should not be deep enough, run it again through 
 the astringent liquor with a little verdigris. 
 
 Red for Common Reds; gall the cotton; alum it; dye 
 with a pound and a quarter at least of madder to the 
 pound of cotton. The cotton must be a good half- 
 bleach colour. 
 
 Or, for very fine and fast reds, soak the cotton for 
 four or six hours in the common printers' mordant 
 for first red; drain and wring it; gall it with three 
 ounces to the pound of galls; dye it with a pound and 
 a half of madder and two ounces brazil to the pound. 
 Brighten with an ounce of soap, boiling it for fifteen 
 minutes, putting in the cotton when the soap is dis- 
 solved. This is a good and rich colour, but expensive. 
 
 Turkey or Adrianople Red. Boil the gray cotton 
 in water for an hour and a half, with an ounce of 
 soft soap to the pound. Wash it. Dissolve in five 
 quarts of water an ounce of pearl ash, and an ounce of 
 fish oil or Gallipoli oil to each pound of cotton. Let 
 the cotton macerate in this liquor hot, for six hours; 
 wash it. Immerse it during ten days in fish oil. Wring 
 it, rince it well and hang it up to dry. Gall it, with 
 four ounces galls, and as much sumach, to the pound: 
 wring and rince it; run it for an hour and a half through 
 alum liquor, four ounces to the pound. Again through 
 the astringent liquor; again through the alum liquor 
 
*! 
 
 315 
 
 refreshed with an ounce of alum; then through sheep's 
 dung; rince it immediately; wring it; then dye it in a 
 madder bath of a pound and a half of madder, and half 
 a pint of blood to the pound. Wash it. Brighten in 
 w r hite soap and water. 
 
 Pink. With safflower, as I have already directed. 
 
 Scarlet and Crimson. Tin in aqua regia as the pre- 
 paration; then dye with brazil. Again in the prepara- 
 tion, and again dye in brazil with a little cochineal 
 (a quarter of an ounce to the pound) for the finishing. 
 Neither brazilletto, nicaragua, cam, or red-wood as 
 it is called, will produce this colour. You cannot dis- 
 pense with brazil unless you use cochineal. 
 
SOME OBSERVATIONS 
 
 ON 
 
 CALLICOE PRINTING 
 
 I HARDLY know any business on which so little has 
 been written, or so little publicly known as callicoe 
 printing. I cannot give here a full description of this 
 very ingenious and important art, for want of some 
 recent information I wait for, and for want of plates 
 to describe the machinery; but my notes and observa- 
 tions taken when I attended to this business myself, 
 will not be without their value at this day. Many pro- 
 cesses have been improved, and some new ones in- 
 vented, but the ground work of the art remains the 
 same. 
 
 The following general view of the subject, (a few 
 additional remarks excepted) I owe to Dr. Gregory; 
 it is a good description of the general principles of 
 callicoe printing, and will be a proper preface to what 
 I have to say of my own knowledge. 
 
 Callicoe printing (art de fabriquer les Toiles peintes, 
 ou Indiennes) is the art of communicating different 
 colours to particular spots or figures which form a 
 
 w^m 
 
317 
 
 picture or pattern on the surface of the cloth, while 
 the other parts retain their original whiteness. This 
 art has been practised in India for more than two 
 thousand years. 
 
 But in London, callicoe printing was not introduced 
 till about the year 1676, since which it has been en- 
 couraged by several acts of parliament. 
 
 This art depends upon impregnating those parts of 
 the cloth which are to receive a colour, with a chemi- 
 cal composition or mordant as it is called, and then 
 dyeing it as usual with some appropriate dye-stuff. 
 The dye-stuff but slightly stains the parts of the cloth, 
 not impregnated with mordant, but the colouring 
 matter attaches itself firmly to that part of the cloth 
 that has received the mordant; so as to form a three- 
 fold chemical union, between the mordant, the co- 
 louring matter, and the cloth itself. The cloth itself 
 would form no chemical union with the mordant alone, 
 which by repeated washings in hot water can be 
 washed out — nor with the colouring matter alone, 
 which a boiling in bran and soap and water, would 
 easily discharge; but when the mordant, the colour- 
 ing matter, and the cloth, meet together at a heat ap- 
 proaching to boiling, an union takes place, which the 
 common processes of washing the cloth in a family 
 when worn and soiled, seldom destroy entirely, though 
 often repeated. The whole surface of the cotton is in- 
 deed more or less tinged, but by first boiling it with 
 bran, and then washing and bleaching it for some days 
 on the grass with the wrong side upwards, all the tin- 
 mordanted parts resume their original colour, while 
 
■■■ 
 
 318 
 
 those which have received the mordant retain the co- 
 lour given. Suppose that a piece of white cotton cloth 
 is to receive red stripes, all the parts where the stripes 
 are to appear, are covered by mechanical contrivances 
 with a solution of the earth of alum in the acid of vine- 
 gar, or acetat of alumine, known in a printing shop by 
 the name of printers' mordant, red colour, or red 
 liquor; after this the cloth is dyed after the usual man- 
 ner with madder. When taken out of the dyeing ves- 
 sel, it is all of a red colour; but by Washing and bleach- 
 ing, the madder is discharged from every part of the 
 cloth which remains white, except the stripes impreg- 
 nated with the acetat of alumine which remain red. In 
 the same manner may yellow stripes, or any other 
 wished for figure be given to cloth, by substituting 
 weld, quercitron bark, or fustic for madder. 
 
 When different colours are to be given to different 
 parts of the cloth at the same time, it is done by im- 
 pregnating it with various mordants. Thus if stripes 
 are drawn upon a cotton cloth with acetat of alumine, 
 and other stripes with acetat of iron, and the cloth 
 afterwards dyed in the usual way with madder, and 
 then washed and bleached, it will be coloured red and 
 brown. The same mordants with quercitron bark give 
 yellow, and olive-drab. 
 
 The mordant chiefly employed in callicoe printing, 
 are acetat of alumine and acetat of iron. These mor- 
 dants are applied to the cloth, either by blocks, on 
 which the pattern is cut, and some old hat or felt fixed 
 to take up a fuller quantity of coloured mordant, or 
 by rollers, on which the pattern is cut and which re- 
 
319 
 
 ceive the mordant slightly coloured, by being made to 
 touch thick cloth woven for the purpose whereon the 
 mordant is smeared — or by a pencil clipped in the mor- 
 dant, which is thus painted on the cloth. The mordant 
 is slightly coloured that its boundaries may be seen. 
 As these mordants are intended for particular parts 
 only of the cloth, care must be taken that they do not 
 spread to other parts which are intended to be white, 
 and that they do not interfere with one another when 
 several are applied; otherwise all the elegance and 
 beauty of the pattern would be destroyed. It is neces- 
 sary therefore that the mordants should be of such a 
 degree of consistence, that they will not spread beyond 
 the places of the cloth whereon they are applied. This 
 is done by thickening them with flour either in its com- 
 mon state or dried to a brown colour, or by starch, or 
 latterly in England by the mucilaginous extract of 
 some of the class of lichens, when the pattern is to 
 be printed by a block; they are thickened usually with 
 gum arabic or gum Senegal, when they are applied by 
 the pencil. This thickening should never be greater, 
 than is absolutely necessary to prevent the spreading 
 of the mordants: when carried too far, the cotton is apt 
 not to be sufficiently saturated with mordant, and of 
 course the dye takes imperfectly. 
 
 In order' that the parts of the cloth impregnated with 
 mordant, may be distinguished by their colour, it is 
 usual to tinge the mordants with some colouring mat- 
 ter or other. The printers commonly use the decoc- 
 tion of brazil for this purpose: but Dr. Bancroft has 
 objected to this method, because he thinks that the 
 
— — - 
 
 320 
 
 brazil wood impedes the subsequent process, and is 
 displaced during that operation, by the superior affinity 
 of the dye-stuff of the mordants. Was it not for this 
 superior affinity, the colour would not take at all. Dr. 
 Bancroft advises to colour the mordant with some of 
 the same dye-stuff that is afterwards to be applied, and 
 he cautions against the using of more for this purpose, 
 than is necessary to make the mordant distinguishable 
 from the other parts of the cloth. The reason of this 
 precaution is obvious. If too much dye is mixed with 
 the mordant, a great proportion of the mordant will 
 be combined with colouring matter, which must 
 weaken its affinity for the cloth, and of course prevent 
 it from combining in sufficient quantity to ensure a 
 permanent dye. At present the parched flour suffices 
 for the purpose of colour, and printers dispense with 
 
 the brazil. 
 
 Sometimes these two mordants are mixed together 
 in different proportions; and sometimes one or both 
 are mixed with an infusion of sumach or nut galls. By 
 these contrivances a great many varieties of colour are 
 produced by the same dye stuff. Thus, reds, browns, 
 chocolates, clarets, and even blacks may be dyed in 
 one and the same madder copper, if the cloth be pre- 
 viously impregnated with acetat of alumine unmixed, 
 with acetat of iron with a strong decoction of galls, 
 and with acetat of alumine and of iron mixed together 
 in various proportions. So yellows, drabs, olives and 
 blacks may be in like manner produced from the mor- 
 dants above mentioned, when the piece is dyed with 
 weld or quercitron, and a little decoction of sumach 
 added toward the last. 
 
321 
 
 After the mordants have been applied, the cloth 
 must be carried to a stove-room, heated something 
 short of a blood heat, to be dried. This heat drives off 
 gradually the acetic acid combined with the mordant, 
 and produces a more complete union between the alu- 
 mine and the cloth. 
 
 When the cloth is sufficiently dried it is to be winced 
 through warm water and cow dung, till the flour, 
 starch or gum used to thicken the mordant, as well as 
 the superfluous part of the mordant itself, not com- 
 bined with the cloth, are removed. The cow dung 
 serves to entangle these loose parts of the mordants, 
 and to prevent them from combining with those parts 
 of the cloth which are to remain white. (The cow dung 
 serves first, to combine with the mordant and prevent 
 its spreading, by furnishing a small quantity of co- 
 louring matter; secondly, it furnishes also animal mat- 
 ter, which makes the mordant combine in greater 
 quantity and more perfectly with the cloth; thirdly, it 
 washes away, by means of warm water, the thickening, 
 and the superfluous mordant. T. C) After this the 
 cloth is thoroughly rinced in clear water, quickly after 
 coming out of the dung liquor. 
 
 Almost the only dye stuffs employed by callicoe 
 printers, are indigo, madder, logwood, sumach, weld, 
 quercitron bark, and fustic; and the latter might be 
 dispensed with. Nor is weld used unless for dtlicate 
 greenish yellows, on fine chintz patterns; although 
 much of it is grown in England, but not quite so good 
 as in France. Quercitron bark has nearly superseded 
 the weld, because it gives colours equally good, and 
 
 2S 
 
322 
 
 is much cheaper and more convenient, not requiring 
 so great a heat as weld; nor does it stain the white so 
 much as weld. Indigo not requiring any mordant, is 
 usually either dyed with paste-work on reserves, or 
 laid on with a block, or a pencil. 
 
 It is prepared by boiling together indigo, and pot- 
 ash made caustic by quicklime, and orpiment: the so- 
 lution is afterwards thickened with gum. It must be 
 carefully secluded from the air, otherwise the indigo 
 would soon be regenerated, and the solution become 
 useless. Dr. Bancroft has proposed to substitute coarse 
 brown sugar for orpiment: it is equally efficacious 
 in rendering the indigo soluble by deoxyding it, 
 while it likewise serves all the purposes of gum. 
 
 Let us now give an example or two of the manner 
 in which the printers give particular colours to calli- 
 coes. Some callicoes are printed only with one, some 
 with two, three, or more, even to the number of twelve. 
 The fewer the colours, the fewer are the processes ne- 
 cessary. 
 
 First, one of the most common colours on printed 
 cottons, is a kind of nankin yellow, of various shades, 
 down to a deep yellowish brown or drab. It is usually 
 in stripes or spots. To produce it, the printers besmear 
 a block cut out into the figure or pattern proposed, 
 with acetat of iron thickened with gum or flour; it is 
 then applied to the cloth in the usual way, which be- 
 ing dried and cleaned, is plunged into an alkaline ley 
 made from potash (or into lime water. T. C.) The 
 quantity of acetat of iron is always proportioned to 
 the depth of the shade. Secondly, for yellow, the block 
 
323 
 
 is besmeared with red colour, or acetat of alumine; it 
 is then run through cow dung, and washed, and dyed 
 with weld, quercitron or fustic; and then boiled in bran 
 and water, and bleached on the grass the wrong side 
 upward. Thirdly, red is communicated by the same 
 process, only madder is substituted for the yellow 
 drugs. Fourthly, the fine light blues which appear so 
 often on printed callicoes, are produced by applying 
 to the cloth, a block smeared with a composition (paste 
 or reserve) consisting partly of wax, which covers all 
 those parts of the cloth that are to remain white. The 
 cloth is then dyed in a cold indigo vat made with in- 
 digo, quicklime and green copperas, which does not 
 affect the parts so protected by the paste or reserve. 
 This is afterwards removed by washing in hot water. 
 Fifthly, lilac, flea-brown, and blackish brown, are 
 given by means of acetat of iron; the quantity of 
 which is always proportioned to the depth of the shade. 
 For very deep colours a little sumach is added. The 
 cotton is afterwards dyed in the usual manner with 
 madder, and then branned, and bleached on the grass. 
 Sixthly, dove colour and drab are produced by acetat 
 of iron and quercitron bark. 
 
 When different colours are to be applied and appear 
 in the same print, a greater number of operations are 
 necessary: two or more blocks are employed, upon 
 each of which that part of the print only is cut, which 
 is to be of some particular colour. These are besmear- 
 ed with different mordants, and applied to the cloth, 
 which is dyed as usual. Let us suppose, for instance, 
 that these blocks are applied to cotton, one with ace- 
 
324 
 
 tat of altimine, another with acetat of iron, a third with 
 a mixture of these two mordants, and that the cotton 
 is then dyed with quercitron bark, branned and bleach- 
 ed. The parts impregnated with the mordants would 
 have the following colours: 
 
 Quercitron 
 bark with 
 
 f acetat of alumine") r ,, fyellow. 
 
 •< iron y , . < olive, drab or dove. 
 
 {_ the mixture J * J ^oiive green, olive. 
 
 If part of the yellow is pencilled with an indigo blue, 
 a fast green will be produced on the yellow, and other 
 saddened shades of green on the other colours. 
 
 If the cotton is dyed with madder, instead of quer- 
 citron, the print will exhibit the following colours: 
 
 f acetat of alu mine 1 ,, ("red. 
 
 Madder with 1 iron I W0 ' Utl ^ brown, black. 
 
 (_ the mixture J P 10 uce (^purple, chocolate. 
 
 According to the strength of the mordant, and the 
 strength of the dye-liquor. If two or three reds of 
 different intensities are required, it is managed by 
 using the acetat of alumine strong for the deepest red, 
 and diluted for the weaker shades. So a strong con- 
 centrated iron liquor, and plenty of madder, will pro- 
 duce a black; if weak, it will be merely a brown. In 
 like manner the shades can be varied, when the same 
 mordants are dyed with weld or quercitron bark. 
 Different shades of colour will also be produced by 
 the same mordants when dyed with logwood, as when 
 
325 
 
 we see black, gray, and purple, upon low-priced 
 callicocs. 
 
 When a great number of colours are to appear, for 
 instance when tho9e communicated by bark, and those 
 by madder, are wanted at the same time, mordants for 
 part of the pattern are to be applied; the cotton is then 
 to be dyed in the madder bath, branned and bleached: 
 then the rest of the mordants to fill up the pattern are 
 added, and the cloth is again dyed with quercitron 
 bark, branned and bleached. The second dyeing does 
 not much affect the madder colours, because the mor- 
 dants that render them permanent are already satu- 
 rated. The yellow tinge is easily removed by the sub- 
 sequent bleaching. 
 
 Sometimes a new mordant is also applied to some 
 of the madder colours, in consequence of which they 
 receive a new permanent colour from the bark. After 
 the last bleaching on the grass, new colours may be. 
 added by means of the indigo pencil-blue. The fol- 
 lowing table will give an idea of the colours that may 
 be given to cotton by these complicated processes. 
 
 MADDER DYE. 
 Mordants, 
 Acetat of alumine, - 
 diluted, 
 further diluted, 
 Acetat of iron, - 
 
 diluted, - 
 Acetat of alumine and iron, 
 
 Colours produced. 
 Deep red. 
 Second red. 
 Third red. 
 Brown or black. 
 Lilac. 
 Purple. 
 
 -w 
 
326 
 
 BARK DYE. 
 
 
 Acetat of alumine, ... 
 
 Yellow. 
 
 iron, 
 
 Dove, drab. 
 
 Lilac and acetat of alumine, 
 
 Olive. 
 
 Red and acetat of alumine, - 
 
 Orange. 
 
 INDIGO DYE. 
 
 
 Indigo alone, - 
 
 Blue. 
 
 Indigo on yellow, - 
 
 Green. 
 
 Indigo on brown or drab, 
 
 Bottle green. 
 
 Thus may a dozen colours be produced on a single 
 piece by varying these processes. The above require 
 but two dyeings, one with madder, the other with 
 quercitron or weld. (The addition of galls or sumach 
 to the yellows, produces saddened varieties of yellow; 
 and of logwood to madder, changes in the colour 
 which madder alone would produce. T. C) 
 
 (The blocks are smeared with the mordant in the 
 following manner. By the side of the printing table 
 stands a tub or drum (chassis) near to the printer. 
 This drum is filled with thickening of paste, starch or 
 gum, according to the required work, Over this 
 thickening is closely and tightly fixed a covering of 
 thick but finely woven cloth, usually manufactured 
 for the purpose. This is kept moist by the thickening 
 which it touches below, and upon which it is pressed 
 every time the printer puts his block upon it. A little 
 boy called a tear- boy has beside him a pot of the re- 
 quired mordant properly made and thickened by the 
 colourman; he dips a brush in this mordant and 
 
327 
 
 smears enough on the cloth that forms the drum-head, 
 for the block to take up and apply to the cloth. The 
 printer usually presses the block twice on the drum- 
 head so smeared, and when he fixes it on the cloth 
 gives it a gentle blow with a wooden mallet. 
 
 In some cases, callicoes are printed by rollers, made 
 of copper, accurately turned, and engraved with a 
 pattern. Cloth is smeared with a mordant, and the 
 rollers are so made to turn in contact with the smear- 
 ed cloth, as to fill the pattern with the mordant, of 
 which the superfluous quantity is scraped off by a 
 plate of steel with a fine edge, which hangs loosely 
 upon the roller the whole length of it, and is very ac- 
 curately fitted to its surface. The motion of the roller 
 against this steel doctor as it is called, occasions all the 
 superfluous mordant to be scraped off, after which the 
 callicoe immediately follows, and is printed by the 
 pressure it undergoes between the engraved copper 
 roller and another, immediately above or below it. The 
 callicoe is then dyed in the usual way. Callicoes may 
 thus be printed a single colour, at the rate of a piece 
 every five minutes very easily. Indeed it does not take 
 above a minute for the piece to go through. By means 
 of a scries of these rollers, three, and as I have heard 
 even four colours have been printed, but I do not un- 
 derstand that thev are much in use for more than a 
 single colour. 
 
 In some cases, the pieces are printed not with a 
 mordant alone and then dyed, but with the mordant 
 and colour together, or with a colouring drug, that 
 does not require a mordant; these are colours of appli- 
 
— 
 
 cation, or as the trade call them, chemical colours; a 
 name not very characteristic. This mode of printing 
 being not so permanent as when the colours are dyed, 
 is seldom used unless for common goods, or such as 
 are not likely to undergo frequent washings. 
 
 Another mode of printing lately introduced, is 
 called diseharging, when by means of an acid, such 
 as the oxygenated muriatic acid, a piece of callicoe 
 dyed throughout, has the colour discharged in certain 
 spots or places that form a pattern upon the cloth. 
 T. C.) 
 
 These remarks will serve to give the reader an idea 
 of the nature of callicoe printing, and at the same 
 time afford an excellent illustration of the nature of 
 mordants in dyeing. 
 
 If it was possible to procure colours sufficiently 
 permanent by applying them at once to the cloth by 
 the block or the pencil, as is the case with the mor- 
 dants, the art of callicoe printing would be brought 
 to the greatest possible simplicity; bat at present this 
 can only be done in one case, that of indigo; every 
 other colour requires dyeing. Compositions indeed 
 may be made by previously combining the dye-stuff 
 and the mordants. Thus yellow may be applied at once 
 by employing a mixture of the infusion of quercitron 
 bark and acetat of alumine; red by mixing the same 
 mordant with decoction of madder, and so on. The co- 
 lours applied in this way are unfortunately far inferior 
 in permanency to those produced when the mordant 
 is previously combined with the cloth, and the dye- 
 stuff afterwards applied separately. In this way are 
 
329 
 
 actually applied almost all the fugitive colours of com- 
 mon callicoes which washing, or even exposure to air, 
 will destroy. As the application of colours in this way, 
 cannot always be avoided by callicoe printers, every 
 method of rendering them permanent is an object of 
 importance. Gregory's Encyclopedia , art. Callicoe. 
 
 Such is a general outline of the theory of callicoe 
 printing. I proceed now to some notes on the practice. 
 
 There are few callicoe printers in this country; 
 those who would wis>h to set up the business, will of 
 course be glad to know, first, what kind of work and 
 what kind of goods they can most conveniently begin 
 with; and secondly, what capital it will require. I should 
 be glad to furnish if I could, accurate information on 
 these particulars; but the trade is so new here, that the 
 country furnishes no data. The best I can do is to fur- 
 nish my own memoranda of five and twenty years ago, 
 from which persons interested in the question will be 
 enabled, however, to form a tolerable judgment of the 
 requisites of the concern. 
 
 The following then are the estimates of an establish- 
 ment of twelve tables at a place and time, where and 
 when common day labour was from twenty- one to 
 twenty-four pence sterling per day, and thirty pence 
 sterling to the common workmen in the bleaeh-field. 
 
 At the period in question, the following drugs sold 
 wholesale at the prices I have set down. 
 
 Madder (Dutch) at all prices, from 50 shil- £. s. d. 
 
 lings sterling, to per cwt. - - 5 10 
 
 The common price given for that used in 
 
 good work was - - - - 4100 
 
 2 T 
 
330 
 
 Weld, per bundle of 28 pounds, - 
 Quercitron bark, per ton, 
 Old fustic, per ton, - 
 New fustic (Venetian fustic) 
 
 Logwood, 
 
 Sumach, per cwt. 
 
 Smyrna madder roots, per cwt. 
 
 Brazil wood, per ton, - 
 
 Brazilletto, - - 
 
 Cam wood, per cwt. rasped, - 
 
 Bar wood, - 
 
 Peach wood, - 
 
 Safflower, 
 
 Galls, in sorts, - 
 
 Blue galls, 
 
 Alder or oiler bark, per cwt. about 
 Saccharum saturni (acetat of lead) 
 Alum in lumps, per cwt. 
 Guatimala indigo, per pound, 
 Carolina indigo, - 
 East India indigo, about 
 
 Of this last, as it was just known, little was used. 
 
 Gray callicoes, twenty-eight and a half yards long, 
 were bleached for ten pence each, and sold when 
 bleached, wholesale at eleven to twelve pence per yard, 
 or rather twenty-five shillings per piece, for a three 
 months bill. When they required to be fired to burn 
 off the rough nap or pile, the bleacher charged a penny 
 per piece extra. A gray caliicoe weighed generally 
 seven and a quarter pounds; when bleached six and a 
 
 £- 
 
 s. 
 
 d. 
 
 
 
 5 
 
 6 
 
 32 
 
 
 
 
 
 10 
 
 
 
 
 
 9 
 
 
 
 
 
 8 
 
 
 
 
 
 1 
 
 2 
 
 
 
 2 
 
 16 
 
 
 
 100 
 
 
 
 
 
 8 
 
 10 
 
 
 
 1 
 
 4 
 
 
 
 
 
 16 
 
 
 
 
 
 18 
 
 
 
 3 
 
 10 
 
 
 
 ■ 7 
 
 10 
 
 
 
 9 
 
 10 
 
 
 
 
 
 3 
 
 
 
 • 
 
 16 
 
 6 
 
 
 
 11 
 
 
 
 • 
 
 3 
 
 6 
 
 
 
 5 
 
 
 
331 
 
 half pounds. At that time, the printing trade of Man- 
 chester and its vicinity, amounted from six thousand 
 to six thousand five hundred callicoes per week. 
 
 At that time (as now) no printer found it his advan- 
 tage to bleach his own callicoes; they were always sent 
 to a regular bleacher, as they now are. So that the 
 printer needed no bleaching establishment as he would 
 here, where for many years he must bleach his own 
 goods. Ashes are now two-thirds higher in price than 
 they were at that time. Oil of vitriol then sold at three 
 pence half-penny sterling per pound when concentrated 
 to twenty-nine and a half ounces to the wine pint, in 
 glass: when concentrated as it was in Scotland m lead> 
 it could be afforded at three pence per pound. Ame- 
 rican potash cost three pence half-penny per pound, 
 Dantzick pearl ash four pence. 
 
 Such were the prices of common labour, and the 
 drugs necessary to a printer and dyer. 
 
 A printer's establishment then, would consist of 
 His house on the spot. 
 A bleach-green proportioned to his work, with plenty 
 
 of running water. 
 A printing shop; if for a double row of tables, nine 
 
 yards wide at least: if for a single row, at least 
 
 five yards wide. 
 The printing room requires a stove. 
 There must be a large stove-room adjoining, to hang 
 
 up the callicoes when printed. 
 A ware-house, and counting-house. 
 A drug-room, 
 
332 
 
 A colour-room adjoining. 
 
 A dye-house: the fire-places of the coppers, to be on 
 
 the outside. 
 Coppers, &c. The coppers should be from four to five 
 
 feet over: furnished with plugs (not cocks.) 
 A blue dye-house for paste work, with vats lined with 
 
 sheet lead. 
 A dash wheef, or else a streaming-house with running 
 
 water passing through a trough to wince the 
 
 pieces in, after souring. 
 A souring tub. 
 
 Plane tree squeezers, and calender. 
 A room for roller- work. 
 
 Wages of Journeymen Printers. 
 
 Single black or chocolate, per piece - - 12c/ 
 
 Black and red - - - - - 19 
 
 Blotched black and red - 22 
 
 Blotched black, red, and purple - - 30 
 
 Black, red and purple - - - - 28 
 
 Black ground chintzes, four colours - - 39 
 
 five do. - - 48 
 
 Light ground chintzes, four colours - - 36 
 
 five do. - - 45 
 
 six do. - - 54 
 
 Three overs of kinds per colour round - - 8 
 
 Apprentices^ Prices. 
 
 One colour 6 
 
 Two ..---• 
 
 Three - - - - - -, - 12 
 
 Three M| 
 
. 
 
 
 Three 15c? 
 
 Four colours, light ground - 16 
 
 Do. - - - - - - 17 and 18 
 
 Five 20 to 22 
 
 Light ground sometimes per colour round - 4 
 
 Hence the expense to a printer, at that time, of a 
 piece of callicoe printed chintz-work four colours, 
 would be as follows. 
 
 The callicoe reckoned at a shilling per yard 
 
 Duty at that time .... 
 
 Madder mordant, or red colour 
 
 Madder to raise the reds - 
 
 Yellow colour (mordant) - 
 
 Raising the yellow - 
 
 Blue colour - 
 
 Pencilling blue and green 
 
 Grounding ------ 
 
 Souring in the first instance, streaming, 
 dunging, squeezing, calendering, 
 making up, cartage, and other arti- 
 cles of labour - - - - 1 
 
 Rent of the establishment - - 2 
 
 Printing four colours, journeyman's 
 
 wages 3 3 
 
 £• 
 
 s. 
 
 d. 
 
 l 
 
 8 
 
 
 
 
 
 6 
 
 3 
 
 
 
 1 
 
 
 
 
 
 2 
 
 4 
 
 
 
 
 
 6 
 
 
 
 
 
 10 
 
 
 
 1 
 
 
 
 
 
 3 
 
 
 
 
 
 1 
 
 
 
 £.2 10 2 
 
 Common Work, Three Colours. 
 Value of the callicoe, twenty -eight shillings, duty 
 six shillings and three pence, rent two shillings, print- 
 ing three colours two shillings and four pence, mad- 
 
334 
 
 der two shillings, colour (that is mordant) six pence, 
 souring, labour, &c. one shilling. — Together, two 
 pounds two shillings and a penny prime cost. 
 
 Suppose an establishment of a dozen tables, which 
 is moderate; indeed twice the number would be more 
 frugal. 
 
 £• *• & 
 Twelve tables cost at that tinre two 
 
 guineas each - - - - 25 4 
 Seventy-two blocks to begin with, orsejs 
 
 of patterns, at three guineas each 
 Forty tubs and sieves ... 
 Three coppers, from four to five feet top 
 
 diameter - 
 
 Winces, squeezers, troughs, souring 
 
 tubs, &c. - 
 
 Stock of drugs - 
 C|oth, (callicoe) to be calculated at four thousand 
 
 pieces printed per annum, if kept in full employ. 
 
 The capital returned in nine months. 
 A man and boy to each table. (Printer and tear-boy: 
 
 the latter at three shillings per week.) Pencillers 
 
 are employed at about the same price, viz. two 
 
 to three shillings a week. 
 A colourman. 
 Two block-cutters. 
 Two dyers, and two boys. 
 Two bleachers, and two boys. 
 Team and driver. 
 
 226 
 
 6 
 
 
 
 12 
 
 
 
 
 
 66 
 
 
 
 
 
 60 
 
 
 
 
 
 250 
 
 
 
 
 
335 
 
 This establishment will hardly afford a pattern- 
 drawer. In London, there are several persons who 
 make it their sole business to devise and sell new 
 patterns, at five shillings sterling per dozen. But as 
 the great profit of this business depends upon the 
 knowing how to choose patterns that are likely to take 
 with the public, and to know by looking at them, the 
 probable expense of cutting and printing them, it is 
 useful to have your own pattern drawer, who may be 
 consulted in cases of hesitation, with your colourman 
 and best printer. A block- cutter or two, to mend the 
 blocks and cut fresh ones, in such a printing establish- 
 ment in England, is indispensable. A block-cutter 
 used to earn from a guinea to a guinea and a half per 
 week; a pattern-drawer had from a guinea and a half 
 to two guineas. 
 
 Such are the data, from whence an intelligent man 
 in this country may sit down and count the cost. 
 
 I am not persuaded that a callicoe printing estab- 
 lishment will be for some time an eligible speculation 
 on a large scale. We are not yet (1815) ripe for it, un- 
 less, indeed, we print East India coarse callicoes with 
 chemical colours and roller-work. The business will 
 creep on gradually, but it is not in my opinion ad- 
 viseable to launch out yet. At present every man must 
 be his own bleacher as well as printer. However, the 
 the time is coming on, when we can print our own 
 manufactured callicoes: so that the information here 
 given will not be thrown away: like bread cast upon 
 the waters, it will be found again after many days. 
 
mm 
 
 336 
 
 Of the Process of preparing Callicoes, making the 
 Mordants, and printing Raised Colours. 
 
 When the goods come from the bleachers, although 
 the colour be good, you cannot depend that all the 
 alkaline and earthy salts are completely washed out: 
 should any such remain, they will act as mordants to 
 the white part of the cloth, and stain it so when dyed, 
 as to make it very troublesome to clear the white, 
 unless at the expense of the pattern colours. Hence 
 every printer finds it absolutely necessary, to immerse 
 his white callicoes in sulphuric acid and water, about 
 the strength of weak vinegar, for several hours before 
 he can venture to print them. This dissolves all the 
 saline substances that may still remain in the cloth, 
 and renders them soluble in the water which is used 
 to wash away this souring. Some bleachers use warm 
 water for the purpose: others wince them for an hour 
 after souring, in a trough through which a stream 
 runs about three feet deep: others use for the purpose 
 the common dash wheel. Much labour and some ex- 
 pense would be saved, by using paper or cloth tinged 
 with litmus, which would show at once whether any 
 acid remains in the callicoe. 
 
 When the printer bleaches his own goods, he should 
 finish either with oxymuriatic acid, or with the com- 
 mon vitriolic souring; in which case, nothing is ne- 
 cessary further but washing so well as to be sure that 
 no acid remains, which when concentrated in the heat 
 of the printing- shop, would rot the goods. 
 
 The goods being thus soured and well washed, are 
 dried; then calendered with great care to make them 
 
337 
 
 smooth, and to la}' the threads straight and even. Then 
 they are printed with the mordant for one colour, 
 whether to be raised in madder or yellow, if acetat of 
 alumine, or in iron liquor if to be raised in sumach or 
 logwood. When thus printed with one mordant they 
 are dried; then printed with another and dried; then 
 with another, and so on. When all the mordants are 
 printed that serve for one colouring drug, as madder 
 for instance, the pieces when dry, are winced for half 
 an hour, eight, or at the utmost ten at a time, through 
 hot liquor of sheep's dung or cow dung, using about 
 two common pailfuls to ten pieces. This may be re- 
 newed with another pailful of dung for the next eight 
 or ten pieces, and then thrown away. The cow dung 
 acts, first, by preventing the colours from spreading, 
 by washing away superfluous colour. Secondly, by 
 saturating the spot printed with the mordant, with a 
 colour, which the madder, or yellow colour, can dis- 
 place by superior affinity. Thirdly, by affording ani- 
 mal matter, which forms a triple chemical union with 
 the earth of alum and the cloth. Fourthly, by saturating 
 the remaining acetic acid and precipitating the alum 
 it held in solution on the cloth: this is done by the alka- 
 line properties of the animal dung. Such are the rea- 
 sonable conjectures on the use of cow dung and sheep's 
 dung; which however are indispensable to a good co- 
 lour, in whatever way they operate. 
 
 The pieces thus winced for half an hour through 
 hot dung liquor, are then streamed or winced without 
 delay over a trough of running water, or else carried 
 to the dash wheel. I prefer the former method: for be- 
 
 2U 
 
338 
 
 fore the earth of alum is saturated with colour, it seems 
 to me liable to be washed away in part by the me- 
 chanical force of the fall of the cloth in the dash wheel: 
 but I cannot speak with any certainty about this. After 
 the dung liquor, the goods are usually laid down on 
 the grass for a day. 
 
 The cloth being now printed with all the mordants 
 on which the colouring drug in the dye copper is to 
 act, is dried; and then eight pieces being tacked to- 
 gether, they are dyed together at the same time, by 
 wincing them incessantly for an hour in the copper 
 containing the colouring material. 
 
 Of Preparing the Mordants. These are, the acetat 
 of alu mine, and the acetat of iron, or what is the same 
 thing, the pyiolignat of iron. 
 
 The common method of preparing red colour, that 
 is, the acetat of alu mine, is this: dissolve in one gallon 
 of boiling water, three pounds of bruised alum; when 
 dissolved add one pound and a half of sugar of lead; 
 and then, by degrees, four ounces of whiting. The 
 quantity of sugar of lead here employed, is not suffi- 
 cient to decompose the whole of the alum; hence the 
 use of the whiting, which aids in decomposing the 
 rest of the alum, and prevents its crystallizing, which 
 would spoil the work. The sulphuric acid and the 
 lead form an insoluble salt (a sulphat) of lead, which 
 falls to the bottom: the lime of the chalk, forms an in- 
 soluble sulphat of lime, gypsum; but the alumine or 
 earth of alum which the lime separates, falls down also; 
 so that it appears to me, the whole of the alum decom- 
 posed by the chalk or whiting, is wasted, and the so- 
 
339 
 
 lution has not half the intended and supposed strength. 
 So much uncertainty prevails on this head, that I in- 
 stituted a set of experiments to ascertain how much 
 sugar of lead was necessary, completely to decompose 
 a given quantity of alum; and I found that it took one 
 part and a half of sugar of lead, to one part of alum: I 
 found also, not only that the lead of this quantity of 
 sugar of lead, was quite sufficient to detach the sul- 
 phuric acid, but the acetic acid was also sufficient to 
 dissolve the alumine. When I had thus thrown down 
 all the sulphat of lead, I added, by a drop at a time, 
 strong sulphuric acid, to ascertain whether the solution 
 contained sugar of lead undecomposed, and I found, 
 indeed, a slight cloud, but too slight to be appreciated; 
 whereas one drop of solution of sugar of lead, dropped 
 in after the sulphuric acid, showed a dense cloud in- 
 stantaneously. Every printer ought to repeat this im- 
 portant experiment, which is easily made. 
 
 Let him weigh out one hundred grains, for instance, 
 of sugar of lead, and as much alum, and grind them 
 together into a fine powder: pour thereon a wine pint 
 of boiling water: stir it till the salts are dissolved. Let 
 the sediment settle for an hour; pour off the clear 
 liquor, and filter the sediment; add the clear liquors 
 together. Now dissolve separately in half a pint of 
 boiling water, fifty grains of sugar of lead: if all the 
 alum be decomposed in the first solution, the addi- 
 tion of more of the sugar of lead will occasion no pre- 
 cipitate; but if alum still remains undecomposed in the 
 first solution, a precipitate will take place, when you 
 add to it a solution of the sugar of lead; precisely for 
 
340 
 
 the same reason that it did so at first. Therefore, to 
 the first solution add half of the sugar of lead solu- 
 tion, which will contain twenty-five grains of sugar of 
 lead: a white cloud will arise: stir the liquor, filter it: 
 to the clear liquor thus filtered, add half the remain- 
 der, sugar of lead solution: if a precipitate appears, 
 filter again: and so on till on the addition of solution 
 of sugar of lead, no white cloud appears any more. 
 
 To satisfy yourself that the solution contains no 
 sugar of lead, which if you proceed cautiously and 
 patiently, and by degrees, it will not, add to it a few 
 drops of solution of common alum: if there be sugar 
 of lead in the liquor, a white cloud consisting of sul- 
 phat of lead will appear; if no such cloud appears, you 
 have hit the exact point of saturation; at least you 
 have not added too much sugar of lead. I repeat, that 
 every callicoe printer, and dyer, ought to perform this 
 experiment for himself, over and over, till he has ac- 
 quired such a facility of performing it, that he be- 
 comes satisfied in his own mind, there is no mistake. 
 For if this experiment be just and true, how can a 
 complete decomposition of the alum be made by one 
 half its weight of sugar of lead, which is the usual 
 proportion? Even Bancroft says that equal weights arc 
 sufficient, which is not so, if my experiments be right. 
 Hence it is clear, that one half of the alum used is 
 thrown awav; for to prevent its crystallizing, and 
 spoiling the work, pearl ash and whiting are added, 
 which throw down indeed the sulphuric acid, but they 
 throw down the aluminous earth also, which that sul- 
 phuric acid held in solution. This mistake has arisen 
 from the expense of sugar of lead. 
 
341 
 
 To supersede this expensive article, three methods 
 have been proposed. 
 
 First, to substitute for sugar of lead, common 
 litharge dissolved by heat in common vinegar. This 
 is a coarse kind of sugar of lead in solution. I have 
 never been able to procure common vinegar free from 
 ail taint of iron: therefore, such a solution as I have 
 been able to make, might do for browns, chocolates, 
 drabs and olives, but not for good reds. 
 
 Secondly, it has been proposed to dissolve whiting 
 or chalk in vinegar; for the sulphat of lime is insolu- 
 ble to a great degree, like sulphat of lead. I have tried 
 this: my objection is, that the chalk and whiting like 
 the vinegar, are apt to contain iron, and a small part 
 of the sulphat of lime also will be dissolved. Another 
 objection to both these substitutes, is, that they re- 
 quire to be concentrated. 
 
 Thirdly, it has been proposed to use the common 
 portion of sugar of lead, together with as much pearl 
 ash or whiting, or both, as will fully decompose the 
 rest of the alum: and then to take up the earth of alum 
 (the alumine) thus precipitated, by vinegar. I think 
 this may be done to advantage, always taking for 
 granted, that you can get vinegar free from iron: If 
 not, it would be almost worth while to distil it. 
 
 After all, there is no good substitute for sugar of 
 lead, in good work. But after bestowing much consi- 
 deration on the subject, I should advise this mordant 
 to be made in the large way, as I have been accus- 
 tomed to make it in the small way. When I used it in 
 a large way five or six and twenty years ago, I went 
 
rsr 
 
 342 
 
 to the expense of the full proportion of sugar of lead 
 necessary to the complete decomposition of the alum. 
 
 Take then, equal parts, three pounds and a half for 
 instance, of alum and of sugar of lead: dissolve them 
 ground together into a powder, in one gallon of a hot 
 mixture of half vinegar and half water: add by degrees 
 while hot three ounces and a half of whiting; taking 
 care that the vinegar and the whiting contain no iron. 
 Stir the whole together, till there is a complete de- 
 composition. Let the sediment subside for six hours; 
 pour off the clear liquor: add to the remaining sedi- 
 ment two quarts of water, which when clear may 
 answer for a third red. 
 
 According to my computation (which it is the 
 printer's own fault if he does not verify for himself) 
 more than a pound of undecomposed alum will re- 
 main, when three pounds and a half of each salt be 
 taken. This will be prevented from crystallizing partly - 
 by the whiting and partly by the vinegar. 
 
 Still, this will not be equal to three pounds of alum, 
 four pounds of sugar of lead, and two ounces of 
 whiting, the best of all processes for this mordant. 
 
 The acetat of alumine or printer's mordant, made 
 in whatever way, will require to be thickened with 
 starch, with flour, or with gum arabic or Senegal: this 
 last is necessary for pencilling. If flour be used, ex- 
 pose it to a degree of heat necessary to turn it to a 
 light chocolate colour, without burning it; stirring it 
 all the while: this improves it as a thickening, and may 
 be made to supersede the use of brazil wood in 
 . giving colour to the mordant to enable the printers to 
 
345 
 
 see the boundaries of the pattern when the mordant 
 is printed on the piece. In general either brazil or fus- 
 tic is used for this purpose. 
 
 The sulphat of lead which forms the sediment, can 
 be converted either into white lead, by boiling it with 
 carbonat of potash, or into metallic lead, by fluxing it 
 with alkali and charcoal, for which consult the usual 
 docimastic books. 
 
 When this aceto-aluminous mordant is intended 
 for yellows, a small proportion (about one twelfth) of 
 blue vitriol should be mixed with the alum, especially 
 when a greenish yellow is wanted, and weld is used. 
 
 The acetat of iron is made in England, by persons 
 who have no other occupation. They brew vinegar 
 from grain or from cyder, and pour it on old iron, 
 bought up cheaply for the purpose. It is not reckoned 
 good till it be six months old. Others, especially those 
 who live in the vicinity of gunpowder manufacturers, 
 employ the pyroligneous acid, procured from the dis- 
 tillation of wood in the process of making charcoal, in 
 lieu of vinegar. Indeed I believe this method of making 
 the acetat of iron is becoming general. Plates of the 
 machinery used for procuring the pyroligneous acid 
 are to be found in the new edition of Rees's Encyclo- 
 paedia. The acetat of iron ought to be very strong and 
 concentrated; and in that state kept clear, and unex- 
 posed to the air, by the colourman in his drug- room, 
 in close casks. For the air oxyds the iron too much, 
 and makes it precipitate. 
 
 The drug-room ought to be exclusively under the 
 care of the colourman, who ought to have a small 
 room adjoining for the purpose of preparing his com- 
 
344 
 
 positions or colours: for the drug-room ought not to 
 be exposed to vapour, or gases, or any kind of mois- 
 ture. It should be well furnished with shelves, pots, 
 pans, scales and weights, and every utensil of that 
 kind. He should have constantly by him, a quarter 
 cask full of well prepared strong red colour, that is 
 acetat of alumine slightly tinged with brazil wood; 
 and also a quarter cask full of strong iron liquor, close 
 covered from dust and from the air. That is, where 
 there is an establishment of a dozen tables or more. 
 Neither will it be quite useless in this country to 
 recommend a practice which I have found useful, but 
 which an old and experienced colourman may deem 
 unnecessary. 
 
 Having prepared some white callicoe by souring, 
 washing, and drying in the usual manner, let him di- 
 vide it neatly into pieces of about four inches square 
 to the amount of a hundred; having thickened his 
 mordants, let him put a spot in the middle of the 
 piece of callicoe, employing all manner of mixtures of 
 mordants; for instance, 
 
 Strong acetat of alumine. 
 
 Ditto diluted with one third water. 
 
 Ditto diluted with one half water. 
 
 Ditto diluted with two- thirds water. 
 
 Ditto diluted with an equal quantity of water. 
 
 Ditto with one water and a half. 
 
 Ditto with two waters. 
 
 Ditto with two waters and a half. 
 
 Ditto with three waters. 
 Of the above he ought to have three or four spe- 
 cimens of each kind. 
 
— 
 
 345 
 
 Acetat of alumine one part: acetat of iron one fourth 
 of a part. 
 
 Acetat of alumine, one part: acetat of iron, half a part. 
 
 Acetat of alumine, one part: acetat of iron, three- 
 fourths of a part. 
 
 Acetat of alumine one part: acetat of iron one part. 
 
 Acetat of alumine, one part: acetat of iron, one part 
 and a half. 
 
 Acetat of alumine, one part: acetat of iron, two parts. 
 
 Acetat of alumine, one part: acetat of iron, two parts 
 and a half. 
 
 Acetat of alumine, one part: acetat of iron, three parts. 
 Of the above he ought to have three or four speci- 
 mens of each kind. 
 
 Acetat of iron, one part. 
 
 Acetat of iron one part: water half a part. 
 
 Acetat of iron, one part: water, one part. 
 
 Acetat of iron, one part: water, one part and a half. 
 
 Acetat of iron, one part: water, two parts. 
 
 Acetat of iron, one part: water, two parts and a half. 
 
 Acetat of iron, one part: water, three parts. 
 
 These should be renewed on every fresh change in 
 the acetat of iron: no good colourman will venture his 
 acetat of iron upon a number of pieces, without a pre- 
 vious trial in the small way. 
 
 All the above are necessary for the purpose of mad- 
 der colours: and every new purchase of madder should 
 be thus tried in the small way, to ascertain its rich- 
 ness in colour and its tint of colour before it is used 
 to the goods: for madder in my time bore various 
 
 2X 
 
346 
 
 prices, from fifty to a hundred and ten shillings per 
 hundred weight. 
 
 Another set of aluminous mordants should be pre- 
 pared with a small quantity of blue vitriol mixed with 
 the alum, as a mordant for yellows. One set should be 
 prepared for quercitron, one for weld, one for fustic, 
 
 one for sumach. 
 
 Hence three or four sets should be kept in one 
 drawer for madder colours: and another for logwood 
 
 colours. 
 
 The same of both mordants for weld. 
 
 The same for quercitron. 
 
 The same for fustic. 
 
 The same for sumach. 
 
 These pieces thus prepared, should be run through 
 hot cow dung, and washed in the usual way. 
 
 It is evident that with these preparatory specimens, 
 properly numbered and registered, a colourman, even 
 without much experience, cannot fail of printing any 
 colour to pattern with certainty, and with no risk of 
 spoiling a quantity of goods. It is evident also, that 
 each new purchase of drugs should thus be tried in 
 the small way, before you venture to print to pattern 
 with them, for the quality of the drugs cannot be ex- 
 pected to be always the same. 
 
 What is here proposed will not take above a week's 
 labour at the very utmost; and will lay a foundation 
 for accuracy throughout the colourman's department. 
 The above method of previous trials, is also the best 
 merhod of making experiments on the colours pro- 
 duced by various vegetables upon cotton, which it 
 
347 
 
 would be well to try with a view of ascertaining the 
 riches of our own country. 
 
 It is obvious from the preceding suggestions, that 
 all the various shades of raised colours are produced, 
 first, by varying the mordants: secondly, by diluting 
 the mordants: thirdly, by mixing the mordants: 
 fourthly, by varying the dyeing drugs, to wit, madder,, 
 brazil, logwood; weld, quercitron, fustic; sumach, 
 galls: fifthly, by mixing the colouring drugs, as a 
 little brazil with madder for a pinky red; a little su- 
 mach with madder, for a saddened red; madder with 
 yellow for orange; sumach with yellow for drabs, &c. 
 
 Thus, suppose it was required to print a chintz 
 pattern, three reds, a purple or chocolate, black, yel- 
 low, olive or drab, blue and green. 
 
 First, the cloth is printed with strong red colour 
 (concentrated acetat of alumine) for the first or deep 
 red; then with the same mordant, diluted with an 
 equal quantity of water, for the second red; then with 
 the same mordant, diluted with two or three waters, for 
 the third red. Then with the same mordant mixed 
 with a small quantity of iron liquor, for the chocolate 
 or purple according to the shade: then with the black 
 mordant hereafter given. It is then carried to the stove- 
 room, heated to from 80° to 90 of Fahrenheit, to drive 
 off superfluous acid. Then winced for half an hour in 
 hot cow dung and water, two small pailfuls of dung to 
 eight pieces of callicoe. Then immediately rinced, 
 streamed or dashed; then dyed with from one to three 
 pounds of madder to the piece. Six or eight pieces are 
 fastened and dyed together, by being winced in the 
 
348 
 
 madder liquor brought up to a scald or about 170°; 
 the winces resting on the brim of a madder copper 
 about four feet six inches wide, or if five feet, so much 
 the better. If the reds are to be of a pink tint, a little 
 brazil is added; if the chocolate is to be deep, or where 
 there is a black, a little sumach, or a little logwood, 
 will produce this effect; though sumach will slightly 
 sadden the second and third reds, and will ^poil 
 
 purples. 
 
 The piece thus dyed, is well washed: it is then 
 boiled in bran and water to clear the white; for the 
 same purpose when washed out of the bran and water, 
 it is laid down on the grass, the printed side under- 
 most, to bleach: this will take two or three days. 
 
 It is then carefully and evenly calendered or run 
 through rollers, keeping the threads as straight as pos- 
 sible. Then printed with acetat of alumine or red co- 
 lour, containing a little blue vitriol in the proportion 
 of from one-tenth to one-fifteenth of the alum, for the 
 yellow colour. Then with the red colour (acetat of 
 alumine) mixed with iron liquor, for the drab. It is 
 then dyed or raised in weld or quercitron, according 
 to the quantity of colour in the pattern. These drugs 
 strike a yellow with the red colour, and a drab or 
 olive with the iron liquor, of a tint depending on the 
 proportions in which the latter is mixed with the red 
 colour. Quercitron produces drab with iron, olive 
 with iron and alumine, and black with iron if mixed 
 with a little sumach. 
 
 The cloth being thus dyed (that is in the printers' 
 language, raised) is again washed, branned, washed. 
 
349 
 
 and bleached. Then it is again run through the rollers 
 as carefully as possible, and the blue and green are 
 pencilled by boys and girls, who earn from a shilling 
 sterling to three shillings per week at this kind of 
 work. The blue colour is made as before directed with 
 indigo, caustic potash, and orpiment. The cloth is 
 then dried and washed, dried again, and made up for 
 the market. Such a piece of chintz work, can seldom 
 be brought into the market from the white state of 
 the callicoe as it comes from the bleachers, under a 
 month: generally it takes in a course of work live and 
 six weeks. 
 
 I now proceed to some practical directions on print- 
 ing, wherein of 
 
 First, raised colours: that is, colours produced by 
 dyeing the piece after printing it with mordants. 
 
 Secondly, chemical colours: that is, colours applied 
 at once by the block, without dyeing. 
 
 Thirdly, dipped blues with paste work. 
 
 Fourthly, patterns made by discharging parts of a 
 dyed piece. 
 
 Roller work is only peculiar, as to the mechanical 
 operation of printing either the mordant, or the chemi- 
 cal colour: it is however the most profitable mode of 
 printing, particularly at this time, in this country. 
 
 Colours to be produced by printing with the mordant 
 here prescribed, and then raised by dyeing the cloth 
 so printed, in a madder copper. 
 
 Black. Take of strong iron liquor, by weight, cal- 
 culating a pint at a pound, sixteen parts: logwood, 
 
 "-•- 
 
350 
 
 four parts: boil them together for an hour. Then add 
 two parts of powdered galls, and half a part of green 
 copperas. Bring them on to a boil in half an hour, and 
 then add one fifth of a part of nitrated iron; that is, 
 iron slowly dissolved in aqua fortis, till the acid will 
 dissolve no more. Strain the whole while hot: thicken 
 with five parts of gum, that is about two and a half 
 pounds to the gallon. 
 
 Red. Water one gallon, vinegar half a gallon, alum 
 three pounds, sugar of lead four pounds, whiting two 
 ounces. In my time, the common receipt was, water 
 one gallon, alum three pounds and a half, sugar of 
 lead two pounds, sal prunell or purified nitre four 
 ounces, corrosive sublimate half an ounce, arsenic 
 four ounces, whiting one ounce. The sal prunell is of 
 no use that I know of: the sublimate deepens but sad- 
 dens the colour. This last composition is manifestly a 
 mixture of common alum and acetat of alumine. 
 
 There is great latitude taken by the callicoe printers 
 in the proportions of sugar of lead and alum. The 
 first article is so dear, that there is strong temptation 
 to lessen the quantity. I have known the proportion 
 vary at different works from half a part of sugar of 
 lead to two parts. The one is certainly too littie, and 
 the other certainly too much. I know of no criterion 
 but the experiment which determines that the quan- 
 tity required to convert one part of alum into acetat of 
 alumine and to throw down all the sulphuric acid of 
 common alum, is one part and a half of sugar of lead, 
 very nearly. I have already dwelt on this subject in 
 speaking about mordants. 
 
 m 
 
351 
 
 Pale Red. Water two parts by weight (one pint 
 being a pound), alum one-fifth of a part, white arsenic 
 one-fifth of a part, pearl ash one- sixteenth, chalk one- 
 sixteenth: boil and mix with gum. 
 
 This is an old receipt: the proper pale red, is made 
 by diluting strong red to your mind. The strong red 
 being made according to the receipt I have just above 
 given. 
 
 Pink Red. This is produced by using a decoction 
 of brazil wood with the alum and sugar of lead instead 
 of water. Or better, by mixing brazil with the mad- 
 der. 
 
 Dark Brown Red. A small quantity of iron liquor 
 mixed with the red colour. 
 
 Common Purple. Saltpetre one part; cream of tartar 
 two parts; pearl ash one-fourth of a part; iron liquor 
 twelve parts. 
 
 Lilac or Laylock Purple. Iron liquor eight parts; 
 saltpetre one- fourth of a part; cream of tartar one- 
 eighth of a part; corrosive sublimate one-fourth of a 
 part. 
 
 Light Purple. The above diluted with an equal 
 quantity of water. 
 
 Dark Purple. Iron liquor two parts; sugar of lead 
 one-tenth of a part; water four parts. 
 
 Blossom. Iron liquor eight parts; saltpetre one-fourth 
 of a part; when dissolved and hot, add half a part red 
 colour (acetat of alumine.) 
 
 Pompadour. Black and red liquor equal parts; 
 thickened with gum dissolved in urine. 
 
 All the above purples, lilacs, blossoms, and pom- 
 
 _ 
 
 m—mimm 
 
352 
 
 padours, are the better for a little brazil mixed with 
 the madder, otherwise the iron liquor saddens the co- 
 lour too much. The madder should be good. 
 
 Chocolate. Iron liquor two parts; light purple liquor 
 two parts; red colour four parts: or it can be made 
 with iron liquor and red liquor according to the shade. 
 
 Puce or Flea Colour. Red colour eight parts; iron 
 liquor four parts; water four parts. 
 
 French Gray. Hot iron liquor eight parts; sal am- 
 moniac half a part; water sixty-four parts. 
 
 Stone Colour. Saltpetre one part; sugar of lead half 
 a part; green copperas one-fourth of a part; water six- 
 teen parts. 
 
 Observations on Raising Madder Colours. The co- 
 lours being printed and dried, are to be winced 
 through cow dung and water, hot, but not boiling, 
 thirty or forty times: the instant after, they are to be 
 rinced or streamed, or else dashed in the dash wheel: 
 if this be not done soon after the dung liquor, the 
 pieces will be spoiled. They are then to be fastened 
 six together and winced in the madder copper, put in 
 cold, with from a pound to three pounds of madder, 
 and about half a pound of sumach where the colours 
 require to be saddened, or a quarter of a pound of 
 brazil where the colours require to be brightened, per 
 piece: all this depends on the quantity of red in the 
 pattern: bloteh grounds will take five pounds of mad- 
 der per pieee. The liquor is to be brought briskly to 
 a full scald but no more, and the pieces are to be 
 winced till the colour is obtained. Six pieces together 
 will produce better work than eight: if you tack ten 
 
353 
 
 together, you will run the hazard of spoiling your 
 work. 
 
 When dyed, stream and wash the pieces well; then 
 boil them in bran and water at a brisk scald for half 
 an hour; a gallon of bran to a piece, or a little more. 
 Take them out, stream them, and again boil them for 
 twenty minutes in bran and water: then lay them 
 down, the printed side next the grass, till the ground 
 is white. They are then streamed or dashed, and run 
 through plane-tree rollers or squeezers, set, so that no 
 water can be squeezed out after they have run through. 
 But if the squeezers are set thus tight for velverets or 
 such thick goods, they will burst. 
 
 Such was the common English practice for raised 
 madder colours in my time. I am not able to say what 
 variations have lately taken place if any: but I think 
 it will be expedient by and by to present to the reader, 
 the French practice for printing and raising madder 
 colours, though I by no means think it equal to the 
 English, wherever there is a difference. It will serve 
 however to show, how much uncertainty there is in 
 the various processes of printing as well as of dyeing. 
 My opinion is, that the nitre, the sublimate, the 
 arsenic, the sal ammoniac, the common salt, the pearl 
 ash, and even the chalk, may be dispensed with, and 
 all colours dyed with acetat of alumine, and acetat of 
 iron: some little use I acknowledge in chalk, and ver- 
 digris, but he is not a good printer who cannot pro- 
 duce a given pattern, with the two mordants above 
 mentioned, acetat of alumine and acetat of iron. 
 Before I translate Homassel's treatise on callicoe 
 
 2 Y 
 
 A 
 
 - ■ 
 
354 
 
 printing, I will finish my own notes and observations: 
 for which purpose I proceed to 
 
 Colours that are raised by means of Weld, or IFoulds, 
 as the printers call this drug. 
 
 Black. Take vinegar three gallons (twenty-four 
 pounds), galls eight pounds, logwood one pound; boil 
 them moderately for an hour, and to every gallon of 
 clear liquor, add when cold, one quart of iron dis- 
 solved in aqua fortis. After printing, let the colour lay 
 on for three days. 
 
 In this receipt, I see no reason for the vinegar. The 
 nitrat of iron too, though producing a fine colour, is 
 expensive. I propose as a substitute, 
 
 Galls and logwood as above; water one gallon, vine- 
 gar one gallon, strong iron liquor one gallon, nitrat of 
 iron a quarter of a pint, verdigris one ounce. 
 
 Yellow. Water one gallon; alum three pounds; sugar 
 of lead one pound and a half; verdigris two ounces and 
 a half; whiting seven ounces. 
 
 I object to this as being a mixture of alumine in 
 the sulphuric and alumine in the acetic acid. I pro- 
 pose as a substitute, 
 
 The common printers' red, made hot with two 
 ounces of verdigris finely ground in a pint of vinegar 
 to the gallon. The strong red, if a very full colour be 
 wanting, and diluted, if a weak one. 
 
 Light Olive. Six quarts of iron liquor, six ounces 
 verdigris, three pounds of alum, one pound and a half 
 of sugar of lead. 
 
 In this receipt the mordant is deficient in sugar of 
 
355 
 
 lead, which I think ought to be four pounds instead 
 of a pound and a half, and then less of the aluminous 
 mordant would be required. Thus, 
 
 Take printers' red two quarts, iron liquor six quarts, 
 verdigris ground up in a pint of vinegar six ounces. 
 
 Middle or Yellow Olive, Increase the relative pro- 
 portion of printers' red. 
 
 Dark Olive. Increase the relative proportion of iron 
 liquor. 
 
 Mud Colour. Galls two pounds, water one pint, iron 
 liquor three gallons. 
 
 Another. Water eight quarts, iron liquor as much, 
 green copperas four pounds, verdigris six ounces, 
 ground up in a pint of vinegar. 
 
 Stone Colour. Vinegar three pints; black colour 
 above described one pint. 
 
 To raise the above colours, stove and dung them 
 as directed for madder colours. A velveret will take 
 about half a bundle of woulds. Jeanets and calicoes 
 somewhat less; for a velveret weighs when bleached, 
 about nine pounds, a callicoe about six and a half 
 pounds. Boil the woulds (weld) for three quarters of 
 an hour, then take them out, and keep your piece in 
 the coloured liquor at a scalding heat till the colours 
 are sufficiently raised. Where there are blacks, you 
 must add galls or sumach to the bran liquor in which 
 you afterward boil your pieces. Bran them, and lay 
 them down as directed for madder. 
 
356 
 
 Colours to be raised with Quercitron Bark. 
 The same mordants answer for quercitron and fus- 
 tic as for weld. Indeed weld is nearly discarded; it is 
 dearer in the first instance and does not go so far as 
 quercitron; of which from one to two pounds per 
 piece are enough unless for blotch grounds. Twenty- 
 five pounds of good quercitron (Bancroft says eigh- 
 teen) will dye throughout of a full colour, one hundred 
 pounds of cloth. Quercitron and fustic do not stain 
 the grounds so much as weld, nor does quercitron re- 
 quire so much heat. Bancroft advises a little barilla to 
 be added to the cow dung: liquor, about two ounces 
 to a piece of cloth: he says that one pound of tartar 
 to fourteen pounds of bark, tends to keep the white 
 clear. 
 
 Sumach is added to the quercitron, when colours 
 are to be saddened. 
 
 When galls or sumach are required to be added to 
 raise a black, you may put them either in your dung 
 liquor previous to dyeing, or into the bran liquor after- 
 ward. No accurate experiments have been made, to 
 ascertain whether the affinity of the colouring matter 
 of galls or sumach will displace the colouring matter 
 of the weld or quercitron or fustic, or vice versa. 
 
 Of Colours to be raised in Weld and Madder conjointly: 
 or in Quercitron and Madder. 
 
 Black. Same as for weld or madder: already given. 
 
 Mud. Same as for weld or madder. 
 
 Orange. Sugar of lead eight pounds, verdigris se- 
 ven ounces, water four gallons, chalk six Ounces, 
 alum six pounds, 
 
357 
 
 Dung, wash, and raise your pieces as directed for 
 weld colours, with weld or quercitron alone: about 
 half a bundle of weld to the piece, or two pounds of 
 quercitron. Wa&h: then raise the colour again in a 
 madder copper of about two pounds of madder to the 
 piece according to the required colour. Bran as usual. 
 
 Colours to be raised in Weld or Quercitron and Log- 
 wood, 
 
 Black, as for weld. 
 
 Mud and Stone. The same, only using a less pro- 
 portion of iron liquor or black colour, owing to the 
 deeper dye given by logwood. 
 
 Green. One gallon of lime water, six ounces of ver- 
 digris, four ounces of alum, two ounces sugar of lead, 
 half an ounce of finely ground indigo dissolved in an 
 ounce measure or about two ounces by weight of 
 strong oil of vitriol; add all together and neutralize 
 with whiting. Print with this, and raise as for weld, 
 adding two pounds logwood. 
 
 The preceding receipt amounts to no more, than 
 printing with a weak red mordant, mixed with Saxon 
 green liquor. The Saxon green, or solution of indigo 
 in sulphuric acid, strikes a green, while the acetat of 
 alumine imperfectly made, and combined with the 
 verdigris, affords a mordant for the yellow and the 
 logwood. It is not a fast colour. I should substitute 
 the following. 
 
 Alum two parts by weight, blue copperas one part, 
 sugar of lead three parts: thicken the clear liquor, and 
 dye with quercitron and logwood. If not green enough, 
 
 __ 
 
358 
 
 increase the relative proportions of blue vitriol and 
 logwood. Either the one colour or the other, will be 
 fugitive. 
 
 Single Blacks to be raised with Logwood and Sumach. 
 
 Iron liquor two gallons, nitrat of iron half a pint, 
 verdigris two ounces; grind the verdigris well pre- 
 viously with half a pint of vinegar; mix all together, 
 and set them over the fire to boil; thicken it gradually 
 with about three pounds of flour, well stirred in, till it 
 be quite^ smooth: after about twenty minutes take it 
 off the fire; put it into an earthen mug to cool. When 
 cold, take off the skin on the top, and use the mix- 
 ture. 
 
 To raise this colour, dung as usual; then wash; then 
 boil in a pound and a half of sumach, and a pound of 
 logwood, per piece. Wash and bran as usual; and 
 bleach. If the white dues not come out quite clear, 
 boil again in bran with a small quantity of white soap, 
 and wash. But do not resort to soap without ne- 
 cessity. 
 
 Colours to be raised in Lime Water, and Potash, 
 In these the colour is neutralized after their being 
 applied to the cloth: in chemical colours, they are 
 neutralized before they are applied. They are much 
 more permanent in the first case. 
 
 Black. Vinegar three gallons; galls eight pounds; 
 boil them moderately for an hour and a half; add to 
 each gallon four ounces of green copperas and half a 
 pint of nitrat of iron. (N. B. From Dr. Lewis's ex- 
 
359 
 
 periments on ink, I am induced to believe, that one 
 part of green copperas is fully saturated by four parts 
 of galls.) 
 
 Mud. Water one gallon; galls one pound and a half; 
 brazil wood the same quantity. Boil for an hour; strain; 
 then add four ounces of green copperas. I think the 
 galls here, rather in over proportion, if good. 
 
 Stone. One quart of chemical black hereafter to be 
 given, omitting the nitrat of iron, and adding one 
 quart water. 
 
 Fawn. One pint of chemical black, mixed with 
 five pints of pale red made by diluting strong red co- 
 lour (acetat of alumine) with four parts water. 
 
 Gold. Iron liquor six gallons; green copperas nine 
 pounds: boil for twenty minutes: thicken with three 
 pounds gum, or three pounds and a half flour. (Nitrat 
 of iron produces the brightest colour.) 
 
 Buff. Iron liquor six gallons, boiled and mixed 
 with two gallons strong gum water, and well stirred. 
 (Better mixed with a little nilrat of iron.) 
 
 Violet. One gallon of fresh, strong logwood liquor, 
 cold; ground alum two pounds; the same quantity of 
 sugar of lead, and four ounces nitre. Add one pint 
 iron liquor. Thicken with gum or flour. 
 
 This last colour raised in madder gives a choco- 
 late; with weld, an olive. 
 
 For colours that after being thus printed, are to be 
 raised in* lime and potash, proceed thus. Run the 
 printed piece soon after it is printed (as soon as it is 
 dry) through a tub or vat of cold water, in which from 
 six to seven pounds of potash are dissolved; and then 
 
360 
 
 through another of cold water containing an equal 
 quantity of lime, fresh and good: they should be 
 winced in each vat for about ten minutes or even less. 
 Then wash them. Or, you may let them lay in water 
 over night, and then wash them either in hot or cold 
 water. 
 
 Colours to be raised in Lime, Copperas, and Potash. 
 
 China Blue. This is a species of indigo dyeing, 
 slightly touched upon in a former part of this book, 
 under the section relating to indigo vats. 
 
 Take equal quantities of indigo and copperas, say 
 one pound of each; grind them in gum water, till they 
 become a perfectly fine paste. Let the gum water be 
 about two quarts in all, to bring the colour to a pro- 
 per consistence. After printing the cloth with this 
 composition, let it undergo the following dippings. 
 
 First, for a quarter of an hour, in lime water com- 
 posed of two pounds of fresh lime to every gallon of 
 water, stirring it all the time. 
 
 Secondly, pass the cloth through a strong copperas 
 liquor for the same length of time; employing one 
 pound of green copperas for every gallon of water, 
 letting the sediment subside perfectly before you 
 enter your cloth, to wince it therein. If the copperas 
 be of a light green, fresh made, and not covered with 
 rust by exposure to air, there will be little sediment. 
 
 Thirdly, wince your cloth through a strong solu- 
 tion of potash in which an egg will swim, for twenty 
 minutes. Then plunge it into cold water, and wash it 
 thoroughly. If your grounds are not white enough, 
 
361 
 
 wince it in a warm weak sulphuric acid liquor, and 
 then wash it well again and dry it. (N. B. This pre- 
 supposes paste work, or reserve.) 
 
 If the piece should be spoiled, which sometimes 
 happens, the colour is best discharged by oxymuriatic 
 acid and caustic alkali alternately. The piece so raised 
 of a blue colour, may again be printed of any other. 
 
 Such are my brief notes of practice. But the fol- 
 lowing article is drawn up with so much care and 
 knowledge of the subject, that I think it well worth 
 inserting from the new edition of Rees's Cyclope- 
 dia, especially as that work so far as it is hitherto 
 published, does not contain more than two or three 
 solitary and unconnected articles on dyeing and print- 
 ing. Article Dipping. 
 
 "Dipping, in callicoe-printing, a process used in dyeing blue, 
 in which the cloth is immersed or dipped either in a solution of 
 indigo, or of some substance capable of acting on indigo previ- 
 ously applied to the cloth. 
 
 " The peculiar nature of indigo unfits it for the purposes of 
 dyeing by the ordinary operations of the art. It consists, as we 
 shall have occasion to show more fully hereafter, of a peculiar 
 vegetable basis united to a portion of oxygen, to which it owes its 
 colour and insolubility. When deprived of this oxygen, by sub- 
 stances whose affinity for it are greater, it becomes soluble in the 
 alkalies and alkaline earths, and in this state readily contracts an 
 union with animal or vegetable stuffs. On this property of the al- 
 kalies to dissolve deoxygenated indigo, are founded two processes 
 for dipping or dyeing blue, which form the subject of the pre- 
 sent article. The first consists in immersing the cloth in an alka- 
 line solution of indigo, and is employed in dyeing those goods, 
 the ground of which is intended for blue or green. The parts 
 meant to remain white, or which have already received some 
 
 2 Z 
 
362 
 
 other colours, being covered with a reserve or paste, to protect 
 them from the effect of the dye. 
 
 " This process is very ancient. 
 
 " The second is employed in dyeing those goods intended to 
 exhibit a design or pattern in one or more shades of blue, upon a 
 white ground, and is called « China blue," or generally upon the 
 continent, English blue, the process having originated with the 
 callicoe-printers of this country. 
 
 " From time immemorial the nations of the east appear to have' 
 possessed a mode of dyeing silk, handkerchiefs, and other articles 
 of dress, by a rude but simple process, which is practised at this 
 day, and has been adopted, and continues in use, in almost every 
 part of Europe. It consists in tying knots with great address and 
 nicety on the silk in such a manner, that when dyed, the parts 
 enclosed within the knot remain untouched, displaying a ground 
 of red, blue, or any other colour, variously, and oftentimes not 
 inelegantly diversified with flowers of white or yellow, according 
 to the primitive colour of the silk. This mode of dyeing hand- 
 kerchiefs was introduced by the Saracens into Spain, where it is 
 now practised to a very considerable extent. This, in all proba- 
 bility, was the first rude essay or attempt to imitate the printed 
 linens of Egypt, and was succeeded by the mode now practised 
 in India, of covering with a composition of wax and other ingre- 
 dients, the parts intended to remain white. Hence we may date 
 the origin of blue dipping, and though the process, as may be 
 supposed, has been considerably improved since its introduction 
 into Europe, yet the ancient practice is still in use; and wax 
 printing is often employed with considerable advantage in the 
 production of particular combinations of dark and light blue, 
 which could not readily be obtained by any other process. 
 
 " Of the Indigo Vat, and the Process of common blue Dififiing. 
 
 " The solution of indigo for blue clipping, is made in large ob- 
 long vessels of wood, stone, or other materials, to which the 
 name of vats is given. Those which are made of wood require to 
 be very accurately joined, and well secured with bolts and straps 
 of iron; otherwise great loss may arise from the constant leak- 
 age, to which, without great precaution, they are subject. In 
 general they are lined with lead, and though the expense in the 
 first instance is four times that of wood, they are eventually much 
 
363 
 
 cheaper. They need fewer repairs, and afford absolute security 
 against all loss by leakage, which, in a drug so costly as indigo, 
 is a consideration of great importance, btone vats have been 
 tried in some places. At Rouen, according to Berthollet, they 
 are constructed of a kind of flint-stone, well secured both outside 
 and inside with a fine cement: and Pileur d'Apligny mentions 
 some he had seen composed of large stone slabs screwed together 
 at the corners, and the joints of which are covered with a kind of 
 mastic varnish. Economy is the chief aim in all these various 
 constructions, as it matters little what the vat is composed of, 
 provided it will hold the dye; and those, in fact are the cheapest, 
 whatever they have cost, that suffer the least to escape. 
 
 " The size of the vat varies considerably in different dye- 
 houses, according to the nature and extent of the establishment, 
 and the kind of work they are intended for. Four feet wide, six 
 feet long, and six or seven feet deep, are the dimensions of a well- 
 proportioned vat, calculated for two pieces of callicoe or fifty-six 
 yards of cloth on a frame. Much smaller than the size here given 
 are in use for frames of single pieces, and vats of still larger di- 
 mensions are employed by some, whose work and cloth require 
 them one or two feet deeper. 
 
 " The vats are all sunk in the earth, down to a level, or nearly 
 so, with the floor of the dye-house. In some few old establish- 
 ments, they stand two feet, or thereabouts, above the floor, as is 
 universally the case on the continent. In this case, the frames are 
 hoisted in and out by a pulley suspended over the vat, a most 
 awkward and inconvenient practice, which is avoided by sinking 
 them to the level of the floor. The frames are lifted out with 
 ease by the hand, by two men or boys, one at each end, and in a 
 range of six or eight vats, the frames are hoisted out and re- 
 entered in half the time, and with half the trouble required to 
 manage the pullies. 
 
 " The number of vats necessary in a well arranged dye-house 
 must depend greatly on the nature and size of the establishment. 
 Eight of the size already given, ranged in one line side by side, 
 form a good series: double or treble that number may be re- 
 quired, but with fewer, a dyer, whose quantity of work is limit- 
 ed, yet various, will find much inconvenience, especially when by 
 long working the dregs or grounds have so accumulated as to 
 require a repose of twenty-four hours at least, after raking up 
 
364 
 
 before the vats are fit for work ;'ga>n. It is on this account that 
 deep vats are preierable to shallow ones; the mud subsides in 
 them much sooner, and they require cleaning out and emptying 
 less frequently. 
 
 « The n ture of the indigo vat is such, that the indigo is re- 
 vived and precipitated from it whenever it comes in contact with 
 the air. On this account, it is impossible to dye a piece evenly by 
 wincing or working it in the dye liquor, as in other colours. Those 
 parts of the piece which had been most exposed, and on which, 
 of course, most indigo had been precipitated, would exhibit 
 deeper shades than those which had been less. The reserve, or 
 paste, also, for white, when such had been applied, would be 
 disturbed and washed off by the usual manipulations of dyeing. 
 
 " On these accounts it is necessary to hook the pieces on a 
 frame in such a manner, that when immersed in the vat, or taken 
 out, ihe folds shall not touch each other. The frames are of 
 wood, the length and width nearly of the vat, and of a depth suf- 
 ficient for the width of the goods. The horizontal side-rails at the 
 bottom are fixed, and form the base of the frame, and are fur- 
 nished with small tenter hooks of copper an inch and a half, or 
 two inches asunder, to which the edge or selvedge of the piece is 
 attached. The upper rails, which are also furnished with hooks, 
 slide in a groove cut in the upright or corner posts, and may be 
 adjusted to the width of any kind of cloth, and are retained in 
 their place by a peg or pin. The piece is hooked in folds from 
 side to side, and so evenly and tightly stretched, that when im- 
 mersed in the vat every part is equally and alike exposed to the 
 dye, and no one fold can touch another. The number of dips is 
 regulated by the shade of blue required, and when finished, the 
 goods are taken off the hooks and subjected to the ordinary ope- 
 rations of washing, rincing, he. &c. The solution of indigo, which, 
 as well as the vessel that contains it, is generally called « blue 
 vat" by the dyers, is made with lime and copperas, and in some 
 cases with the addition of a small quantity of potash. In the due 
 proportion of all the ingredients of this solution, and in the treat- 
 ment of the vat, both during, and after working, consist the 
 chief art of " blue dipping," in the management of which, how- 
 ever, there is less difficulty than in any other branch of blue dye- 
 ing whatever. The theory is so simple, and the practice, to those 
 acquainted with the theory, so very obvious, that with common 
 •are and observation it is scarcely possible to err. 
 
365 
 
 " Indigo, as we have just before observed, is insoluble in the 
 alkalies and alkaline earths, till deprived of its oxygen. Copperas 
 is employed for this purpose in the vats we are speaking of, and 
 orpiment in others, and in the pencil blue; both these substances 
 having a stronger affinity for oxygen than the base of the indigo. 
 On adding together, therefore, indigo, copperas, and lime, in 
 suitable proportions, the lime in the first instance decomposes 
 the copperas, and precipitates from it the oxyd of iron: this acts 
 on the indigo, deoxygenates it, and renders it soluble in the lime, 
 which, if in sufficient quantity, immediately dissolves it. The 
 oxyd of iron, which has served to deprive the indigo of its oxy- 
 gen, the sulphat of lime formed by the union of the lime with 
 the acid of the copperas, and any lime in excess or more than 
 necessary to effect the decomposition of the copperas, and the 
 solution of the deoxjgenated indigo, all precipitate to the bottom 
 of the vat, and there remains in solution only lime and the base 
 of indigo. There are few dyers and callicoe-printers who do not 
 imagine that the solution of indigo consists of all the substances 
 that have been used in its formation, and that the vat actually 
 holds in solution indigo, copperas, and lime. They are not aware 
 that solutions of these two latter substances are incompatible; 
 they cannot exist together, one or other must predominate, as a 
 very simple experiment will show: Mix clear lime water and 
 copperas water together, and an instant precipitation will take 
 place. As long as any copperas remains in solution, every suc- 
 cessive addition of lime water will cause a fresh precipitate, 
 which consists of oxyd of iron, and sulphat of lime, formed by the 
 union of the lime with the acid of the copperas. None of the lime 
 remains in solution. The precipitation ceases only when the 
 whole of the copperas is decomposed, that is, when there is no 
 longer any acid to form an insoluble salt with the lime. The so- 
 lution will then be found to consist of lime water only. To those 
 in the least acquainted with the principles of chemistry, these 
 observations may appear minute and trifling, but to those igno- 
 rant of these simple facts (and the majority of those interested 
 in the subject of the present article are ignorant of them,) the 
 constitution of the blue vat must be wholly unknown, and its 
 management, of course, exposed to all those chances of failure 
 and derangement which must necessarily attend even long ex- 
 
366 
 
 perience, when unaccompanied with clear and accurate ideas of 
 the nature and properties of the different substances employed. 
 " The proportions of indigo, copperas, and lime, necessary to 
 form a blue vat, depend both on the quality of the indigo, and on 
 the strength of the solution required. The quality of indigo 
 varies greatly; some kinds, as the fine Spanish and East India, 
 containing twice, and even thrice, as much colouring matter as 
 the coarser kinds. In general from two to five pounds of good 
 indigo to every hundred gallons of water, are sufficient to form 
 vats for most purposes. They are sometimes, but rarely, required 
 stronger; forty pounds in a vat holding eight hundred gallons, 
 will produce a solution of sufficient intensity to give a black 
 nearly, at four or five immersions. 
 
 " The finer the quality of the indigo, the greater the pro- 
 portion of copperas and lime, necessary to effect its solution. In 
 general, however, one of indigo, two of copperas, and two of lime, 
 are considered as the best proportions, and as such they are given 
 by Berthollet, who, to profound chemical science, unites consi- 
 derable practical knowledge, and the best information concerning 
 the processes of the dyers and calhcoe-printers of France. 
 
 " The indigo is previously ground in a mill with water, till it 
 is reduced to a smooth paste of the consistence of cream. In its 
 ordinary state of aggregation, it is scarcely, if at all, attacked by 
 copperas and lime; all therefore that has escaped the action of 
 the mill, and is put into the vat in a lumpy or imperfectly ground 
 state, may be considered as totally lost. Every precaution there- 
 fore should be employed to guard against this, and when by 
 rubbing it between the fingers, or on a pane of glass, it appears 
 fine and smooth, and free from small, hard, gntty particles, it 
 may be removed from the mill, mixed up with (our or five tii.-es 
 its bulk of water, and poured through a fine sieve into the vat. 
 Any lumps which may have escaped grinding are thus retained, 
 and may be returned into the mill with fresh indigo. 
 
 " The vat having received its charge of indigo, and been filled 
 up with clean water, the copperas is next added. It is best and 
 most speedily dissolved by suspending it in a wicker basket at 
 the surface of the vat; it is sometimes thrown in, and will, in that 
 case, when it is in large lumps, oftentimes lie undissolved at the 
 bottom of the vat for wreks, in spile of frequent and even daily 
 stirring. When the whole is dissolved, the lime is added, and the 
 
367 
 
 vat well raked up, till all its contents are intimately mixed, the 
 lime disso ed, and the copperas decomposed. The action of oxyd 
 of iron upon indigo requires time, and also repose; after the first 
 raking, which should be continued during half an hour at least, 
 it is best to suffer the vat to remain two or three hours undis- 
 turbed; the indigo and oxyd of iron fall down to the bottom, and 
 are thus brought more within the sphere of chemical action, than 
 when floating in the whole mass of water in the vat. 
 
 " The choice of copperas is not a matter of indifference, as on 
 its peculiar state depends its fitness or not for deoxygenating in- 
 digo, bulphat of iron exists in two states dependent on the quan- 
 tity of oxygen combined with its oxyd. At its minimum of oxyda- 
 tion, it forms a green solution, and when crystallized, a green 
 salt, the green vitriol, or copperas of commerce; at its maximum, 
 or second state of oxydation, it forms an orange-coloured, un- 
 crystallizable solution possessing very different properties from 
 the former. 
 
 « The green solution is distinguished by its great aridity for 
 oxygen, and its disposition to pass to the orange, or fully oxy- 
 genated state. It is this affinity for oxygen that fits it for the so- 
 lution of indigo. The copperas of commerce is however not un- 
 frequently a mixture of the two salts or oxyds, a portion of it 
 either having acquired oxygen, whilst in a state of solution before 
 crystallization, or more frequently perhaps by too great exposure 
 to the air afterwards. 
 
 " In this latter case its surface is covered with a reddish orange 
 rust, and a portion of the salt is rendered useless for the blue vat 
 having already acquired its maximum of oxygen. The chief dif- 
 ference in the quality of copperas, is however in the more or less 
 perfect saturation of the acid, forming two distinct salts, which 
 were known and distinguished by manufacturers long before 
 chemists were acquainted with their existence. The first, and 
 least esteemed, is a pale emerald green, and contains a great 
 excess of acid; the other, which is more fully saturated with iron, 
 is a deep full green, and is universally preferred, especially for 
 indigo and China blue vats. Some callicoe-printers imagine that 
 the reddish coloured copperas is the best, or, as they say, the 
 strongest, a prejudice which the manufacturer very easily ac- 
 commodates, by sprinkling a little fine sifted quick lime over the 
 surface, which soon covers it with a coat of orange rust. 
 
 - " ' - 
 
368 
 
 " The lime used for the indigo vat should be quick. Fallen 
 lime, when not too old, and too long exposed to the air, is the 
 best. It should be well sifted, and freed from stones and lumps. 
 
 " After two or three hours repose, the vat should be again well 
 raked. It will now exhibit signs of incipient solution; instead of 
 black, it will appear of a dark bottle green, and the surface will 
 break into marbled veins of blue. These appearances will increase 
 each time the vat is raked, which should be three or four times 
 a day during two days. At each time the colour of the vat will 
 brighten, and get paler, the marbled or veined appearance be- 
 come more marked and strong, and when the solution is com- 
 plete, and ready for working, the colour, when raked up, will be 
 a yellowish green. After a repose of ten or twelve hours, to allow 
 the dregs time to subside, the vat is ready for work. 
 
 " It is the practice of some dyers to add potash in equal quan- 
 tity with indigo to the vat. The only advantage arising from this, 
 is greater concentration of the solution than can be obtained by 
 lime alone; but this is seldom required, and never, indeed, for 
 the purposes of callicoe-printing; on the other hand, if potash be 
 added to a vat containing little indigo, and calculated only for the 
 paler shades of blue, the colour it will produce is less intense, 
 than when lime alone is used, and the hue not at all improved. 
 
 " It was formerly the practice to grind the indigo with a solu- 
 tion of caustic potash, and boil it in a strong ley, before adding 
 lime and copperas, and pouring it into the vat. A great deal of 
 trouble, and no advantage whatever attends this process, which is 
 now universally discarded, except by those who regard all im- 
 provements as innovations. 
 
 " Of the management of the vats both during work and after, 
 we shall have occasion to speak whilst treating of particular kinds 
 of work; which, after the preceding general view of the nature of 
 the processes, and the mode of preparing the indigo vats, we 
 shall now proceed to. 
 
 u Of dark Blue ground, and white. 
 " Dark blue grounds, with spots or figures of white, were 
 amongst the first attempts at callicoe-printing in the East, and 
 were produced, as we have before remarked, first, by tying 
 knots on the part intended to remain white, and afterwards by 
 covering them with a composition of wax. This process was sub 
 
369 
 
 ject to great inconveniencies, arising from the unmanageable na- 
 ture of the composition, which required keeping fluid by heat 
 during the time it was applied, and could only be used in certain 
 plain figures, such as round spots, ovals, &c. The designs were 
 of course rude and similar, little variety being practicable where 
 lines, stalks, leaves, or any object more figured than a spot or 
 oval, could not be obtained. 
 
 " At what time the paste or reserve now in general use was in- 
 troduced, is not known; we are indebted for it to the continent, 
 from whence, indeed, our first knowledge of callicoe-printing was 
 derived. Though the formulae for this paste differ much, every 
 blue dyer almost, preparing it in a mode peculiar to himself, yet 
 they are all essentially the same, a solution of copper of one kind 
 or another being the principal ingredient. 
 
 " If a solution of sulphat, acetat, nitrat, or indeed any soluble 
 salt of copper, properly thickened for printing, be applied to 
 cloth, and when dry, immersed in the blue vat, the part so cover- 
 ed will resist the action of the dye, and remain white. This does 
 not arise from the mere mechanical resistance of the paste, which 
 prevents the solution of indigo from entering the fibres of the 
 cloth, but from the chemical action of the oxyd of copper, which 
 imparting oxygen to the indigo, restores it to its former blue 
 state, in which it possesses neither solubility in lime, nor disposi- 
 tion to unite with the cloth. This effect of the oxyd of copper 
 may be rendered very apparent, by pouring a solution of it into 
 a solution of indigo, which is generally of a yellowish green, or 
 when viewed by transmitted light, of the colour of small beer. 
 The instant the two solutions are mixed, the indigo is revived, 
 and precipitated in its original blue state, having acquired from 
 the copper that principle of which it had been deprived by the 
 solution of sulphat of iron. Every paste, or reserve, therefore, for 
 dark blue grounds, must necessarily contain oxyd of copper; w« 
 give the following formulae as most approved of any in use. 
 I. To 1 gallon of water add, 
 
 4 lbs. of sulphat of copper, 
 12 lbs. of pipe clay. 
 Boil the whole up into a thick paste, strain through a cloth, and 
 add to it half a pint of sulphuric acid, and five pints Of thick gum 
 water. Mix all well together, and strain again before printing. 
 
 3A 
 
>rrl 
 
 370 
 
 II. To 1 gallon of vinegar add, 
 li lbs. of verdigris, 
 3 lbs. of sulphat of copper. 
 Dissolve them over the fire, and thicken with 12 lbs. of pipe clay, 
 finely ground. 
 
 " If the paste is not fine and smooth, run it through the mill, 
 and add to it, whilst hot, 8 ounces of linseed oil, and two quarts 
 of thick gum water; strain it carefully through a cloth before 
 printing. 
 
 III. To 1 gallon of water add, 
 
 2 lbs. of verdigris, 
 
 3 lbs. of sulphat of copper, 
 3 lbs. of nitrous acid, 
 
 15 lbs. of pipe clay. 
 Boil them well in a copper pan, and, if necessary, grind them 
 smooth, and add three quarts of thick gum water. Strain the 
 whole very well before printing. 
 
 " The first of these formulae contains sulphat of copper only, 
 the solubility of which is increased by the addition of a little sul- 
 phuric acid, which prevents the crystallization of the paste. The 
 second, which is stronger, contains also acetat of copper, and the 
 third, in addition to both these salts, contains a portion of nitrat 
 of copper formed by the action of the nitrous acid on the verdi- 
 gris. This is a very powerful paste, and capable of resisting the 
 vat a long time, and forming a white upon a ground nearly black. 
 
 " The pipe clay used in thickening, is not merely useful in 
 giving due consistence and body to the paste, so as to render it 
 easily workable, but is very efficacious in resisting the dye; the 
 same solution, thickened with gum only, will scarcely bear three 
 immersions, but with the allowance of pipe clay here directed, 
 will stand ten or twelve. No more gum, indeed, should be added 
 than is just sufficient to break the adhesive nature of the pipe 
 clay, and prevent its clogging up the print or block. 
 
 " In working this paste, the mall or mallet should be used very 
 lightly, or not at all, if the pattern will admit of it. A gentle tap 
 with the hand, so as to leave the paste wholly on the surface of 
 the cloth, will produce the best work. 
 
 " The cloth may be dipped an hour or two after printing, if re- 
 quired, but the whites are seldom so good as when kept three or 
 four days. The paste gets hard and &rm, part of the acid evapo- 
 
Oil 
 
 rates, and the solution of copper becomes more intimately incor- 
 porated with the cloth. 
 
 " Dark blues, in general, require from five to ten dips, or im- 
 mersions, according the shade of blue required, or the strength 
 of the vats employed. 
 
 " If the vats are strong, five, or at most six dips, will give a very 
 dark blue, almost black, the intensity of which will be little in- 
 creased by further dipping; the labour is greatly abridged by em- 
 ploying strong vats, but the whites are liable to great injury, as 
 the solution of indigo, when concentrated, acts very powerfully 
 on the paste. On this account the first vat should invariably be 
 the weakest of the series, and never stronger than is sufficient to 
 produce a full strong blue at seven, or even eight immersions. 
 The second and third vats may be stronger, and so on to the last, 
 which may be the strongest of all. Dark blues may be dipped and 
 finished in the same vat, but it is more convenient to pass them 
 in succession through a series disposed in a line in the manner 
 we have before described. 
 
 " When the piece is well hooked, and the frame ready, the 
 vat must be well skimmed before the piece is entered. The sur- 
 face of the blue vat is always covered with a film of revived indi- 
 go, more or less thick, according to the strength of the vat. This 
 film it is necessary to remove before the frame is immersed, 
 otherwise the revived indigo, which is no longer in solution, at- 
 taches itself, and adheres to the cloth in patches, producing un- 
 evenness in the dye, especially in the first vat. When skimmed, 
 the surface of the vat is dark green, but the blue film reappears 
 in a few minutes; it should not be removed, therefore, till the 
 frame is ready for immersion. 
 
 " In five or six minutes the cloth has fully imbibed the dye, and 
 little advantage is gained in general by keeping it longer in the 
 vat. The frame is then lifted out, and placed slantwise in such a 
 manner, that all the liquor which drains from the piece falls down 
 into the vat again. When taken out, the cloth appears of a pale 
 yellowish green, if the vat is weak, but if strong, more inclining 
 to amber. This colour gradually changes, as the indigo, by ab- 
 sorbing oxygen from the atmosphere, becomes revived, and in 
 five minutes the cloth appears uniformly blue; it is then ready for 
 another immersion. Six minutes in t and six minutes out, is a good 
 general rule for dipping dark blues, as the cloth will in that time 
 
372 
 
 have acquired the full effect of the vat, and the green will also go 
 off'in little more than five minutes, though the vat be very strong. 
 The bottom edge of the piece retains the green hue the longest, 
 because it is longest in draining from the liquor; care must be 
 taken, therefore, never to immerse a piece till the bottom edge 
 has been examined, and found perfectly ready for the dip. The 
 consequence of entering a piece into the vat whilst the bottom 
 edge is green, is, as might be supposed, that the edge will be the 
 pal -st, the indigo not having been revived and precipitated upon 
 it equally with the rest of the piece. 
 
 " In dipping dark blues, the first dip is the most important; 
 and if it tails, the work is inevitably ruined. First, if the vat be too 
 strong, the whites will never be clear and sharp; secondly, if for 
 want of due preparation the cloth does not uniformly receive the 
 dye, the goods will scarcely ever be even when finished. Thirdly, 
 if either from the paste being too strong, or the vat too weak, or 
 not in proper order, the impression starts, or runs at the first im- 
 mersion, the ground is sure to be freckled and uneven, and the 
 whites bad. 
 
 "Against the first source of error, the knowledge of the fact 
 ought to be a sufficient guard; but if unavoidably it should hap- 
 pen that the leading vat is too strong, there is no other remedy 
 than shortening the time of the dip, and keeping the frame in 
 four or five minutes in lieu of six, till the vat becomes reduced 
 in strength. 
 
 " Imperfect bleaching, accidental impurity in the cloth v and 
 long and partial exposure to heat and air, are amongst the causes 
 which contribute most to prevent the cloth from receiving the 
 blue dye. 
 
 " It is the practice with many printers to give the cloth in- 
 tended for this purpose an extra preparation, either by boiling in 
 a ley of potash, or a solution of common salt. If the regular 
 bleaching has been perfect, the first is wholly unnecessary, and 
 the second absolutely useless. 
 
 " Cloth that has been well bleached may, by long keeping, and 
 partial exposure to the air, dust, and other accidental impurities, 
 become so unfit for dipping, as to require some extra prepara- 
 tion. In this case the modes we have spoken of may be useful 
 inasmuch as washing, soaking in hot water, squeezing, and the 
 other attendant operations are useful; but clean, well bleached, 
 
373 
 
 and recently bleached cloth has no need of any such prepara- 
 tion. 
 
 " If the paste be too strong, that is, if it contains too much sul- 
 phat, acetat, or nitrat of copper, it is liable to start or run in the 
 first vat, especially when laid on in large bodies. This evil, if not 
 too great, may be remedied by gently moving the frame up and 
 flown during the first two or three minutes after it is entered. It 
 may also arise from the vat being too weak, and consequently 
 containing too little lime in solution, and may sometimes be 
 remedied by the addition of more lime. If in spite, however, of 
 the motion of the frame, the addition of more lime, or of greater 
 strength to the vat, the paste still continues to run, it is a sign 
 the solution of copper is too strong, and the quantity must im- 
 mediately be diminished. 
 
 " When the green is gone off after the first dip, the frame is 
 then moved on, and dipped in the second vat, taking care to skim 
 it well before the piece is entered. In this way, after each im- 
 mersion, the frame is moved on to ihe next succeeding vat, till it 
 has received the number of dips required. This, as we have before 
 observed, depends on the strength of the vat, and the shade of 
 blue wanted; but as, during the process of dipping, the vats con- 
 tinually get weaker, the goods, after a certain time, will require 
 an additional immersion, or even two or three, to get them up to 
 the strength of the first pieces that were entered. 
 
 " The strength of a blue vat is not exhausted in the same 
 manner as the weld or madder bath, by the abstraction of the co- 
 louring matter from the solution, by the superior affinity of the 
 mordant on the stuff. When a piece of cloth is immersed in the 
 indigo vat, it becomes penetrated in five or six minutes com- 
 pletely with the dye, and will gain nothing, by being suffered to 
 remain Iongei than is necessary for this purpose. When taken 
 out, it carries with it no more indigo than is contained in that 
 quantity of solution which it has imbibed, and carries out of the 
 vat. But the instant the frame is lifted out, the liquor begins to 
 drain from it back again into the vat, and pours down in small 
 streams, thus exposing the solution completely to the atmosphe- 
 ric air. The indigo is in consequence revived and precipitated, so 
 that the liquor which drains from the piece and falls down into 
 the vat, is for the purpose of dyeing, no belter than so much 
 water. Every frame that is entered thus effecting the precipita- 
 
374 
 
 tion of the colouring matter from two, three, or four gallons of 
 the solution; the vat, especially the leading one, soon becomes re- 
 duced in strength. The second, third, and successive vats, are 
 weakened in the same manner, and also by the exhausted liquor 
 of the pieces, which at every dip after the first, is exchanged, as 
 it were, for the fresh and strong solution of the vat it is im- 
 mersed in. 
 
 « When the goods have received the last dip, and have ac- 
 quired their full shade of colour, they are taken off the hooks, and 
 well winced in clean water; they are then, by the successive ope- 
 rations of washing and hot watering, repeated as occasion may 
 require, freed from the paste, and rendered as clean as possible 
 before going into the sours. 
 
 « Souring is necessary to free them from the last remains of 
 the paste, and give a brightness and finish to the whites. A so- 
 lution of sulphuric acid, weak enough to be borne in the mouth 
 without inconvenience, is sufficient to dissolve what oxyd of cop- 
 per is left in the cloth after good cleaning. The goods are im- 
 mersed in this ten or fifteen minutes, after which they are well 
 washed und hot watered, and when dry are finished, or ready for 
 any succeeding operations. The excellence of this kind of work 
 depends on the clearness and purity of the white, and on the 
 fulness and evenness of the blue. The directions \ve have given 
 are, with ordinary care and observation, sufficient for the attain- 
 ment of this. 
 
 When the vats have become exhausted by working, they must 
 be refreshed. If a vat contains a tolerable charge of indigo, cop- 
 peras, and lime, and has been worked only once, raking up alone 
 will be sufficient to put it in a stale for working again. When 
 again exhausted, copperas and lime must be added to dissolve 
 the revived indigo. The quantity must depend upon the size of 
 the vat, and the supposed quantity of indigo which it contains. 
 From twenty to forty pounds of copperas, and three-fourths of 
 that quantity of quick lime, may be added at once to a vat of one 
 thousand gallons, or thereabouts, and some idea may be formed 
 of the effect which this should produce, by recollecting that one 
 pound of indigo requires for solution about two pounds of sul- 
 phat of iron. It is proper always to have an excess of quick lime 
 in the vat, but it is wholly unnecessary to make those frequent 
 additions of lime without any thing else, which is the practice of 
 
375 
 
 many blue dyers. It serves no other purpose than to fill the vat 
 speedily with dregs, which ought to be avoided as much as pos- 
 sible, as when they are accumulated to a certain pitch, it is ne- 
 cessary either to take them out, or suffer the vat to repose from 
 thirty-six to forty- eight hours before it is fit for work after 
 raking. 
 
 " If equal quantities of copperas and lime have been used when 
 the vat was formed at first, and three parts lime added for every 
 four of copperas afterwards, any other addition of lime is wholly 
 useless. Some idea may be formed of the state and condition of 
 a vat, by observing its appearance when raked up. In general, if 
 it looks dark green or black, it may be presumed it contains a 
 quantity of revived or undissolved indigo, and copperas and lime 
 are therefore necessary; this blackish appearance may neverthe- 
 less be occasioned by a very great excess of copperas, or sulphat 
 of iron, the oxyd of which, when recently precipitated by lime, is 
 dark green; as this, however, could arise only through great 
 ignorance, or accident, it is not often likely to be the case, as the 
 quantity of copperas required to produce this effect must be 
 very great indeed. 
 
 " When a vat rakes up yellow, or very pale yellowish green, 
 it is supposed by some to contain too much copperas, and must 
 be corrected by the addition of more lime. It is hardly correct, as 
 we have before observed, to say a vat contains an excess of cop- 
 peras, since this salt cannot exist in solution with lime. A vat 
 may want lime, and in this case it will be very weak, of a pale 
 yellowish green, produce a very feeble blue, and the paste will 
 invariably cree/i, to use the dyers' phrase, or in other words, will 
 run, and loose the sharpness and smartness of the impression, the 
 moment it is entered in the vat. This may be the case at the time 
 the vat contains a quantity of revived indigo also, and rakes up 
 black, so that no certain conclusion can be drawn from the yel- 
 lowish appearance aforesaid. 
 
 " If a vat be weak, the froth which forms at the top during 
 raking, is pale sky blue; the surface does not speedily break into 
 marble veins, nor is it soon covered with a blue film. A strong 
 well conditioned vat, on the contrary, when raked up, becomes 
 eovered directly with a permanent and copious froth, the colour 
 of which varies from a deep blue, when the vat is of ordinary 
 strength, to a bright copper colour, which is always characteris- 
 
376 
 
 tic of a very strong solution, and the surface, when skimmed, is 
 in an instant covered with a thick film of revived indigo. This 
 film, and the deep blue and copper coloured froth, is the best and 
 purest of the indigo, -and is called the flower of the indigo by the 
 old dyers. In skimming, great care must be taken that this is 
 carefully preserved, and returned again inio the vats at the time 
 they are refreshed. 
 
 " When a vat becomes so exhausted that further additions of 
 lime and copperas have no effect in increasing the strength, fresh 
 indigo must be added, with the proportions of lime and copperas 
 before indicated. 
 
 " If a vat remains several weeks un worked and without raking, 
 it will absorb oxygen enough from the air to precipitate the indi- 
 go from the solution, so that, to the depth of ten or twelve inches 
 from the surface, it will consist of lime-water only, and must be 
 well raked up before it is worked. 
 
 " When the dregs have accumulated so much as to prevent 
 the vat from clearing in twenty-four, or at most thirty-six hours, 
 and when the frame begins to touch the mud during work, it is 
 time then to empty it out, taking care to dose the vat well with 
 lime and copperas, so as to get out all the indigo before the dregs 
 are thrown away as exhausted. 
 
 " Of Pale Blue. 
 
 " Pale blues are, in general, produced at a single dip; they re- 
 quire less indigo and labour than the preceding style of work, 
 but more care and management to do them well. They are liable 
 to be uneven and spotted in the ground, and the proper tone and 
 shade of colour is a matter of great importance, and also of no 
 small difficulty. 
 
 " We shall speak first of pale blues and whites, intended to be 
 finished up with after-colours or not.— The paste for pale blue is 
 precisely similar to that for the dark blue we have been treating 
 of, except that it need not be so strong. Two pounds of sulphat of 
 copper, dissolved in a gallon of water, and thickened with pipe- 
 clay and gum, in the manner of the three pastes we have already 
 given, will form a very good reserve for pale blue. Any other 
 solution of copper will be equally efficacious, but the sulphat, as 
 being the cheapest, may be considered as the best. 
 
 " The preparation, or rather the condition of the cloth, is a 
 
377 
 
 IS 
 
 matter of the greatest importance in pale blue dipping. If im- 
 perfectly bleached, or stained or impregnated with any earthy or 
 metallic substance that will obstruct the entrance of the dye, the 
 blue will infallibly be uneven. A difference in the quality of the 
 cotton, in the fineness of the weft, or in the hardness of the twist, 
 of which the cloth is made, will occasion considerable variation 
 in the shade of blue, and defeat every attempt, on the part of the 
 workman, to do justice to his work. To guard as much as possi- 
 ble against this, the cloth, in the first place, should be selected 
 purposely, rejecting all those pieces which show unevenness in 
 weaving, or variation in the quality of the materials. 
 
 " The goods should be in the best possible state for printing; 
 fresh from the bleach ground, carefully kept from dust or dirt of 
 any kind, and sufficiently damp to make them take a stiff calen- 
 dering. As soon after printing as convenient, they should be re- 
 moved from the warm shop to a cool situation, where they will 
 not get parched and dry, and dipped at furthest the following 
 day. 
 
 "All these precautions, however, are inadequate to secure an 
 even and level ground, without recourse to the improved me- 
 thod of dipping, for which we are indebted to the callicoe-printers 
 of London. 
 
 " This improvement, whether considered with reference to the 
 particular style of work, of which we are now treating, or its ap- 
 plication to other branches of blue dyeing, the most important 
 that has lately been introduced, consists in clipping the goods in 
 clear lime-water before they are entered in the blue vat. 
 
 " If the piece becomes uniformly wet throughout, and shows 
 no streaks or patches of white, it may safely be transferred to the 
 blue vat as a piece that will take an even dye. If, however, after 
 remaining five or six minutes in the lime vat, there are parts 
 which are not completely wet, it must be dipped five or six 
 minutes longer, and again taken out and examined. All those 
 pieces which, after two, or, at most, three immersions, still re- 
 fuse admission to the lime-water, are rejected as unfit for dipping, 
 and the paste being removed by souring, are appropriated to 
 some other course of work to which they are better adapted. 
 
 " The vat for pale blues is, in general, the same as for the dark 
 grounds, care being taken to select one that will give the shade 
 of blue required. It is usual to employ the old and nearlv ex- 
 
 3B 
 
378 
 
 hausted vats for this purpose, but the blue, is never so bright and 
 lively as when fresh indigo, and that of the finest quality, is cm- 
 ployed. 
 
 " The hue is greatly improved by souring, a necessary opera- 
 tion, to free the goods from the paste, and still further, by winch- 
 ing them in a solution of white soap ten or fifteen minutes, at a 
 heat of 120 degrees. 
 
 " Mr. Haussman observes, that if the goods are plunged in a 
 weak solution of sulphuric acid immediately on coming out of 
 the vat, the blue is more lively and full than when previously 
 rinced and washed. . 
 
 "Mr. Chaptal employs for pale blue grounds without white, 
 and for green grounds also, a vat composed of indigo, potash, 
 lime, and orpiment. This solution, which is the same precisely 
 as the pencil-blue of the callicoe-printers, affords a much more 
 delicate colour than that with lime and copperas, the cause of 
 which is not clearly understood, though it most probably arises 
 from the different degrees of deoxydation produced by the two 
 substances. 
 
 " This vat is formed by boiling ten pounds of fine Spanish in- 
 digo, ten pounds of potash, twenty pounds of quick-lime, and 
 five pounds of orange orpiment, in about thirty gallons of water, 
 and pouring it, when the solution is complete, into the vat con- 
 taining about eight hundred gallons of water, and twenty or 
 thirty pounds of lime. When worked, it must be raked up well 
 the instant before the frame is entered, and when exhausted, re- 
 freshed with additions of the same solution. 
 
 "If a piece of cloth, printed with the reserve or paste before 
 described, be dipped in this vat, the copper becomes precipitated 
 and fixed by the sulphuretted hydrogen which it contains, and 
 produces a brown stain instead of a white. It is possible, how- 
 ever, with extraordinary care and management, to succeed in ob- 
 taining good whites in this vat, and the following process may be 
 employed with success, though it is still capable of further im- 
 provement. 
 
 " Prepare a paste by dissolving two pounds of sulphat of cop- 
 per in one gallon of acetat of alumine, or the common aluminous 
 mordant of the callicoe-printers, add to it one pound of nitrons 
 acid, and eight pounds of pipe-clay; boil well and strain it through 
 a fine cloth, and when cold, add as much thick gum-water as is 
 
379 
 
 barely necessary to give it the due degree of consistence for 
 working. In printing this paste the mallet should never be used, 
 a gentle tap with the hand, if the block is true and in good order, 
 will leave the paste, as it should be, wholly on the surface of the 
 cloth. Dip six or eight minutes in the lime vat, and when taken 
 out, suffer the piece to drain two or three minutes before enter- 
 ing in the blue vat. The vat should be strong enough to pro- 
 duce the shade required in two minutes, after which the frame 
 should be withdrawn and plunged instantly in a vat of clear 
 water, and moved and agitated therein till the green goes off. 
 When washed and soured, if the work has succeeded, the white 
 will be clear and prominent, and the blue the finest that can be 
 produced on cloth. It is remarkable, that a strong vat produces 
 better whites than a weak one, on this account care must be 
 taken, that the solution be of a proper strength. The utmost 
 nicety is required in preserving the cloth for this vat from dust 
 or dirt of any kind. Goods that have been long bleached, and not 
 carefully secluded from the air, are wholly unfit. They ought, in 
 fact, to be taken fresh from the sours, for every, even the 
 smallest particle of metallic substance that is in the cloth, when 
 dipped in this vat, will produce a brown stain, and if the cloth is 
 uniformly tainted with it, entirely ruin the blue. 
 
 '< In dipping pale blue grounds, it is sometimes necessary to 
 protect colours that have been previously applied, from the effect 
 of the blue, as red or yellow flowers for example, which would 
 otherwise become purple and green. The solutions of copper 
 cannot be employed for this purpose, as they injure the colours, 
 especially madder reds, or purples, very much, and are not 
 wholly removed without souring, an operation which goods of 
 this description cannot be subjected to. 
 
 " The reserve most commonly used, is simply a paste of pipe- 
 clay or Spanish white, boiled to a proper consistence, and mixed 
 with an equal quantity of thick gum-water. This does not affect 
 the colours upon which it is applied, and is easily removed by hot 
 water and washing; but as it opposes merely a mechanical re- 
 sistance to the dye, and fails the moment it becomes softened, it 
 will not bear a dip of more than one minute or two. This is an 
 inconvenience of great magnitude, when the pale blue ground is 
 much exposed, and not covered with any kind of design calcu- 
 lated to hide unevenness in the dye. The following paste is re- 
 
 = 
 
n^ 
 
 380 
 
 commended and used, by some, as capable of resisting much 
 longer than the former: — 
 
 One pound of finely ground pipe-clay, 
 
 Four ounces of gum arabic, 
 
 Two ounces of suet, 
 
 Two ounces of wax, and 
 
 One ounce of resin. 
 Boil all these ingredients together, in as much water as will form 
 a paste of sufficient consistence not to run. This paste can only 
 be applied with the pencil, and in large masses. It is removed 
 with great ease by hot water and washing, without any injury to 
 the reds, or other colours it has covered. 
 
 " The solutions of lead possess the property, though in a much 
 smaller degree than copper, of resisting the indigo vat, and may 
 be used with advantage for pasting reds and other colours, which 
 are but little injured by them. We have seen the following paste 
 used with great success: — 
 
 "Dissolve two pounds of acetat of lead in a gallon of water, add 
 two ounces of tallow, two of wax, and two of resin, and as much 
 pipe-clay and gum as will make it of a proper thickness for 
 printing or pencilling. This paste will resist a dip of three or 
 or four minutes; it must, however, be laid on in good bodies, and 
 succeeds better with the pencil than block. 
 
 "In pale blue grounds, with black and while figures, Sec. it is 
 often necessary to print both the black and the paste at the same 
 time, to save the expense and trouble of after-grounding. The 
 black for this purpose is generally chemical black, for an ac- 
 count of which we must refer to the article Colou n-making. The 
 sulphat of copper paste is generally used, but as the goods can- 
 not, on account of the black, be passed through the sours to free 
 them from the oxyd of copper, which imparts a greenish hue to 
 the white, it is better to employ the nitrat of copper, which is 
 cleared by hot watering and washing much more completely. 
 
 *' If the patterns contain very large masses or bodies of black, 
 the acetat of iron, or what the printers call black colour, must be 
 used, increasing the strength to double that required for an or- 
 dinary black; so that when the goods are dipped, and as well 
 cleaned as possible, by repeated washing, 8cc. they may be 
 passed through water rendered slightly acidulous with nitrous, 
 
381 
 
 or what is still better, acetous acid, without materially impairing 
 the strength of the mordant. 
 
 « The white is completely freed from the oxyd of copper by 
 this slight souring, and takes no stain in the dye copper, when 
 the black is raised with sumach and logwood. 
 
 " It is proper to observe, that the goods, before souring, should 
 be completely freed from all superfluous paste, either of the 
 black or white; and the iron, by repeated hot watering, at a tem- 
 perature of 140°, oxygenated as highly as possible. In this state 
 it is scarcely soluble, either in nitrous or acetous acids, and will 
 bear weak solutions of them fifteen or twenty minutes. 
 
 " Of Resisting Mordants. 
 
 " When a pale blue is intended to exhibit other colours on the 
 ground, as red, pink, yellow, orange, &c. the paste or reserve is 
 often mixed with a mordant capable of producing these colours 
 in the dye copper. 
 
 " The common paste alone will produce a yellow with weld, 
 quercitron bark, fustic, &c. if the piece be simply rinced and 
 washed before dyeing. 
 
 u In this case the oxyd of copper which remains in the cloth 
 attracts the colouring matter, and though it is greatly inferior as 
 a mordant, to the acetat of alumine, yet, with care and manage- 
 ment, it is capable of producing, with weld, a pale and beautiful 
 yellow. The only difficulty consists in getting the colour even, 
 and this is best attained by employing those solutions of copper 
 which are most soluble, and using them somewhat stronger than 
 is merely necessary to resist the vat. 
 
 " When dipped, the goods should be well rinced in the river 
 fifteen or twenty minutes, and afterwards rinced off in a copper 
 of warm water, with a shovelful of cow dung. Too much dung, or 
 too great heat, will injure the yellow; the temperature should not 
 exceed 100°, and after wincing again in the river, they should 
 be dyed at a heat considerably below this, if weld is used, and 
 not exceeding seventy-five or eighty if dyed with bark. 
 
 " Oxyd of copper, when dyed at a high temperature, invariably 
 becomes dull, especially when bark or sumach are employed. 
 With weld there is less risk of injuring the brightness of the 
 yellow, but long continued heat impairs it greatly. 
 
 u This mordant does not at all answer for reds; with madder 
 
 
382 
 
 it affords a dull wine-coloured dye, and with brazil, peachwood, 
 and cochineal, dull, heavy colours, more inclining to pompadour 
 or chocolate than red. When mixed, even in small proportions, 
 with the common aluminous mordant, its effects are very visible, 
 when dyed with any of the above-mentioned drugs. 
 
 " It is nevertheless employed for deep full reds, upon pale 
 blue ground, according to the following formula, which is ex- 
 cellent for a yellow or orange: — 
 
 " Dissolve two pounds of acetat of lead, and two and a half 
 pounds of alum, in a gallon of water; pour off the solution from 
 the precipitate, and add eight ounces of sulphat of copper; 
 thicken with one pound and a half of starch, and four pounds of 
 fine pipe-clay. When cool, strain the paste through a cloth or 
 sieve, and give the goods six days age before dipping. Dip three 
 minutes in a well-conditioned vat, and transfer the frame from 
 thence instantly to the water-vat — Rince off, and prepare for 
 dyeing in the same manner as before directed. 
 
 '* The following formula is in use for resisting reds or yellows: 
 Dissolve in one gallon of warm water three and a half pounds 
 of acetat of lead, and five pounds of alum; thicken it (with the 
 precipitate in) with the best Senegal gum, and add two ounces 
 of white arsenic, ground as fine as flour; four ounces of common 
 salt, and four ounces of corrosive sublimate. Give the goods two 
 or three days age before dipping, and keep them from three to 
 five minutes in a good vat, or less, if you can get the shade of 
 blue required. Plunge them in the water-vat the instant they are 
 taken up, and rince and finish as before. 
 
 " Bark or weld drabs and olives, as they do not so soon show 
 any slight tinge of blue which may have penetrated the paste, 
 may be simply thickened with good starch, and from twelve to 
 sixteen ounces of suet per gallon, to enable them the better to 
 resist the vat. If this should not suffice, from two to four ounces 
 of sulphat of copper may be added, but it must be observed, that 
 this will change the hue of the drab, and make it more an olive. 
 A little pipe-clay, not more than two pounds per gallon, may be 
 employed also with advantage. It is very efficacious in keeping 
 out the dye, and, in so small a quantity, will not materially affect 
 the fullness and evenness of the mordant. 
 
 ** Solutions of tin, more especially the nitro-muriatic, are em- 
 ployed by some callicoe -printers, in conjunction with the alu- 
 
383 
 
 minous mordant, for resisting reds and yellows. They are not 
 very powerful in keeping out the blue, and, with madder, afford 
 but feeble colours: the yellow they produce is bright, but pale. 
 
 " In general, those solutions which are most efficacious in re- 
 sisting the vat, are the worst mordants, as those of copper for 
 example; but as they will bear a long dip, and the evenness of 
 the blue is thereby ensured, this advantage, in one colour, is con- 
 sidered as sufficient compensation for want of brilliancy in the 
 other. The common aluminous mordant, thickened with gum 
 and a little pipe-clay, or with starch and pipe-clay, forms in- 
 finitely the best mordant, and will resist the vat a few seconds, 
 but not sufficiently long to make the work secure. The recent 
 improvement in this kind of dipping, however, by the use of 
 warm vats, has removed a great many difficulties, and enabled 
 some callicoe-printers to produce work of very superior merit. 
 
 " The great and the only advantage attending warm vats, is 
 the celerity with which the dye penetrates the cloth; so that all 
 the effect of a six minutes' dip in a cold vat, may, in a warm one, 
 be obtained in the same number of seconds. The frame, in fact, 
 is plunged in only for a moment, and instantly taken up; and, in 
 this short space, the vat, however strong, has not time to pene- 
 trate the paste or mordant. 
 
 " The vats may be variously heated, as best suits the nature 
 of the establishment. Steam affords the most easy and efficacious 
 means, and may either be thrown into the vat through a pipe and 
 valves, in which case the steam itself is condensed in, and mingles 
 with the solution of indigo, or the vat may be in part surrounded 
 with a casing, into which the steam may be admitted, and give 
 out its heat, without filling the vat with condensed water. 
 
 «' The first is the simplest and most economical mode; but it 
 requires certain precautions which the other does not. In the first 
 place, before the steam is admitted into it, the boiler should be 
 blown.) that is, completely emptied of air; for if it passes along 
 Avith the steam into a vat, the indigo will be revived, and preci- 
 pitated from the solution, and the vat rendered unfit for dipping. 
 In the second place, if the vat, when cold, is only of the proper 
 strength, the admission of so much steam, and consequently of 
 condensed water, as will be necessary to raise it to the tempera- 
 ture required, will weaken it considerably; and lastly, some in- 
 convenience may arise from this great accumulation of con- 
 
v1S4 
 
 densed water, unless due allowance be made before it is admitted, 
 and care be taken never to turn it in when the vat is full. 
 
 " The second mode is subject to none of these inconveniencies. 
 The vat can neither be weakened by air from the boiler, nor by 
 condensed water, since the heat is transmitted wholly through the 
 casing. The expense, however, is very considerable; still it is 
 greatly preferable to the plan which some printers have adopt- 
 ed, of constructing cast iron vats, and heating them by furnaces 
 built underneath. 
 
 " The temperature at which they can be employed, varies ac- 
 cording to the kind of work, and the power which the paste pos- 
 sesses of resisting a hot vat. 
 
 *< From 60 to 80° will be sufficient for most purposes, and a vat 
 of tolerable strength will, at the latter temperature, produce a 
 good blue in ten or fifteen seconds. 
 
 l< Of coloured Paste. 
 
 " By mixing both colouring matter and mordant with the re- 
 serve, we obtain pastes which at the same time communicate 
 colour to the cloth, and resist the blue; not only saving the ne- 
 cessity of dyeing, but enabling us to form combinations of co- 
 lours, incompatible by any other process. This branch of blue- 
 dipping is still in its infancy, and little has yet been done towards 
 its perfection. We shall therefore have little else to do in treat- 
 ing of this part of our subject, but to state the few facts on which 
 it is founded, and suggest some hints for its future improve- 
 ment. 
 
 " If a solution of sulphat or acetat of iron be mixed with the 
 reserve or paste for white, it will, when dipped and rinced off, 
 leave a buff or orange stain, not very strong, indeed, nor always 
 very even; but applicable and useful in some cases. This paste 
 has been long known and employed. 
 
 " If instead of acetat of iron a strong decoction of bark, or 
 French or Turkey berries, be mixed with the reserve, a yellow 
 will be obtained, full, but less bright, than when raised in the 
 weld copper. 
 
 " Thus by combining different colouring matters with the 
 mordants proper for fixing them on cloth, and also with sub- 
 stances which have the property of resisting the blue dye, various 
 coloured pastes will be obtained. 
 
385 
 
 " The solutions of tin, from their forming combinations with 
 most colouring substances which are but little affected by acids, 
 seem likely to be of considerable use in the composition of pastes 
 of this description. The muriat of tin destroys the resisting 
 power of solutions of copper by de-oxygenating them; but the 
 nitro-muriat, or highly oxygenated solutions, produce rather a 
 contrary effect; they are these which should therefore be tried. 
 
 « Of China Blue. 
 
 " The process for China blue dipping consists in applying 
 finely ground indigo, in its crude and undissolved state, upon the 
 cloth, and fixing it by alternate immersions in solutions of sul- 
 phat of iron and lime. 
 
 " The same thing takes place upon the cloth, that is effected 
 in the ordinary blue vat when indigo is dissolved; in both cases 
 the indigo is de-oxygenated, and prepared for solution by the 
 copperas, and afterwards dissolved by the lime. 
 
 " The different shades of colour in China blue dipping are 
 produced by reducing, more or less, the standard colour, which 
 is prepared in the following manner. 
 
 " 1st. Grind in a metal pot with balls, or by any other con- 
 trivance, ten pounds of good indigo, eight pounds of good cop- 
 peras, and five pounds of orpiment, with two gallons of water; 
 when the whole is nearly ground, add two quarts of very thick 
 solution of gum Senegal, and grind a few hours longer. 
 
 " 2d. Prepare a solution of sulphat of iron by dissolving tw r o 
 pounds in a gallon of water, adding a quarter of an ounce of pot- 
 ashes, and suffering the precipitate, if there is any, to subside. 
 Reduce the ground blue (No. 1) with as much of this clear so- 
 lution (No. 2) as will bring it to a proper consistence for work- 
 ing, and print with this for the dark full blue. When dipped, this 
 colour will have nearly the effect of black, especially in small 
 bodies. 
 
 " For pale blue, reduce the standard with ten, fifteen, or twenty 
 measures of the solution of copperas, and an equal quantity of 
 acetat of iron, or common iron liquor thickened with gum. With 
 fifty, sixty, or even ninety measures of sulphat and acetat of iron, 
 one measure of the standard blue will give very good shades of 
 pale blue. When the pattern, whether block or plate, will not 
 work in gum, a portion of the acetat of iron must be thickened 
 
 3 C 
 
386 
 
 with starch, or flour, and ground up in the mill with its due pro- 
 portion of the standard. When worked on plates, wooden doc- 
 tors, especially lime tree, are preferred to steel ones; they clean 
 the plate much hetter, and give a fine neat impression. 
 
 " The vats are of the same form, and generally of the same 
 din eusions, as those before described; they are, however, never 
 lined with lead; wood, or stone, being considered sufficiently se- 
 cure for solutions of little value, compared with those of indigo. 
 They are disposed in a line, a copperas vat and a lime vat alter- 
 nately; or when the mode of dipping allows it, a lime vat be- 
 tween two copperas vats, forming a system in which two frames 
 are worked; the lime vat being thus kept constantly employed, 
 the copperas vats only alternately. The copperas vats are made 
 up of different strengths, according to the work intended to be 
 done; strong thick goods, such as Marseilles quilting, he. require 
 stronger v^ts than callicoes and muslins. The first require the 
 solution to be of spec, gravity 1040, the latter about 1030. '1 hese 
 are the most economical points, but good work may be done at 
 any point between 1025 and 1050. Lower than 1025, the colour 
 will be pale and faint, though even; and higher than 1050. it is 
 liable to be uneven, some parts being veiy deep and full, and 
 others meally and spoiled. 
 
 " The lime vats are set with fine sifted quick lime, recently 
 slacked, in the proportion of one hundred and fifty pounds to one 
 thousand gallons of water. 
 
 " When the pieces are hooked, and properly arranged on the 
 frame, they are entered first into the lime, and the dipping pro- 
 ceeds as follows. 
 
 1. Entry in the lime vat 5 minutes. 
 
 2. in copperas vat 30 
 
 3. in lime vat 10 
 
 4. in copperas vat 30 
 
 5. in lime vat 20 
 
 6. in copperas vat 45 
 
 7. in lime vat 45 
 
 « During the first five minutes in the lime, the frame must be 
 gently rocked, or moved up and down, then drawn up and 
 tightened. The vat, both now, and at every subsequent dip, is 
 well raked up before the frame is entered. When entered in the 
 
387 
 
 copperas vat, rock five or six times, to detach the loose lime 
 from the piece. 
 
 " At the second entry in the lime, rock the whole time. 
 
 " At the second, and every succeeding entry in the copperas 
 vat, rock five or six times as before, to detach the lime. 
 
 " At the third and fourth entry in the lime, rock five or six 
 minutes, and now and then. 
 
 " The reason for finishing out of the lime, is to keep the frames 
 and hooks free from the rust and incrustation of the copperas, 
 which it loosens, and renders more easy to detach and clean; 
 with respect to raising the colour, it makes no difference what- 
 ever. 
 
 " When the piece comes from the copperas vat the second 
 time into the lime, it will appear a grass green colour, if there be 
 a proper quantity of lime in the vat. If too little, the piece will 
 appear yellowish, and more lime must be added. 
 
 " Take off' the pieces quickly after the last dip, and wince them 
 briskly in the water-pit a minute or two at the most. Get them 
 into the sours, and after wincing over twice or thrice, let them 
 lie an hour or two, after which wince again four or five times, 
 and wash well in the wheel. Hot water them, and wheel again be- 
 fore hot souring, which is done in a sour of spec, gravity 1015, 
 heated to 180°. Wince the goods four or five minutes in this, 
 after which wash, hot water, Sec. and finish for drying. 
 
 " If the goods are kept too long out of the cold sour after the 
 last dip, the oxyd of iron, with which they are coated, oxygenates 
 very rapidly, and the cloth becomes buff or orange. It is with 
 difficulty that the iron is disengaged, and not without long and 
 very strong hot souring. 
 
 " The cold sours soon become foul with the loose superfluous 
 indigo, which is detached, and unfits them for light goods, long 
 before the acid is saturated. 
 
 " In this case it is economical to add two or three shovels full 
 of fine well-beaten clay, previously mixed up with water; when 
 this is well incorporated with the sours, and suffered to subside, 
 it carries down with it great, part of the floating indigo, and 
 renders them fit for use again. 
 
 " After every day's work the lime and copperas vats must be 
 refreshed. 
 
 " From twenty-five to thirty-five pounds of sifted lime, accord- 
 
388 
 
 ing to the size o r the vat, and the number of pieces that have 
 been passed through it, must be added every night. 
 
 " No harm can arise from excess of lime, excepting the un- 
 necessary expense of more than is required, and the accumula- 
 tion of sediment or mud in the vat, which will soon require re- 
 moving. v 
 
 " Ten pounds of copperas are generally added for every piece 
 of callicoe that is dipped. This is suspended at the surface in a 
 wicker basket, and suffered to remain till all is dissolved It is 
 quite unnecessary to rake up the vat, as the fresh additions of 
 copperas will incorporate uniformly without stirring, which, by 
 muddying the vat, may do mischief. Care must be taken to use 
 the hydrometer frequently to correct any deficiency or excess 
 which may arise in the sp. gr. of the solution of sulphat of iron. 
 
 u In making new or fresh copperas vats, after having brought 
 them to the standard on the hydrometer, add to every thousand 
 gallons four or five gallons of the lime vat (raked up) and one 
 pound of potash. This is to neutralize the superabundant acid of 
 the copperas. 
 
 " The grass green Yorkshire copperas is the best for this pur- 
 pose, it contains the least free acid; the pale whitish gre*en is the 
 worst, and when such is used it will be proper occasionally to 
 throw into the vat about one pound of potash, and four or live 
 gallops of m'.ddy lime water. 
 
 " When daily worked the lime vats should be emptied out, and 
 wholly renewed once a month at least. 
 
 " The copperas vats are never wholly emptied, but when the 
 mud accumulates so as to be troublesome and endanger the safety 
 of the work by resting on the lower edge of the piece, it must be 
 taken out with a scoop or shovel proper for the purpose. 
 
 " The ground of those goods which show much white will in 
 general be sufficiently clear when unished according to the pre- 
 ceding directions, the white is however greatly improved by a 
 gentle soaping, and one or two days exposure on the grass. 
 
 "In general, better work may be produced in the winter 
 months than in summer: in hot weather, the colour is liable to be 
 uneven, patched and meally; the cause of this has not been well 
 ascertained, though, in all probability, it arises from the increased 
 action of the sulphat of iron and lime at an increased tempera- 
 ture: it is not unlikely that weaker copperas vats would be found 
 
389 
 
 to act better in summer than strong ones, as the effect of tem- 
 perature would ihereby in some degree be counteracted. 
 
 " From tbe nature of the process of China blue dipping, it must 
 be evident that it must precede any other application ot colours 
 to which the cloth is intended to be subjected. If, for instance, 
 red* or yellows are to be introduced, these must follow the ope- 
 ration of dipping; as they would inevitably be ruined by repeated 
 immersions in copperas and lime, or wholly discharged by cold 
 and hot souring." 
 
 Of Pencil Colours. These are laid on by young boys 
 and girls with a pencil after the piece is printed. 
 
 Blue. I have already given several receipts for pen- 
 cil blue, which will answer perfectly: I do not, how- 
 ever, think it unnecessary to add the following varia- 
 tion, from my notes on the practice of printing cal- 
 licoes. 
 
 Put^two quarts of water into a copper pan; add 
 twenty ounces of good fresh made lime, pounded and 
 sifted, to separate the flinty and unburnt parts; then ten 
 ounces of the best Guatimala indigo, ground as fine 
 as possible, which is essential. iMix. the whole together 
 and boil upon a slow fire for half an hour, keeping 
 the mixture stirred all the time. When cold, add ei»ht 
 ounces of red (or yellow) orpiment; boil it then once 
 more for a quarter of an hour, and lastly add two 
 quarts of strong gum water. 
 
 I think the above would be improved by the addi- 
 tion of half a pound of pearl ash, but such is the ac- 
 tual process of practice. 
 
 Green. Fustic four ounces, green copperas one 
 ounce, logwood liquor one quart, verdigris a quarter 
 of an ounce; boil ior an hour; strain it; thicken with 
 
390 
 
 starch. Add indigo-pencil- blue till you bring it to the 
 proper shade. This is in fact a i hemical colour, not 
 fast; nor is the next, which is of the same description. 
 Yellow. Dissolve an ounce of turmeric in half a pint 
 of spirits of wine, and add to it a decoction of saffron, 
 a quarter of an ounce in a quart of water, more or less, 
 as the shade of colour requires. Thicken with gum. 
 
 Orange. Annatto one pound, pearl ash half a pound, 
 water five quarts; boil them together in a brass pan, 
 keeping them constantly stirring till the boiling com- 
 mences. Let the liquor stand till it is cold and settled; 
 pour off the clear liquor and thicken it for use. 
 
 This is rather a full nankin than an orange: it is at 
 best a fugitive colour, and not lit for good work, as it 
 will not bear more than one washing. Of these pencil 
 colours, none are good but the blue. A green^is pro- 
 duced by pencilling over a yellow previously raised 
 with weld or quercitron. 
 
 Of Chemical Colours. The printers call those " che- 
 mical colours" which are mixed with the mordant 
 previous to either the one or other being applied to 
 the cloth. The pieces therefore are printed at once 
 with the colours of the pattern, and do not require to 
 be afterwards dyed. This mode of printing is more 
 expeditious and cheaper than that by means of dyed 
 or raised colours, but it is very imperfect, from the 
 more fugitive nature of the colours thus laid upon the 
 cloth. 
 
 My notes on this part of the subject, are as follows: 
 
 Black. Vinegar, four gallons; blue galls, bruised, 
 
 eight pounds; boil them till the goodness is extracted 
 
 _ 
 
391 
 
 out of the galls, and they are quite soft; squeeze and 
 strain the m. Add to this liquor one pound and a half 
 of green copperas, and one quart of nitrat of iron, or 
 a strong solution of iron in aqua fortis, slowly made, 
 and by a little iron put in at a time. 
 
 Another: Galls, four pounds; logwood, one pound; 
 vinegar, one gallon; water, one gallon; green cop- 
 peras, four ounces; blue copperas, two ounces; iron 
 liquor, one pint; nitrat of iron, one pint. 
 
 As the oxyds of lead, mercury, and silver, are apt 
 to turn black, I suggest, that this may be improved 
 by a small portion, six ounces for instance, of sugar 
 of lead, in the first receipt. 
 
 Grmj. Dilute the blacks, as the strength of your 
 colour requires. 
 
 Mud, Water, one gallon; pounded galls, twelve 
 ounces; madder, four ounces; green copperas, four 
 ounces; logwood, four ounces; spirit of salt, two 
 ounces. The galls and logwood should be boiled till 
 the colour is extracted, then strained, and then add 
 the green copperas. Dilute with water according to 
 the required shade. 
 
 In my opinion the spirit of salt ought to be super- 
 seded, by using a gallon of vinegar instead of a gallon 
 of water. 
 
 Emperor's Eye. Boil in a gallon of water for half 
 an hour, two pounds of sumach; ai\d one pound of 
 green copperas, in a bag for a quarter of an hour. 
 Thicken for use. 
 
 Stone. Two quarts of vinegar, and two pints of 
 chemical biack, boiled together gently for ten minutes. 
 
392 
 
 Drab. Make a strong decoction of sumach, with a 
 small quantity of fustic in it. Take equal parts of 
 this decoction, of vinegar, or rather of tar acid, and of 
 water. Add to them three ounces of green copperas, 
 and half an ounce of sal ammoniac. 
 
 Tar acid and pyroligneous acid are the same. 
 
 Bancrofts Drab. Sulphat of iron, (green copperas,) 
 one pound; quercitron, three pounds; chalk, four 
 ounces. Or, iron liquor and quercitron. Or, querci- 
 tron and nitrat of lead. 
 
 Olive. Take strong decoction of quercitron, with a 
 small quantity of yellow berries added to it, one gal- 
 lon; green copperas, three ounces; blue copperas, two 
 ounces. 
 
 Yellowish Green. Red liquor, one pint; iron liquor, 
 one quart: boil six pounds of quercitron, and half a 
 pound of logwood, with four ounces of verdigris, in 
 three gallons of water; strain the decoction and add it 
 to the mixed mordants; thicken for use. 
 
 Yellow. Boil, or rather scald two pounds of querci- 
 tron, in a gallon of water, during two hours: strain the 
 liquor; make it up a full gallon; add two pounds more 
 of quercitron, and one ounce of powdered galls; boil it 
 again for an hour, and strain it; make it up a full gal- 
 lon; add to it half a pint of a strong solution of copper 
 in aqua fortis, and a gill of red colour. 
 
 Another. Bruise two pounds of yellow berries, called 
 also French berries, Turkey berries, graines d'Avig- 
 non: boil them with a quarter of an ounce of saffron in 
 five quarts of water to a gallon, add a gill of strong 
 red liquor, and twice as much nitrat of iron. Thicken. 
 
393 
 
 When the fugitive yellow cojpur washes away, the 
 nitrat of iron gives a permanent buff, which is raised 
 by the soap in washing. 
 
 Green. To the quercitron in the first yellow just 
 above given, add a pound of logwood, two quarts of 
 water, and two ounces of verdigris. 
 
 Blue . The pencil blue of indigo already given. 
 
 False Blue. Logwood, one pound and a half, boiled 
 in two quarts water and two quarts vinegar; add to it 
 four ounces blue vitriol, and eight ounces verdigris, 
 dissolved in two quarts of hot vinegar. 
 
 Saxon Blue is not worth using on printed callicoes. 
 
 Salmon. Three gallons of water; wherein boil three 
 pounds of madder, two pounds of sumach, and half a 
 pound of quercitron; strain and add a pint red colour. 
 
 Red. Six quarts stale beer, two pounds of brazil 
 wood, one ounce bruised galls, then add two ounces 
 powdered alum, strain the liquor, and when cold add 
 to it four ounces of a solution of tin made in aqua 
 regia, composed of one part aqua fortis, three parts 
 muriatic acid. 
 
 This is a poor colour: indeed there is no good red. 
 The following I first introduced in a large way, and 
 I find by an article in Rees' Cyclopaedia that it is 
 now common in England; I never knew it used till it 
 was employed for second reds by Baker and Com- 
 pany, under my direction, about the year 1790. 
 
 In a large tinned copper vessel make a solution of 
 good brazil wood, by scalding for an hour a pound of 
 brazil to each gallon of water; a quarter of an Qunctf 
 
 3 D 
 
394 
 
 of pearl ash to each gallon may be added. Strain the 
 liquor through cloth. 
 
 Make a solution of tin in aqua regia composed of 
 two-thirds spirit of salt, and one third aqua fortis, tak- 
 ing good care that they contain no iron. Dilute a pint 
 of this solution with a gallon of water, and add it to 
 the brazil decoction in the proportion of about half a 
 gallon of the diluted tin liquor to a gallon of the de- 
 coction, or rather add it by degrees till you find no 
 more precipitate produced by the addition. Let off the 
 clear liquor; collect the red sediment, and dry it gra- 
 dually in the shade, or you may keep it in jars in the 
 form of a moist paste. Dissolve this red sediment 
 in the cold, in a fresh solution of tin, diluted with an 
 equal part of water. Thicken and print with it. The 
 pieces must not be carried up to the stove room, but 
 gently dried in the warm air in the shade, or in a room 
 moderately warm. If the pieces are winced two or 
 three times through whiting or chalk and water, the 
 acid will be less liable to injure the cloth. This red 
 will be more pinky and brighter after one washing in 
 soap and water, and will bear two or three moderate 
 washings. 
 
 Purple. Precipitate a decoction of logwood, bv a 
 solution of blue vitriol: dissolve the moist sediment 
 either in soluiion of blue vitriol, or solution of tin in 
 aqua regia, (nitro-muriatic acid,) and print with it, as 
 above. 
 
 The following article from Rees' Cyclopedia, 
 though differing in some degree from the processes I 
 have given, is, like the two other articles relating to 
 
395 
 
 callicoe printing in that work, drawn up by a master 
 hand. I have before mentioned that the pink reds 
 among the chemical colours, so much praised in this 
 article, were first introduced by myself. I think the 
 principle can be extended to yellows. 
 
 " Colour, and CohovR- Making, in Callicoe-Printing. The pre- 
 paration of colours for callicoe-printing, constitutes one great 
 branch of that beautiful art, and involves in it a series of interest- 
 ing and important processes. As an art, its operations are more 
 dependant than almost any other, on those minute differences 
 and changes in the constitution of bodies, which it is the business 
 of chemistry to investigate. Hence that liability to error and un- 
 certainty which, in the hands of the ignorant, pervades many of 
 its processes, though conducted according to long established 
 and approved formulae. Our present volume would scarce suffice 
 for the various receipts in which the art abounds; yet, in the fol- 
 lowing article, we shall endeavour to lay down general principles, 
 rather than more practical directions; convinced, that by pre- 
 senting our readers with a clear and concise theory, deduced 
 from such practical illustrations as may be necessary for this 
 purpose, we shall render them a more acceptable service. 
 
 " The term cola, in callicoe printing, is applied not only to 
 those vegetable, animal, and mineral solutions, which impart 
 their own colour to the cloth on which they are applied, but also 
 improperly to those earthy or metallic solutions, which, possess- 
 ing little or no tingent nroperties themselves, yet retain or fix 
 the colours of other substances, when afterwards applied to the 
 cloth. Thus the acetite of alumine, or printer's red liquor, when 
 pure, is almost colourless, and only becomes red by the process 
 of dyeing, as will be explained hereafter. The acetite of iron, 
 or iron liquor, in like manner, when used of a determinate 
 strength, is called black colour, and when weaker fiur/ile colour, 
 though the cloth impregnated with these solutions becomes black 
 or purple, only as being raised, like the other, in the dye- 
 copper. 
 
 " 1. The colours produced by means of these earthy or me- 
 tallic solutions (which, in the language of science, are called 
 mordants,) form the most valuable and important series, whether 
 
396 
 
 considered with regard to the almost infinite variety of shades, or 
 to their solidity and durability. These colours, from the mode in 
 which they are produced, (the mordant being first applied to the 
 cloth, and the colour afterwards raised by dyeing,) are called 
 dyed colours. 
 
 "2. Sometimes the mordant is previously mixed with a solu- 
 tion of colouring matter, and in that state applied to the cloth, so 
 as to paint or stain it, at one operation, and without the process 
 of dyeing. Thus, another class of colours is produced, many of 
 them possessing great brilliancy indeed, but much inferior to the 
 former in durability. The colours called chemical, by callicoe 
 printers, belong chiefly to this class. 
 
 " 3. In the third and last class, we may place all those where 
 the colouring matter is simply held in solution by an acid or al- 
 kali, and in this state applied to the cloth, without the interven- 
 tion of any mordant. To one or other of the foregoing Classes, 
 may be referred all the colours used in callicoe printing; with 
 the exception, however, of those systems of colours which have 
 been produced by callicoe printers in this country, within a short 
 period, by processes, and upon principles which have hitherto 
 not been made known. 
 
 "CLASS I. 
 " The colours of this, as has been already observed, are pro- 
 duced, by first impregnating the cloth with an earthy or metallic 
 solution, or mordant, and raising the colour afterwards by dyeing. 
 In this article we shall confine ourselves to the preparation of the 
 different mordants, and the enumeration of colours they afford, 
 with different colouring substances. The operations of the dye- 
 house, and the mode of raising the colours in the dye-copper, 
 will be detailed hereafter. 
 
 « The two great and most important mordants used in callicoe 
 printing, are those that we have already noticed, viz. the soluion 
 of iron in acetous acid or vinegar, called iron liquor, and the ace- 
 tous solution of alumine, or the earth of alum, called red liquor, 
 or red colour, and sometimes yellow liqour. 
 
 "With these two solutions, either separately applied, and of 
 various strengths, or mixed together, and in various proportions, 
 an infinite variety of shades of colour are produced. Almost ail 
 the hues in nature may be obtained by raising them, and their 
 various combinations, with different colouring substances. From 
 
397 
 
 madder, with the acetite of alumine, or red liquor, we obtain va- 
 rious shade* of red, from the darkest blood colour to a pink. 
 From weld and quercitron bark, yellows, varying in intensity 
 from a deep orange to a pale straw colour, according to the 
 strength of the mordant employed. From logwood, various shades 
 of violet; from cochineal, Brazil, and Nicaragua wood, pink and 
 crimsons of different hues; and, in short, from almost every dif- 
 ferent colouring substance, a different shade of colour. With the 
 acetat of iron, or iron liquor, of different strengths, we obtain 
 from madder all the intermediate hues between black and pale 
 purple, or lilac. From weld and bark, olives, browns and drabs, 
 of various hues; from sumach, logwood, galls, and other astrin- 
 gent substances, all the varieties of gray, from the palest shades 
 to the deepest, in which all the minute differences of hue are lost 
 till they approach to black. These various shades are further 
 modified by applying two or more colouring substances to the 
 same mordant, as madder and weld, for example, to the acetite 
 of alumine, which produces orange, light ci namon, nankeen, 
 &c; and again still further, by mixing the mordants themselves 
 in various proportions, and raising them with either one or more 
 of the different colouring matters. By these means shades, and 
 varieties of colour, may be produced from a few substances only, 
 which baffle description, and for which language has no precise 
 or definite terms. 
 
 " The acetite of iron, or iron liquor, is variously prepared. In 
 this country it is chiefly made with the pyroligneous acid, which 
 Fourcroy has proved to be identical with the acetous. Malt acid 
 is preferred by many on account of its being free from volatile 
 oil and resinous matter, with which the other abounds; but the 
 great difference in price, and the facility with which it is obtain- 
 ed, has brought the acid of wood almost into general use. A se- 
 ries of casks filled with scraps and turnings of iron, upon which 
 the acid is poured, is almost the only apparatus necessary for 
 making iron liquor; yet when the consumption is great, or when 
 it is prepared for sale, vats capable of holding several hundred 
 gallons are substituted for casks, and the acid is kept in a state 
 of circulation through the iron by means of pumps. The satura- 
 tion is much accelerated by this motion, which prevents any de- 
 position on the surface of the iron which might defend it from 
 the action of the acid, and also brings fresh portions of unsatu- 
 
398 
 
 rated acid more frequently in contact with the metal. In a few 
 weeks, sooner or later in proportion to the strength of the acid, 
 the saturation is completed, and the liquor is then removed from 
 the vat into casks for use, and fresh acid poured upon the 
 iron as before. This is an easy and simple mode of making iron 
 liquor, and as it requires but little trouble and attention, is the 
 one most generally in use. The precautions necessary to be ob- 
 served are, that the acid, if it be the pyroligneous, should not be 
 used too soon after its preparation. It holds much essential oil 
 and resin in solution, part of which separates on being kept a few 
 weeks, and the clear acid may then be drawn off. It may be still 
 further freed from resin by boiling; a portion of essential oil is 
 thus thrown off, and the resin, if held suspended, is precipitated 
 after standing some time. We shall have occasion to recur to this 
 subject again, when we come to treat of the pyroligneous acid, 
 and its formation, under the article Distillation of Wood. It is ne- 
 cessary also, that the iron should be perfectly clean and all of it 
 malleable. Cast iron is not soluble in acetous acid. Hoop iron cut 
 into lengths of from eight to ten inches is preferable to any other. 
 It is readily cleaned, and more easily taken out of the vat and 
 returned into it again, than misshapen masses sold under the 
 name of old iron. When malt acid is employed, simple heating 
 and washing is sufficient to free it from any foulness it may have 
 contracted in the vat; but when the pyroligneous acid has been 
 used, it becomes so coated with resin on its upper surface after 
 a second or third solution, as to prolong the period of saturation 
 to twice or thrice its usual length. In this state it must be re- 
 moved from the vat and heated to redness in an oven, through 
 which there is a current of air. The resin is consumed, and the 
 iron by heating is freed from any remains of carbonaceous mat- 
 ter that may adhere to it, and is again ready for the vat. 
 
 " The only objection to this mode of making iron liquor is the 
 time required to saturate the acid, which to those whose con- 
 sumption is very great, or who manufacture it for sale, is often- 
 times of importance. Different processes have therefore been 
 devised to remedy this inconvenience, in many of which the sa- 
 turation is accelerated by means of heat, which is applied in various 
 ways, as best suits the convenience of the manufacturer; but the 
 most expeditious mode is that of presenting the iron to the acid in 
 a state of oxydation, by which means the solution is effected im- 
 
399 
 
 mediately. Callicoe printers have long been in the habit of using 
 an extemporaneous acetite of iron, formed by mixing together 
 solutions of acetite of lead and sulphat of iron. A very pure ace- 
 tite of iron may be obtained by this means, but the price of acetite 
 of lead renders this mode too expensive for general use. By 
 forming a solution of lead, however, in pyroligneous acid, and de- 
 composing it with sulphat of iron or copperas, an iron liquor 
 may be obtained sufficiently cheap to render this process advan- 
 tageous in many cases, though still more expensive than the 
 ordinary mode. A patent was lately taken out for making iron 
 liquor by a process somewhat similar to this, which, however, we 
 understand has not answered the expectation formed of it. A so- 
 lution of lead in pyroligneous acid is digested on clear metallic 
 iron. The iron becomes oxy dated at the expense of the lead and 
 is dissolved, whilst the lead is precipitated in the metallic state, 
 and may again be used for a fresh solution. All these modes are 
 evidently more expensive than the ordinary one of simple solu- 
 tion of metallic iron in pyroligneous acid, and the only conside- 
 ration with the manufacturer is, whether this extra expense is 
 counterbalanced by the economy of time or not. 
 
 " The process adopted some years ago by Mr. Thomson, is 
 perhaps the most expeditious, and next to the common mode, 
 the most economical of any yet in use. It consists in saturating 
 the pyroligneous acid with quicklime, and pouring the clear 
 boiling solution on as much sulphat of iron or copperas as will 
 precipitate the whole of the lime. A cask of iron liquor may be 
 made by this mode in a few hours, and when care has been taken 
 rightly to proportion the ingredients so as to produce complete 
 decomposition, it is inferior to no solution whatever in any of its 
 properties. 
 
 « The properties of the acetous solution of iron fit it eminently 
 above all others for the purpose of the callicoe printer, and hav- 
 ing detailed its preparation we shall endeavour to point out in 
 what this superiority consists. 
 
 " The acetite of iron exists in two states, dependant on the 
 quantity of oxygen combined with the iron. When pure, and re- 
 cently prepared, it is of a pale greenish hue, but by exposure to 
 air soon becomes tinged with brown. In this state the iron is at 
 its lowest point of oxydation, strongly attractive of oxygen, and 
 if precipitated by an alkali, of a deep green colour. By exposure 
 
400 
 
 to the atmosphere, and consequent absorption of air, the solution 
 passes to a deep red brown, and, if concentrated, deposits orange 
 oxyd of iron, and becomes strongly acidulous. With this excess 
 of acid, the solution now becomes permanent; the iron is almost 
 wholly at the maximum of oxydation; and, when precipitated, of 
 a dark red colour. 
 
 "The same rakes place only in a less degree, and more slowly, 
 with the sulphuric and muriatic solutions of iron. Of a pale 
 greenish hue in their recent state, they gradually attract oxygen 
 from the atmosphere, and become slightly red, deposit red 
 oxyd of iron and pass to a state of acidity, at which the solution 
 becomes permanent, and the oxydation of the iron proceeds no 
 
 further. 
 
 " if the solutions, properly thickened with gum or flour, arc 
 applied to cloth, the same change takes place, but with more ra- 
 pidity, from their diffusion over a thin surface, and more complete 
 exposure to the air. The aqueous and volatile part of the solution 
 speedily evaporates, and as the oxydation goes on, the oxyd of 
 iron is deposited on the cloth, and a portion of acid set free. 
 When this acid is volatile, as is the case with the acetous, and 
 also in a great degree with the muriatic, it is dissipatd. The 
 oxydation of the iron then goes on, fresh portions of acid are 
 again liberated and drawn off till the whole of the solution is de- 
 composed, and the oxyd of iron deposited in the cloth. When the 
 acid is not volatile, however, as is the case with the sulphuric, 
 the first portions of acid that are liberated not being drawn off, 
 the oxydation proceeds more slowly till the excess of acid be- 
 comes so great as wholly to interrupt it, and great part of the 
 iron in the operation of rincing is again carried off the cloth. 
 Another and more serious inconvenience attending the use of 
 the sulphuric solution is its action on the cloth itself. The dis- 
 engaged acid being in a state of great concentration acts upon its 
 fibres, weakens, and at last destroys them. The same takes place 
 with the muriatic solution also, for though the excess of acid is 
 slowly dissipated, yet it has sufficient time and concentration to 
 act very powerfully, and is, if possible, still more destructive 
 than the sulphuric, since its action is not confined to the part on 
 which it is applied, but from its volatility extends over the whole 
 surface of the cloth. 
 
 '» It is necessary, therefore, that the acid should be not only 
 
/ 
 
 401 
 
 volatile, but harmless in its action on the vegetable fibre, which 
 conditions are more completely fulfilled by the acetous than by 
 any other solution whatever. From the preceding observations 
 on the properties of the acetite of iron, and the changes it under- 
 goes on the surface of the cloth, may readily be deduced the rea- 
 sons for that exposure to heat and air which callicoe printers 
 have, from long experience, found necessary to goods printed 
 with this solution. By exposure to air iron becomes oxygenated 
 and deposited on the cloth, whilst the heat favours the liberation 
 of the acid, and accelerates the process. From what has gone 
 before it may also be inferred, that the acetite of iron should be 
 used in its recent or green state, since in that state the acetous 
 acid is capable of holding a greater quantity of oxyd of iron in 
 so ltion, and that consequently after its saturation and removal 
 from the iron, it should not be too much exposed or agitated in 
 contact with the air. On this account, also, it is wrong to pump 
 the liquor in the vats too much when it approaches the point of 
 saturation, since the oxygenated iron is almost all precipitated, 
 and fresh portions immediately dissolved, so that the liquor 
 might in time be rendered quite thick, with precipitated oxyd 
 of iron. 
 
 " The preceding ideas are at variance with the general opinion 
 respecting the state in which the acetite of iron should be em- 
 ployed. All the speculative writers, and even many well acquaint- 
 ed with the processes of callicoe printing, recommend the oxy- 
 genation of the solution by exposure to air and removal from 
 the iron, as essential to the goodness of the iron liquor. Even 
 Berthollet, in the last edition of his " Elements of the Art of 
 Dyeing," has fallen into the same mistake, the source of which, 
 and the facts which seem to countenance it, we shall point out in 
 a future article. 
 
 " It is an object of importance to the callicoe printer to know 
 the precise strength of his iron liquor, and to be able to ascertain 
 this at all times, with little trouble or chance of error. Great mis- 
 chief and inconvenience often arises from uncertainty in this 
 respect, especially in the pale shades of purple, which are ob- 
 tained from madder, with diluted acetite of iron. The hydrome- 
 ter has been objected to, as indicating not merely the quantity of 
 iron in a solution, but also the essential oil, resin and mucilage 
 which these impure solutions often contain. This objection, how- 
 
 3E 
 
4,02 
 
 ever, only applies where the same instrument and graduation is 
 employed to ascertain the relative strengths ofiron liquors, pre- 
 pared with different acids, as the pyroligneous which contains 
 much essential oil and resin, and malt acid which abounds in 
 mucilage. In this case the hydrometer may indicate great differ- 
 ences in solutions containing equal quantities of acid and iron, but 
 varying in the quantities of mucilage, oil, or resin. Iron liquor 
 however, prepared constantly by the same process, and from the 
 same acid, varies so little in the relative proportion of its ingre- 
 dients, that the hydrometer may be used to ascertain its strength 
 in preference to any other mode whatever; provided the neces- 
 sary precautions are used to correct any error arising from 
 Variation of temperature. 
 
 '' In a work of this kind, not illustrated by actual specimens, 
 and without reference to some particular kind of iron liquor, it 
 is impossible to point out the specific gravities of the different 
 solutions required for producing the various shades we have 
 enumerated. An acetile of iron, of specific gravity 1.047, with 
 madder or logwood, will produce a black, and with weld or su- 
 mach an olive, and diluted with six, eight, or ten times its bulk 
 of water, various shades of purple, drabs, or olives, according to 
 the colouring matter employed. A standard solution of iron once 
 obtained, the necessary strength for producing the different va- 
 rieties of colour is easily ascertained by actual experiment, and to 
 this we must refer our readers. 
 
 « When thickened with flour or gum, and tinged with a decoc- 
 tion of logwood or brazil, the better to enable the workman to 
 observe the pro.ress and state of his work, it forms, as we have 
 before observed, the printers' black colour, a purple colour, See. 
 according to the strength of the solution and the purpose it is 
 intended for. Various ingredients were formerly added to iron 
 liquor, to improve its quality, or vary the hue of colour it pro- 
 duced. Verdigris and copperas were added to the solution in- 
 tended for black; and sal ammoniac or nitre to the diluted solu- 
 tions for purple. These are, however, now almost universally laid 
 aside, as being for the most part useless, and often hurtful: the 
 simple acetite ofiron being found to answer every purpose of the 
 more complicated and heterogeneous solutions. 
 
 " The acetite of alanine, or red liquor, is always prepared by 
 the decomposition of alum, by an earthy or metallic salt, since 
 
403 
 
 the aluminous earth is not soluble in acetous acid, except in its 
 newly precipitated and minutely divided state. The purest solu- 
 tion, and that which is generally used for the finest and most 
 delicate colours, is produced by decomposing alum with Dutch 
 sugar of lead, generally in the proportion of two parts by weight 
 of the former, to one of the latter. The proportion of the two 
 salts, and also the quantities of each gallon, as used by different 
 callicoe printers, vary yet with little difference in effect. The 
 alum in general predominates so far as completely to saturate 
 the liquor. The printers' aluminous mordant therefore is a com- 
 pound solution. It is an aceto-sulphat of alumine, consisting of a 
 saturated solution of common alum, and more or less acetite of 
 alumine, according to the quantity of sugar of lead employed. In 
 the neighbourhood of London, the proportions are six pounds of 
 alum, and three pounds of sugar of lead to a gallon of water: 
 when these are completely dissolved, one ounce of Spanish white 
 is added, and the whole briskly stirred till the effervescence has 
 in great measure subsided. In a few hours the solution becomes 
 clear, and forms a standard liquor from which, by greater or 
 less dilution, may be obtained all the various shades of red, yel- 
 low, &c. already enumerated. In the above formula the proportion 
 of alum is somewhat too great, a part of it remains undissolved, 
 or immediately recrystallizes and falls to the bottom along with 
 the precipitated lead. This excess of alum is however strongly 
 insisted on by many callicoe printers, as essential to the purity of 
 the mordant, from an idea that the purest part of the alum only 
 is taken up in the solution. This fact however may be readily 
 disproved by employing this undissolved or recrystallized alum 
 in the formation of fresh solutions, whose purity will be found in 
 no respect inferior to the former. The purity of the alum and 
 sugar of lead, and especially their being free from iron, is of 
 great importance in the preparation of this mordant, and on this 
 account the Dutch sugar of lead is preferred; but its high price 
 •enders it too expensive except for the pale reds of light chintz, 
 and other kinds of work, whose great delicacy in the red tints is 
 required. A substitute for it has been found in the solution of 
 litharge in vinegar, or pyroligneous acid, which is afterwards 
 decomposed by the addition of alum, and the excess of acid neu- 
 tralized by Spanish white as in the former case. Great part of 
 the acetite of alumine manufactured and sold under the name of 
 
404 
 
 fed liquor is prepared in this manner. It is in general used 
 for yellows, dark shades of red, and those compound mordants 
 into which the acetite of iron enters, and when its purity is of 
 course of little consequence. The acetite of lime has long been 
 substituted with great advantage by the writer of this article for 
 the solution of lead, and its use is becoming daily more known 
 and extended. When carefully prepared, it is scarce inferior to 
 the best sugar of lead, and the impure solutions answer equally 
 •with the best, for the compound mordants before mentioned. The 
 theory of these processes is the same in all. The object being to 
 obtain a solution of alumine or earth of alum in acetous acid. On 
 mixing acetite of lead, and sulphat of alumine together, a change 
 of bases takes place; the sulphuric acid unites with the lead, and 
 falls down in the form of a white heavy precipitate, whilst the 
 earth of alum combines with the acetous acid, and remains in 
 solution. The same takes place with the solution of litharge in 
 pyroligneous acid, which is indeed an impure acetite of lead, and 
 when the acetite of lime is employed instead of lead, the sul- 
 phuric acid and lime unite and form an insoluble powder, which 
 subsides, though less quickly than the other, whilst the acetite of 
 alumine remains in solution above; the addition of the Spanish 
 white is necessary to saturate a small excess of acid which exists 
 in the solution. This excess is taken up by the lime, and imme- 
 diately converted into acetite of alumine, by the decomposition 
 of a fresh portion of alum. 
 
 "The acetite of alumine, when pure, is almost colourless. It 
 has a slight acetous smell, and when boiling throws off acetous 
 acid in great abundance, and deposits a portion of alumine. When 
 evaporated it acquires a thick gummy consistence, but does not 
 crystallize, a property which gives it a decided advantage over 
 common alum as a mordant. It unites readily with gum, but 
 when concentrated and holding much alum in solution, forms 
 with flour a watery pulpy kind of paste, which has little adhesion, 
 and from which the fluid soon separates. The sulphuric salts 
 have indeed all a disposition to injure the thickening quality of 
 flour. 
 
 " The affinity of cotton for the earth of alum, is so strong as to 
 separate it from its combinations even with the mineral acids. 
 When a solution of common alum properly thickened is applied 
 to cloth, a portion of alumine unites with it, and the acid, which 
 
 Si 
 
405 
 
 held it in solution, is set Free. When this is accumulated to a 
 certain degree, it prevents any further decomposition, and in 
 rincing carries off the greater part of the earth again. When the 
 acid however is volatile, like the acetous, and is dissipated as 
 soon as disengaged, there being no longer any obstacle, the decom- 
 position goes on till the whole of the acid is driven off, and the 
 alumine combined with the cloth. In the infancy of callicoe 
 printing, and before the theory and constitution of the different 
 mordants was properly understood, a variety of substances were 
 added to the solution, some of which are retained to this day. 
 Verdigris, in the proportion of two ounces to a gallon, is recom- 
 mended by many as tending to exalt the hue of yellows, and may 
 in some cases be useful. Corrosive sublimate has been but lately 
 laid aside, and the nitro-muriat of tin was long thought to give 
 fixity and brilliancy to reds, when used in a small proportion 
 with the aluminous mordant. In general, however, the aceto-sul- 
 phat of alumine is found adequate to every purpose of the callicoe 
 printer; we shall not, therefore, perpetuate error by detailing any 
 of those unmeaning mixtures which are still retained by the 
 ignorant and prejudiced. These two mordants, the acetites of 
 iron and alumine, and their various combinations, are those only 
 in general use in callicoe-printing, for producing colours of the 
 first class. This application is so extensive, and at the same time 
 so simple, as to supersede the necessity of any other. The solu- 
 tions of copper are sometimes used as mordants, but they afford 
 colours of little solidity. The solutions of tin have also been em- 
 ployed, but we shall speak of these and other earthy and metallic 
 solutions which have been used with partial success, when we 
 come to treat of mordants in general. 
 
 "CLASS II. 
 
 " In this class the colours are produced by combining a solution 
 of colouring matter with some earthy or metallic salt, capable of 
 giving it fixity when applied to the cloth. The mordant and co- 
 louring matter are here applied at once, and the cloth is painted, 
 as it were, or stained, with the colour it is intended to retain, 
 and requires, in general, no farther operation than that of 
 rincing, to free it from the paste or gum with which it was 
 thickened. 
 
 " The colour of this class possesses, as we have before observrrf. 
 
406 
 
 in general great brilliancy, but wants that solidity and fixity which 
 characterise the colours of the former class. The union of the 
 mordant with the cloth is weakened by its previous combination 
 with the colouring matter, and not being favoured by heat, as in 
 the former case, the triple combination of vegetable fibre, mor- 
 dant, and colouring matter, wants that solidity which is so neces- 
 sary to constitute what is called a fast colour. 
 
 " Many of these, however, are sufficiently durable to be par- 
 tially introduced, and intermixed with other colours of greater 
 durability, and some are indispensably necessary, as no better 
 mode has yet been devised of producing them. When the che- 
 mist's art shall have discovered means of giving fixity to colours 
 thus topically applied, the art of callicoe printing will have arriv- 
 ed at perfection. Systems of colours may then be combined, 
 which are present incompatible, and the tedious operation of dye- 
 ing and bleaching, with their attendant difficulties, be banished 
 from the art. Nor is the hope so chimerical as might at first be 
 imagined; several of the most useful and permanent colours are 
 of this description, as will be shown hereafter. 
 
 *' We shall content ourselves with describing the leading and 
 most useful colours of this class, giving, at the same time, the 
 theory of their constitution. The mere enumeration of all the va- 
 rieties that have or may be formed, would be endless and foreign 
 to our purpose. 
 
 " Chemical Black, 
 
 " This is the most useful colour of the class, and one of 
 indispensable necessity in certain combinations of colours, 
 where, for instance, it is mixed with drab, olive, and yellow, 
 raised in the dye-copper with weld, quercitron bark, or any simi- 
 lar colouring matter, and where the presence of any substance, 
 such as logwood or madder, capable of producing a full black, 
 would be ruinous to the other colours. A deep olive, approaching 
 to black, might, indeed be produced, by employing a strong iron 
 liquor, as mordant, and using sumach in the dye-copper; yet as 
 this would bear no comparison in point of intensity with the mad- 
 der or logwood black, and as the force of the colouring in such 
 course of work greatly depends on contrast, the topical or che- 
 mical black, which has all the intensity required, is almost con- 
 stantly employed. The constitution of this black is pretty nearly 
 the same in all the different formulae in use. It consists always of 
 
407 
 
 a solution of iron combined with a solution of colouring matter 
 generally of an astringent nature. On the right proportion of 
 these two solutions, and on their due specific gravity or strength, 
 depends, in a great measure, the goodness of the black. 
 
 " 1. If to a decoction of Aleppo galls, in five times their weight 
 of water, made into a paste with flour, a solution of iron in nitrous 
 acid of specific gravity 1.25 be added, in the proportion of one 
 measure of nitrat of iron to eighteen or twenty of the former, a 
 black will be formed fit for almost all the purposes of callicoe 
 printing, and possessing the chief requisites of this colour, name- ' 
 ly, tolerable fixity, and a disposition to work well with the block. 
 
 " 2. In lieu of nitrat of iron, some callicoe printers employ 
 copperas, in the proportion of one pound to a gallon of the decoc- 
 tion of galls. Half the copperas is directed to be dissolved in the 
 gall-liquor before it is thickened with flour; the remaining half, 
 dissolved by heat in as much aqua fortis as will cover it, is added 
 afterwards. This black has tolerable fixity, but does work so well 
 as the preceding. 
 
 "3. Copperas dissolved in various proportions of from four to 
 twelve ounces per gallon, will form, with decoction of galls or 
 logwood, blacks of less solidity indeed than the former, yet appli- 
 cable, nevertheless, in many cases where the others are not. 
 
 " The constitution of the two last mentioned blacks differs 
 somewhat from the first. We shall point out this difference, and 
 explain, as concisely as possible, the rationale of the foregoing 
 processes. 
 
 " When % solution of iron in nitrous acid is added to a decoc- 
 tion of galls, as in the first example, the solution is decomposed, 
 the iron unites with the gallic acid and tannin principle, whilst 
 the nitrous acid is disengaged. This is proved by the blackness 
 which the solutions assume immediately on being mixed. The 
 disengaged acid, however, shortly re-acts on the new com- 
 pound, the blackness gradually disappears, and in a few days, if 
 the nitrat of iron has been added in proper quantity, the paste, 
 instead of black, is of a dirty olive green. If the proportion of 
 nitrat of iron be greater than one-eighteenth, this change will 
 be effected sooner; and if so high as one-tenth, the paste, when 
 applied to the cloth, will be a bright orange, like the acetite of 
 iron. By exposure to heat and air, this colour generally deepens, 
 becomes gray, and at last a full black. In this state it is perma- 
 
 •■** 
 
 
 
 * 
 
 
408 
 
 nent, and adheres powerfully to the cloth. These changes of co- 
 lour depend on the tannat and gallat of iron in the disengaged 
 nitrous acid, and the evaporation of the acid when exposed to 
 heat and air on the cloth. This solution of the tannat and gallat 
 of iron is indeed an essential requisite in the goodness of the 
 chemical black. If the disengaged acid is not sufficient to effect 
 this, or if it is in too great a state of dilution, the colour has but 
 a feeble adherence to the cloth; it is not presented in a state fa- 
 vourable to its union with it, since the combination into which 
 the iron has entered is insoluble in water. It lies merely on the 
 surface, but does not penetrate its fibres, and yields readily in the 
 various operations to which it is subjected. The chemical black, 
 therefore, of the first example is a solution of the tannat and 
 gallat of iron in nitrous acid. 
 
 "The black of the second, but more particularly of the third 
 example, differs from the preceding in the circumstance of the 
 iron in the solution being in a less oxygenated state. We may 
 consider this black in its recent state as a mixed solution of green 
 sulphat of iron, and gallic acid, and tannin principle; for the 
 decomposition of the sulphat is not complete till by exposure to 
 air on the cloth the iron becomes fully oxygenated. When this 
 black is recently applied to the cloth, it is of a pale grayish co- 
 lour, has little fixity, simple rincing in cold water being sufficient 
 to fetch nearly the whole away. By gradually absorbing oxygen, 
 it becomes deeper, and at last black. The sulphuric acid has no 
 longer any action on it, and is removed in the first operation in 
 which it is immersed in water. 
 
 " The flecoction of galls used for chemical black is variously 
 prepared. Many callicoe printers infuse the galls cold in casks 
 of vinegar, or pyroligneous acid, suffering them to remain seve- 
 ral months, occasionally drawing off the lower part, and return- 
 ing it on the galls. Others steep them in urine. Both these 
 modes are vicious, particularly the last. Simple boiling in water, 
 till all the soluble matter is extracted, is sufficient, taking care to 
 inclose the galls in a sack, that when soft they may not render 
 the decoction thick. 
 
 « Gray. 
 
 " By diluting the chemical black of the first example with 
 once, twice, thrice, &c. its bulk of water, and thickening the so- 
 lution with gum, various shades of gray are obtained, which 
 
409 
 
 require rincing off in water only, and the deeper shades of which 
 have tolerable permanence. 
 
 " The theory of these mixtures is the same as of the black, 
 from whence they are derived. On the addition of water to the 
 olive-green solution, mentioned in the preceding article, the co- 
 lour instantly becomes deep purple, approaching to black. This 
 is occasioned by the dilution of the free acid, which being no lon- 
 ger able to hold the tannat and gallat of iron in solution, sets 
 part of it at liberty, which instantly regains its colour. For the 
 reason already assigned, this has less adherence to cloth than 
 that in which the solution is more perfect. The addition of a 
 smull quantity of nitrous acid effects this. The olive-green colour 
 of the solution is restored, which, by exposure to the air, and 
 consequent evaporation of the acid, disappears, and leaves the 
 tannat and gallat of iron more firmly fixed on the cloth. The 
 complete precipitation of the combination is afterwards effected 
 in the operation of rincing off in water. 
 
 « Yellow. 
 
 " The false or chemical yellows are generally prepared with 
 decoctions of French or Turkey berries, and sometimes with 
 quercitron bark. The latter substance produces pale yellows or 
 straw colour, but does not afford the deep bright orange yellow 
 of the berries. Dr. Bancroft, to whom the public is indebted for 
 the introduction and knowledge of this most useful dyeing drug, 
 indeed, asserts the contrary in his work on " Permanent Colours;" 
 and has given a receipt for the bark-yellow, which has, however, 
 never succeeded in our hands. 
 
 "Berry yellow. Boil two pounds of good berries, slightly bruised, 
 in a gallon of water during three hours, taking care to replace, 
 from time to time, the evaporated water with liquor obtained 
 from the second boiling of a former quantity of berries. When 
 the liquor is cool, add to it eight ounces of alum, and if it is in- 
 tended for the block thicken it with flour. If it is meant for those 
 small objects in printed goods, which are generally touched with 
 the pencil, two ounces of sugar of lead should be added with the 
 alum, and the colour thickened with gum dragon. This yellow 
 is generally passed through lime water as the first part of the 
 operation of rincing; by this means the greater part of the earth 
 of alum, which would otherv ise have been carried off in theope- 
 
 3F 
 
41© 
 
 ration, is precipitated on the cloth, and the colour considerably 
 heightened. 
 
 » When this operation of liming cannot be performed without 
 injury to some other colour, a greater proportion of sugar of lead 
 should be added. This decomposes the alum, and forms an ace- 
 tite of alumine, which being more readily decomposed by the 
 colouring matter and the cotton than sulphat of alumine, does 
 not require the assistance of an alkaline solution to precipitate it 
 on the cloth. 
 
 " The proportion of berries above directed is for a full yellow; 
 one-fourth or one-third loss will form, with the same quantities 
 of salts, yellows of great brightness. Some callicoe printers add 
 a small quantity of nitrat of copper to the yellows intended to be 
 simply rinced off without liming. This heightens the colour, but 
 what is gained in intensity is lost in brightness; for if the solu- 
 tion of copper be added in sufficient quantity to produce any 
 very perceptible effort, it imparts a dulness to the hue which is 
 very detrimental. This is the invariable effect of copper in any 
 shape, whether the acetite, sulphat, or nitrat of copper be em- 
 ployed. 
 
 " Bark-yellow. For a lemon or straw colour, it will be suffi- 
 cient to make a decoction of bark by boiling from four to six 
 pounds in as much water as is necessary during two hours, and 
 after evaporating down the decoction to one gallon, add to it two 
 ounces of sugar of lead, and eight ounces of alum. If not limed, 
 the proportion of sugar of lead should be doubled For strong 
 yellows, Dr. Bancroft directs the addition of both nitrat of copper 
 and nitrat of lime in quantities so great, as near seven ounces of 
 the former to a gallon of colour. Experience, however, though 
 it has done justice to the merits of Dr. Bancroft's discovery of 
 the use of quercitron bark, has not verified the expectations he 
 had formed of it as a substitute for the Turkey berries in the 
 topical or chemical yellow. 
 
 " The constitution of these colours, whether formed with the 
 sulphat and acetite of alumine, or with the solutions of copper is 
 the same. Alumine, or the earth of alum, and the oxyd of cop- 
 per, have an affinity both for colouring matter and vegetable 
 fibre. They form the connecting link between these substances, 
 which would otherwise contract a feeble union. When a solu- 
 tion of alum is added to a decoction of berries or of bark, a slight 
 
411 
 
 preoipitation takes place by the union of a portion of colouring 
 matter with the earth; the greater part however remains sus- 
 pended or held in solution by the acid of the alum. When applied 
 to the cloth the farther decomposition of the salt is aided by the 
 affinity of this substance for alumine, and, when the acid is vola- 
 tile, as the acetous for example, by its consequent evaporation. 
 The same takes place with the solutions of copper. The opera- 
 tion of rincing farther aids the precipitation of the colouring 
 matter and alumine, by thus largely diluting with water; and 
 lastly, when the goods are previously passed through the lime 
 tube, the decomposition is complete, the last portions of earth 
 or oxyd are precipitated, and the colour thereby considerably 
 exalted. 
 
 tl The solutions of tin are capable of forming very bright and 
 beautiful yellows, with decoctions of different yellow colour- 
 ing substances; but the excess of acid which these solutions 
 necessarily contain, and their powerful action on the cloth, ren- 
 ders their application less general than the preceding. The 
 solution of tin most proper for yellows is the muriatic, and is 
 formed by digesting, in a low heat for several days, the common 
 muriatic acid, or spirits of salt, on fine grain tin. This solution 
 forms, with bark, a pale and lively yellow, and with berries a yel- 
 low bordering more on orange. These spirit yellows, however, 
 as they are improperly called, are seldom used except upon dyed 
 grounds, and of this preparation for such purposes we shall treat 
 at large under the head of Discharged Work. 
 
 « Blue. 
 " The only blue belonging to this class is that produced by 
 combining the colouring matter of logwood with the oxyd of 
 copper. It is but seldom used since the mode of dipping China 
 bate has become generally known; and indeed its want of dura- 
 bility renders it of little value. It may be produced by combin- 
 ing almost any of the solutions of copper with a decoction of 
 logwood. 
 
 o 
 
 " 1. Boil two pounds of logwood in a gallon of water, and to 
 the decoction, thickened with gum, add eight ounces of sulphat 
 of copper. 
 
 " 2. To a decoction of logwood as above, add two ounces of 
 sulphat of copper, and two ounces of verdigris. 
 
412 
 
 « Their colours may either be rinced off or limed, as best 
 suits the style of work. The theory of these combinations is the 
 same as the preceding. 
 
 u Green. 
 
 " The chemical or false green is a compound colour, and con- 
 sists of a mixed decoction ot logwood and berries, or baik, and 
 a solution of copper. Though fugitive, its use is in some degree 
 authorized by the impossibility of obtaining a green of greater 
 durability that can be applied in figures with the block. The 
 fast green of the callicoe printers is the product of two operations, 
 and is of course limited in its application, and tedious in its use. 
 The production of a fast green at one operation, or rather by one 
 application to the cloth, either with the pencil, block, or press, 
 is one of the great desiderata of callicoe printing. 
 
 " 1 . One pound of logwood and two pounds of berries boiled 
 together during two hours, and strained whilst hot upon two 
 ounces of sulphat of copper, and two ounces of verdigris, and 
 thickened with gum, form a good and lively green, the hue of 
 which may be varied at pleasure by the increase or diminution of 
 the proportion of logwood. To this some callicoe printers add two 
 ounces of common salt, and two ounces of sal enixon or acidulous 
 sulphat of potash. 
 
 M 2. To one measure of blue of the first example in the pre- 
 ceding article, add two, three, four, &c. measures of a decoction 
 of bark, made by boiling six pounds as before directed for the 
 yellow, and to which, when reduced to one gallon, two ounces of 
 sulphat of copper, and two ounces of verdigris have been added. 
 The tone of the green depending on the relative proportions of 
 blue and yellow, it is, in general, best to keep the two decoctions 
 separate, to be mixed, when wanted, in such proportions as may 
 best suit the purpose required. The theory of these mixtures is 
 the same as of the blue and yellow already described. To the eye 
 of the mere speculative chemist, the addition of common salt and 
 acidulous sulphat of potash in the first example, may appear un- 
 necessary and unmeaning. They indeed affect little, either the 
 hue or fixity of the colour, but experience has proved that this 
 addition facilitates its working with the block, more especially 
 when thickened with gum dragon. The cause of this in the par- 
 ticular instance before us, is perhaps not very clear. The sul- 
 phuric salts in general, such as the sulphats of alumine, iron. 
 
413 
 
 and copper, are all unfavourable to working, as their solutions, 
 especially when concentrated, neither thicken well wiih flour 
 nor gum. A saturated solution of copperas cannot be thickened 
 with flour, nor can a strong solution of the aceto-suiphat ot alu- 
 mine, in which the alum is in great excess; even with gum it 
 unites with difficulty. But if to a solution of copperas, which re- 
 fuses to form a paste with flour, a small portion of nitrat of iron 
 be added, the whole forms a good and substantial paste that works 
 admirably with the block; and half a pound of common salt added 
 to the aceto-suiphat of alumine, has a similar effect. In the in- 
 stance more particularly before us, the addition of common salt 
 forms a muriat of copper by the decomposition of the sulphat; but 
 this last is in too small a quantity to affect the working of the 
 colou' very sensibly. The cause of these effects is to be sought 
 for in the very complicated play of affinities, which exist in such 
 compounds, and which future investigation and discovery may 
 perhaps unfold. The speculative philosopher, who is ignorant of 
 the minute details of an art, that involves in it considerations and 
 difficulties, unsuspected in the laboratory, will hence learn to sus- 
 pend his judgment in deciding on the merits of a formula, till 
 experience shall have proved the inutility of those ingredients 
 which theory would reject as absurb. 
 
 " But to return to our subject: there is a wide field open for 
 experiment and discovery in the production of greens, into which 
 logwood does not enter. A callicoe printer near London, cele- 
 brated for his ingenuity and invention in colours of this class, 
 has 1 -ng employed a green which, from its beauty and durability, 
 when compared with the foregoing colours, indicate the presence 
 of indigo as a constituent part. Prussian blue in a minutely di- 
 vided state, and mixed with bark or berry-yellow, has been em- 
 ployed: but the blue in this case has so little adherence to the 
 cloth, that mere mechanical force, the operation of rincing and 
 washing is sufficient to disengage it. With one or other of these 
 substances, however, it is likely that greens much superior in 
 beauty, and probably also in durability to those generally in use, 
 might, by a series of patient and well conducted experiments, 
 be readily obtained. 
 
 » Pink. 
 
 " The pale, and more delicate shades of red, belonging to this 
 class, are chiefly sought after in callicoe printing. They are em- 
 
 
414 
 
 ployed in giving relief or effect to other admixtures of a more 
 sober cast, and all the skill of the colour-maker is exerted in giv- 
 ing them brilliancy and richness of tint. They are chiefly pro- 
 duced from decoctions of brazil, nicaragua, or peach wood, and 
 cochineal, raised and fixed on the cloth with solutions of tin, 
 rarely with the aluminous mordants, though delicate and lively 
 colours may be produced this way. 
 
 " The nitro-muriat of tin is chiefly employed, though the rela- 
 tive proportion of the two acids, and their degree of saturation 
 with tin, varies almost with every callicoe printer. The solution 
 itself, made according to established rule, and with the same 
 properties, varies so considerably at different times, as wholly to 
 alter the nature of its compounds, without any apparent cause of 
 failure. The source of this discordance is to be sought for in the 
 constitution of the solution itself, which from causes that we shall 
 endeavour to explain, is subject to considerable variation. 
 
 " First, from the strength or concentration of the acids em- 
 ployed, which are seldom uniform or constant; muriatic acid 
 from the same manufacturer varying often in specific gravity 
 from 1.12 to 1.18, and nitrous acid not less than from 1.15 to 
 1.23, without reference to the common distinction of single and 
 double aqua fortis. 
 
 " When the specific gravity of the acids is neglected, as is but 
 too generally the case, these differences occasion serious incon- 
 veniences in the use of solutions, whose properties often depend 
 on the accuracy of their proportions, and on determinate degrees 
 of saturation. 
 
 " Secondly, from the impurity of the acids. The muriatic acid 
 of commerce always contains iron and sulphuric acid; if the for- 
 mer exist in any notable proportion, it is unfit for the solution of 
 tin; the presence of the latter is of less importance, though, on 
 the whole, unfavourable to delicate colours. The nitrous acid 
 varies considerably in its purity, being subject to greater or less 
 admixture with the muriatic; the nitre it is made* from being 
 seldom free from marine salt. The aqua fortis of commerce is, 
 in fact, an aqua regia. This variation of the proportion of mu- 
 riatic acid in the nitrous, is of the utmost importance, since the 
 properties of the solution eminently depend upon this. With mu- 
 riatic acid only, tin forms a colourless and permanent solution, one 
 of whose distinguishing properties is, its strong affinity or attrae- 
 
415 
 
 tion for oxygen. With decoction of cochineal, it forms a deep and 
 dull purple-coloured precipitate, which, however, gradually ab- 
 sorbs oxygen, and becomes crimson, especially when exposed on 
 the filter. With decoctions of brazil and peach wood, it affords 
 crimson precipitates, varying in intensity with their saturation 
 with tin. It decomposes all the combinations of iron with colouring 
 matter, deoxygenating the iron which it carries off, leaving the 
 tin in combination with the colouring matter. Thus a madder 
 black becomes a red on the application of muriat of tin. On this 
 property is founded the art of printing on dyed grounds, of which 
 we shall treat hereafter. With nitrous acid, unless very dilute, 
 tin contracts a very feeble union, and is generally precipitated 
 as soon as dissolved, in a state fully saturated with oxygen. The 
 addition of a small quantity of muriatic acid renders this solution 
 more permanent, provided it be not fully saturated with tin, and 
 the addition of larger portions approximates the solution still 
 more to the nature of the former, and renders it capable of sup- 
 porting a greater degree of saturation. The properties of the 
 solution depend greatly on the proportion of muriatic acid, and 
 consequently of muriat of tin contained in it. When small, the 
 precipitate with cochineal is bright carmine scarlet. It does not 
 decompose the combinations of iron with colouring matter, un- 
 less the solution be far from saturation, and this effect is then due 
 to the disengaged acid only. 
 
 " The purity of the tin is another requisite which should be 
 carefully attended to. The fine tin of Cornwall, commonly called 
 grain tin, should be employed. If alloyed with lead, it is wholly 
 unfit for these purposes. 
 
 " In lieu of muriatic acid, sal ammoniac and common salt are 
 oftentimes employed to form an aqua regia with nitrous acid. 
 The solution differs little from that formed by a mixture of the 
 two acids, the allowance being made by the portion neutralized 
 by the alkali of the neutral salt. 
 
 " From this short outline of the history of the substances em- 
 ployed in the formation of the solutions of tin, and of the properties 
 of the solutions themseves, may be deduced such general ideas 
 as will elucidate and explain many anomalous effects in their 
 combinations with different colouring matters, and seem to direct 
 future experiment in the discovery of those minute, but often 
 important, conditions necessary to the formation of particular 
 shades of colour. 
 
 — 
 
416 
 
 " The following examples of spirit reds, as they arc impro- 
 perly called by callicoe printers, will illustrate some of the 
 preceding observations, and may be considered as specimens of 
 the most beautiful and brilliant colours it is possible to form upon 
 cotton. 
 
 " 1. Prepare an aqua regia by dissolving two ounces of sal 
 ammoniac in one pound of nitrous acid of specific gravity 1.25. 
 To this add two ounces of fine grain tin; decant it carefully off 
 the sediment, and dilute it with one-fourth its weight of pure or 
 distilled water. 
 
 " To one gallon of water add one pound of cochineal, ground 
 as fine as flour; boil half an hour; then add two ounces of finely 
 pulverized gum dragon, and two ounces of cream of tartar, and 
 stir till the whole is dissolved. When the liquor is cool, add one 
 measure of the preceding solution of tin, to two of the cochineal 
 liquor, and incorporate well by stirring Apply this with the pen- 
 cil or block, suffer it to remain in the cloth six or eight hours, 
 then rince off in spring water. This colour will be a bright and 
 beautiful scarlet. 
 
 " 2. Boil twelve pounds of brazil chips during an hour in as 
 much water as will cover them. Draw off the decoction, and 
 pour on fresh water, and boil as before. Add the two liquors to- 
 gether, and evaporate slowly down to one gallon. To the decoc- 
 tion whilst warm add four ounces of sal ammoniac, and as much 
 gum dragon or Senegal as will thicken it for the work required. 
 When cool, add one of the solution of tin before described, to 
 four, six, or eight of the brazil liquor, according to the colour 
 wanted. Suffer it to remain from eighteen to twenty-four hours 
 on the cloth, then rince off in spring water as before. The colour 
 will be a pale and delicate pink. I fit is required deeper, the de- 
 coction must be made stronger, and used in the proportion of 
 three or four to one of the solution of tin. Nicaragua or peach 
 wood, though not so rich in colouring matter as brazil, yields a 
 colour, however, which is, if possible, more delicate and beauti- 
 ful. The fine pinks produced by certain houses, which have for 
 years been the envy and admiration of the trade, are afforded by 
 this fine dye-wood. 
 
 " These colours require no liming, simple affusion with water 
 
 being sufficient to precipitate the colouring matter in combina- 
 
 ion with the tin. The theory of these mixtures is the same as 
 
 01 
 
417 
 
 the preceding. They require, however, a greater excess of acid 
 to hold the colouring matter in solution. A decoction of cochineal 
 poured into a saturated solution of tin, occasions an instant pre* 
 cipitate which is not redissolved, and the greater part of which, 
 if applied to cloth, would come off in the operation of rincing. It 
 is sometimes necessary to add a small quantity of muriatic acid 
 to prevent this precipitation, or to correct it when it happens, 
 and sal ammoniac is supposed to have the same effect, probably 
 by engaging the water of the solution. 
 
 " With the aluminous salts, the decoction of cochineal and 
 brazil forms colours less brilliant than those we have just de- 
 scribed, but which are applicable in cases where the excess of 
 acid in the solutions of tin is attended with inconvenience. 
 
 " 1 . To one gallon of water, add eight ounces of finely ground 
 cochineal, and two ounces of bruised galls; boil half an hour, 
 strain the liquor whilst hot through a fine cloth, upon four 
 ounces of cream of tartar and four ounces of gum, and thicken 
 with gum dragon. This colour requires liming. 
 
 " 2. Upon six pounds of brazil and two ounces of galls, pour 
 one gallon of water, let them soak some time, then boil two 
 hours, replacing the evaporated liquor with fresh water. Strain 
 through a fine cloth upon four pounds of gum Senegal, and add 
 one pint of the acetite of alumine, described in a former part of 
 this article. 
 
 " The addition of galls in the two preceding formulae, is sup- 
 posed to impart solidity to the colours in some way analogous to 
 the operation of galling in silk and cotton dyeing, of which we 
 shall have occasion to speak hereafter. Their constitution is 
 otherwise the same as the berry and bark yellows, and most, 
 others of this class of colours. 
 
 « Purple. 
 
 " 1 . If the solution of tin directed for the pink in the last artir 
 cle be mixed with six times its bulk of a decoction of logwood, 
 poured whilst hot upon four ounces of sal ammoniac, and two 
 and a half pounds gum Senegal, a bright and lively purple will 
 be obtained, the hue of which varies with the strength of the de- 
 coction and the proportion of solution of tin employed. 
 
 " 2. If instead of the solution of tin, the acetite of alumine 
 oefore alluded to, be used in various proportions of one-sixth. 
 
 3G 
 
 --~ — — 
 
418 
 
 eighth, &c. purples differing in shade and intensity will be form- 
 ed, applicable in some cases, but possessing less solidity than 
 most of the colours already described. 
 
 "The constitution of these compounds is the same as the 
 preceding. 
 
 « Olive. 
 
 " Olives are variously compounded, according to the colour 
 
 required. 
 
 " 1. By mixing chemical black in various proportions with 
 berry or bark yellow. The depth and fulness of the olive depends 
 on the quantity of black. 
 
 " 2. By a decoction of logwood added in greater or less quan- 
 tity to the bark or berry yellow. 
 
 " 3. By the addition of copperas or nitrat of iron to decoctions 
 of yellow or astringent colouring matters, such as bark, sumach, 
 berries, weld, Sec. each of these produces a different hue, varying 
 from the green olive to a drab or cloth colour. By mixing these 
 decoctions in different proportions, and by varying their strength, 
 and the quantities of copperas or nitrat of iron added to each, a 
 multiplicity of shades may be produced, of which it is impossible 
 to convey any precise or definite ideas. 
 
 " These colours may be indifferently thickened with flour or 
 gum, as best suits the work required, but when nitrat of iron is 
 added to solutions containing gum, the instant coagulation that 
 takes place must be counteracted by the addition of a portion of 
 free nitrous acid. This effect arises from the strong action exerted 
 by metallic oxyds, at the maximum of oxydation, on mucilage or 
 gum. When the decoction is very concentrated, and contains 
 sufficient colouring matter to engage the whole of the iron, this 
 effect takes place in a less degree, but with solutions adapted to 
 the production of the foregoing colours, a coagulation invariably 
 takes place, unless counteracted by the presence of a portion of 
 free acid. Of this action of metallic oxyds on the solution of gum 
 we shall further treat under the article Gum. 
 
 CLASS III. 
 
 " In this class, the colouring matter is simply held in solution, 
 by an acid or alkali, and in that state applied to the cloth without 
 the intervention of any mordant. 
 
 " The most important of these colours, is the alkaline solution 
 of indigo which forms the topical or 
 
419 
 « 
 
 " Pencil Blue. 
 
 " t. Prepare a solution of potash, by boiling together seven and 
 a half pounds of quick lime, and fifteen pounds of potash, in ten 
 gallons of water. Decant off the clear liquor, and separate the re- 
 mainder from the lime by means of the filter. To one gallon of 
 this solution, add one pound of red arsenic, or orpiment, and one 
 pound of fine indigo, both previously ground together in a mill 
 with sufficient water to form a thick paste. Bring them gradually 
 to a boil, stirring carefully all the time, and then withdraw the 
 fire. Thicken the solution with the best gum Senegal, and for 
 the pale shades of blue, dilute with one, two, See. measures of 
 gum-water. 
 
 " The quantities and relative proportions of potash, orpiment, 
 and indigo in a gallon of pencil blue vary considerably with dif- 
 ferent callicoe printers, and within certain limits, it appears, that 
 the accuracy of these proportions is not of great importance. 
 Haussman, an intelligent French printer, employs fifteen pounds 
 of potash, six pounds of orpiment, and eight pounds of indigo, to 
 twelve gallons of water; and Oberkampf, proprietor of the cele- 
 brated manufactory of Tony, a still greater proportion of indigo. 
 Some printers add brown sugar, and- Bancroft has proposed to 
 substitute this for the orpiment, but without success. 
 
 " The solution, when recently made, is a yellowish green, but 
 by exposure to air, becomes gradually deeper, and at last blue. 
 In this state, it is wholly unfit for use, it contracts no union with 
 the cloth, and is detached from it in the first operation of 
 rincing. 
 
 " Of the peculiar nature and properties of indigo, we shall 
 have occasion to treat hereafter, under its proper head; at pre- 
 sent it will suffice to observe, that it owes its colour and insolu- 
 bility in alkalies, to a portion of oxygen intimately combined with 
 it. To render it soluble, therefore, it must be deprived of this 
 oxygen, by the action of a substance having a more powerful 
 affinity for it, and the sulphuret of arsenic, or orpiment, is used 
 for this purpose. Sulphat of iron has a strong affinity for oxygen, 
 and is employed in de -oxygenating indigo for certain purposes; 
 but the oxyd of iron not being soluble in alkalies, the solutions of 
 indigo, formed by it, become quickly regenerated by the absorp- 
 tion of oxygen, and cannot even be transferred from one vessel to 
 another. The sulphuret of arsenic, on the contrary, being very 
 
420 
 
 soluble in alkalies, presents the double advantage of de-oxygenat- 
 ing the indigo, and of retaining it awhile in that state, till on its 
 application to cloth, it becomes exposed so completely to the ac- 
 tion of atmospheric air, as to regain its oxygen, colour, and inso- 
 lubility, and becomes fixed in its original or blue state. 
 
 " The copper coloured pellicles, which forms on the surface 
 of pencil blue, and is renewed immediately on its removal, arises 
 from the absorption of oxygen, which, in spite of the action of 
 the orpiment, is continually taking place. Hence arises that dis- 
 position to unevenness, which is the great disadvantage of this 
 blue; the unavoidable exposure to air of small portions of the co- 
 lour during its application with the pencil, reviving greater or 
 less portions of indigo, and considerably reducing its strength. 
 
 " Most callicoe printers boil up the quick lime with the other 
 ingredients, thinking its presence not less necessary than the 
 potash and orpiment; by this means a considerable portion of the 
 solution of indigo is taken up by the sediment, which careful 
 washing does not wholly separate. As the action of the lime is 
 confined merely to the alkali, which it renders caustic, and capa- 
 ble of acting with greater force on the other ingredients; it is 
 certainly much more economical to render the potash caustic be- 
 fore its addition to the indigo. A considerable waste of colour is 
 by this means prevented, and the solution may be thickened the 
 moment the ebullition has ceased without waiting for the depo- 
 sition, which in the old mode takes place. 
 
 " Orange, 
 
 * The oxyd of iron, when dissolved in acetous acid, forms one 
 of the most useful and important mordants, as we have already 
 shewn in the former part of this article. It is also capable of im- 
 parting a very pleasing and permanent colour itself to cotton, 
 when applied in solutions of tolerable strength and purity, and 
 forms the orange, buff, and gold colour of the callicoe printers. 
 
 " 1. The solutions of iron in vinegar, strengthened by the ad- 
 dition of copperas may be used, but the purest and brightest gold 
 colours are obtained from copperas and sugar of lead, in the 
 proportion of five pounds of the former, and one pound of the 
 latter, to a gallon of water. When thickened with gum, and em- 
 ployed undiluted, it affords, when limed, a full strong gold colour, 
 and with two, four, six, &c. times its bulk of water, various 
 
421 
 
 shades of orange and buff, which resist the action of air, alkalies 
 and soap; and are rather exalted than impaired by frequent wash- 
 ing. The addition of sugar of lead is to increase the strength of 
 the solution. A gallon of water dissolves about four pounds of 
 copperas. The addition of a pound of sugar of lead, enables it to 
 take up another pound nearly, and the strength of the solution 
 may be still further increased by equal additions of the two salts. 
 The operation of liming is a simple precipitation of the oxyd of 
 iron on the cloth, and in cases when this cannot be performed, 
 the proportions of sugar of lead must be increased to nearly that 
 of the copperas. It is only the paler shades of orange, however, 
 which are to be obtained this way. The deep gold colour before 
 named, is not to be procured without the aid of a precipitant 
 Spanish brown is sometimes added to a solution of iron, and 
 employed in such a case, but it contracts no union with the cloth, 
 and is readily removed by simple washing and beating. When 
 the orange, or gold colour, is thickened with flour, a small por- 
 tion of nitrat of iron must be added to the paste, for reasons wc 
 have assigned on a former occasion. 
 
 " 2. A beautiful, but fugitive orange, is obtained by boiling 
 half a pound of annotta with one pound of caustic pctash in a gal- 
 lon of water, and thickening the liquor with gum. This colour 
 acts powerfully on the sieves and blocks, which it very soon de- 
 stroys, and on this account, and also from its want of permanence 
 is seldom used. It may either be simply rinced off, or first passed 
 through water slightly acidulous with sulphuric acid, or what is 
 still better through alum water. This operation is the very re- 
 verse of liming, for here the colouring matter to be precipitated, 
 being held in solution by an alkali, an acid must be employed for 
 that purpose. The colour by this means is considerably heighten- 
 ed, and when applied with the pencil, is useful in some cases 
 where the other colours will support the action of alum water 
 without injury. 
 
 " Borax, and even spirits of wine, are sometimes added to the 
 alkaline solution of annotta, and are supposed to contribute to its 
 strength and fixity, though on what principle is not easy tp 
 discover. 
 
 « Green. 
 
 " The oxyd of copper, dissolved in volatile alkali, affords a pale 
 and delicate green, which is sometimes employed intermixed with 
 
422 
 
 other colours. Turnings of copper, or verdigris, which is more 
 generally used, may be digested in a low heat with spirits of sal 
 ammoniac. Care must be taken that the heat be very moderate, 
 and the vessel in which the solution is made, well stopped, the 
 ammoniac will otherwise be driven off, and lost. When the alkali 
 has taken up as much copper as it can dissolve, the solution 
 must be thickened with gum, and applied with the block or 
 pencil. In a few days the ammoniac evaporates and leaves the 
 oxyd of copper on the cloth, which must be rinced to free it from 
 the gum and superfluous colour. 
 
 " The blues produced by alternate immersion in copperas and 
 lime, and also in the solution of indigo, by the same substances, 
 properly come under this class of colour, as they are solutions of 
 colouring matter in lime and alkalies. As the processes by which 
 they are applied, differ however very materially from all those 
 that we have been treating of, they claim a separate and distinct 
 notice. For the details of these operations, and the mode of pre- 
 paring the pastes for bark and pale blue dipping, and the colours 
 for China blue, we must therefore refer our readers to the article 
 Dififiing Blue" 
 
 Of printing by discharging colours already dyed, 
 I have already mentioned the method of producing a 
 pattern by protecting the part intended to be a pattern, 
 by printing a paste or reserve upon it. Thus, one 
 sees frequently not only blue and white, but green 
 and white cloths, and green grounds with yellow pat- 
 terns. In this case the cloth is dyed blue in the vat, 
 with a reserve or paste on the pattern, which is wash- 
 ed off: the whole cloth is then dyed yellow. Or, the 
 common red colour can be printed on the white pat- 
 tern when the paste is washed off, and then the whole 
 piece can be dyed yellow, which will permanently 
 strike on the mordanted part only, and then the pat- 
 tern will be blue and yellow. 
 
 Another method is by discharging the colour al- 
 
 ^ 
 
423 
 
 ready dyed, by means of some acid liquor. Thus, if 
 black raised in madder be sprinkled with nitro-muriat 
 of tin, a red colour will be produced in spots where 
 the tin solution falls. In this way, by means of my 
 pink-red with brazil lake dissolved in a nitro-muriat 
 of tin, a good chemical red may be produced on a 
 madder black. 
 
 A method of printing spots, or rather producing 
 spots by a discharging liquor on Bandana handker- 
 chiefs previously dyed of a Turkey red, has lately 
 been introduced. A partial account of this process is 
 given under the article "discharging," in the new 
 edition of Rees's Cyclopaedia, but as I cannot find 
 the plate of the machinery published as yet, instead of 
 copying the article I shall only refer to it. The prin- 
 ciple is to apply a paste of oxymuriat of lime to the 
 spot meant to be discharged, to decompose the oxy- 
 muriat by means of sulphuric acid, and to confine the 
 operation by means of a screw press, precisely within 
 the bounds of the pattern. This process might be ap- 
 plied to blues, and supersede paste work; and also to 
 patterns on yellow grounds. In fact, as the invention 
 is new as yet, we cannot foresee all the purposes to 
 which it can be extended. It occurs to me at present, 
 that the following method not hitherto used or sug- 
 gested, might be employed for the same general 
 purpose: 
 
 Let the pattern be stamped out on two corresponding 
 plates of sheet lead of any dimensions. Smear the lead 
 with paste, both the upper and the under plate. Fix 
 the cloth between. Apply force or pressure, if neces- 
 
424 
 
 sary, to keep them together. Inclose them in a box or 
 a room, and throw in oxymuriatic or chlorine gas for 
 a short time. If needful the cloth might be moistened 
 to prevent the corrosive effect of the acid. 
 
 In the same way a dyed piece of any colour, might 
 be discharged in patterns, by printing on it a blotch 
 ground in paste work, or reserve, and exposing the 
 open work moistened to oxymuriatic acid. These 
 ideas have never been suggested or practised that I 
 know of; but I am satisfied that they are feasible from 
 the experiments on chlorine gas, which I usually in- 
 troduce in my chemical lectures before the class. 
 
 I proceed now to the brief tract on callicoe printing, 
 by Homassel, republished by Le Grange in 1809. I 
 observe that some of the processes are the same with 
 those employed in England, and I have no doubt from 
 the similarity, that the pastes and reserves were bor- 
 rowed by the English from the Rouen manufacturers, 
 whose skill has more than once aided the English 
 dyer. As to the other processes (exclusive of those 
 connected with the blue dye) wherever the French 
 differ from the English, I prefer the latter, as more 
 simple, and more scientific: but it is worth while to 
 know the processes of other countries so late as the 
 year above mentioned. The French methods are more 
 complicated and empirical than the modern English. 
 They are not yet aware that acetat of alumine, and 
 acetat of iron, are capable of supplying all that a prin- 
 ter wants for good and fast colours: they have no 
 knowledge in practice, notwithstanding the experi- 
 ments of Thenard, that sulphat of alumine is decom- 
 
425 
 
 posed with great difficulty by cloth of whatever de- 
 scription, and can be effectually washed away, and 
 that perfect acetat of alumine fixes on the cloth with 
 much stronger affinity. It is manifest that the theory 
 and practice of printing are not so well understood in 
 France as in England: still, there are observations of 
 practice dispersed through the pages of Homassel, 
 which will repay the perusal of his directions. 
 
 I omit Homassel's directions for erecting the appa- 
 ratus for washing, streaming, &c; also his method of 
 bleaching the cloths; also his method of mounting the 
 vessels used for the preparation of iron liquor: all this 
 is so much better in the English practice, that I should 
 waste paper by translating it. I presume the directions 
 herein before given on the subject of bleaching and iron 
 liquor, will supersede the necessity of the French ar- 
 tist's directions. The articles relating to bleaching, 
 both in Rees's and Brewster's Encyclopedias, are 
 good, but what I have said on the subject is not su- 
 perseded by those articles; and being the result of 
 extensive and successful practice under my own eye, 
 I consider as important, brief as it is. The remarks 
 on the method of making acetat and pyrolignat of iron, 
 in the articles from Rees, are well worth attending to. 
 
 Fine Red Colour. The reds I prepare (says Ho- 
 massel) for a hundred quarts of water, can be as well 
 prepared in a small as in a large way, preserving the 
 same proportions. 
 
 Take water one hundred quarts {pintes: the French 
 pinte is so nearly our wine quart, that they may 
 be taken reciprocally.) 
 
 3H 
 
 ^m 
 
 ■ mw 
 
426 
 
 Seventy-five pounds of ground alum. 
 
 Two pounds of lead ore, ground and steeped in 
 
 vinegar. (Mine de plomb.) 
 Four pounds of arsenic, ground and steeped in 
 
 vinegar. 
 Three pounds of common salt, dissolved in water. 
 Fifteen pounds of sugar of lead, dibsolved in water. 
 One pound of Cyprus vitriol, (blue copperas) dis- 
 solved in water. 
 Two pounds of soda in four quarts of water. 
 This is the best mordant for weld. 
 When the sediment of these ingredients has sub- 
 sided, you may pour oft* the clear liquor and add fifty 
 quarts of water to the grounds, which being well 
 stirred for four or five days, left to settle, and the clear 
 liquor poured off, will furnish a very good second red. 
 To enable the printers to see the mordant distinctly, 
 it must be coloured. For this purpose boil a pound of 
 rasped brazil wood in a hundred quarts of water, 
 strain it: dissolve in it seventy-five pounds of alum in 
 powder. Dissolve in a separate vessel twenty pounds 
 sugar of lead in ten quarts of water, and four pounds 
 white arsenic in two quarts of vinegar; a pound of 
 verdigris in a pint of vinegar; two pounds of blue 
 copperas in a quart of vinegar; four pounds of soda in 
 powder; four pounds of whiting or chalk. 
 
 When the alum is dissolved, which will be the case 
 in two or three hours, pour in the solution of sugar 
 of lead, stirring it continually; then pour in the arsenic 
 and vinegar, which you must not boil; then the blue 
 vitriol and verdigris. When all is dissolved, add by 
 
427 
 
 degrees the soda, then the chalk or whiting, by small 
 quantities at a time. It is important that all the drugs 
 should be dissolved, except the soda, which mixes 
 with the sediment, and is longer in dissolving. The 
 smallest quantity of alum undt composed will crys- 
 tallize, and in this state will weaken the mordant, and 
 dispose the colours to run. 
 
 All reds are made much alike, but the receipts here 
 given, have always excelled in beauty and solidity. It 
 is convenient not to use them for three or four days 
 after they are made, in order to insure the complete 
 deposition of all sediment. They are then quite clear, 
 and somewhat like fine veal jelly. 
 
 These reds are expensive, and manufacturers who 
 study economy require some that are cheaper. 
 
 Another Fine Red. Water, one hundred quarts, or 
 rather decoction of brazil. 
 
 Sixty- five pounds alum, managed as before directed. 
 
 Fifteen pounds of sugar of lead. 
 
 Two pounds of white arsenic, dissolved in vinegar. 
 
 Two pounds of Cyprus or blue vitriol, dissolved in 
 vinegar. 
 
 One pound of verdigris, dissolved in vinegar. 
 
 Three pounds of common salt, dissolved in water. 
 
 Six pounds of soda, in powder. 
 
 Two pounds of chalk. 
 
 Make up this red with the precautions before in- 
 dicated. 
 
 Another. Decoction of brazil, one hundred quarts. 
 
 Alum, fifty pounds. 
 
 Sugar of lead, twenty pounds. 
 
 Mi 
 
428 
 
 White arsenic, two pounds. 
 
 Sal ammoniac, two pounds. 
 
 Blue vitriol, two pounds. 
 
 Chalk, four pounds. 
 
 Composed as before directed. 
 Another. Decoction of brazil, one hundred quarts. 
 
 Aium, fifty pounds. 
 
 Sugar of lead, twenty pounds. 
 
 White arsenic, two pounds. 
 
 Chalk, four pounds. 
 
 Scarltt tin composition, one pound. 
 
 If the alum tends to crystallize, increase the arsenic 
 and chalk. 
 
 Many printers use the following: 
 
 Wafer, (or brazil decoction,) one hundred quarts. 
 
 Alum, fifty pounds. 
 
 Sugar of lead, twenty-five pounds. 
 
 Blue vitriol, two pounds. 
 
 Chalk or whiting, six pounds. 
 
 The red colour may be coloured with logwood 
 sometimes, as conveniently as with brazil; and still 
 better with fustic. The colouring matter always dis- 
 appears, being displaced in the raising with madder or 
 weid. 
 
 When the red appears to run, or the alum to crys- 
 tallize, the colour should not be used. If, as often 
 ha j pens, after the thickening is put in, the alum crys- 
 talline^ <-n the urface of the drum, you must stop the 
 work (This always happens from a drfect of sugar of 
 lead. T C.) in this case the colours will run when they 
 come to be raised in the dye copper. 
 
429 
 
 If before thickening you find that the alum crystal- 
 lizes, the composition must be heated, but not to 
 boiling, and stirred till all is dissolved. Then add one 
 half the former quantity of arsenic dissolved in vinegar. 
 A fermentation then takes place, owing to the matters 
 not having perfectly neutralized before, and therefore 
 a complete decomposition could not take place. Then 
 add one fourth part of the former dose of chalk, in 
 powder, and by degrees, to prolong the effervescence. 
 
 As the art of making mordants for red*>, demands 
 long practice, you must not serve your apprenticeship 
 upon large quantities, such as an hundred quarts of 
 water: begin with the same proportions of the same 
 drugs in two quarts; and try it on a great scale when 
 you have learnt your business on a small one. (This 
 difficulty is owing to the multitude of the drugs pre- 
 scribed and the complication of the receipt. No one 
 will fail in making a good red, who will take the sub- 
 stances and proportions I have recommended, to wit, 
 alum, three parts; sugar of lead, four parts; whiting, 
 one-sixteenth of a part. T. C.) 
 
 Of Second Red. This is in some measure regulated 
 by the method of thickening: if it be thickened with 
 starch, (or paste? amidon) it may be weaker than if 
 it be thickened with gum. A second red made pur- 
 posely, is better than one made by diluting a strong 
 red; for this red, one third of the drugs used for 
 strong red will suffice. Even this will be too strong, 
 if there be but two reds in the pattern. It is brought 
 forward more advantageously by a third red. The 
 first red is thickened with starch, and is concentrated 
 
430 
 
 by the necessary boiling to thicken it. The second 
 red is also concentrated in the same way; the third 
 red thickened with gum, is diluted by the thickening. 
 Some printers may be of opinion that my second and 
 third are too strong. But if they would print a fast 
 green, they must weld the yellows after the first 
 bleaching, and then bleach them again after welding, 
 which altogether will take six weeks on the grass: 
 during this time the reds may be lowered as much as 
 they please. It is very unpleasant to a printer, when 
 he has raised a pattern in fast colours, and bleached 
 the grounds on the grass, to find that the second and 
 third reds are half bleached out. 
 
 But if the reds are really too strong, the second 
 red may be thickened with gum in powder, and the 
 third with gum water: then the yellows may be finished 
 with chemical yellow, to which a printer reconciles 
 himself sometimes very easily. 
 
 Hence for a second red, where the first is made with 
 seventy- five pounds of alum, take 
 
 Water, one hundred quarts. 
 
 Alum, twenty-five pounds. 
 
 Sugar of lead, five pounds. 
 
 Arsenic, twelve ounces. 
 
 Cyprus vitriol, twelve ounces. 
 
 Verdigris, six ounces. 
 
 Common salt, one pound. 
 
 Soda, two pounds. 
 
 Whiting, one pound. 
 You must not suppose that this second red is more 
 easily made than the first, although the quantity of 
 water be the same: it requires full as much attention. 
 
 ■i 
 
431 
 
 Some printers make their second red by putting two 
 parts water to one part first red; but this is apt to 
 make the colour run. (It is impossible this should be 
 the case, if the dilution be made before thickening. 
 T. C.) Printers have always their particular mark or 
 number, so that it can be known at once by the mas- 
 ter manufacturer, what printer turned out the piece in 
 question. This mark is usually printed with a compo- 
 sition of soot and olive oil, which when the piece has 
 been bleached to clear the ground, appears of a dull 
 faint red, of some value. (This remark is worth noting: 
 I have found, indigo ground with white lead, a very 
 fixed colour. The common bleacher's mark, is nitrat 
 of silver, thickened with gum water, and coloured with 
 lamp black. This is indelible. This red from oil and 
 soot, may suggest some reflections on the use of oil 
 in the Turkey red, says Homassel: which is a remark 
 also worth noting. T. C.) 
 
 Violet. There are several methods of making violet 
 colour (mordant.) Every printer has his own receipt, 
 depending upon the blue or brown tint, that he wishes 
 to predominate in this colour. The base of violets, is 
 always the same; the varieties are formed, by a little 
 more or less, of blue, of red, or of brown. 
 The base of all violets is thus made: 
 
 Black colour, (Bain de noir.) 
 
 Cyprus vitriol, (blue vitriol.) 
 
 Saltpetre. 
 
 Common salt. 
 
 Alum: and sometimes verdigris. 
 For instance, here are a first and second violet, to 
 be thickened with gum. 
 
432 
 
 Sixteen quarts of black. 
 Six quarts water. 
 Eight ounces Cyprus vitriol. 
 Six ounces saltpetre. 
 Two ounces alum. 
 
 Second Violet, 
 Six quarts black. 
 Sixteen quarts water. 
 Four ounces Cyprus vitriol. 
 Three ounces saltpetre. 
 One ounce alum. 
 Another Violet. 
 One quart black colour. 
 Four quarts water. 
 One ounce saltpetre. 
 Half an ounce common salt. 
 By doubling the proportion of black, a brown may 
 be made on this violet, thickening the brown with 
 starch (amidon) and the diluted colour with gum. 
 
 The salts should be dissolved in water before they 
 are added to the black. 
 Another Violet. 
 One quart black dye for the brown tint. 
 One quart water. 
 One ounce sugar of lead. 
 For the diluted or second violet, 
 Three quarts water. 
 One quart black dye. 
 Half an ounce sugar of lead. 
 These two violets are thickened with starch 
 (amidon.) 
 
433 
 
 In many printing works, if a printer asks the colour- 
 man for a brown, he puts into the pot, 
 A pint of black. 
 A pint of water. 
 A wine glass full of second red. 
 Half a pound of starch, (amidon,) which is all 
 thickened together over the lire. 
 In the blacks intended for violets they generally put 
 an ounce of (Cyprus) vitriol to the quart. 
 Another Violet. 
 One quart of black. 
 Three quarts of water. 
 Two ounces Cyprus vitriol, (blue vitriol.) 
 Two ounces saltpetre. 
 One ounce common salt. 
 This can be deepened of course by increasing the 
 black. 
 
 For a second violet diminish the quantity of each of 
 the ingredients. 
 
 Red Brown. 
 One quart first red, (pinte.) 
 Haifa pint black colour, (demi-septier.) 
 With madder, this is a red inclining to brown: with 
 weld, a brown-green. 
 
 Flea Colour with madder. 
 Three half pints first red. 
 One half pint black colour. 
 With weld, this makes the goose dung: these colours 
 are useful for foliage of old trees. 
 
 Wood Colour. Raise a violet in madder, then print 
 red colour upon it, and raise it in weld. 
 
 3T 
 
 ■M 
 
434 
 
 Pencil Blue. One pound of indigo in sixteen quarts 
 of water, disoxygenated by liver of sulphur, and thick- 
 ened with four pounds of powdered gum arabic. 
 
 Green Blocked indigo blue; upon which, when 
 washed and dried, print red colour and raise it in 
 weld. This is better in point of colour than when the 
 blue is blocked or pencilled on the yellow, because 
 the causticity of the alkali attacks the yellow and 
 weakens it. 
 
 On the thickening of Colours. Colours are thickened 
 with starch (amidon) or with gum. It is hardly possi- 
 ble to fix the proportion of starch to a quart of liquor, 
 on account of the varieties in quality of the starch: 
 sometimes four ounces, sometimes eight are required. 
 Some colours require to be more thickened than others. 
 Reds require so much only as to prevent their run- 
 ning: violets should be thicker, on account of the 
 black, which is apt to run. For the same reason black 
 requires more thickening than any others. 
 
 In regular workshops the colours wanted for to-mor- 
 row are made to day: each colour ought to have its 
 appropriate vessels. 
 
 Some workshops proceed on the principle of econo- 
 my; some choose to acquire the character of good 
 work. In the first class, starch and gum are seldom 
 employed; they thicken with mill-dust obtained cheaply 
 from the millers. 
 
 In thickening, the flour or starch is placed on the 
 fire in a pot, the liquid added by degrees, and stirred 
 till it acquires the proper consistence. 
 
 It is better to err on the side of the colours being 
 too thick than too thin: for in the first case the printers 
 
 wmm 
 
435 
 
 can dilute them to their mind, but when too thin, they 
 must be boiled over again in the colour shop, which 
 is often a detriment to the colour: besides the incon- 
 venience of running when the colours are to thin. 
 
 If gum be used for thickening in the proportion of 
 four ounces to the quart, the gum in powder is beat 
 up with about half the liquid which it is intended to 
 thicken, and when dissolved, it is gradually diluted by 
 stirring in the other half. 
 
 Of the False Colour. This is the glutinous matter 
 used to support the cloth in the tub or drum. It is 
 usually made of ground linseed, boiled to the neces- 
 sary consistence, and poured hot into the tub, where 
 it is left to cool. The printer who has the command 
 of the table, fixes this after his own manner. This 
 elastic gluten is absolutely necessary to support the 
 cloth of the drum, because if there should be any ac- 
 cidental hole or slit in it, the linseed unites so spar- 
 ingly with acids and mordants, that they are not spoiled 
 by the accident. 
 
 In many shops, instead of linseed, they use the 
 scrapings ot printers pots: and throw into the tub in- 
 discriminately all such bottoms and scrapings. This 
 imprudent parsimony occasions faults in the work, 
 when it comes to be maddered. 
 
 The false colour in the tub is covered with leather, 
 or waxed cloth, and this again with thick woven cloth, 
 whereon the mordant is smeared with a brush, which 
 the printer takes up by his block. 
 
 The tables should be solid, perfectly smooth, level, 
 covered with cloth, kept scrupulously clean, and the 
 block neatly engraved. The mallets should be plugged 
 with lead about the thickness of a finger. 
 
 — 
 
436 
 
 The printing room should be furnished with a stove, 
 not merely for winter but in summer also, especially 
 in damp weather. The fire should be lighted whenever 
 the printers call for it, because in most print shops 
 they are answerable for their work. Beside the stove 
 of the printing shop, there should be a stove-room ad- 
 joining or over it, to which the goods are carried when 
 printed, in order to drive oft" the superfluous acid of 
 the mordant. But the heat should not exceed a blood 
 heat. 
 
 No second colour can be printed till the first is per- 
 fectly dry: it is particularly necessary to see that the 
 blacks are quite dry, as they are most apt to spread, 
 the rust of the iron having that tendency. 
 
 Sometimes over the linseed thickening in the tub, 
 they put cloth dipt in suet in lieu of skin or of oil 
 cloth, a substitute which the printers often prefer. 
 
 The blocks must not be kept in a place either too 
 dry, so as to make them fall to pieces, or too moist, 
 to unglue them. If being in one piece they are apt to 
 warp from being too dry, they can be covered with a 
 moist cloth, or warmed over a fire on which water is 
 thrown to raise steam. When the superintendant of 
 the block-cutting shop receives pear-wood planks for 
 the purpose, he should expose them for two months 
 to the sun, near a stream, throwing water on them 
 whenever they become dry. 
 
 The master of the works should take care, that 
 when a printer lays aside one block to take another, 
 he does not put by the first till it is perfectly clean, 
 for it spoils them to let the colour dry on. 
 
437 
 
 When a block becomes foul, it can be cleaned with 
 strong sulphuric acid, and then washed in water. 
 
 Of Maddering. Coloured callicoes with a black 
 ground, require two madderings: the second requires 
 as much madder as the first. 
 
 When there are three reds, the second is printed 
 immediately after the first, but when there are only 
 two, they print and madder the first, before they print 
 the second. 
 
 Black grounds require two raisings in madder of a 
 pound and a half each, for a piece of ten ells French 
 or thirteen yards English. 
 
 If you have a callicoe black ground, two reds, and 
 two violets, print the deepest violet and the first red, 
 to be raised together, the second red and second vio- 
 let should be printed afterwards and raised in the se- 
 cond maddering. So that the block which prints the 
 second violets on the white may cover also the black 
 ground; this strengthens the black ground by fresh 
 mordant for the second maddering. But if there be no 
 second violet, then the black may be covered when 
 you print the violet red, except where you have to 
 block in afterwards a chemical yellow. If the black be 
 not strong enough, it may be refreshed by the violet 
 chemically applied without maddering. 
 
 In a printing establishment, there should be a cop- 
 per for dunging, another for maddering, another for 
 welding, another for branning. They should be fur- 
 nished with grates and fire places; the Rue should be 
 divided into two parts, and meet at their exit into the 
 chimney. (The fire places are more convenient on the 
 
438 
 
 outside of the room than withinside. ) If the boilers be 
 well set, the maddering ought not to occupy more than 
 two hours. 
 
 The coppers ought to have a large cock (or rather 
 plug) at the bottom to empty them easily, with winces 
 to turn the pieces in the madder bath. The callicoes 
 should be prepared after mordanting in cow dung, 
 mixed with water, so as to be of a full green colour; 
 wince them in this for half an hour; and then wash 
 them. If they are printed with a colour thickened with 
 gum, they will take a longer time; they should be left 
 exposed to the current of the stream an hour; and 
 then beat, so as to be sure that ail the gum is washed 
 out. A fulling mill is often very convenient for this 
 purpose. 
 
 The dye copper should be ready filled with clean 
 water to receive the pieces after washing: the madder 
 well broken, should also be at hand; light a lire under 
 the copper or boiler, put in the madder, fasten the 
 ends of the pieces together (about 170 yards in all in 
 England) and wind them evenly on the wince. 
 
 By this time the water in the copper with the mad- 
 der in it will be moderately hot: rake it, so as to dis- 
 tribute the madder evenly. The pieces are winced in 
 the liquor, by one man, while another keeps them 
 sunk in the liquor by means of a stick, till the mad- 
 dering is over. The madder copper should be so 
 heated that it approaches a boiling heat in an hour and 
 a half, and not sooner. When the madder colour is 
 exhausted, the process is finished, but it is expedient 
 to give the pieces a couple of turns more, which takes 
 about fifteen minutes. 
 
439 
 
 If this maddering be repeated, the goods after being 
 well washed, must be dried, calendered, and reprinted. 
 
 When the callicoes have a black ground, you must 
 not forget to put in an ounce or two ounces of nut 
 galls to each piece, and after maddering they should 
 also be passed through a bath of logwood liquor. 
 
 The goodness of the work can only be judged of 
 after maddering. 
 
 If the grounds are white, the first maddering suf- 
 fices; but if there be yellows and greens, it must be 
 printed again with colour or mordant. The oxygenated 
 muriatic acid may be made to supersede laying the 
 goods down on the grass. Thus: after washing the 
 maddered goods, boil them in bran and water for a 
 quarter of an hour and then rince them: in a clean tub 
 or cuir, half filled with cold water, put some oxymu- 
 riatic acid, prudently: pass the goods through this 
 liquor by wincing them, till they are three quarters 
 white in the ground. Then take them out, wince in a 
 little soft soap and water, and lay them down without 
 washing: it is best done when the weather is fine, that 
 the soap may dry on the pieces. Then wet them on 
 the grass, and in three or four days, the smell of the 
 soft soap will be lost, and the grounds will be 
 bleached. 
 
 Before welding, the blue for the greens ought to 
 be blocked on. For this purpose, there should be a 
 tub, three quarters filled with pencil blue: on this put 
 the cloth, single or double as the printer chooses. 
 When the printer has gone the length of the table, he 
 should examine if any parts of the pattern have been 
 
 Mi* 
 
440 
 
 missed, in which case, the defects must be pencilled, 
 and then sanded to prevent their spreading. 
 
 When the whole piece is printed, it must be soaked 
 in water for two hours to get out all the gum of the 
 pencil blue. Sometimes even, it is needful to rub the 
 places with the hand. If the pieces are washed merely 
 by wincing, this must not be quitted till the gum is 
 surely washed out. 
 
 The pieces are then calendered, and printed with 
 red colour according to the strength of the yellow pro- 
 posed. Wood-colour, is printed on maddered violets 
 to be raised in weld. So, orange colours are printed 
 on reds to be raised yellow, while at the same time 
 the weld copper raises yellow on the whites and green 
 on the blues. 
 
 On Green Grounds. For these grounds it is neces- 
 sary to reserve all the flowers with a paste, that can be 
 washed off in water, but will not separate in the blue 
 vat. 
 
 Such a reserve or paste may be thus made: 
 
 Sifted pipe clay, one pound. 
 
 Gum arabic dissolved in water, two quarts. 
 
 Tallow, two ounces. 
 
 Wax, one ounce. 
 
 Rosin, one ounce. 
 Boil all together in a sufficient quantity of water to 
 bring them to such a consistence that they will not 
 spread upon the cloth. 
 
 This reserve can only be pencilled on, or blocked 
 on with a block well hatted. 
 
 When the cottons are dipped, it must be in a vat 
 
441 
 
 fresh made and strong, so that the required colour may 
 be soon obtained. Then wash them to get off the 
 paste, dry, calender, and print them with red colour 
 upon the blue, to be raised green by weld. Should 
 any of the reserve still stick on, the heat of the weld 
 bath, and the subsequent washing will detach it. 
 
 No more than eight pieces of thirteen yards Eng- 
 lish are welded at a time, for they must be quickly 
 turned in the liquor. 
 
 The copper should admit of and be supplied with 
 forty pounds of weld, which should boil for two hoars. 
 This long boiling has often been objected to me, in- 
 asmuch as the liquor becomes greasy by means of it; 
 this is true, but the weld colour which has not under- 
 gone a two hours boiling, is half discharged by bleach- 
 ing on the grass, while that which has, loses little or 
 nothing. 
 
 When the weld has boiled two hours, take it out, 
 enter your eight pieces of ten French ells each (or 
 about thirteen yards English: we enter eight pieces of 
 twenty-eight and a half yards each, though six are 
 better, T. C.) well washed previously. They must be 
 winced rapidly for half an hour at the utmost, for weld 
 does its duty very speedily, and the colour is also apt 
 to be redissolved by too long boiling. Then wash the 
 callicoes and bleach them on the grass. 
 
 When the goods have been bleached a first time, 
 they will be of a clear white in the grounds in twelve 
 days. If they are for expedition entered into dilute ma- 
 rine acid and water, they must be finished in soft soap 
 and water. 
 
 3K 
 
442 
 
 When the welded goods are thus bleached, they 
 must be rinced, dried, calendered and carried to the 
 pencillers, to repair any defects, with pencil blue and 
 chemical yellow. 
 
 The reds and second reds may also be pencilled 
 blue for violets, and with pencil yellow for orange. 
 They then go to the print shop to receive the chamois 
 or buffs and drabs; the buffs are usually made of se- 
 cond violet, with no salt, but the mere colour of iron 
 mould. We shall say more on this subject when we 
 come to chemical colours (petit teinte.) 
 
 When buffs are to be raised, they are better for stay- 
 ing three or four days before they are washed. But if 
 they are to be dyed, they should be washed as soon as 
 they are dry. When washed and dried, they are glazed 
 (by friction, with a machine that works backward and 
 forward, a polishing stone or glass). They are then 
 calendered and made up for sale. 
 
 Of Paste Work, or Reserve Blues. That is, white 
 patterns on a blue ground. They are scoured and pre- 
 pared in the usual way, then printed with the follow 
 ing paste: 
 
 Cyprus vitriol, six ounces, (blue vitriol.) 
 
 Alum, two ounces. 
 
 Verdigris, two ounces. 
 
 Powdered gum arabic, four ounces. 
 Make a thick paste of pipe clay, with water in which 
 you dissolve two ounces of tallow: stir this mixture 
 into an uniform consistence over the fire. The above 
 mentioned salts arc the proportions to be mixed with 
 one pound of ground and sifted pipe clay: they must 
 
443 
 
 be dissolved in vinegar, and the whole united by well 
 stirring them together, over the fire. The consistence 
 must be such, that when laid on, it will not spread. 
 The chase, or covering of the linseed mucilage in the 
 drum or tub, is for these pastes usually of leather. 
 The printer ought not to use his common mallet, but 
 give the block a stroke or two with his fist, not too 
 hard. 
 
 Reserves are also made for yellows. For this pur- 
 pose, a quart or two of black colour (bain de noir) is 
 used, in which you dissolve a pound of green cop- 
 peras. If the black colour be strong, you may put in 
 but half a pound of copperas and as much gum arabic; 
 give it the requisite body with yellow sandy clay, or 
 founders' clay, which the brass-workers use for their 
 castings. 
 
 When dipped in the blue vat, it must be often ex- 
 posed to the air, and stretched, turned, and returned, 
 to prevent its spotting. To make a solid blue, it must 
 be exposed to the air long enough to change the green 
 to a blue, and this a second time. When dyed they 
 must be well washed, and if necessary run through hot „, , 
 
 water, completely to separate the paste, and then 
 rinced and dried. 
 
 In establishments where blues are dyed in the large 
 way, they have square vats of oak, tightly hooped; but 
 they frequently leak; and it is the best part of the 
 liquor that leaks out. More business can be done 
 with two vats lined with lead, than with four wooden 
 ones. I have been in shops where the vats were 
 grooved, tongued, caulked with oakum, and well 
 
m 
 
 444 
 
 pitched within and without; in this case to be sure 
 they lost little. In other places they sink their vats in 
 the ground, and ram clay nine inches thick all about 
 them. They would persuade me that these vats lost 
 nothing, but I greatly doubt this; for the caustic alkali 
 will eat small holes even in the wood itself, and find 
 a way of escaping. I know it will penetrate the com- 
 mon glazed pottery. 
 
 To dye the goods in the vat, the cloth is stretched 
 on frames by means of copper hooks, suspending them 
 by the selvages, beginning at one end, and finishing 
 at the other. The top bars of the frames run in grooves 
 so that the pieces may be sunk lower at pleasure, and 
 they are stopped by pegs put into the holes at the re- 
 quired depth. The pieces are let down, and raised by 
 means of pullies. The hooks may rust the cloth once 
 or twice, but whenever thev once become covered with 
 indigo, they will spot the cloth no more. 
 
 Of China Blue or English Blue. (Bleu de Faiance.) 
 In England, and in the great manufactories, where 
 they, make a point of carrying the blue dye to perfec- 
 tion, as in those of Jouy, Bercy, and others, they 
 manage their English blue thus. 
 
 They grind their indigo, which must be of the 
 finest quality, with one part and a half of green cop- 
 peras: these ingredients must be ground, either on a 
 marble, or by means of a" mill, till they are mutually 
 reduced to the consistence of an oil or a gelly. This 
 union of green copperas with the indigo, serves to 
 give it body and tenacity, so that it does not spread 
 upon the cloth when immersed in the vat. 
 
 m 
 
445 
 
 For a deep blue, they prepare gum water of mode- 
 rate consistence, neither too thick nor too thin. To 
 make the gum water it is not necessary to reduce the 
 gum to powder, only into small lumps, to avoid the 
 coagulation of the powdered gum. 
 
 The union of copperas and indigo with gum water, 
 is not easily effected. For this purpose, they must be 
 well mixed and ground together, and then with a spa- 
 tula, they must be forced together through a hair sieve. 
 For deep blue, they use equal parts of the indigo and 
 copperas mixture, and of gum water; for a second blue 
 they use five parts of the gum water, and one part of 
 the indigo ground with copperas. The deepest blue is 
 first printed: the next day, and not before, the second 
 blue is printed, which must not be done till the first is 
 perfectly dry. When thus printed two blues, the calli- 
 coes must rest for four or five days in this state. By 
 this time, the copperas and indigo will have sunk into 
 the cloth, so that the impression will appear on the 
 opposite side of a rusty colour. Hence I have directed 
 one part and a half of copperas to one of indigo, be- 
 cause the copperas fixes the indigo and prevents its 
 spreading while it is in the vat; and this gives the 
 China blue that solidity which makes it resist the oxy- 
 muriatic acid, which does not act strongly on metallic 
 colours. 
 
 For a single establishment of China blue, four vats 
 are necessary: for a double course of work six, and 
 for three times as much work as you can get through 
 with four, eight. The potash vat, and vitriolic or sul- 
 phuric acid vat, are sufficient for the other six, and 
 
446 
 
 make an establishment of three pairs: for independent 
 of the oil of vitriol or sulphuric acid vat, no more than 
 two others are necessary* 
 
 In the first vat you put a pound of lime to four gal- 
 lons of water, and you may put a little more. In the 
 second vat, you put two pounds of green copperas to 
 four gallons of water, or a little more. The copperas 
 vat should never be black, but of a green colour: when 
 it has been worked for some time, it loses its yel- 
 low green colour, and if well managed becomes of a 
 fine duck green. The management of this vat consists 
 only in putting in green copperas occasionally, and 
 preventing the top liquor from being mere water. 
 When the vat is much worked, there should be a 
 small quantity of crystals of green copperas kept in the 
 bottom of the vat. The water need not, but can be so 
 saturated with copperas that it will take up no more. 
 When well managed, this vat will keep constantly in 
 order; by degrees a sediment collects from the lime, 
 which is gypsum and falls to the bottom of the vat: 
 the liquor may be drawn off clear, and the sediment 
 emptied occasionally. 
 
 In the third or potash vat, you put two pounds of 
 lime to four gallons of water. Formerly a potash ley 
 was added, but that is now disused, although the vat 
 from this circumstance retains the name of the potash 
 vat. At present it is made up with lime alone. 
 
 In some dye shops they add common salt to this 
 vat, but I have tried it, and I find no use or difference 
 whatever produced by this addition. But I have found 
 benefit by adding half a pound of soda to four gallons. 
 
447 
 
 These vats must be prepared three or four days 
 before they are wanted for use, that by stirring, the 
 lime may be fully slacked, and the copperas well dis- 
 solved. 
 
 The fourth vat, is the sulphuric acid vat; this may 
 be made the same day it is wanted, for it is apt to at- 
 tract humidity from the atmosphere, and become 
 weaker. Into sixty parts by measure of water, put one 
 part of oil of vitriol, and mix it all well together. The 
 leaden boiler also, should be filled with the same pro- 
 portions. 
 
 The printed callicoes fixed in a frame, are then im- 
 mersed in the first lime vat for five minutes: raise 
 them and let them drip for three or four minutes: then 
 plunge the frame in the copperas vat for thirty mi- 
 nutes: raise it, let it drip for two minutes: plunge it a 
 second time in the lime vat for twenty or twenty-five 
 minutes: raise it; let it drip for two minutes: plunge 
 it a second time in the copperas vat for thirty minutes; 
 raise it, let it drip for two minutes: plunge it a third 
 time in the lime vat, let it stay twenty minutes; raise 
 it, let it drip two minutes; then a third time in the 
 copperas vat for thirty minutes; let it drip for two 
 minutes. 
 
 The callicoes having been thus passed three times 
 into each of the two first vats, the lime vat and the 
 copperas vat, are to be plunged into the third or what 
 is called the potash vat, (although it is in fact a lime 
 vat.) In this vat it should remain one hour; take it out, 
 and let it drip for two or three minutes or more if ne- 
 cessary; then plunge them in the sour vat of sulphuric 
 
 trawn 
 
448 
 
 acid for fifteen minutes. Then carry the frames at 
 once to the river without draining them, and there 
 wash and beat them, till they give out no more blue 
 colour. 
 
 When they are thus well rinced, enter them into 
 the leaden boiler a little warm, to take out the iron 
 moulds, and clear the whites perfectly; then carry 
 them to the river to wash, and lay them down on the 
 grass for two nights. The boiler need not be bigger 
 than about ten buckets. 
 
 Five minutes before the vats are used they should 
 be stirred up, particularly the lime vats, which should 
 appear like milk: indeed when the frames are let down, 
 they should be moved about occasionally, and not 
 suffered to remain quite still. 
 
 If you are not sure that you can depend upon your 
 vats, attach a specimen piece to one of the frames, and 
 examine it before you enter the frames into the vitriol 
 vat. If the pieces have missed taking the colour as you 
 expect, there is no remedy but discharging the co- 
 lour. If the colour is not quite strong enough, it 
 should rest a little longer time in the potash vat, and 
 be repassed into the copperas vat. 
 
 While the cloth stays in the vats, it acquires a dirty 
 green colour, and at the close of the operation it is of 
 a black green, a certain sign that the process has been 
 properly conducted. The vitriol vat makes all this 
 disappear and brings out the proper colour. 
 
 When fifty or sixty pieces (of thirteen yards each) 
 have been passed through the two first vats, it fre- 
 quently happens that the lime vat becomes charged 
 
449 
 
 with particles of copperas, which turns the cloth of a 
 buff colour, which can easily be perceived within the 
 first five minutes after a piece is entered. Although this 
 does not influence the solution of the blue, yet as it 
 makes the cloth more difficult to be bleached, a vat so 
 circumstanced must be dispensed with. 
 
 The lime vat should also be fed daily with fresh 
 lime, to keep it always of the same strength. 
 
 This China or English blue, is a great object with 
 all the callicoe printers, who have, for the most part, 
 been afraid of undertaking it on account of the uncer- 
 tainty of success, and the expense of the utensils ne- 
 cessary to such an establishment; for which reason 1 
 will describe them more particularly, that the expense 
 may be judged of. 
 
 (I omit the description, because I consider it as 
 manifestly inferior to the English methods already 
 mentioned.) 
 
 Generally a nankin or buff colour is printed on the 
 China blues, which relieves the work very much. The 
 method of managing this, is as follows. 
 
 Expose green copperas to the fire till it becomes of 
 a red colour (colcothar), then expose it in a moist 
 place, till it deliquesces; grind this with iron liquor, 
 and use it to colour the gum solution in such propor- 
 tion as will produce the colour you wish, and print 
 with it. This is in fact the same colour which is called 
 English nankin, and which will continue from its 
 merit to triumph over the inconstancy of fashion. 
 
 Of discharging spoiled pieces. The discovery of the 
 oxymuriatic acid has rendered this operation, formerly 
 
 3L 
 
450 
 
 very difficult, now easy: but as this acid does not act 
 on metallic earths or oxyds, the vitriolic souring in the 
 leaden boiler was deemed indispensable. 
 
 But the following is a better method. 
 
 Fill a common copper boiler, with the quantity of 
 water necessary to work the cloths in. For every piece 
 of thirteen yards, put in half a pound of gray tartar 
 (white argol) in powder: raise the fire, enter the cloths, 
 and before the liquor boils, all the colours are dis- 
 charged. 
 
 But as the tartar is a vegetable salt, not apt to act 
 prejudicially upon the pieces, you may bring the 
 liquor to a boil, and keep it at that heat for an hour, 
 to dissolve completely the mordant of the madder co- 
 lours, as well as the other colouring matters that re- 
 quire to be discharged. 
 
 When the cloths have boiled an hour, they should 
 be taken out, washed, and well beaten at the river, 
 and then run through a weak bath of oxymuriatic 
 acid, till they are quite cleared; then carry them again 
 to the river and wash them well: they will seldom re- 
 quire to be laid down on the grass, but may be put 
 into work immediately. 
 
 If instead of common gray argol or tartar, you em- 
 ploy cream of tartar, the whites will be the better for 
 it, but it is rather dear. 
 
 Of the Lesser Dye on Printed Callieoes. Buffs (cha- 
 mois) are much employed in this course of work. 
 
 The printers of fast colours, generally employ only 
 violet colour more or less deep, or black colour, as 
 occasion may require. 
 
451 
 
 A callicoe printed two violets, or violet and black, 
 will exhibit after being washed and ready for the mad- 
 der copper, two buffs or iron stains, which are oc- 
 casionally much in fashion. 
 
 To raise a buff, dissolve a pound of green cop- 
 peras in a quart of water; add to it a quart of black 
 colour, to make it deeper: or dissolve in a quart of 
 black colour, a pound of copperas, and if you please, 
 four ounces of sugar of lead. 
 
 To raise a yellow buff, dissolve one pound of cop- 
 peras in two quarts of water, with four ounces sugar 
 of lead: let it remain eight days before you use it. (It 
 may be used in eight minutes. T. C.) The older it is, 
 the deeper it is. (I doubt this. T. C.) 
 
 If you want a lively orange buff, expose copperas to 
 a strong heat on an iron plate or shovel; one pound of 
 copperas thus treated, will give but four ounces of 
 residuum; (this is the common colcothar of vitriol or 
 crocus martis; T, C.) leave it on the shovel in a moist 
 place, till it begins to deliquesce and to run; it will be 
 a brown oily kind of liquor, which you may use as 
 you want it. 
 
 All buffs are thickened with gum, when they are 
 diluted; but with starch when they are strong. They 
 are fast colours. 
 
 Buffs are also made, by rusting iron nails by means 
 of nitrous acid; this acid they mix also with green 
 copperas, but it is a bad and dangerous practice, as it 
 is apt to burn the cloth. 
 
 Buffs are also made with annatto, but this is apt to 
 spread and spot, and is not fast. 
 
452 
 
 When you print fast buffs, it is best to thicken with 
 gum. 
 
 These colours are usually called English nankins. 
 They stand washing well, but blacken with tea and 
 other astringents. 
 
 Of Colours of Application or Chemical Colours. 
 
 Of Yellow. Many printers who carry on business 
 largely do not print with a mordant and weld their 
 callicoes, after they have been once printed, maddered, 
 and the whites cleared on the grass; on account of the 
 length of time which this operation takes, especially 
 when a second clearing on the grass is necessary. They 
 say also that a chemical yellow will stand three or four 
 washings, which are as many as are usually required. 
 
 In my opinion, however, chemical yellow will not 
 stand three or four washings; one half of it is washed 
 out at the first washing; and if it be not washed 
 by servants who know their business, not only the 
 yellow is washed out in part, but it runs upon the 
 other colours and stains the whites, which spoils the 
 whole appearance of the garment. On the other hand, 
 if the yellows and greens stand as they ought to do, a 
 garment looks respectable even though it should be 
 something worn, for these colours give relief to the 
 others. 
 
 Chemical yellow is thus made. Put four pounds of 
 bruised yellow berries into twenty English quarts of 
 water, together with four pounds of quercitron, or else 
 as much rasped fustic; but this last is not near so good 
 
453 
 
 as the quercitron. Boil it down to one half, or till you 
 can draw off not more than about eight quarts. 
 i Add to the sediment about twenty quarts more of 
 water and boil it; this last decoction should be set 
 aside to be used for the next quantity of fresh yellow 
 you may want, as it is better than clear water. To each 
 quart of this strong decoction add two ounces of Ro- 
 man alum. Thicken the yellow with starch: if you 
 have Canary birds in your pattern, thicken with gum. 
 
 Of Prussian Blue. Some printers use Prussian blue, 
 (which is so strange a colour for goods intended to be 
 washed that I omit it. T. C.) 
 
 Of Logwood and Brazil. No good colour can be 
 produced chemically with these drugs, unless the de- 
 coction be very strong, nor unless the woods be rasped; 
 it is great waste to usffthem in chips or shavings. 
 
 In a bucket of water, about four gallons, boil two 
 pounds of logwood for an hour. Strain the liquor, and 
 add other two pounds of fresh logwood. Boil down to 
 five quarts. Take care to keep up the boiling heat all 
 the time, otherwise the wood will reimbibe the colour 
 it has given out. The sediment may be boiled over 
 again, and set aside for a fresh quantity. 
 
 The brazil wood must be treated like the logwood: 
 nor must you draw more at the utmost than three 
 pints of decoction from a pound of brazil. The sedi- 
 ment boiled over again serves instead of water, for the 
 next quantity of colour you may stand in need of. 
 
 For a chemical violet with logwood, add to a quart 
 of the decoction, one ounce of alum and one ounce of 
 saltpetre: thicken either with starch or gum. 
 
454 
 
 To produce a fine light velvety violet, add to four 
 parts by measure of the brazil decoction, one part of 
 logwood decoction, an ounce of powdered alum and 
 as much saltpetre for each quart; thicken with starch. 
 (It is worth while to try the solution of bismuth either 
 in nitric acid or aqua regia. T. C.) 
 
 For a red as a companion to the violet, one quart 
 brazil decoction, one ounce alum, one ounce saltpetre: 
 thicken with starch. 
 
 For a deep logwood blue, take one quart decoction 
 of logwood, half an ounce blue vitriol, half an ounce 
 of powdered alum, two drops of oil of vitriol; thicken 
 with starch. For a second blue, thicken this with gum 
 water. 
 
 Of Green. To make a green, take three parts of the 
 chemical yellow liquor alumed £s before directed, one 
 part of logwood decoction, and the eighth of an ounce 
 of blue vitriol, thickened with starch. 
 
 Of Black. Two pounds logwood, as much sumach, 
 a quarter of a pound of blue galls well bruised; boil 
 in four gallons of water, till it is reduced one half: 
 then put in a quart of vinegar, and continue the boil- 
 ing; then add an ounce of sal ammoniac, and reduce 
 the liquor by boiling to one gallon: then add two 
 ounces of blue vitriol; when dissolved, draw off the 
 clear liquor, and thicken with starch. 
 
 Another Black. Boil from four to five pounds of 
 oak saw-dust in a common bucket (about four gallons) 
 of water: when boiled for an hour or two, strain the 
 liquor, and boil in it two pounds of rasped logwood; 
 after about an hour, put in a quart of vinegar, and an 
 
455 
 
 ounce of sal ammoniac. Boil down to one gallon; add 
 two ounces of powdered blue vitriol: strain and 
 thicken with starch. 
 
 When these colours are to be washed after printing, 
 let them soak first in water for four hours, then wash 
 them. 
 
 If they should be nankin or buff dimities, the co- 
 lours should be thickened with gum: in which case, 
 they should soak for six hours before they are finally 
 washed, otherwise the colours will be apt to stain the 
 whites. Nor should these colours be soaked or washed 
 till two days after they are printed. 
 
 Chemical White. This is printed on gauzes, mus- 
 lins, and lawns. Take some old worn rags of these 
 substances: bleach them as white as possible, finishing 
 in a sulphuric acid souring, and then wash scrupu- 
 lously. When quite dry, grind them to powder in a 
 new snuff mill: sift them through a covered sieve. It 
 is this fine dust that is used for the impression. 
 
 Cover the printing table with a cloth tightly stretch- 
 ed, or with pasted paper. Fix some ledges of wood to 
 the edges of the table, that may rise about an inch 
 above the level of the table: cover the table evenly 
 with the sifted dust above described, four or six lines 
 (above a quarter of an inch) thick: upon this dust, as 
 on a carpet, the gauze or muslin is stretched, which is 
 then printed simply with gum water: this gum water 
 soaks through, and causes the dust to stick to the 
 printed gauze on the opposite or under side. This im- 
 pression perfectly resembles embroidery. 
 
 This process may be improved not only by pro- 
 
456 
 
 ducing patterns in colours, but by fixing those co- 
 loured dusts on the gauze or muslin by means of a 
 varnish that will not wash out. Thus, take 
 
 Spirit of turpentine (oil of turpentine) one pound. 
 
 Of Venice or Chio turpentine, one pound. 
 
 Of sandarach, one ounce. 
 
 Of mastic, in drops or tears, one ounce. 
 
 Dissolve the mastic and sandarach in the oil of tur- 
 pentine, and thicken it with the turpentine in sub- 
 stance, to the degree necessary for printing. This 
 varnish should be rather dilute than otherwise. When 
 once dry, nothing but caustic potash will wash it out. 
 To clean the blocks, they must be soaked in oil, and 
 then washed with hot caustic alkali. 
 
 When an impression is to be made in many colours, 
 there must be as many tables prepared in the same 
 way, and covered with powder of linen or cotton of 
 the required colours. 
 
 When this impression is well made, it very naturally 
 represents an embroidery of many colours. 
 
 One may thus print in gold and silver, by using 
 ground gold and silver leaf. 
 
 On Striped, or Jasper Printing. This is done with- 
 out engraved blocks. 
 
 You must have several figured tools of various 
 sizes — flies and stars cut out in milled lead — very thin 
 boards, some straight, some notched, serrated or 
 jagged regularly at the edge, of different patterns, to 
 make such lines and stripes as you see fit. 
 
 You must have a square racquet of ten inches or a 
 
457 
 
 foot long, of which the meshes should not be more 
 than three or four lines square, of fine brass wire. 
 
 You must provide also brushes and colours. 
 
 The colours employed, are, solution of annatto, buff 
 colour, black, . brazil red, and logwood violets and 
 blues. 
 
 All these colours must be thickened with two 
 ounces of gum arabic or Senegal to the quart: each co- 
 lour must have its own brush. 
 
 The method of using these materials, is as follows. 
 
 Suppose you wish to print two front pieces of 
 waistcoat pattern, in rays or stripes of goose dung 
 green. You place upon the patterns small strips of 
 wood to preserve the whites. Take the racket in the 
 left hand, and a brush in the right: dip the brush in 
 the annatto colour, shake it three or four times over 
 the pot of colour, that a very small quantity may re- 
 main on the brush. Pass the brush over the racket, at 
 about the height of a foot from the waistcoat pattern, 
 moving the racket here and there as the circumstance 
 requires; the colour should fall in a very fine and 
 gentle rain. 
 
 If the brush be not shaken when you take it out of 
 the colour pot, the colour will fall on the cloth in thick 
 drops, which would spoil the pattern. 
 
 When the waistcoat piece is covered with annatto 
 colour, evenly in those places which are not covered 
 with the slips of wood, then take the black colour, and 
 sprinkle it over the annatto in the same manner as 
 above directed. The union of these two will make the 
 goose green. 
 
 3M 
 
45S 
 
 It is not necessary that this jasper colour should be 
 as thick as if it were intended for printing. When the 
 goose green is thus produced, take up the wooden 
 strips, and the white will appear in all its freshness. 
 
 This kind of work is not washed; it is sent out im- 
 mediately in the state thus described. * 
 
 Another example will suffice to illustrate this kind 
 of work. 
 
 Suppose you wished to colour a piece with goose 
 dung green stripes, white flowers, with an orange or 
 aurora colour bee. 
 
 Place the pattern of cloth on the table: cover the 
 white with your strips of wood, kept firm by leaden 
 or iron weights. Then at equal distances upon that 
 part which is to be sprinkled goose green, place your 
 flowers in lead upon the white, then on the flower, a 
 bee or a star. Sprinkle with logwood violet. Then 
 take up your leaden flowers and bees. Fix your bees 
 on the white flowers, and then sprinkle with annatto 
 colour with the precautions before prescribed. 
 
 When the annatto is perfectly mixed, and the goose 
 green appears even, take up your leaden figures, and 
 strips of wood, and if the work be well done, you will 
 have stripes of goose green, interspersed with bees of 
 an orange colour (from the annatto) and violet and 
 white flowers. 
 
 Dimities are also thus printed in stripes, and with 
 borders, by means of Prussian blue, and logwood 
 violet. 
 
 If this kind of work is to be printed, it must be so 
 before it is sprinkled; and the printed impression nr 
 
 m 
 
II 
 
 459 
 
 be well washed, and the piece calendered and dried. 
 You may sprinkle afterwards in buff, taking care hat 
 your strips of wood are well pressed down. It is evi- 
 dent that great varieties of patterns may be thus pro- 
 duced. 
 
 The lead patterns may be cut out with a pen knife 
 or scissars, or stamped; and may be placed on the 
 cloth one after another; and in this way, the patterns 
 may be varied, and pieces printed quickly and at small 
 expense. 
 
 On the Business of a Scourer. (Teinturier — De- 
 graisseur.) This is a business extremely useful to the 
 economy of dress, and of the furniture of a house. (A 
 scourer must be a dyer. T. C.) 
 
 Without this art, either the consumption of articles 
 would double, or what would rather be the result, the 
 luxury of furniture would decrease one half. For the 
 object of the scourer, is to give an appearance of fresh- 
 ness to the articles sent to him. 
 
 The scourer takes away the spots produced by 
 grease and by colouring matters, on lace, gauze, linen, 
 muslin, &c; such as the spots of ink, iron mould, 
 tallow and such like. He does so likewise on cloth and 
 silk, but this is often to be effected by such means as 
 will answer a very temporary purpose only. 
 
 The scourer cleans, re-dyes, and turns out as new, 
 the old garments sent to him, whether of cloth, cotton, 
 linen, gauzes, or silk; but in this art as in many others, 
 the means that will answer in skilful hands, will only 
 spoil the articles, if used by the unskilful. 
 
460 
 
 First then, all the essential oils have the property of 
 dissolving oily and fatty matters. 
 
 Oil of oranges, lemons, bergamotte, rosemary, take 
 out greasy stains, but they are too expensive for use 
 in the large way. 
 
 Private persons may use these oils, and effect their 
 purposes for the same price that they give to a scourer; 
 and they will be freed from the smell of oil of turpen- 
 tine, which the scourers commonly employ; and even 
 this is no trifling matter. 
 
 But the proper substance for the purpose is oil of 
 lavender. 
 
 The merchants who deal in this oil, disguise by 
 mixture the genuine oil of lavender, so as to change 
 the very smell of it. 
 
 The true oil of lavender possesses the quality of ex- 
 tracting grease without the aid of oil of turpentine, 
 which however has the same property, but with a very 
 unpleasant smell. 
 
 If a callicoe spotted with oil, should be cleaned, and 
 the spots are not taken out of it, they will reappear 
 even after washing. All spots should be taken away 
 in the first instance, especially if it is to be dyed over 
 again. 
 
 Ox-gall is usually employed for this purpose: or 
 where the cloth will bear it, caustic alkali, which forms 
 a soap with the grease; the cloth can then be washed. 
 When oil of turpentine is made use of for the pur- 
 pose of detaching grease spots, you dip a piece of 
 spunge or of cotton into the oil of turpentine and rub 
 the spot till it disappears. But it is expedient to cover 
 
 
 
II 
 
 461 
 
 the part so rubbed, with some kind of powder, as 
 pounce or ground plaster, or pipe clay, otherwise 
 there would remain a border with the oil of turpen- 
 tine, which does not always take place with oil of 
 lavender. Spots of paint can be rubbed out in the same 
 manner. 
 
 For white garments, use ground plaster; for colours 
 use some fat earth, pipe clay, or ashes. 
 
 A scourer should take care not to drive the spot into 
 the substance of the cloth, for after some days it will 
 appear again more extended. Such is the case of man)' - 
 persons who have a drop of wax from a wax candle 
 upon their clothes; they attempt to take it out with a 
 coal in a silver spoon held over some blotting paper. 
 The spot will seem to disappear, but in a day or two 
 it will reappear with a more extended border, and there 
 is more difficulty in eradicating it then, than at first. 
 
 To take out spots of wax, you must employ spirit 
 of wine, or very strong brandy. When you put this on, 
 the wax will be reduced to a kind of powder or dust. 
 No powder is necessary to be used with the spirit of 
 wine. (Spirit of wine cold, will not dissolve more than 
 an ounce of wax at the utmost to the quart. Oil of 
 turpentine, especially when warm, dissolves wax much 
 more easily. T, C.) 
 
 When the fronts of waistcoats of silk embroidered 
 are to be cleaned, they must be treated with oil of tur- 
 pentine, and then dusted over with ground plaster, if 
 the ground of the pattern be white; or with some fat 
 or aluminous' earth in powder, if they be coloured. 
 When quite dry, they may be shaken and brushed. 
 
462 
 
 and then they will appear almost as new. But if these 
 fronts of vests are of satin, it is best to rub them in 
 cold soap and water three or four times, and wash 
 them well in very clear water till quite clean, and dry 
 them quickly. But you must not employ in this wash- 
 ing more than ten minutes at the utmost; they must 
 in fact be dry in that time: otherwise the colours of 
 the embroidery will be apt to run upon each other. 
 Hence for this operation, it is best to choose dry and 
 line weather, and much care must be taken in the 
 process. 
 
 When it happens that the embroidery runs, for want 
 of taking the necessary precautions, there is no re- 
 medy but to wash out the colours that have thus run, 
 by hot soap and water. This will weaken the other 
 colours to be sure, but this is better than to have the 
 garment spoiled. 
 
 After washing in soap, it should be rinced out in 
 hard water: if the water be not hard, a drop or two of 
 vitriolic acid will make it so. 
 
 Vests of dimity with gold and silver spots or figures, 
 may be cleaned in the same way, first with soap, and 
 then rinced out in hard water. This is more necessary 
 where there is gold embroidery on the waiscoat; be- 
 cause this is usually worked on a ground of annatto, 
 which soap will alter: in this case, a drop or two of the 
 acid of vitriol is necessary to the rincing. The opera- 
 tion should be finished in less than ten minutes. 
 
 All embroidered goods that have been scoured, 
 require to be glazed, or to run through rollers or re» 
 gularly calendered. Calendering gives life to gold and 
 silver embroiderv. 
 
463 
 
 Embroidered muslin of any kind, is passed over hot 
 iron, while somewhat damp. This is the boasted English 
 mode of finishing. (I do not think Homassel perfectly 
 understands the process of English finishing. He may 
 either mean that the goods are passed over a red hot 
 iron to burn oft' the pile in the progress of bleaching; 
 or that in the finishing, they are run through two pair 
 of polished iron rollers, hollow, and furnished inside 
 with hot irons; which is the finishing for muslins and 
 muslinets. They are a little damp, and slightly starch- 
 ed and blued. T. C.) 
 
 Embroidered easimirs are also cleansed by means 
 of soap, of which you need not be sparing. When once 
 spotted or stained, you must wash them with soap, till 
 they acquire an uniform colour. 
 
 To scour a cloth coat, you must begin by beating 
 it well with a small stick to get out all the dust. Then 
 the spots will appear more plainly. Then mark all the 
 spots with soap, not missing one. The soap will dis- 
 appear with the spot. Then mix ox-gall with water, 
 wherewith brush over the whole coat, so as to moisten 
 it, in the direction of the pile of the cloth. When thus 
 moistened, stretch the cloth backward and forward, to 
 get out all the creases, and dry it on a half hoop 
 (demicerceau.) When dry, it should have the lustre 
 of new cloth; give it a brushing to soften it, and that 
 is all it will need. 
 
 Old scarlet dresses are also thus cleaned. Fre- 
 quently there are black spots and iron stains, which 
 can be taken out by rubbing the place with a slice of 
 
\ 
 
 
 464 
 
 lemon, or with lemon rind containing a little of the acid 
 juice. 
 
 When the cloth is dry, put lemon juice on the spots; 
 if after the second application they do not disappear, 
 rub the place with the yellow juice of the rind, and 
 leave it on for two or three days, then card or teazle 
 it, and the spot will disappear. But if the cloth is almost 
 new , clean it with lemon juice with as much pains as 
 you would with ox-gall. (Whether an acid be proper 
 or not, depends on the nature of the colour. T. C.) 
 
 As to grease spots which lemon juice will not act 
 upon, apply the essential oil of lemons. (I do not see 
 why oil of turpentine will not do. I shall give my 
 process presently. T. C.) 
 
 When the spots are made by the dropping of a tal- 
 low candle, apply the ox-gall, but with management. 
 First, by means of a knitting needle, introduce some 
 ox-gall into the middle of the spot; by degrees you 
 may separate from the cloth the tallow and the ox -gall 
 too, by the assistance of the needle. But this requires 
 patience. 
 
 When the spot is taken out, the place is moistened 
 with lemon juice. (I cannot tell why: nor why le- 
 mon juice is prescribed whatever the colour may be. 
 It is an unnecessary application after the tallow is out. 
 T. C.) If the spot is crimsoned, (rosee) cover it wih 
 lemon peel, or moisten it with lemon juice, in which 
 some salt of sorrel is dissolved. If at the end of vour 
 trials, the scarlet is made too yellow, it can be crim- 
 soned again with a little white soap and water, applied 
 with a linen rag. (A very weak acid will suffice to 
 
465 
 
 bring the rose colour to a scarlet. Undiluted lemon 
 juice is too strong. T. C.) 
 
 The yolk of egg also, dissolves the scarlet and 
 destroys the crimson of the spots. 
 
 A habit, a cloak, a riding coat of scarlet which has 
 met with some unpleasant accident, as falling in the 
 mud, or some such thing, should be washed or fulled 
 with ox-gall to get rid of these dirty stains. Then 
 prepare a warm bath of water acidulated with a very 
 small quantity of oil of vitriol, into which the cloth 
 must be plunged, and be worked about in it, till it ac- 
 quires an even colour. Then stretch it out, but do not 
 wring it: when half dry lay the pile with a clothes- 
 brush. Stretch it again, and dry it gradually. 
 
 Tallow spots, spots from a stove pipe, are taken out 
 with salt of sorrell. (It will not take out tallow spots. 
 T, C.) When the tallow is taken out, and the cloth 
 cleansed with ox-gall and water, wash it and work it 
 prudently so as not to attack the colour. 
 
 When the scourers have taken out a spot and the 
 colour with it, they are in the habit of renewing the 
 colour by means of crayons of the same colour, which 
 they procure at the colour shops. This suffices for the 
 moment, but no longer. 
 
 But the colours may be renewed by more sure 
 means. Thus for browns, the Lyons sorrell mixed 
 with a very little water, and applied with a pencil, 
 brings out the browns, on silks as well as on cloth. 
 
 For the green and yellow colours, resort to the che- 
 mical greens and yellows of the callicoe printer. 
 
 To raise the yellow, damaged in a green, cover the 
 
 3 N 
 
^ 
 
 466 
 
 spot with fresh wood ashes; cover the ashes with paper, 
 and pass backward and forward over the paper, a com- 
 mon sad iron heated. All alkalies bring out or deepen 
 yellows. 
 
 Fast blues do not change; but if they do in a small 
 degree, they can be renewed by the logwood blue 
 made with blue vitriol. 
 
 All the fine reds, such as scarlets, crimsons, rose 
 colours, nut colours, which have been altered and yel- 
 lowed by salt of sorrel, are renewed by fresh wood 
 ashes. They must be used sparingly, lest they deepen 
 the colour too much. (A weak solution of potash is 
 much better. T. C.) 
 
 Gray colours are also restored by ashes, (rather by 
 a very weak solution of any alkali, T. C.) but they 
 must be retouched with caution and dexterity, with a 
 pencil dipt in logwood liquor. 
 
 There are taylors who at the same time profess to 
 be scourers. They are dextrous in taking out the 
 piece where a spot appears, and substituting neatly 
 another piece from some corner of the same garment. 
 Any person who is skilled in the use of silk and a 
 needle may do the same. 
 
 Salt of sorrell also takes out the spots of ink in cloth. 
 But it requires a little practice to know how to manage 
 it. (I have taken ink spots and iron moulds out of the 
 finest muslins thus: have ready some spirit of salt, 
 (muriatic acid) in a wine glass: hold the spotted mus- 
 lin on the finger of your left hand; dip your finger of 
 the right hand into the spirit of salt undiluted, and 
 moisten by dabbing it, the spot to be taken out; in 
 
 
467 
 
 about half a minute, the spot will appear discharged; 
 then wash it immediately in plenty % of water, so as to 
 wash out all remains of acid. If the spot be not en- 
 tirely eradicated, dry the cloth and repeat the opera- 
 tion. If your spirit of salt be strong and good, it will 
 succeed without injuring the finest muslin materially. 
 But if you attempt it with diluted spirit of salt, you 
 will certainly rot the place. T. C.) 
 
 Spots of pitch, tar, varnish, oil paint, can be taken 
 out with fresh butter. (Better with oil of turpentine* 
 T. C) When the spots are effaced and nothing but 
 the butter remains, this can be taken out by the com- 
 mon methods of getting rid of grease spots. For in- 
 stance, suppose a spot of pitch was found on a blue 
 coat, and that by means of butter the pitch had been 
 dissolved and rubbed away; you may take out the 
 butter stain by scraping on it pipe clay, fuller's earth, 
 French chalk, or soap stone, at several times, till all 
 the grease be soaked up. In this case it will not be 
 necessary to wet the whole coat with ox-gall and 
 water, as you must do, if you cannot use any of these 
 fat earths. 
 
 Talc, or soap stone, or pipe clay, or fuller's earth, 
 will answer very well to take out spots in cloth dyed 
 of any fast colour; but on scarlets, these earths produce 
 a blackish stain very hard to be effaced. They must 
 be treated with much care with lemon juice or salt of 
 sorrell. 
 
 On green cloth, these earths enfeeble the yellow, 
 which is brought out again by alkalies. 
 
 They also take the blue out of Amiens gray, and 
 
m 
 
 468 
 
 leave only the ground. But this can be remedied, by 
 putting a little Spanish white on the place moistened 
 with some dilute Saxon blue: or the spot can be cray- 
 oned; for the Amiens gray is not much faster than the 
 crayon colour. In Saxon blues and greens, these 
 earths enfeeble the colour: but the same means can 
 be employed to renew the tint. 
 
 In Pans muds, and gray colours dyed upon the 
 same principle, these earths may be used to ad- 
 van- a are. 
 
 You may also full with fuller's earth or pipe clay 
 all old cloths intended to be dyed over again. But they 
 must be well washed and beaten at the river, to get 
 out all the clay. (Terre gras.) 
 
 To take iron moulds out of lace and lawn, proceed 
 thus: 
 
 In soaping to cleanse them, heat a sad-iron, or any 
 clean iron plate. Upon this iron plate so heated, lay a 
 piece of clean cloth moistened with clean water, so 
 that a steam may arise; hold the spot over this steam; 
 then with your finger dipt in salt of sorrel, dab the 
 spot till the rust or stain disappears. Then proceed to 
 soap and wash it. (I presume he means it must be 
 first washed and rinced; and then exposed to the steam 
 with the salt of sorrel, and not with the soap upon it. 
 T. C.) 
 
 Rumpled, creased and fretted velvets, are also 
 brought even by the steam arising from wet cloth on 
 hot iron or copper: the pile can be delicately raised, 
 and evenly laid by a brush, while the cloth is thus 
 under the operation of steaming. 
 
469 
 
 Laces and lawns spotted with ink, can also be clean- 
 ed by means of fresh green sorrel. The sorrel stains 
 them green; but this colour quickly washes out. 
 
 The oxymuriatic acid would answer the purpose 
 still better, but it is not yet well known among the 
 scourers. 
 
 Cailicoes are scoured in the following manner. 
 
 Wash or full them well four times in soap and 
 water, washing them between with clear water; this 
 should not occupy a long time, but be done quickly, 
 else you will wash out all the colours. After the third 
 or fourth washings, wash or rince them out in hard 
 water, and dry them as quickly as possible. Glaze or 
 calender them: if you glaze them use white wax for 
 the light colours, and yellow wax for the darker ones; 
 just enough to make the glass ball run smoothly, and 
 no more. Many scourers are not content with this, but 
 starch the cloths till they are stiff; then they sprinkle 
 them evenly; then wax and glaze them, till the caili- 
 coes are stiff and brittle enough to tear very easily. 
 
 I would here offer an observation for the use of 
 callicoe printers. It is not necessary that a callicoe 
 should go to a scourer to wear it out. It undergoes 
 wear and tear enough from the bleaching to the print- 
 ing. It is this wear and tear at the scourer's, that makes 
 the printers say, a colour is fast enough if it will stand 
 scouring twice. 
 
 Cailicoes of fast colour, are well cleaned with ox- 
 gall, which ought to be chosen clear, for some is much 
 more so than others. (I do not see any necessity to 
 send cailicoes to a scourer: the fast colours will stand 
 
470 
 
 four or five washings, and that is as much as the cloth 
 will stand. If spotted, the means indicated in this sec- 
 tion will answer to take out the spots. T. C.) 
 
 Silk stockings are cleaned by washing in two or 
 three suds, soap and waters. When cleaned from dirt, 
 boil them the last time in soap and water with a little 
 powder blue. Wring them out of this boiling, and 
 then expose them to brimstone. In coming out of the 
 brimstone stoving, put them on legs, and covering 
 them with clean cloth, rub them with a tampon (a ball 
 of cloth) to give them lustre, or else with a smooth ball 
 of glass to glaze them. Then take them off the wooden 
 legs, stretch them, and fold them up. 
 
 To give them the water hue, put one of two stock- 
 ings on one leg, and put the other upon it, turning it 
 inside out, so that they shall tally with each other, the 
 grain of the silk in both lying the same way: then with 
 a polished wooden ball or glazer, rub them backward 
 and forward till they become, as it is called, watered. 
 
 If the clocks of silk stockings are coloured, they are 
 best cleaned with ox- gall, green, clear, and limpid; 
 they should not be sulphured. 
 
 To whiten gauzes without fraying them, they 
 should be put into a bag of white linen or cotton: pre- 
 pare three suds or soap baths (soap and water); dip the 
 bag in the first; beat it between the hands, and when 
 the soap and water is dirty, do the same with the se- 
 cond and third portion of soap and water: then rince 
 the bag in very clear water; then in clear hard water 
 with a few drops of Saxon blue in it. Others wash the 
 gauzes in two soap baths, then boil them in a third with 
 
471 
 
 a little powder blue, for near an hour; then they press 
 out all the soap suds, and dry the gauzes and expose 
 them to sulphur. They then stiffen them with a solu- 
 tion of gum tragacanth filtered through fine linen. 
 
 After this cleaning and blueing, have ready a frame 
 on which you stretch some clean white linen: to this 
 linen tightly stretched, keeping all the threads perfectly I 
 
 even, pin your gauze, using the same precautions with 
 that also, so that there are no creases or waving and 
 irregular threads: then slightly moisten the gauze with 
 a sponge dipped in a weak solution of filtered gum 
 tragacanth; only take care that it does not stick to the 
 cloth, to which it is pinned. (You can pass a clean 
 ivory paper cutter between the gauze and the cloth. 
 T. C.) When dry, take off the gauze and make it up. 
 The gauze may be gummed before you pin it to the 
 cloth. 
 
 When you wish to stiffen the gauze very much 
 (platier le gaze) dissolve some starch in water wherein 
 you have previously dissolved some gum tragacanth. 
 The thicker the composition the stronger the gauze. 
 You may in this way make large pieces, by fixing a II 
 
 chase (chassis) of two or three ells long on a tressel. 
 Attach the gauze by pinning the selvages, and when 
 stiffened, dry it by passing over it a warming pan or a 
 frying pan containing some hot coals. When one set 
 of gauzes thus treated is finished, begin another and 
 so on. 
 
 When a person is used to this method of getting 
 up gauze, it can be done still quicker by an oar (une 
 rame) and the work is better. But when the operation 
 
o 
 
 472 
 
 is performed on the entire piece of gauze, which is 
 usually woven with unbleached silk, before you finish 
 the gauze as here directed, you must wash it with 
 soap and water to get out the gum. 
 
 Silk stuffs most easily cleaned are satins, India taffe- 
 tas, and damasks. Pekins and Italian taffetas may also 
 be cleaned, but are never so well fulled, or re-dyed. 
 They should be cleaned dry, with essential oils, while 
 the others may be washed even without any fraying; 
 only detach the grease spots first with essential oil. 
 
 Silk stuffs without colours, are sufficiently cleaned 
 by washing in three separate suds or baths of soap 
 arid water; or the last may be employed for boiling the 
 stuffs in it. When dry they are stiffened, with a weak 
 solution of the whitest gum tragacanth. 
 
 Brown silks can be cleaned with ox-gall; so also 
 can stuffs of delicate colours and the lighter articles of 
 silk, such as taffetas: when well cleaned and stiffened, 
 they look as good as new. 
 
 The thicker furniture silks, damasks and such like, 
 should be cleaned with a soft brush before they are 
 fulled (washed.) They must be well rinced out of the 
 soap and water, except those parts that are destined to 
 be brimstoned, which should always take place before 
 rincing. These more substantial silks, are never stif- 
 fened but by the rollers or the calender. 
 
 The calenders know how to water the silks intend- 
 ed to be so treated. All silk stuffs intended to be dved 
 over again, should be well cleaned, and then undergo 
 a boiling in soap and water; for soap is friendly to 
 silk, and the boiling gives a lustre which the silk 
 
473 
 
 would not otherwise possess. But before dyeing, the 
 soap must be well washed out. 
 
 When silk goods are dyed, and have for that pur- 
 pose been previously alumed, all the alum must be 
 scrupulously washed out, otherwise it would counter- 
 act the operation of stiffening and finishing; the gum 
 and the alum would unite, and produce a muddiness 
 of appearance. Hence after dyeing, they should be 
 boiled in hot water. 
 
 Silks re-dyed, are stiffened either stretched upon 
 cloth on a frame or (a la rame; I do not understand 
 this) by a solution of tragacanth. 
 
 Many scourers use Flanders glue for all kinds of 
 stiffening, but the lustre is not so good as that of tra- 
 gacanth; nor is there any economy in it, for gum 
 tragacanth goes much farther. (I cannot conceive how 
 Flanders glue can answer, for it is hardly equal to the 
 best English glue. A glue from the cuttings of white 
 kid gloves may answer. T. C.) 
 
 Fish glue is also used (that is icthyocolla or isin- 
 glass, T. C.) but this is much more expensive, and 
 can only be afforded for Italian gauzes, and ribbands. 
 They mix also spermaceti with isinglass, to give a 
 fine pearly white. (This is a bad practice, it attracts 
 the dust so readily: nor indeed will it dissolve in, 
 though it will mix with fish glue. It ought not to be 
 employed. 71 C.) 
 
 All these gums and glues should be strained 
 through lawn. 
 
 When ribbands have to be dyed, they must be 
 cleaned like gauzes in two or three fresh suds of white 
 
 3 O 
 
 <m 
 
m 
 
 474 
 
 soap, in a bag, to prevent their being frayed. (In 
 pressing out the soap and water, it must be done 
 gently, or the gauzes and ribbands will be burst, torn, 
 or frayed. T. C.) The ribband dyers clean them 
 usually by hand, and then scrape them with a knife, 
 et les vaclent cnsuite au conteau: that is, I presume, 
 draw them under a dull knife with a smooth edge 
 gently pressed upon the ribband, to press out and 
 scrape off all the soap and water, and smooth the sur- 
 face. T. C.) 
 
 To bleach or to dye ribbands, follow the directions 
 already given as to other silk goods. 
 
 The colour most in use for dyed ribbands, are 
 roses, lay locks, delicate blues and greens, and all the 
 varieties produced by archil. 
 
 Blues are dyed by Saxon blue, that is, a solution of 
 indigo in oil of vitriol. For greens, turmeric is added 
 to this blue; yellows are dyed with turmeric in spirit 
 of wine; rose colours or pinks, with carthamus or 
 safflower. 
 
 You find among the colour shops, rose pink in cups 
 or in liquid, expressly for the purpose of dyeing rib- 
 bands. 
 
 Orange is produced by annatto. The other colours 
 are dyed on ribbands as they are dyed on silk: for 
 which see the sectiqri/On silk dyeing. When the rib- 
 bands are dyed, th/y must like silks be well pressed 
 to get rid of all moisture; for which purpose they must 
 be passed through rollers of hard wood, close set by a 
 screw: this squeezes out all the water and prepares 
 them for the finishing. Drv them: stiffen them with 
 
475 
 
 gum, then pass them through cylinders, the one of 
 polished iron the other of paper. This is the best me- 
 thod: but every ribband dyer does not possess cylin- 
 ders of any kind. In this case, when the ribbands are 
 dry after stiffening, they are sprinkled with water, and 
 wrapped in clean linen to make them imbibe the 
 moisture evenly; then they receive their gloss by a hot 
 iron in the following manner: the table is covered with 
 a smooth old cloth; the end of the ribband is placed 
 on this cloth, and pressed with the hot iron; a person 
 takes hold of the short end of the ribband, and draws 
 it under the hot iron so pressing upon the ribband in 
 its passage. This manoeuvre is better done by two per- 
 sons, but can be managed by one if necessary. 
 
 If instead of thus drawing the ribband under the hot 
 iron, you pass the hot iron over the ribband, the gloss 
 will be much inferior, and the marks of the iron will 
 be visible on the ribband. 
 
 Ribbands can also be printed by blocks adapted to 
 their size, on the principles of chemical printing, and 
 printing en jaspe, or by sprinkling. For these articles 
 are seldom wanted to be washed. 
 
 To dye over again old silk garments, take care first 
 to clean them perfectly, and then rince the soap well 
 out of them. They can then be dyed on the principles 
 of silk dyeing. In the same way woollen garments can 
 be cleaned and re-dyed on the principles of woollen 
 dyeing: but before they are dried after dyeing, the 
 knap should be laid with teazle or cards; and then 
 when dry they should be pressed. An old cloth coat 
 well cleaned, dyed, and finished, may be made almost 
 as good in appearance as a new one. 
 
 «« 
 
 m 
 
» 
 
 476 
 
 Leather gloves and garments are cleaned by wash- 
 ing in a ley of potash weak but warm: then, in two 
 separate soap suds, and dried upon the last without 
 rincing. The last must be weak. They must be dried 
 speedily, turning and stretching them in all directions. 
 
 M. ChaptaPs directions for cleaning Woollen and other 
 cloths: from the Bulletin des Sciences. 
 
 The art of cleaning cloth presupposes first, a know- 
 ledge of the various substances liable to occasion spots 
 upon them; secondly, a knowledge of the substances 
 to which we must have recourse in order to remov.e 
 the spots produced upon the cloth; thirdly, a know- 
 ledge of the manner in which the colours of the cloths 
 will be affected by the re- agents meant to be employed 
 for the removal of the spots; fourthly, a knowledge 
 of the manner in which the cloths themselves will be 
 affected by the substances proposed to be employed; 
 fifthly, we should know how to restore the colour of 
 the cloth, when rendered faint by the process of taking 
 out the spots. 
 
 Of the substances which occasion spots upon cloths, 
 some are easily known by their appearance, for in- 
 stance, grease of every kind: others produce more 
 complicated effects, such are acids, alkalies, perspira- 
 tion, fruit, urine. 
 
 The effect of acids upon blacks, purples, blues (ex- 
 cept indigo blue and Prussian blue) and some other 
 colours, and upon all those shades of colour which are 
 produced by means of iron, archil, and astringent sub- 
 stances, is to turn them red. They render yellows 
 
477 
 
 more pale, except the yellow of annatto, which they 
 turn to an orange (or a salmon colour. T. C ) 
 
 Alkalies turn scarlet, and the reds produced by 
 brazil or logwood, to a violet colour: they turn green 
 upon woollens to a yellow (that is when the blue is a. 
 Saxon blue, and not an indigo blue, T. C.) and they 
 give a reddish cast (not red, but brown, T, C) to the 
 yellow produced by annatto. 
 
 The effect of perspiration is the same nearly as that 
 of alkalies. (Owing to the ammoniacal salts contained 
 in perspirable matter, as in urine. T. C.) 
 
 Spots that are produced upon cloths by simple sub- 
 stances, are easily removed by well known means. 
 
 Greasy substances are removed by alkalies, by yolk 
 of t^g f or by fat earths; (that is, pipe clay, fullers' 
 earth, loams or earths containing much clay, which 
 greedily absorbs moisture of whatever kind, when the 
 clay is dry. T. C.) Oxyds of iron are removed by ni- 
 tric or by oxalic acid. Spots occasioned by acids are 
 removed by alkalies and vice versa. (I advise the 
 reader to follow Homassel on these points. T. C.) 
 
 Spots caused by fruit upon white cloth are removed 
 by sulphureous acid, or what is still better, by oxy- 
 muriatic acid. (Put a silver or pewter plate over a tea 
 pot so that it can be heated by the steam; lay the spot 
 on the hot metal, and moisten it with lemon juice. If 
 you stain your table-cloth with red wine, pour white 
 wine on it; or water; or sprinkle it with salt; to get it 
 finally out hold it over steam, moistening it with lemon 
 juice: or, moisten it with oxymuriatic acid. T. C.) 
 
 But when the spots are of a complicated nature, 
 
478 
 
 various means must be tried successively. Thus to 
 remove a spot occasioned by the coomb of carriage 
 wheels, we must first dissolve the alkali by some of 
 the means above mentioned, and then take away the 
 oxyd of iron by oxalic acid. (The reader will certainly 
 fail if he follows Chaptal. There is no alkali in the 
 coomb of carriage wheels: cart grease is made by boil- 
 ing tar in animal fat; the friction intermixes with it 
 minute particles of metallic iron abraded from the 
 axle-tree. Carriages of pleasure, are oiled or greased, 
 and this oil or grease is coloured by abraded iron. 
 Warm oil of turpentine is the proper application. 
 T. C.) 
 
 The colours of the cloths are often injured by the 
 re-agents made use of. In order to, restore them, we 
 must thoroughly understand the art of a dyer, and 
 know how to modify the means according to the cir- 
 cumstances. This is sometimes difficult, because it is 
 necessary to produce a colour similar to that of the 
 rest of the cloth, and to apply that colour to a particu- 
 lar part only. Sometimes also the mordant which fixed 
 the colour, or the basis which heightened it, has alsp 
 been destroyed and must be restored. ...It" is, eViffent 
 that in this case, the means to be empl^^tTto restore 
 the colour, must depend upon the nature of the co- 
 lour, and the means employed to produce it; for it is 
 well known the same colour can be produced by se- 
 veral ingredients different from each other. 
 
 Thus when alter having made use of an alkali to 
 remove an acid spot upon brown, violet, or blue cloth, 
 &c. there remains a yellow spot, the original colour is 
 
 >>' 
 
m 
 
 479 
 
 again produced by means of a solution of tin. (I do 
 not know that it is so. T. C.) A solution of sulphat of 
 iron restores the colour to those brown cloths that have 
 been dyed with galls. Acids give to yellow cloths 
 which have been rendered dull or brown by alkalies, 
 their original brightness. When black cloths dyed 
 with logwood have any reddish spots occasioned by 
 acids, alkalies turn such spots to a yellow colour, 
 and a little of the astringent principle turns them black 
 again. A solution of one part of indigo in four parts 
 of sulphuric acid, properly diluted in water, may be 
 successfully applyed to restore a faded blue colour on 
 wool or cotton. Ked or scarlet colours may be restored 
 by means of cochineal, and a solution of muriat of tin. 
 (With a fourth part nitric acid. T. C.) 
 
 The choice of re- agents is not a matter of indiffer- 
 ence: vegetable acids are generally preferred to mine- 
 ral ones. The sulphureous acid however, may be used 
 for stains made by fruit; it does not injure blue upon 
 silk, or the colours produced by astringents, nor does 
 it affect yellow upon cotton. (It affects them all, but 
 less than the sulphuric acid. The best form of sul- 
 phureous acid, is to burn a match under the spot. 
 Where this cannot be done, and be limited to the 
 place, which in general it can be by smearing the stuff 
 next the boundaries of the spot with paste, make your 
 sulphureous acid by adding sugar to oil of vitriol. 
 T. C.) 
 
 The volatile alkali of hartshorn or ammonia, suc- 
 ceeds better than the fixed alkali of soda or pearl ash, 
 in removing spots produced by acids. It is usually 
 
 m 
 
■ 
 
 480 
 
 made use of in the form of vapour, and acts quickly, 
 seldom injuring the colour of the cloth. (Place a vul 
 containing salt of hartshorn or spirit of sal ammoniac, 
 in a tin can containing boiling water: take out the 
 cork, and lay the stain on the mouth of the vial. T. C.) 
 
 The means of removing grease are well known; 
 namely alkalies, fullers' earth (pipe clay, soap stone, 
 T. C.) essential oils dissolved in alcohol, a sufficient 
 degree of heat to render the grease volatile. (This will 
 make it spread. Proceed thus: take away mechanically 
 by means of a knife all the grease you can: then cover 
 the spot with pipe clay, fullers' earth, or scraped soap 
 stone, or French chalk. Press a piece of blotting paper 
 on it and below it; hold a hot iron over it, till part of 
 the grease is absorbed by these substances. With a 
 fine rag rub out the rest by means of warm oil of tur- 
 pentine. T. C.) 
 
 Spots of ink, or any other stains occasioned by the 
 yellow oxyd of iron, (iron moulds), may be removed 
 by oxalic acid (salt of sorrel, or lemon juice, T. C) 
 the colour may be restored by alkalies, or by a solu- 
 tion of muriat of tin. (I doubt this. T. C.) Such spots 
 may also be taken away by oxymuriatic acid, when 
 they are upon white cloth, or upon paper. (The prac- 
 tice of the bleachers in taking out iron moulds I have 
 already given in my remarks on Homassel. 
 
 The effect of alkalies and that of perspiration is the 
 same: their spots may be removed by acids, or even 
 by a dilute solution of muriat of tin. 
 
 When the spots are owing to various unknown 
 causes, we must have recourse to compositions pos- 
 
481 
 
 sessing various powers, of which the following may 
 be considered as one of the most efficacious. Dissolve 
 some white soap in alcohol; mix with this solution, 
 four or five yolks of eggs; add gradually some spirit 
 of turpentine, and then stir into the mixture such a 
 quantity of fuller's earth, as will suffice to make it up 
 into balls. Rub the spots, previously well wetted with 
 water, with these balls; after which the cloth is to be 
 well rubbed and washed. By these means, all kinds of 
 spots except those occasioned by ink or some other so- 
 lution of iron, will be removed. 
 
 The washing of the cloth takes off its gloss, and 
 leaves a dull spot disagreeable to the eye. The gloss 
 may be restored by passing in a proper direction over 
 the washed part of the cloth, a brush wetted with a 
 very dilute solution of gum water; then laying on the 
 part a sheet of paper, a piece of cloth, and a considera- 
 ble weight, which are to remain there till the cloth is 
 quite dry. 
 
 Such are the directions of Chaptal, which however 
 savour more of theory than experience; but many 
 things are worth attention in them. Homassel is more 
 to be depended on. Some person obtained a premium 
 in London a few years ago, for cleaning cloths with 
 the expressed juice of potatoes. T. C.) 
 
 3P 
 
 A 
 
APPENDIX. 
 
 
 
 On the Colours produced on Woollen , by means of various 
 plants. From JJ'Ambourney, oj Rouen. 
 
 I HIS gentleman instituted a set of experiments to ascertain 
 what permanent colours could be produced by means of plants, 
 chiefly those in common use, and easily procured. They appear 
 to be made with considerable care, and were deemed of such 
 importance as to be published by order of the French govern- 
 ment, under the administrationship of M. Calonne, in 1786. 
 
 I have already intimated my opinion, that a few drugs in com- 
 mon use and well known, whether of foreign or domestic growth, 
 would better answer the purpose of a dyer, than a multiplicity of 
 dye stuffs whose virtues were not ascertained with equal preci- 
 sion, and which produced no better effect at the same price than 
 the drugs in use. The more chemical knowledge extends, the 
 more will the Materia Tinctoria, like the Materia Medica, be 
 reduced in number and in price. 
 
 But these observations ought not to extend to the experiments 
 of the laboratory, the true source of future improvement in the 
 art of dyeing. The experiments and perseverance of Dr. Ban- 
 croft has sent into every dye house, and every printing shop in 
 Europe, without any exception, an article so common in the 
 American woods, that it was never noticed here, though a che- 
 mist could hardly pass by a tanner's establishment without being 
 struck with the colour of the skins. I mean the quercitron, or 
 bark of the common American black oak. This drug has nearly 
 superseded weld 'and fustic, both in the woollen and the cotton 
 dye; in so much, that I may venture to say, not one-fiftieth part 
 of those drugs are now used in England, France, and Germany, 
 that were used thirty years ago. 
 
 The experiments of D'Ambourney on the birch, the Lombardy 
 
483 
 
 poplar, and the black alder in particular; the use of walnut peel, 
 and of soot on the continent of Europe, so little employed in En- 
 gland and this country, promise improvements in dyeing by 
 means of common and cheap articles, by no means to be slighted 
 or overlooked. 
 
 Homassel, or Bouillon Le Grange for him, have republished 
 the kind of abridgment of D'Ambourney's experiments, which 
 D'Ambourney himself inserted at the end of his book: this pre- 
 sents a general idea only of what vegetables may be employed 
 in dyeing, but does not afford information sufficiently accurate 
 for a dyer to follow at once. I shall republish this abridgment 
 with the English names of the plants, not so much for the use 
 of the dyer as of the experimentalist; and to open a door to a 
 kind of knowledge, which our own country is better calculated to 
 afford than any other, and to an employment for leisure hours, 
 in a very high degree amusing, interesting, and instructive. 
 
 The mordants employed by D'Ambourney were not well cal- 
 culated for the dyer's work shop: they were the following: 
 
 1. Bismuth dissolved in single aqua fortis: of this solution one 
 part, with brine of common salt, two parts, and tartar in powder, 
 one part, was used to woollen sixteen parts by weight. Water, as 
 much as necessary. 
 
 2. A solution of tin made by dissolving four ounces of sal 
 ammoniac and nine ounces of grain tin in four pounds of single 
 aqua fortis. Five pounds and one ounce of this solution, with an 
 equal quantity of tartar, and twice the quantity of brine, formed 
 the mordant for sixty pounds weight of cloth. 
 
 3. A solution of tin in aqua fortis and common salt. 
 
 4 and 5. Another solution of tin with less tin: both hot and 
 cold. 
 
 6. A solution of tin with a small quantity of gold, in aqua regia. 
 
 7. Tin dissolved in strong muriatic acid only. 
 
 8. Tin dissolved in nitro-muriatic acid; nitrous acid, one part; 
 muriatic acid, one part; tin, one-eighth of a part. 
 
 9. Tin dissolved in various proportions in nitro-muriatic acid, 
 wherein the muriatic was one-third of the nitrous. 
 
 10. Solution of nitrat of copper. 
 
 11. Muriatic solution of iron. 
 
 12. Solution of three pounds of red argol or tartar in boiling 
 water, and nine pounds of alum, for sixty pounds of cloth. 
 
 It is evident that the experiments are less valuable, in propor- 
 
 /> 
 
^ 
 
 484 
 
 
 tion as you employ new, unusual, and expensive mordants: so 
 that M. D'Aniboumey's experiments do not bear upon practice 
 so much as they might do. 
 
 I have had a good deai of experience in this kind of experiment 
 myself, and I feel myself therefore entitled to offer to others who 
 would pursue the same very entertaining employment of leisure 
 hours, the following advice. 
 
 The object is, not so much to procure brilliant colours, as 
 permanent colours: by permanent colours meaning always such 
 as will stand the three tests of air, soap, and acids. 
 
 The substances to be dyed may be confined to woollen and 
 cotton. The mordants ought to be the mordants in common use. 
 I have a very high opinion of nitrat, and nitro-muriat of bismuth; 
 and also of nitrat of iron; but I fear, the necessary attention to 
 economy will confine their utility to brilliant colours, and very 
 high priced goods. They ought to be the subjects of a separate 
 set of comparative experiments. 
 
 For experiments on Woollen, take well scoured, clean, white 
 flannel as the subject to be dyed. Boil it in clean snow or rain 
 water for half an hour. Take it out, wring it, dry it. Water of 
 calcareous soils will modify the effect of the colouring sub- 
 stances employed; not so the water of mountainous and siliceous 
 soils. Of such flannel, take any quantity of a given weight, as 
 one, two, three, or four pounds. 
 
 1. Let it soak in the common boiling hot mordant of alum 
 three ounces and a half, to finely-powdered tartar one ounce and 
 a half, for each pound of cloth. It may remain covered up for 
 twelve hours. Then take it out, wring it moderately, rince it in 
 cold water moderately, and dry it not perfectly, but so as to be 
 slightly damp, and keep it in an under-ground room. Tartar in 
 proportion of one-third of the alum I consider as too small, in 
 the proportion of one*/iu/f, rather too much; that is, as a general 
 rule. Alum without the tartar, crystallizes too readily, gives the 
 cloth a harshness to the touch, and though the colours are equally 
 full in most cases, they are not equally bright. I do not believe 
 that any decided decomposition of the alum takes place without 
 the intervention of the cloth; and perhaps too, not without the 
 further intervention of colouring matter. But these facts have 
 not yet been chemically ascertained; and every chemist knows 
 the obscurity that yet hangs about the operation of common tar- 
 
435 
 
 tar in the silvering of brass and copper, and the tinning of brass 
 wire for pins. 
 
 2. Mordant for woollens. To a pound of aqua fortis, add a 
 pound of pure clean rain water, and two ounces of sal ammd- 
 niac. In this mixture, slowly dissolve two ounces of grain tin, 
 then add one ounce of powdered white tartar. When you dye 
 with the woods or plants, first let the cloth stay for fifteen mi- 
 nutes in this solution diluted, using it in the proportion of one- 
 fifth or one-sixth part the weight* of the cloth. Then having 
 soaked it in this solution and dried it moderately, enter it into a 
 hot decoction of the plant, and when it has taken up as full a co- 
 lour as it will, take it out of the decoction, rince it well in cold 
 water, soak it again in the mordant and dye it again. Then wash 
 it well and dry it, as a specimen of the colour with the tin 
 mordant. 
 
 3. From some experiments I have made, I believe the tin 
 mordant may be as usefully prepared in the following as in any 
 other way, but it is not the actual dyer's practice; which the pre- 
 ceding method approaches as far as may be: except that I have 
 directed the usual dose of tartar to be put to the mordant instead 
 of putting it to the dye stuff, as in the scarlet dye. 
 
 Make an aqua regia thus. Muriatic acid, from iron, three 
 parts; nitric acid, one part. Dissolve slowly as much tin as it will 
 take up, pour it off clear, and then add muriatic acid in like pro- 
 portion to the amount of one-sixth in quantity of the solution, so 
 that there shall be an excess of acid. Of this, when diluted with 
 an equal quantity of water, employ one part by weight to six or 
 eight parts of cloth. 
 
 But the second process being the process of practice, I should 
 upon the whole prefer it. We sadly want a judicious set of ex- 
 periments on mordants. Indeed no man but a dyer by practice 
 and a good chemist into the bargain, can even guess at the mul- 
 titude of desiderata in the art of dyeing; and how little we know 
 about it as yet. 
 
 These, with iron and copper, will be mordants enough for 
 woollen. The pieces of flannel used for these experiments should 
 be not more than six inches square, cut off after the cloth has 
 been mordanted with alum and tartar, but divided before the tin 
 mordant is used. The weight of each piece may be ascertained 
 by weighing the whole piece first. 
 
 4. Dissolve four ounces of green copperas in a pint of water, 
 
 
486 
 
 and add two ounces of finely powdered tartar. Stir them till dis- 
 solved; this* will be the utmost proportion for one pound of cloth. 
 
 Mordant the cloth with this in all proportions, (noting them) 
 and mix it also occasionally with the alum and tartar mordant, 
 wherever you want saddened colours, as is done in practice for 
 olives and drabs. 
 
 5. Make a similar mordant, using blue instead of green cop- 
 peras. 
 
 Secondly. Mordants for Cotton. 
 
 1. Take a given weight of callicoe well bleached. Immerse 
 it for six hours in water acidulated with sulphuric acid; to wit, 
 one part oil of vitriol to fifty parts water. Take it out, wash it 
 perfectly and scrupulously. This is necessary to dissolve any al- 
 kaline or earthy mordant which the cloth in bleaching is apt to 
 imbibe. The callicoe printer never dispenses with this. 
 
 2. Make a mordant merely of alum: using four ounces of alum 
 to one pound of callicoe, and soak your callicoe in this mordant 
 boiling hot, for six hours. Keep it in a damp place. 
 
 3. Make a mordant of acetat of alum, as in common practice, 
 though it be not perfect: but for these experiments common 
 practice is the best foundation to build upon: thus, 
 
 Take one part by weight of alum finely powdered; dissolve it 
 in as much hot water as is necessary, and no more; that is five 
 pints of water and half a pint of vinegar to one pound of alum. 
 Then add to it three-fourths of a part of sugar of lead: stir them 
 well, let them settle, pour off the clear liquor after the sediment 
 has settled for a day: add to each pint of the clear liquor four 
 ounces of gum arabic, bruised into a coarse powder; keep stirring 
 it occasionally until dissolved. 
 
 Divide your callicoe so cleared by an acid, into pieces of four 
 or six inches square. In the middle of each piece print a figure 
 or make a spot with your thickened acetat of alumine. Let it dry. 
 Then let it soak for half an hour in a liquor composed of one part 
 by measure of fresh cow dung to four parts boiling water. Then 
 take out the piece: rince it: dry it: lay it by for use, to be dyed 
 in the decoction of the proposed vegetable. Boil it, or rather 
 keep it in a full scalding heat of the decoction for an hour. Then 
 boil it in bran and water, and bleach it in the air for a day. 
 
 4. Make a mordant of iron in the acetous acid thus: dissolve 
 in four parts by weight of hot water one part of green copperas; 
 add more water if necessary when cold, to keep it in solution. To 
 
487 
 
 this solution add an equal weight of sugar of lead. Let the sedi- 
 ment subside, thicken the clear liquor with gum arabic, and use 
 it on the callicoe in the same manner as you use the acetat of alu- 
 mine. This will be the same with the common iron liquor. 
 
 You may mix these two mordants at your pleasure, so as to 
 produce browns, purples, and chocolates, with reds; and olives, 
 drabs, Sec. with yellows. So, you may use for mordanting the 
 whole piece of callicoe, sulphat of iron (green copperas) either 
 mixed or unmixed with common alum-solution: for the colours 
 are thus greatly varied with the same drug, or colouring ma- 
 terial. 
 
 These mordants might be increased in number, and varied; 
 but then the experiments would become too complicated, and 
 Would vary too much from the usual and approved practice. 
 
 I have stated in the beginning ot this work, that the quantity 
 and brilliancy of the colouring matter of a dye drug might be as- 
 certained by a solution of acetat of alumine or rnuriat of tin 
 generally speaking. I prefer the former, particularly for cotton: 
 but the muriat or nitro-muriat of tin is very useful for colours to 
 be applied to woollen. 
 
 Make a filtered decoction of the vegetable to be tried: drop 
 into it a solution of acetat of alumine not thickened with gum, 
 and a little diluted. Or, a saturated solution of nitro-muriat of 
 tin, wherein the muriatic is in the proportion of three parts, and 
 the nitric acid of one. 
 
 The quantity and colour of the colouring matter may be thus 
 ascertained. 
 
 Such a course of experiments with the woods, herbs, fruits and 
 flowers of our own country, would be a very valuable and inter- 
 esting work: that ought indeed to be a national work, but that is 
 not to be expected. 
 
 I have already mentioned that the birch tree, and the Lombardy 
 poplar, promise useful and permanent colours, and deserve to be 
 the subject of many experiments not yet made, particularly in 
 the back country, for which these experiments seem peculiarly 
 calculated. 
 
^™ 
 
 488 
 
 Table and Classification of Colours procured from 
 
 Indigenous Plants. 
 
 According to the experiments of D'Ambourney. 
 
 Homassel, or Bouillon Le Grange, have omitted the Linnaean 
 names of the vegetables, which I have supplied from D'Ambour- 
 ney's original work. I cannot always answer for the English 
 names, though I believe there are very few mistakes; but as 
 I huve added the Linnaean ones, there can be no difficulty to a 
 botanist. 
 
 Aurora. 
 
 Golden-yellow aurora, from the stalks and fresh leaves of 
 Bidcns tripartita, the trifid water hemp agrimony: not so bright 
 from the dry plant. 
 
 Tarnished, from the yew tree. Taxus baccata. 
 
 Brilliant, with nitro-muriat of tin and alum in the decoction of 
 the same. 
 
 From the dry flowers of furze, Ulex Eurofuea, with a little 
 madder. 
 
 Cinnamon-aurora, from the young shoots of the Lombardy 
 poplar, PopuluH Pyramidalis, with one forty-eighth of madder. 
 
 From the roots of a wild apple-tree. 
 
 Aurora-capurhine, from the Virginia sumach, Rhus Virginiana, 
 Stags horns. Quere, if this be also the Rhus tyfihinum? This 
 required two baths. 
 
 The capuchin tinge increased by a small quantity of madder. 
 
 From the dry straw of buckwheat, Polygonum fagofiyrum, with 
 a nitro-muriai of tin. 
 
 Rich and brilliant with nitro-muriat of tin and gold from the 
 dried straw of buckwheat, the fruit of the berries of the black 
 berrybearing alder, Rhamnus frangula, and a little madder. 
 
 Blue. 
 
 The blue vat, Saxon blue, and logwood blue as usual. 
 
 Logwood blue, made more solid by the bark of the birch tree, 
 Betula alba, with the nitro-muriat of tin. 
 
 Bluish gray, from the common black elder berries, Sambucus 
 nigra. 
 
489 
 
 Handsome blue, but fugitive, from the same berries and sulphat 
 of copper. 
 
 Browns. 
 
 Rappie snuff brown: fresh alder, Betula alnus. 
 
 Olive brown, from the shoots of dgnus castus. 
 
 Deep brown, from the stalks and leaves of Leonurus cardiaca, 
 mother wort. 
 
 The most beautiful and solid colour from fresh walnut peel. 
 
 Puce-brown, from the fresh bark of the black walnut, Juglans 
 nigra. 
 
 Same from the shoots of the marsh elder, or Guelder rose 
 while in sap, Viburnum ofiulus. 
 
 Gray-olive, deep brown, from, the stalks and leaves of Paricta- 
 ria, Pellitory of the wall. 
 
 Caca-Daufi/rin, or Bright Fawn Colour. 
 
 Bright greenish, from common heath, Erica vulgaris, and 
 buckwheat straw, both dry, with nitro-muriat of tin. 
 
 Light fawn, from buckwheat straw dried: beautiful with solu- 
 tion of tin and gold. 
 
 Olive fawn, from dry buckwheat straw and dried berries of the 
 Rhamnus frangula. 
 
 Avanturin-fawn, from the same, with bismuth mordant. 
 
 Cinnamon. 
 
 From the shoots of the rose-acacia, Robinia hisjiida, with 
 bismuth. 
 
 From the shoots of the apricot tree. 
 
 From the stem and roots of the bilberry or whortle-berry, 
 Vaccinium myrtillus. 
 
 From the branches of the broad-leaved trumpet flower, Big- 
 nonia Catalfia. 
 
 Rich, from a half spent bath of logwood and sumach with tin 
 and gold solution. 
 
 Light nankin, from the fresh wood of the common horn beam, 
 Carfiinus Be tutus, barked. 
 
 Yellowish, (very good) from the Cyprus, Cufiressus foliis 
 acacia deciduis: Virginia: mixed with the dry shoots of the horn 
 beam. 
 
 From the roots of the Fragaria vesca, or strawberry. 
 
 3Q 
 
490 
 
 Reddish, brilliant, in a fresh bath or decoction of madder with 
 bismuth. 
 
 Deep, from the common broom, Sfiartium scojiarium. 
 
 Reddish, from the shoots of the Grevia occidentalism elm- 
 leaved, with purple flowers. 
 
 Mordore, cinnamon, from the bark of the common beech, 
 Fugus sylvatica, with nitro-muriat of tin. 
 
 Nankin, from the green stalks of the hop, Lu/iulus. 
 
 Mordore, from the roots of yew, Taxus baccata, and birch 
 
 bark. 
 
 Rich colour, from the dried flowers of furze and a little madder. 
 
 Mordore, from the shoots of the Portugal laurel. 
 
 From the fresh roots of Convolvulus sefiium, great bindweed. 
 
 Light rose-coloured cinnamon from the branches of Prunus 
 Mahaleb, perfumed cherry. 
 
 Same, from the branches of the sallow or black willow, Sali.r 
 Cafirxa, with bismuth. 
 
 Yellowish, from the shoots without leaves of the larch, Pinus 
 Larix, with bismuth mordant. Same, from the wood of the wild 
 cherry tree. 
 
 Delicate, from the bark of the Dutch medlar, Mesfiilus Ger- 
 manica, with bismuth. 
 
 From the shoots of the five-leaved bladder nut, Stafihylea 
 Pinnata. 
 
 Reddish, from the barks of the elm and birch. 
 
 Light, from the shoots of the peach tree. 
 
 Golden, fromtheripe fruit of the wake robin, Arum maculatum. 
 
 From the branches of a three year old pear tree. 
 
 Rose coloured, from the shoots of Syringa, P/iiladel/ihus Coro- 
 narius. 
 
 Carmelite. 
 
 From a mixture of shoots of alder, a little madder, dry berries 
 of the black alder, and shoots of Lombardy poplar. 
 
 From a half spent bath or decoction of balsamine, Imfiatiens 
 Balsamina, then in the decoction of black alder berries. 
 
 From wine of the black alder berry with a little madder. 
 
 Light from dry hay, which is improved greatly by a little 
 madder. 
 
 From the stalks of lavender. 
 
 Rich from the shoots of scarlet flowering chesnut, Esculus 
 octandra Pavia, with dried black berries. 
 
491 
 
 From shoots of buckthorn, Rhamnus catharticus, and then in 
 madder. 
 
 From dried wheat straw, a little sumach, and solution of iron. 
 
 From the Italian or Lombardy poplar, dried berries of black 
 alder, madder, and solution of iron. 
 
 Light and brilliant from buck-wheat straw, dried black alder 
 berries, Lombardy poplar, and madder, with bismuth mordant. 
 
 At once from buck-wheat bran, dried black alder berries and 
 Lombardy poplar. 
 
 From chimney soot (which in France is generally wood soot) 
 madder, dried black alder berries, and poplar. 
 
 From red clover and a little madder. 
 
 The ivy leaved speedwell, Veronica hederifolia, furnishes a very 
 good ground for carmelites. 
 
 Citron or Lemon Yellow. 
 
 From the young branches of the acacia. Robinia Caragagna sen 
 Sibirica. 
 
 Greenish, from the Aristolochia clematitis, Birthwort. 
 
 From the shoots of the Daphne mezereum, red mezereon. 
 
 From the branches and leaves of Guilandina Dioica, Canada 
 Bonduc. 
 
 Brilliant, from the common heath, Erica vulgaris, with tin 
 mordant. 
 
 Brimstone, from the green leaves of myrrh, Scanclix odorata. 
 
 Light citron, from the meadow saffron, Colchicum autumnale. 
 
 From the Coronilla glauca, seven-leaved Colutea. 
 
 From the shoots of Cyprus. 
 
 Brilliant, from the counter poison, Asclepias Vincetoxicum 
 
 From the shoots of the hairy broom, Genista pilosa. 
 
 From the dyers' broom, Genista tinctoria. 
 
 From the musk Geranium, Geranium moschatum. 
 
 From the common knapweed, Centaurea nigra. 
 
 From the swamp golden rod, Senecio paludosus. 
 
 From the common yellow jessamin of the woods, Jasminum. 
 fruticans. 
 
 From the Tagetes fiatula, (Oillet d'Inde) African marigold? 
 
 From the shoots of the olive, Olea Europaa. 
 
 From the larger nettle, Urtica dioica; common nettle. 
 
 From the Scandix pecten veneris, a species of cicely. 
 
492 
 
 From the black Virginia poplar, 
 
 Populus Balsami fera, Taca- 
 
 mahac, < 
 
 white poplar, fiofiulus alba, 
 aspen tree, populus tremula, 
 
 Solid colours on wool 
 mordanted with bis- 
 muth, and after being 
 dyed run through tin 
 solution. The older 
 wood gives sadder co- 
 lours but solid. 
 From larkspur, Delphinium Ajacis multiplex. 
 From the green leaves of pitch pine, Pinus maritima. 
 From the common red pepper, Guinea pepper, Capsicum an- 
 nuum: (while green.) 
 
 From the leaves of the potatoe. 
 
 From the double white meadow sweet, Spirasa ulmaria. 
 From the China aster, Aster Sinensis. 
 From the green stalks of rue, Ruta graveolens. 
 From buckwheat, Polygonum fagopyrum, twining bindweed, 
 polygonum convolvulus, on wool with tin mordant. 
 From African ragwort, Othonna Cheirifolia. 
 From the fresh stalks of Canada (common) golden rod, Solida- 
 go Canadensis. 
 
 From the leaves of the same. 
 
 Crimson. 
 
 Venetian scarlet, from brazil wood on woollen, grounded with 
 birch bark, after being mordanted with tin solution. 
 
 More intense, from the same, using only a stronger dose of 
 brazil wood of Fernambouca, called amaranthine brazil wood. 
 
 Less brilliant, when the colour was fixed by the shoots of the 
 birch tree instead of the bark. 
 
 Light crimson, by birch bark and wood of St. Martha (Ni- 
 caragua.) 
 
 Same in a half spent bath of the same. 
 
 Same with varied proportions. 
 
 Rose red, nearly crimson from a decoction of birch bark, bra- 
 zilletto, and alum. 
 
 Less brilliant, from brazilletto and alum without birch bark. 
 
 More lively and solid by brazilletto, birch bark, alum and 
 cream of tartar, in two successive baths. 
 
 Same in the same bath half spent. 
 
 From Angola wood (Cam wood, the most lively of the woods, 
 T. C.) birch bark and alum in the same bath or decoction. 
 
493 
 
 Yellow. 
 Two dippings in a decoction of the shoots of large leaved pri- 
 vet, Rhamnus alaternus. 
 
 Jonquil yellow from the straight leaved privet, Alaternus folio 
 minor e. 
 
 From the shoots in leaf of the American arbor vitse, Thuya 
 occidentalis. 
 
 Jonquil yellow, from the shoots of Calycanthus Jloridus, Caro- 
 lina alspice foliis internis longioribus. 
 
 From two baths of the old wood of acacia. 
 July-flower yellow, from the bark of the alder: and from the 
 leaves of artichoke. 
 
 Bright yellow, from the shoots of Ceanothus Ajnericanus, New 
 Jersey tea ree. 
 
 Olive yellow, from two baths of Canada bonduc, Guilandina 
 Dioica. 
 July-flower yellow, from the flowers of balsamine. 
 Dull yellow, from the green shoots of birch. 
 Bright yellow, from the unripe berry of black alder. 
 July-flower yellow, from the common heath with tin mordant. 
 Same with the addition of black alder berries ripe, and dried. 
 Dull capuchin yellow, from the ripe berries of bryony. 
 Chamoy yellow, from beech-mast. 
 
 Apricot yellow, from alpine chervil, or honeysuckle, Lonicera. 
 Golden yellow, from the male dogwood, Cornus mas. 
 From turmeric, altered by soap. 
 From the trefoil cytisus. 
 From fumitory, fresh and dry. 
 
 From fustic made solid by birch bark with tin mordant. 
 From dry weld; better from green weld. 
 From hairy broom, Genista fiilosa. 
 From Genista tinctoria y dyers' broom. 
 
 Intense olive yellow, from herb Robert, Geranium Robertianwn. 
 Jonquil yellow, from furze fresh: and dry. 
 From the bark of horse chesnut. 
 
 Apricot yellow from the bark of black willow, Salix Cafirxa. 
 Olive yellow, from the fresh stalks of buckthorn. 
 Good yellow, from the Italian aster, starwort, Aster Amellus, 
 Delicate, from the bark of elm, dried black alder berries and 
 buckwheat straw with tin mordant. 
 
 From the shoots of yellow osier, Salix Vitcllina. 
 
494 
 
 Greenish yellow, from fermented pansy, hearts' ease, Viola 
 tncolor. 
 
 From the larger pusicaria, Polygonum orientate. 
 
 From the bark and also from the shoots of the Italian poplar, 
 particularly from the fresh shoots with tin mordant. 
 
 Another shade with the same and dried berries of black alder. 
 This ingredient is economical and renders other colours solid. 
 
 Jonquil yellow, with the black Virginia poplar, tin mordant. 
 
 From the fresh plants of common field basil, Clinofiodium vul- 
 gare. 
 
 From the bark of pitch pine. 
 
 From the shoots of the Indian date plum, Placqueminier, 
 Diosfiyros Lotus. 
 
 From the bark of the plane tree. 
 
 From the roots of wild apple. 
 
 From the fresh China aster. 
 
 From the Virginia sumach or stagshorn {Rhus Virginiana.) 
 
 From the fresh flowers of African marygold, Tagetes erecta. 
 
 From the plants nearly dry of common saw-wort. Serratula. 
 
 From wild sage. 
 
 From the white willow, Salix alba. 
 
 From thyme. 
 
 From the roots of tormentil. 
 
 From the fresh plants of yellow trefoil. 
 
 From the common golden rod, Solidago, Virga aurea. 
 
 Wine Lees. 
 Wool mordanted with a precipitate of alum and tin becomes a 
 deep brown-red in a decoction of bran of sorgho. 
 
 Maron. Chesnut. 
 From the Carolina alspice, Calycanthus Jloridus. 
 From the bark of common maple. 
 Deep, from brazil, archil and madder. 
 From dry hay with madder. 
 From madder with bismuth mordant. 
 From beech bark. 
 
 From horse chesnut bark, scarlet flowering chesnut, Esculus 
 octandra. 
 
 Reddish from Italian or Lombardy poplar and madder. 
 
495 
 
 From the dry wood of the apple tree. 
 
 From the bran of sorgho, son de sorgho. Millet? 
 
 Merd'ore. Goose dung. 
 
 From the shoots of the snow drop tree, Chiananthus Virginiana. 
 
 From the bark of alder. 
 
 From the Aristolochia clematitis^ birthwort. 
 
 From the restharrow, Ononis arvensis. 
 
 From the common southernwood, Artemisia. 
 
 From the Cucubalus Behen, bottle campion. 
 
 From the cow wheat, Melamjiyrum nemorosum. 
 
 Brilliant, from the black alder berry, with mordant of blue 
 copperas. 
 
 Yellowish from terragon, Artemisia Dracunculus. 
 
 From the Euphorbia Cy/iarissas, a species of spurge. 
 
 From the leaves of the fig tree. 
 
 From the narrow leaved all-heal, Galeofisis Ladanum. 
 
 From the cotton weed, Filago Imfiia. Quere cudweed? 
 
 From the Gnafolium silvaticum, wood everlasting. 
 
 From the common red rosebay, JVerion Oleander. 
 
 From *he Leonurus marubiastrum. Quere, whether horehound 
 or motherwort? 
 
 From ground ivy, Glecoma Hederacea. 
 
 From black horehound, Manubium nigrum. 
 
 After long boiling from common field basil, Clinofiodium vul- 
 gar e. 
 
 From marsh horehound, with small leaves, Lycopus fialustris 
 giaber. 
 
 From the Siberian plum, Prunus Sibirica. 
 
 From wild sage. 
 
 From stalks and leaves of rue. 
 
 From the shoots of Rhus coriaria, true sumach. 
 Rich colour from the shoots of the Sambucus racemosa^ or scar- 
 let berried alder. 
 
 Mordore. 
 
 From the straight leaved privet, Rhamnus alaternus; three 
 dippings. 
 
 Light, from the shoots of alder with a little madder. 
 
 From the bark and shoots of Crataegus oxiacantha, haw-thorn 
 or white thorn. 
 
 ■■M 
 
496 
 
 From the shoot3 of Christ's thorn, Algalon, Paliurus aculeatux 
 rhamnus. . 
 
 From cinquefoil, Potentilla anserina, the leaves. 
 
 Mordore chesnut, from the whole plant. 
 
 Almost purple, from the shoots and bark of the birch tree with 
 archil, which is fixed thereby. 
 
 From dried black alder berries and a little madder. 
 
 Beautiful from the shoots of the flowering Virginia hornbeam, 
 Carfiinus Virginianajlorescens. 
 
 From dried hay with madder; the decoction somewhat acidu- 
 lated. 
 
 Rich, from the common broom, Sfiarlium scofiarium, with bis- 
 muth. 
 
 Better still, with a mordant of tin. 
 
 From the shoots of the common or cherry laurel, Prunus 
 lauro-cerasus. 
 
 Light colour from Luzerne (medico) and madder. 
 
 From the bark of horse chesnut, JEsculus hyfiocastanwn. 
 
 From a half spent bath of Salix cafirtea, black willow. 
 
 From the dried shoots of buck thorn, Rhamnus catharticus. 
 
 From the bark of elm. 
 
 From the shoots of yellow osier, Salix Vitellina. 
 
 From the Italian poplar, with a little madder in the bath when 
 nearly spent; the cloth mordanted with blue copperas. 
 
 From Italian poplar, brazil of Fernambouca, and dried black 
 alder berries. 
 
 From the bark of pitch pine. 
 
 From the fresh bark of Geneva pine, Scotch pine, Pinus syl- 
 vestris. 
 
 From the coloured heart of the wood of the cultivated plum, 
 Prunus domestical hedge plum or white bullace? 
 
 From the fresh shoots of Pyracantha. 
 
 From the ripe berries of the bramble, Rubusfruticosus. (Com- 
 mon blackberry.) 
 
 Musk. 
 From the half spent decoction of the large leaved privet. 
 From the Thuya Canadensis, American arbor vitse. 
 From the Thuya Sinensis, Chinese arbor vitae. 
 From a third dipping in decoction of Carolina alspice, Caly> 
 canthus Jloridus. 
 
497 
 
 From the shoots of the poison tree Rhus toxicodendron, 
 
 From the wood of the Acacia, in strong dose. 
 
 From the flowers of althaea f rut ex, Hybiscus Syriacus. 
 
 From the branches of Crataegus tor?ninalis i wild service. 
 
 From the ripe stalks of agrimony. 
 
 From the shells of the apricot kernel. 
 
 Musk-cinnamon, from the shoots of bilberry, Vaccinium 
 ?nyrtillus. 
 
 From the common bladder sena, Colutea arborescens. 
 
 Chesnut musk, from the flowers of Balsamine, with blue 
 copperas. 
 
 Golden, from roots of common avens, Geum urbanum* 
 
 From betony. 
 
 From roots of bistort. 
 
 From wood of red mezereon, Daphne mezereon. 
 
 From the shoots of black birch, Betula nigra. 
 
 From the fine-leaved heath, Erica cinerea. 
 
 From the roots of asarabacca, Azuram Eurofi<eum< 
 
 From the lesser Indian cress, Tropaolum minus. 
 
 From black currants. 
 
 From chesnut bark. 
 
 From comfrey, Symphytum officinale. 
 
 From the dogwood of New Holland, and of Virginia. 
 
 From common Cyprus. 
 
 From the Dierilla acadiensis. 
 
 From the fruit of the sloe or black thorn, Prunus sylvestris. 
 
 From Dutch or hemp agrimony, Eufiatorium cannabinum. 
 
 Rich, from the green shoots of Venice stftmach, Rhus cotinus. 
 
 Light, from the nettle hemp, Galeofisis tetrahit. 
 
 From a weak bath of Genista fiilosa. 
 
 From the large flowering geranium, bloody crane's bill, Gera- 
 nium sanguineum. Also from Geranium Robertianum. 
 
 Beautiful, from the dwarf cistus, Cistus helyanthemum. 
 
 From hawk weed, Hieracium majus. 
 
 From the shoots of the beech. 
 
 From rag wort, Senecio jacobaa, and from Senecio fialustris, or 
 marsh golden rod. 
 
 From elecampane, Inula dysenterica. 
 
 From wild lettuce. 
 
 From the broad-leaved sweet bay tree, Laurus nobilis. 
 
 3R 
 
 r* 
 

 498 
 
 From tlie young leafy branches of Liriodendron tulip/era, 
 tulip tree. 
 
 From yellow toad's flax, Antirrhinum linaria. 
 
 From the leafy shoots of liquid amber. 
 
 From the shootsof the smaller bind weed, Convolvulus arvensis , 
 
 From the roots of Lysimachia vulgaris, loose strife. 
 
 From the young leafy branches of horse chesnut, JEsculus 
 hypocastanum. 
 
 Richer colour, from the scarlet flowering chesnut, Msculus 
 octandra pavia. 
 
 From the wood and bark of Salix capr&a, black willow. 
 
 From the leafy shoots of the larch tree, Pinus Larix. 
 
 From the stalks and leaves of water mint, Mentha aquatica. 
 
 From Mercurialis annua. 
 
 From the fresh plants of the greater snap dragon, Antirrhinum 
 majus. 
 
 From the shoots of sweet gale, Myrica gale. 
 
 From the dry roots of the common nut, (walnut) Juglans regia. 
 
 From the thick bark of the walnut tree. 
 
 From black walnut bark, and from the shoots and leaves, fresh 
 and dry. 
 
 From the red fruits of the Guelder rose, Viburnum opidus. 
 
 From the stalks of common marjoram, Origanum. 
 
 From the roots of sorrel, Rumex acetosella. 
 
 From the roots of garden patience, Rumex patientia. 
 
 - bloody dock, Rumex sanguineus. 
 
 From the Virginian silk, Periploca graca. 
 
 From spignel, pasil de montagne, Athamanta libanotis. 
 
 From the barked wood of the Italian poplar. 
 
 Beautiful, from fresh pimpernel. 
 
 From the shoots of the Indian date plum, Diospiros lotus. 
 
 From the bark of the plane tree, and from the wood and bark. 
 
 From the flowers of piony. 
 
 From the mark or pressed fruit of the pear. 
 
 From the Campanula or bell flower, PyramidalU. 
 
 From the double white meadow sweet, Sjurcea ulmaria* 
 
 From the yellow Ranunculus. 
 
 From the stalks of rosemary. 
 
 From a weak decoction of Tagetus erecta, African marigold. 
 
 From the shoots of the yellow Austrian rose, Rosa lutea, 
 
 From Spanish sain foin, Hedasyrum coronarium. 
 
499 
 
 From the leafy shoots of purple spiked willow herb, Lythrum 
 mlicarlia. 
 
 From the tops of the Pinus abies, or fir tree. 
 
 From the fresh stalks of buckwheat. 
 
 From the stalks of climbing bindweed, Polygonum scandens. 
 
 From the twining bindweed, Polygonum convolvulus. 
 
 From the fresh plant of knotty fig wort, Scrofihularia nodosa. 
 
 From the sun flower. 
 
 From the dry flowers of the common black elder, and from its 
 berries, fermented and unfcrmented. 
 
 From the dried uncured leaves of tobacco: and from the green 
 leaves. 
 
 Frtfm the stalks of tansy. 
 
 Light musk, from the T/ilas/ii aranse, penny-cross, a kind of 
 shepherd's purse. 
 
 From the bark of the roots of tormentil. 
 
 From the common native golden rod. 
 
 From vervain, Verbena. 
 
 From vine cuttings. 
 
 From the ripe berries of Sambucus ebulus: and from the same 
 dried. 
 
 JVankln. 
 
 From the shoots of the Judas tree, Circis siliquastrurr, 
 
 —-_——————. — rose acacia. 
 
 ■ ■ Italia azcdarach, Melia azedarach. 
 ■ Dutch medlar, Mesfiilus inermis. 
 
 From the leafy stalks of agrimony. 
 
 From the New Jersey tea tree, apalachine, Ceanotfnis Ame* 
 ricanus. 
 
 From birch bark. 
 
 From ripe cherries. 
 
 From the cherries of Zara. 
 
 From Dutch or hemp agrimony, Eufiatorium Cannabinum. 
 
 From red gooseberries. 
 
 From the flowers of the queen's bean, haricot a la reine 
 
 (kidney bean with red flower?) Phaseolus coccineus. 
 
 From the hairy trefoil, Lotus /ursutus, or hemorrhoidalia. 
 
 From the European nettle tree, Celtis aitstralis. 
 
 From the wood of an orange tree. 
 
 From the kernel of peaches. 
 
 From the bark of all the poplar-" 
 
 'mmmmmmmm 
 
500 
 
 From the barked wood of the Scotch pine, Pinus sysvestris. 
 From the shoots of the double cinnamon rose, Rosa Cinna- 
 momea. 
 From the barked wood of the willow. 
 From the shoots of the mountain ash, Sorbus occufiaria 
 From the Guelder rose, Sfiircea ofiulifolia. 
 
 Hazle-nut Colour (Noisette.) 
 
 From the shoots of button wood, Ccfthalanthus occidentatis . 
 
 From the bilberry or whortle-berry, Vacciniuin myrthyllus. 
 
 From common avens, Geum urbanum. 
 
 From the catalpa. 
 
 From the dry white birch, Betula alba. 
 
 From fresh common heath, Erica vulgaris. 
 
 From the evergreen box tree, Buxus semfiervircns. 
 
 From the cones of the pitch pine, Pinus maritima. 
 
 From the red bark of the roots of the male dogwood or corne- 
 lian cherry. 
 
 Cornus mas> rtddish hazle colour. 
 
 From the barked wood of the same. 
 
 From the mixture of laburnum and ptaelea. 
 
 From the roots of the black thorn or sloe, Prunus sylvestris. 
 
 Hazle-nankin, from the wood of the common maple, Jeer 
 camfiestre. 
 
 From dry hay, and madder acidulated. 
 
 From the bark of the spindle tree, Eronymus Euroficeus. 
 
 From the wood of the juniper. 
 
 From the shoots of the red currant tree, Ribes rubrum. 
 
 From the dry wood of the yew. 
 
 From the fresh barked wood of the sallow or black willow, 
 Salix Ca/traa. 
 
 From the wood of the laurustinus, Viburmimtinus. 
 
 From the wood of the buckthorn, Rhamnus catharticus. 
 
 From the shoots of the Persian or narrow-leaved wild olive. 
 Eleagnus angustifolia. 
 
 From the barked wood of the elm. 
 
 From the flowers of the common purple orpine, Sedum telc- 
 phium. 
 
 From the black poppy, Pa/iaver nigrum. 
 
 From the wood of all the poplars. 
 
 From the leaves of pitch pine, Pinus sylvestris 
 
501 
 
 From dried plums, and from the black grape. 
 
 From the shoots of sea buck thorn, Hipfwfihae Rhamnoides 
 
 From the African rag wort, Othonna cheirifolia. 
 
 From the green barked lime tree, Tilia Euro/i<ea. 
 
 From the roots of tormentil. 
 
 Olive. 
 From the stalks of wormwood, Artemisia absynthium. 
 From the fresh stalks of the silk plant, swallow-wort, Ascle- 
 
 
 fdas Syriaca, or J/wcynum, Syrian dog's bane. 
 
 From cow wheat, Milamfiyrum ncmorosum. 
 
 From the green shoots of the black alder, Rhamnus frangula, 
 with green vitriol: and from the roots of the same plant. 
 
 Green olive, from the ripe plants of Bromus tectorial, broom 
 grass. 
 
 From common self heal, Prunella vulgaris. 
 
 From the poplar with logwood. 
 
 From the scabious leaved centaury, or common knap weed, 
 Centaurea scabiosa. 
 
 From the toadstool, Boletus viscidus. 
 
 From the Germander, Teucrium chamadris. 
 
 From the flowers of meadow saffron, Colchicum autumnale. 
 
 From the branches of common hazle, Corglus avellana. 
 
 From the hairy evergreen laburnum or trefoil tree, Cytisus 
 hirsutus. 
 
 From the dried husks of the common bean, Viciafaba. 
 
 From a weak bath of green weld, Reseda luteola. 
 
 .... Geranium moschatum. 
 
 From winter cresses, or rocket, Erisinium barbarea. 
 
 From common knap weed, Centaurea nigra. 
 
 From the ripe stalks of drop wort, jEnant/ie fum/iinelloides> 
 
 From the ripe berries of ground ivy. 
 
 From mercurialis, French mercury, fermented. 
 
 From the bark of the branches of the walnut, Juglans regia. 
 From the roots of water patience, Rumex aquatica, particular]^ 
 with solution of iron. 
 
 From the leaves of black poppy, Pafiaver nigrum. 
 From pansy, or heart's ease, Viola tricolor, fermented and ub- 
 fermented. 
 
 From fresh shoots of the poplar, with nine grains of logwood 
 More intense by doubling the logwood. 
 
 
 
502 
 
 From the poplar, rcdyed in wine of the "berries of Rhamnue 
 frangula, and in the dried berries of the same. 
 
 Ombre-, or Brownish Yellow: ground for Carmelite. 
 
 From two dippings in the straight-leaved privet, Alaternus. 
 
 From the shoots of the southernwood, Artemisia absynthium. 
 
 From the shoots of the common alder, Betula alnus. 
 
 From the twigs of Celastrus scandens, climbing staff tree. 
 
 From the lesser centaury. 
 
 From the scabious leaved centaury. 
 
 From the roots of celandine, Chelidonium majus. 
 
 From virgin's bower, Clematis vitalba. 
 
 From the three leaved cytisus. 
 
 From the dog rose, Rosa canina. 
 
 From the shoots of scorpion sena, Coronilla cmcrus. 
 
 From fennel, Anethumfceniculum. 
 
 From Spanish broom, Sjiartium junceum. 
 
 From the bear's-foot hellebore, Helleborus fcetidus. 
 
 From the cotton weed, Filago arvensis. 
 
 From the Erysimum officinale, sauce alone? Hedge mustard? 
 
 From the wood of the ivy, Hedera helix. 
 
 From the dry wood of the laylock or lilac, Syringa vulgaris. 
 
 From the leafy stalks of common loose-strife, Lysimachia 
 vulgaris. 
 
 From the melilot, Melilotus officinalis; trifolium. (The seeds of 
 this plant ground and mixed with curd, give the colour and the 
 flavour to the shap-zugar, or sapsago cheese, as I know. T. C.) 
 
 From the half spent decoction of the olive tree. 
 
 From the wood of the black mulberry, Morus nigra. 
 
 From the shoots of the orange tree, and the skin (ecorce) of 
 ripe oranges. 
 
 From the stalks and leaves of the Palma Christi. 
 
 From Scandix fiecten veneris. 
 
 From the pansy: and the pansy of Rouen, Viola Rothomagensis. 
 
 From the white meadow sweet, Sfiiraa ulmaria. 
 
 From the bramble roots, Rubusfruticosus, black-berry. 
 
 From savory, Satureia hortensis. 
 
 From the evergreen golden rod, Solidago semfier virens. 
 
 From the shoots of the common black elder, Sambucus nigra. 
 
 From soot. 
 
 From the shoots of the red bark tamarisk, Tamarix gallica. 
 
 
503 
 
 From the feathered columbine, Thalictrum Aquilegi folium. 
 
 From the small yellow trefoil, Trifolium lutewnjlore lufiuli. 
 
 From fresh red clover, Trifolium rubens firatense. 
 
 From the Canada golden rod, Solidago. 
 
 From the ivy-leaved speedwell, Veronica hederifolia. 
 
 Better from the same with bismuth. 
 
 Purfile. 
 From brazil wood fixed by birch bark, with tin mordant. 
 
 Plum. 
 From the fresh and dry berries of the black alder, Rhafnnuc 
 frangula. 
 
 From birch bark and logwood. 
 From bran of millet, sorgho. 
 
 Ronce d'Artois^ Artois Bramble. 
 
 From the stalks and leaves of stinking orach, Chenojiodium 
 vulvaria. 
 
 From the plant balsamine. 
 
 From a weak bath of fermented berries of black alder: also 
 from the dried berries. 
 
 From the plant of stinking chamomile, Anthemis cotula. 
 
 From myrrh, (sweet scented myrrh) Scandijc odorata. 
 
 From the leaves of the large oblong citron, Citrus medica. 
 
 From the lesser hemlock or fool's parsley, Othusa cynapium. 
 
 From spinach, Spinacea oleracea. 
 
 From spurge, Euphorbia palustris. 
 
 From the leafy stalks of tythy malle, Euphorbia cyperisash. 
 Euphorbia tythy malloides, Curassao-myrtle spurge. 
 
 From the weak decoction of green weld. 
 
 From the yellow everlasting pea, Lathyrus afihaca. 
 
 From the bark of the European nettle tree, Celtis austra 
 
 From shoots of poplar, with dried berries of black alder. 
 
 From wild germander, Veronica chamcedris. 
 
 Rose. 
 From the purple kidney bean. Haricots d'espagne. Phaeeqlus 
 fiurpureus. 
 
 ' ■■ " spotted kidney bean, Phaseolus rufus -variegatus . 
 From wild germander, Veronica cfiamcsdris. 
 
 n 
 
 
504 
 
 From the roots of the greater bindweed, Convolvulus sejiium. 
 From the archil of the Canaries reddened by acids. 
 
 Red. 
 
 From the roots of the red ladies bed straw, Gallium verum. 
 
 From the Portugal cross, Cruciata, Lusitanica, latifolia, glabra. 
 Jlore, albo. 
 
 The two preceding equal to madder. 
 
 Chesnut red, from madder and sumach. 
 
 Purple red with madder, after mordanting with bismuth and 
 galling. 
 
 Scarlet red from fine madder: rose red from the same, with 
 mordant containing one-eighth of tin. 
 
 More fiery from Cyprus, Smyrna, or Lizari madder. 
 
 From the flowers of Glaucium. 
 
 Several other varieties of red from madder with different 
 mordants. 
 
 Ventre de crafiaud, (toad's belly). Ground for Carmelite. 
 From the branches of the varnish tree, Rhus vernix. 
 From the goat's rue-leaved vetch, Astragalus galegi formis. 
 Milk vetch? 
 
 From bastard or wild indigo, Amorfihafruticosa. 
 From shepherd's purse, Thlasfii^ Bursa fiastoris. 
 From flea bean, Conyza squanosa. 
 From the shoots and leaves of holly, Ilex aquifolium. 
 From the wood of furze, (jonc marin) Ulex Eurofixa. 
 From white horehound, Manubium vulgare. 
 From the basil called Thymus acinos. 
 From savory, Satureia hortensis. 
 
 Ventre de Riche t (literally Doe's belly) Tan Colour. 
 From the wood of Althaa. 
 From the bark of young oak. 
 From Alpine ebony, Cytisus laburnum. 
 From the bark of common broom, Sfiartium scofiarium. 
 From the shoots of the three-thorned acacia, Gleditsia tria- 
 canthos. 
 From common lettuce, Lactuca sativa. 
 From the shoots of sophora. 
 
 I 
 
505 
 
 Green. 
 From the ripe, and from the fermented berries of black alder. 
 From the bark of the common ash, Fraxinus excelsior. 
 From Italian poplar on a blue ground, mordanted with bismuth. 
 From the flowers of the violet. 
 
 Figogna, {colour of Vigogna wool.) 
 From the shoots of the Siberian acacia. 
 From the dry shoots of the elder. 
 From the leaves of artichoke. 
 From rest harrow, Ononis arvensis. 
 From wild angelica, Angelica sylvestris. 
 From tuberose crowfoot, Ranunculus bulbosus. 
 From common bladder sena, Colutea arborescens. 
 From flowers of balsamine. 
 From the water parsnip, Slum latifolium. 
 From Gallium -verum, lady's bedstraw. 
 
 From the round leaved bell flower, Campanula rotundifolia. 
 From the sea holly with pinnated cut leaves, Eryngium cam- 
 
 fiestre. 
 
 From the blue berried upright honeysuckle, Lonicera aerulea. 
 
 From the common hedge honeysuckle, Lonicera jiericlimenum. 
 
 From the pasque flower, Anemone Pulsatilla. 
 
 From the seven leaved colutea, Coronilla glauca. 
 
 From the branches of the fig tree, Ficus carica. 
 
 From the rose flowering raspberry, Rubus odoratus. 
 
 From the barked wood of the common ash, Fraxinus excelsior, 
 
 From the heart of the common broom, S/iartium scofiarium. 
 
 From the yellow everlasting pea, Lathyrus aflhaca. 
 
 From the Valaniia afiarine. 
 
 From the thorny hedge gooseberry. Uva crisfia. 
 
 From the dwarf cistus, Cistus helianthemum. 
 
 From catmint, Ne/ieta cataria. 
 
 From the stalks of knee-holly or butcher's broom, Ruscus 
 
 aculeatus. 
 
 From the shoots of white jessamin, Jasminum officinale. 
 
 From sow-thistle, Sonchus oleraceus. 
 
 From Sonchus maximus filumerii, Japonese thistle. 
 
 From wild lettuce, Lactuca scariola. 
 
 From common lettuce, Lactuca sativa, with tin mordant. 
 
 3S 
 
 m 
 
606 
 
 From the young branches of the laylock or lilac. 
 
 From the hay of Luzerne, Meciica. 
 
 From the Lychen firunasti. 
 
 From the lesser snap dragon, Antirrhinum Orontium. 
 
 From sweet myrtle, Myrica gale. 
 
 From Dutch medlar, Mesfiilus Germanica. 
 
 From the shoots of buckthorn, Rhamnus catharticus. 
 
 From the dried shells of walnuts, Juglatis regkt. 
 
 From elm bark with tin. 
 
 From the French willow, narrow leaves, red flowers, Efiilobium 
 angustifolium. 
 
 From the dry straw of wheat. 
 
 From the stalks of parsnip, Pastinacea sativa. 
 
 From the vines of the Vinca major , Periwinkle. 
 
 From all the poplars. 
 
 From bark of the plane tree. 
 
 From China aster, Aster Sinensis. 
 
 From knot grass, Polygonum aviculare. 
 
 From green sain foin, Hedasyrum bnobrychis. 
 
 From scorzonera. 
 
 From the flowers, &c. of common elder, Sambucus nigra. 
 
 From the bark of sycamore. 
 
 From the stalks of Thalictrum. 
 
 From the shoots of common lime tree, Tilia Euro/iaa. 
 
 From the roots of upright tormentil, Tormentilla erecta. 
 
 From common privet, JLigustrum vulgare. 
 
 From the shoots of the wayfaring tree, Viburnum lantana. 
 
 From viper's bugloss, Echium vulgare. 
 
 Violet. 
 From logwood fixed by birch bark, with bismuth mordant, of 
 various shades: and also with tin mordant. 
 From the skins of the fruit of Uva cris/ia. 
 
• 
 
 • BOOKS 
 
 PUBLISHED BY THOMAS DOBSON, 
 
 No. 41, South Second Street. 
 
 Experimental Researches concerning the Philosophy of 
 Permanent Colours, and the best means of producing 
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