Wiipurin Sanomat 69, 22.3.1889
1) Kirjapainomusteeseen sekoitetaan ¼ mittamäärästä liina-öljywernissaa. Tämä wäri on irtaantumatonta
2) 10 osaa painomäärästä lapis'ta, 20 osaa kaustik-ammoniakkia, 25 osaa gummiarabigummia ja 20 osaa suutaa sekoitetaan 25 osaan wettä ja lämmitetään kunnes neste tulee kirkkaaksi ja kauniisti ruskeanwäriseksi. Tällä wärillä woidaan painaa hienoja kauniita jäljennöksiä. Jos wäriin sekoitetaan 55 osaa painostansa wettä, niin saadaan hywää merkkausmustetta.
J. G. Westlund (mainos)
Wiipurin Sanomat 69, 22.3.1889
Wiipurissa
Vastaanottaa ja toimittaa nykyajan vaatimuksen mukaisesti kaikenlaisia MAALAUS-TÖITÄ, niinkuin huonesisusmaalauksia ja dekorationeja niin liima kuin öljyvärilläkin, kylttejä, ajokaluja y. m.
Rakennusten maalauksia toimitetaan tarkkuudella ja huokeimpiin hintoihin.
Myytäwänä (mainos)
Wiipurin Sanomat 69, 22.3.1889
Alituinen warasto
meidän hywäksi tunnettuja
Lippuwärejä
löytyy P. Antonoff'illa
Wiipurissa.
C. M. Otto ja Kumpp.
Helsingissä.
Improvement in Paint.
Scientific American 21, 18.11.1868
The hydro-carbonate of lead or white lead, and the oxide of zinc, known as zinc white, are the two principal bases now generally used throughout the civilized world for the manufacture of paints. By their use our houses are preserved from decay and adorned with cheerful color to gladden the eye. The majority of all articled produced by the industry of mankind depend from preservation, and, to some extent for beauty, upon the protecting and coloring qualities of paint. It ransk next to food, raiment, and shelter, among the necessaries of life, while the labors connected with its numberless applications give daily employment of thousands of people.
We are led to these remarks from an examination lately made by us in the quiet old elm-shaded town of stratford, Conn., of some of the work done by a young practical painter of that place, by name Frederick Lillingston. He has made a discovery in connection with paints which appears to be of great value and ought, we think, to be made public. It is the result of long study and experience. The improvement consists in taking any of the ordinary paints of market, whether having the lead or zinc base, and subjecting them to a chemical treatment by which their tendency to chalk or to scale off or to change color, is prevented, and an increased body is imparted: the practical result being that the cost of paint is reduced about 33 per cent, while the painter finds himself supplied with a greatly improved article, reliable and durable in its nature. It flows with more ease than the ordinary paints, has a good body, dries readily with a fine glow, endures the test of time and weather, and gives satisfaction under all circumstances. It is well adapted for use in connection with the various pigments: capable of a peculiar transparency, coupled with excellent body, it is well suited for fine effects in graining and other ornamental work. For blind pinting it is of unusual value, as it covers well, gives a superior finish, and the color will not run. For the lack of this quality many a painter blinds loses his labor and is compelled to go over his work.
Any mere trick of adulteration by which the quality of paint is impaired, or its value diminished, should be frowned upon and ignored by all who love honest dealing. On the other hand, any discovery whereby an article of such universal consumption can be really improved in quality, and cheapened in price, is a matter of the first importance, deserving every encouragement.
The Lillingston paint is no new experiment, but has been in actual use for a long time. It qualities have been ascertained by experience. Some of the painting which we examined had been exposed to the weather for three years; but, we found it hard, fresh looking, and entirely free from chalkiness.
The hydro-carbonate of lead or white lead, and the oxide of zinc, known as zinc white, are the two principal bases now generally used throughout the civilized world for the manufacture of paints. By their use our houses are preserved from decay and adorned with cheerful color to gladden the eye. The majority of all articled produced by the industry of mankind depend from preservation, and, to some extent for beauty, upon the protecting and coloring qualities of paint. It ransk next to food, raiment, and shelter, among the necessaries of life, while the labors connected with its numberless applications give daily employment of thousands of people.
We are led to these remarks from an examination lately made by us in the quiet old elm-shaded town of stratford, Conn., of some of the work done by a young practical painter of that place, by name Frederick Lillingston. He has made a discovery in connection with paints which appears to be of great value and ought, we think, to be made public. It is the result of long study and experience. The improvement consists in taking any of the ordinary paints of market, whether having the lead or zinc base, and subjecting them to a chemical treatment by which their tendency to chalk or to scale off or to change color, is prevented, and an increased body is imparted: the practical result being that the cost of paint is reduced about 33 per cent, while the painter finds himself supplied with a greatly improved article, reliable and durable in its nature. It flows with more ease than the ordinary paints, has a good body, dries readily with a fine glow, endures the test of time and weather, and gives satisfaction under all circumstances. It is well adapted for use in connection with the various pigments: capable of a peculiar transparency, coupled with excellent body, it is well suited for fine effects in graining and other ornamental work. For blind pinting it is of unusual value, as it covers well, gives a superior finish, and the color will not run. For the lack of this quality many a painter blinds loses his labor and is compelled to go over his work.
Any mere trick of adulteration by which the quality of paint is impaired, or its value diminished, should be frowned upon and ignored by all who love honest dealing. On the other hand, any discovery whereby an article of such universal consumption can be really improved in quality, and cheapened in price, is a matter of the first importance, deserving every encouragement.
The Lillingston paint is no new experiment, but has been in actual use for a long time. It qualities have been ascertained by experience. Some of the painting which we examined had been exposed to the weather for three years; but, we found it hard, fresh looking, and entirely free from chalkiness.
Various Recipes. Liquid Blacking.
Scientific American 14, 6.4.1867
[...]
Liquid Blacking. - I. Take ivory black 5 oz., molasses 4 oz., sweet oil 3/4 oz.; triturate until the oil is perfectrly killed, then stir in gradually vinegar and beer bottom of each 1/4 of a pint and continue the agitation until the mixture is complete.
II. Take ivory black 1 lb., molasses 3/4 lb., sperm oil 2 oz., beer and vinegar each 1 pink; proceed as before.
[...]
[...]
Liquid Blacking. - I. Take ivory black 5 oz., molasses 4 oz., sweet oil 3/4 oz.; triturate until the oil is perfectrly killed, then stir in gradually vinegar and beer bottom of each 1/4 of a pint and continue the agitation until the mixture is complete.
II. Take ivory black 1 lb., molasses 3/4 lb., sperm oil 2 oz., beer and vinegar each 1 pink; proceed as before.
[...]
Preparing Murexid Color.
Scientific American 28, 20.3.1858
A few weeks since - on page 181 - we gave a description of murexid as employed in dyeing, and in the last number of Newton's London Journal, we find the description of an improvement, for which a patent has been obtained in England by Wm. Clark, relating to the preparation of this new coloring agent. The patentee states that it has been known heretofore that by treating alloxantine with carbonate of ammonia murexid was obtained. The improved process consists in taking alloxantine in a powdered state or in crystals, and submitting it to contact with ammonia in a gaseous state. A closed chamber or vessel is therefore necessary for conducting the operation, to bring the gas in contact with the alloxantine. Very pure murexid is also obtained by treating the alloxantine with liquid ammonia mixed with alcohol. The ammonia dissolves the alloxantine, and after this, by driving off the alcohol and ammonia by heat, the murexid obtained is very pure, and capable of being preserved a considerable time. Alloxantine is the product of uric acid dissolved in nitric acid and exposed to heat.
A few weeks since - on page 181 - we gave a description of murexid as employed in dyeing, and in the last number of Newton's London Journal, we find the description of an improvement, for which a patent has been obtained in England by Wm. Clark, relating to the preparation of this new coloring agent. The patentee states that it has been known heretofore that by treating alloxantine with carbonate of ammonia murexid was obtained. The improved process consists in taking alloxantine in a powdered state or in crystals, and submitting it to contact with ammonia in a gaseous state. A closed chamber or vessel is therefore necessary for conducting the operation, to bring the gas in contact with the alloxantine. Very pure murexid is also obtained by treating the alloxantine with liquid ammonia mixed with alcohol. The ammonia dissolves the alloxantine, and after this, by driving off the alcohol and ammonia by heat, the murexid obtained is very pure, and capable of being preserved a considerable time. Alloxantine is the product of uric acid dissolved in nitric acid and exposed to heat.
Poisonous Wall Paper.
Scientific American 37, 23.5.1857
The attention of S. N. Johnson, Professor of Analyrical Chemistry in Yale College, having been directed to the above subject, by the extract from the London Lancet, published in our columns on page 241 of the present volume, and since copied into the New York Tribune and a great number of our cotemporaries, it has been the means of bringing to his knowledge a similar case which occured at New Haven. It was that of Mr. Solomon Mead, a farmer, and at his request he has communicated the facts to the Tribune:
About the 1st of March last, Mr. Mead began to occupy a new huse - the walls of which are built of gravel and cement - and which is heated by steam. A lower room was used by Mr. and Mrs. Mead as a sleeping apartment. After sleeping in it one night, they found themselves suffering under a strange feeling of depression, almost amounting to illness, which continued during a greater part of the day, and was renewed upon sleeping again in the room. They observed that the effects were most severe during rainy or damp weather. The room, when kept closed for some hours, acquired a disgreeable odor, which was not perceptible when the external air was allowed free access. They ceased to occupy the room, and experienced no recudrence of ill symptoms after sleeping in other parts of the same house. The cause of all this they could not divine, until the article referred to came under their observation. They saw at a glance that the sumptoms there described agreed in kind with their own, and that the dangerous apartment was ornamented with a beautiful green figured paper! It only remained to discover arsenic in the green pigment to explain the cause of their suffering and indisposition. Mr. Mead brought Professor Johnson specimens of the paper, and it was but the work of a few moments to demonstrate the presence of large quantities of arsenic and of copper in the green color.
The pigment which produced the ill consequences in this paper is Vienna green - the most beautiful green pigment known, and is prepared with white arsenic and verdigris - two dangerous poisons. Such poisonous pigments should be prohibited by law.
The attention of S. N. Johnson, Professor of Analyrical Chemistry in Yale College, having been directed to the above subject, by the extract from the London Lancet, published in our columns on page 241 of the present volume, and since copied into the New York Tribune and a great number of our cotemporaries, it has been the means of bringing to his knowledge a similar case which occured at New Haven. It was that of Mr. Solomon Mead, a farmer, and at his request he has communicated the facts to the Tribune:
About the 1st of March last, Mr. Mead began to occupy a new huse - the walls of which are built of gravel and cement - and which is heated by steam. A lower room was used by Mr. and Mrs. Mead as a sleeping apartment. After sleeping in it one night, they found themselves suffering under a strange feeling of depression, almost amounting to illness, which continued during a greater part of the day, and was renewed upon sleeping again in the room. They observed that the effects were most severe during rainy or damp weather. The room, when kept closed for some hours, acquired a disgreeable odor, which was not perceptible when the external air was allowed free access. They ceased to occupy the room, and experienced no recudrence of ill symptoms after sleeping in other parts of the same house. The cause of all this they could not divine, until the article referred to came under their observation. They saw at a glance that the sumptoms there described agreed in kind with their own, and that the dangerous apartment was ornamented with a beautiful green figured paper! It only remained to discover arsenic in the green pigment to explain the cause of their suffering and indisposition. Mr. Mead brought Professor Johnson specimens of the paper, and it was but the work of a few moments to demonstrate the presence of large quantities of arsenic and of copper in the green color.
The pigment which produced the ill consequences in this paper is Vienna green - the most beautiful green pigment known, and is prepared with white arsenic and verdigris - two dangerous poisons. Such poisonous pigments should be prohibited by law.
Venetian Glass. - How they make Beads.
Scientific American 40, 14.6.1856
(Our Foreign Correspondence.)
Venice, Italy, April, 1850.
Venetian glass has a world-wide reputation, and since I have been here, I have spent some time in endeavoring to discover the reason why glass, manufactured in this city, should be any better than that produced elsewhere. As yet, I have not ascertained anything satisfactory, but conclude it is principally the colors introduced that give to this glass the name and same it has hitherto enjoyed. From a gentleman well acquainted with the glass trade, I learned that all the fine white crystal glass, used for decanters and table service, is imported into Venice from France and England, and that very little of the glass made here would compare with the manufactures of Germany and France.
Cntinuing my researches, I took an early opportunity of visiting some of the glassworks hereabours, where the articles produced were beads, bugles, fancy plates, bottles, cups, saucers, &c., beautifully colored but wanting in clearness, full of blemishes and air bibbles. The plate glass works employ only a few hundred men, and turn out an article thicker and superior to our ordinary window glass, but of a yellowish tint, denoting anything but real excellence. The great renown that Venice has obtained for glass works is chiefly owing to the immense number of beads manufactured in its establishments. Having visited all the large factories here, I will endeavor to descrine to you the process.
The materials are put into smaller furnaces than those used in America, but constructed upon the same principle, with contrivances for economising fuel, for which the Italians generally are celebrated. When the mass is sufficiently fused, the coloring pigment is thrown in, and mized with the molten glass. When thoroughly amalgamated, the workman garhers a couple of pounds of the melted matter upon the end of an iron rod, which he withdraws from the furnace and manipulates upon an iron slab; after this, he plunges the glass into a tub of water. When it is sufficiently cooled, he sticks it into the furnace again, where it remains until once more melted, then it is taken out and fashioned into a shape resembling a bottle, with the bottom broken out. Another workman now brings on a similar lump, attached to another rod; the two boys are welded together; then a couple of boys take each one of the rods, and "travel," in opposite directions, to either end of a long shed. As these boys run away from each other, the glass is drawn out into long tubular wires, so to call them, and lies along on the ground, where it is suffered to remain until cooled; after which it is broken up in lengths or tubes, three feet long, and sold to the bead and bugle makers, (a distinct class of operatives) or sent into other rooms of the same establishment, where workment break them into minute particles.
This operation is performed by men, women, and boys - who have before them an iron gauge, into which, with one hand, they thrust fifteen or twenty tubes, at the same time, and, with an iron instrument (resembling a hatchet head) in the other and, they rapidly chop off the ends of the tubes, according to the size adjusted on the gauge. These cuttings are then taken below, where they are put into an iron barrel along with some sand, and placed in a furnace over a pretty hot fire. A boy gives a revolving motion to the barrel, until the sharp edges of the choppings are sufficiently annealed, during which the speed of the rotary motion is progressively increased until the beads are properly shaped, when they are taken out of the barrel and polished, by being poured into bags and shaken from side to side by the force of two men - in the same manner that I have seen people, in this country, cleaning coffee and grain.
After polishing, the beads are sifted into sizes, and then some men, with light wooden trays, sort out the perfect specimens by a peculiar jerking motion, and slant which they dexterously give to the tray. The refuse is melted over again, and the now finished beads are put upon strings by a bumber of girls employed for that purpose. Various sizes are produced by larger or smaller tubes, as the case may be; but in all the operation is the same; the sifting process being necessary on account of the unevenness of the original tubes. The colors were very brilliant in some instances, but in all cases the glass seemed full of grits and blemishes, until toned down by the action of the fire in the second furnaces. May large warehouses receive the beads, where they are packed away in boxed for exportation. In one warehouse I saw several hundred tuns of them, filling barrels and boxes, or strongs of them piled away on shelves in compartments occupied by various colors. They were of all sizes, from the minutest mustard seed to the immense egg-like articles, exported to Africa and the Indies, for the use of the dusky beauties of those climes.
J. P. B.
(Our Foreign Correspondence.)
Venice, Italy, April, 1850.
Venetian glass has a world-wide reputation, and since I have been here, I have spent some time in endeavoring to discover the reason why glass, manufactured in this city, should be any better than that produced elsewhere. As yet, I have not ascertained anything satisfactory, but conclude it is principally the colors introduced that give to this glass the name and same it has hitherto enjoyed. From a gentleman well acquainted with the glass trade, I learned that all the fine white crystal glass, used for decanters and table service, is imported into Venice from France and England, and that very little of the glass made here would compare with the manufactures of Germany and France.
Cntinuing my researches, I took an early opportunity of visiting some of the glassworks hereabours, where the articles produced were beads, bugles, fancy plates, bottles, cups, saucers, &c., beautifully colored but wanting in clearness, full of blemishes and air bibbles. The plate glass works employ only a few hundred men, and turn out an article thicker and superior to our ordinary window glass, but of a yellowish tint, denoting anything but real excellence. The great renown that Venice has obtained for glass works is chiefly owing to the immense number of beads manufactured in its establishments. Having visited all the large factories here, I will endeavor to descrine to you the process.
The materials are put into smaller furnaces than those used in America, but constructed upon the same principle, with contrivances for economising fuel, for which the Italians generally are celebrated. When the mass is sufficiently fused, the coloring pigment is thrown in, and mized with the molten glass. When thoroughly amalgamated, the workman garhers a couple of pounds of the melted matter upon the end of an iron rod, which he withdraws from the furnace and manipulates upon an iron slab; after this, he plunges the glass into a tub of water. When it is sufficiently cooled, he sticks it into the furnace again, where it remains until once more melted, then it is taken out and fashioned into a shape resembling a bottle, with the bottom broken out. Another workman now brings on a similar lump, attached to another rod; the two boys are welded together; then a couple of boys take each one of the rods, and "travel," in opposite directions, to either end of a long shed. As these boys run away from each other, the glass is drawn out into long tubular wires, so to call them, and lies along on the ground, where it is suffered to remain until cooled; after which it is broken up in lengths or tubes, three feet long, and sold to the bead and bugle makers, (a distinct class of operatives) or sent into other rooms of the same establishment, where workment break them into minute particles.
This operation is performed by men, women, and boys - who have before them an iron gauge, into which, with one hand, they thrust fifteen or twenty tubes, at the same time, and, with an iron instrument (resembling a hatchet head) in the other and, they rapidly chop off the ends of the tubes, according to the size adjusted on the gauge. These cuttings are then taken below, where they are put into an iron barrel along with some sand, and placed in a furnace over a pretty hot fire. A boy gives a revolving motion to the barrel, until the sharp edges of the choppings are sufficiently annealed, during which the speed of the rotary motion is progressively increased until the beads are properly shaped, when they are taken out of the barrel and polished, by being poured into bags and shaken from side to side by the force of two men - in the same manner that I have seen people, in this country, cleaning coffee and grain.
After polishing, the beads are sifted into sizes, and then some men, with light wooden trays, sort out the perfect specimens by a peculiar jerking motion, and slant which they dexterously give to the tray. The refuse is melted over again, and the now finished beads are put upon strings by a bumber of girls employed for that purpose. Various sizes are produced by larger or smaller tubes, as the case may be; but in all the operation is the same; the sifting process being necessary on account of the unevenness of the original tubes. The colors were very brilliant in some instances, but in all cases the glass seemed full of grits and blemishes, until toned down by the action of the fire in the second furnaces. May large warehouses receive the beads, where they are packed away in boxed for exportation. In one warehouse I saw several hundred tuns of them, filling barrels and boxes, or strongs of them piled away on shelves in compartments occupied by various colors. They were of all sizes, from the minutest mustard seed to the immense egg-like articles, exported to Africa and the Indies, for the use of the dusky beauties of those climes.
J. P. B.
Hwarjehanda.
Åbo Underrättelser 37, 12.5.1838
[---]
I Frankrike har man börjat odla Polygonum tinctorium, hwaraf Chineserne bereda ett ganska godt Indigo. Flere försök att odla denna wäxt och derifrån afsöndra färgämnet, ha lyckats ganska wäl.
[---]
[---]
I Frankrike har man börjat odla Polygonum tinctorium, hwaraf Chineserne bereda ett ganska godt Indigo. Flere försök att odla denna wäxt och derifrån afsöndra färgämnet, ha lyckats ganska wäl.
[---]
The Art of Dyeing. - No. 34. Dyeing Feathers.
Scientific American 49, 18.8.1855
Dyeing Feathers - In our last article the method of dyeing feathers black was described, and although it was not intended originally to say any more respecting them, another article on the subject will be found useful to many, as such information is difficult to obtain.
The feathers of birds colored with the richest hues, are one of the most beautiful ornaments in animated nature. Some savage nations have exhibited great skill in blending the beautiful feathers of birds into various articles of dress, but the ancient Mexicans carried the arranging of colored feathers to such degree of perfection as to use them the same as we do letters[?]. Feathers are used in fress in all coutries, and it will have been observed that they become fashionable ornaments every ten years.
All feathers in their natural state are somewhat greasy, and resist efforts to color them in that condition. This grease must first be removed by steeping them for about fifteen minutes in very strong warm soap suds, after which tehy are washed, and are fit to be dyed. Being of an animal substance, their nature is akin to that of wool and silk. The same coloring matters and processes are therefore employed to dye them as for silk dyeing, only they require a little higher temperature of liquor, and more time in it. They are colored by themselves in small neat copper kettles, and carefully handled. By using the same substances, therefore, and pursuing the same methods as those described in the foregoing articles for dyeing silk, the same kinds of colors will be produced on feathers. The strenght of the mordants and the dye stuffs must be proprotioned to the weight of feathers. Blue is colored with the sulphate of indigo; yellow with turmeric made slightly sour with vitriol, and red with cochineal. Logwood, muriate of tin, and a little tartar will color them purple, and a mixture of the sulphate of indigo and turmeric will dye them green. Feathers for ladies' hats, however, should never be colored with turmeric, because sunlight soon dissipates it; fustic therefore should be used in place of the turmeric. Orange can be dyed with annato. They can be dyed a most beautiful gold color by giving them a light dip in annato, then dyeing them a full yellow on the top with a liquor of quercitron bark and the muriate of tin at a scalding heat. A rich maroon can be dyed by steeping the feathers for an hour in a strong hot liquor of peachwood, and a very little alum and logwood.
If feathers are carefully handled they can be dyed more easily than silk. Our farmer's daughters, by following the above directiosn, and using the receipts presented in preceding articles, may dye white feathers any color they choose.
It will have been noticed that some artificial ostrich plumes have exceedingly long and delicate fibers. These are not natural, but made by tuing a number of fibers together. This work must be done with great care, so as to have the knots very small. These fibers are gracefully curled and very showy; the curling is also doen by art, and in a most simple manner.
Before the feathers are quite dry (after being dyed) these fibersa re drawn a numbers of times between the thumb and the edge of an ivory knife, like that used by book folders, and from this action become beautifully curled. This operation must be performed delicately, and continued until the deather is dry. To facilitate the operation, it is generally carried on before a fire. The curls thus produced will not come out again until the feather becomes wet. A feather may be dyed in varigated colors by suspending it by a cord and immersing one end in the dye liquor, then the other in a different liquor. Thus, to color one part of a feather yellow and the other green, suspend or hold the feather in a turmeric or fustic liquor, then take it out and wash it, and add a little sulphtate of indigo to the same liquor, and hold that part of it to be dyed green (excluding the part to be kept yellow) in it for ten minutes, when it will be colored green. In this way, by carefully handling in different dye liquors, one feather may be dyed so as to have part a purple, another part yellow, another part blue, another green, and another red. This art is a very interesting one to practice. By a little ingenuity and taste, many young ladies might introduce some new and beautiful articles of domestic manufacture composed in part of colored feathers.
Dyeing Feathers - In our last article the method of dyeing feathers black was described, and although it was not intended originally to say any more respecting them, another article on the subject will be found useful to many, as such information is difficult to obtain.
The feathers of birds colored with the richest hues, are one of the most beautiful ornaments in animated nature. Some savage nations have exhibited great skill in blending the beautiful feathers of birds into various articles of dress, but the ancient Mexicans carried the arranging of colored feathers to such degree of perfection as to use them the same as we do letters[?]. Feathers are used in fress in all coutries, and it will have been observed that they become fashionable ornaments every ten years.
All feathers in their natural state are somewhat greasy, and resist efforts to color them in that condition. This grease must first be removed by steeping them for about fifteen minutes in very strong warm soap suds, after which tehy are washed, and are fit to be dyed. Being of an animal substance, their nature is akin to that of wool and silk. The same coloring matters and processes are therefore employed to dye them as for silk dyeing, only they require a little higher temperature of liquor, and more time in it. They are colored by themselves in small neat copper kettles, and carefully handled. By using the same substances, therefore, and pursuing the same methods as those described in the foregoing articles for dyeing silk, the same kinds of colors will be produced on feathers. The strenght of the mordants and the dye stuffs must be proprotioned to the weight of feathers. Blue is colored with the sulphate of indigo; yellow with turmeric made slightly sour with vitriol, and red with cochineal. Logwood, muriate of tin, and a little tartar will color them purple, and a mixture of the sulphate of indigo and turmeric will dye them green. Feathers for ladies' hats, however, should never be colored with turmeric, because sunlight soon dissipates it; fustic therefore should be used in place of the turmeric. Orange can be dyed with annato. They can be dyed a most beautiful gold color by giving them a light dip in annato, then dyeing them a full yellow on the top with a liquor of quercitron bark and the muriate of tin at a scalding heat. A rich maroon can be dyed by steeping the feathers for an hour in a strong hot liquor of peachwood, and a very little alum and logwood.
If feathers are carefully handled they can be dyed more easily than silk. Our farmer's daughters, by following the above directiosn, and using the receipts presented in preceding articles, may dye white feathers any color they choose.
It will have been noticed that some artificial ostrich plumes have exceedingly long and delicate fibers. These are not natural, but made by tuing a number of fibers together. This work must be done with great care, so as to have the knots very small. These fibers are gracefully curled and very showy; the curling is also doen by art, and in a most simple manner.
Before the feathers are quite dry (after being dyed) these fibersa re drawn a numbers of times between the thumb and the edge of an ivory knife, like that used by book folders, and from this action become beautifully curled. This operation must be performed delicately, and continued until the deather is dry. To facilitate the operation, it is generally carried on before a fire. The curls thus produced will not come out again until the feather becomes wet. A feather may be dyed in varigated colors by suspending it by a cord and immersing one end in the dye liquor, then the other in a different liquor. Thus, to color one part of a feather yellow and the other green, suspend or hold the feather in a turmeric or fustic liquor, then take it out and wash it, and add a little sulphtate of indigo to the same liquor, and hold that part of it to be dyed green (excluding the part to be kept yellow) in it for ten minutes, when it will be colored green. In this way, by carefully handling in different dye liquors, one feather may be dyed so as to have part a purple, another part yellow, another part blue, another green, and another red. This art is a very interesting one to practice. By a little ingenuity and taste, many young ladies might introduce some new and beautiful articles of domestic manufacture composed in part of colored feathers.
Paketteeratiota Väriä (mainos)
Uusi Suometar 277, 25.11.1888
niinkuin: Uutta Tulipunaista y. m. 8 p. kpl. kun 1000 ostetaan. Wilh. Holmgren, Etelä-Esplanadikatu 12.
Palwelukseen halutaan. (ilmoitus)
Uusi Suometar 21, 26.1.1883
Yksi siisti wärjärin sälli, hywin osaawa kyypin-käyttäjä, saapi nyt samalla hywin otollisen paikan, jos suullisesti tahi kirjeen kautta ilmoittaa palkka-ehtonsa
Wärjäri A. Holmqwist'ille
Haminassa.
Florida Indigo.
Scientific American 34, 5.5.1855
Indigo was formerly cultivated in Florida, for which the climate and soil is well adapted. It grows wild upon the barrens in almost every portion of the Peninsula. When cultivated by the English in this coutnry, the indigo of Florida was considered in the London market superior to all others, except that of Caraccas. The manner of cultivating and manufacturing advanrageously is as follows:
The seed, which is very small, is soaked for some twelve hours, then mixed with ashed or sand, and sown in drill rows, about eighteen inches apart. The time for sowing in Florida is from the middle of March to the first of April. When the young plant makes it appearance, it resembles white clover, and must be carefully weeded, and the earth kept loosed about its roots. Three weedings are sufficient to carry it up to the first cutting, which commences when the plant begins to bloom, say about the first of July. The plant is sos easily injured by the sun after it is plucked, that the cutting should be in the afternoon. As fast as it is cut, which is done by a sickle, it is carried to a vat called the steeper. This vat is made of plank, is water-tight, and varies in size according to the extent of the operations of the planter. The steeper is filled with cuttings immersed in water. Planks, with weights upon them, are then placed on top to keep the cuttings beneath the water. In this state the steeping is continued for about ten hours, or less, according to the temperature of the water. When the water assumes an olive color, it is drawn into the "beater," another vat, placed alongside and beneath the steeper, and connected by a tube, and fastened with a valve or spigot. The liquid is now churned by hand or with machinery, until it becomes lighter in color, and a blue pecula begins to make its appearance. From time to time lime water is thrown into the beater during the "churning." After the pecula spoken of distinctly appears, the water is suffered to remain about four hours for the indigo to settle. It is then drawn off, the sediment placed in bags, and hung up to drain. When drained sufficiently, it is placed in boxes to dry, under gentle pressure; and when dried firm, it is cut up into square cakes and placed in the shade, to become completely dried by evaporation. The shorter the steeping and the less the beating, the lighter will be the color of the indigo. The indigo plant will yield two or three cuttings a season, and one hand will cultivate about three acres, the result being from 175 to 200 lbs. of the article. Unlike sugar cane or corn, the indigo requires no expensive machinery. Where it is made only for domestic use, barrels are used for steeping and beating. - [Florida News.
Indigo was formerly cultivated in Florida, for which the climate and soil is well adapted. It grows wild upon the barrens in almost every portion of the Peninsula. When cultivated by the English in this coutnry, the indigo of Florida was considered in the London market superior to all others, except that of Caraccas. The manner of cultivating and manufacturing advanrageously is as follows:
The seed, which is very small, is soaked for some twelve hours, then mixed with ashed or sand, and sown in drill rows, about eighteen inches apart. The time for sowing in Florida is from the middle of March to the first of April. When the young plant makes it appearance, it resembles white clover, and must be carefully weeded, and the earth kept loosed about its roots. Three weedings are sufficient to carry it up to the first cutting, which commences when the plant begins to bloom, say about the first of July. The plant is sos easily injured by the sun after it is plucked, that the cutting should be in the afternoon. As fast as it is cut, which is done by a sickle, it is carried to a vat called the steeper. This vat is made of plank, is water-tight, and varies in size according to the extent of the operations of the planter. The steeper is filled with cuttings immersed in water. Planks, with weights upon them, are then placed on top to keep the cuttings beneath the water. In this state the steeping is continued for about ten hours, or less, according to the temperature of the water. When the water assumes an olive color, it is drawn into the "beater," another vat, placed alongside and beneath the steeper, and connected by a tube, and fastened with a valve or spigot. The liquid is now churned by hand or with machinery, until it becomes lighter in color, and a blue pecula begins to make its appearance. From time to time lime water is thrown into the beater during the "churning." After the pecula spoken of distinctly appears, the water is suffered to remain about four hours for the indigo to settle. It is then drawn off, the sediment placed in bags, and hung up to drain. When drained sufficiently, it is placed in boxes to dry, under gentle pressure; and when dried firm, it is cut up into square cakes and placed in the shade, to become completely dried by evaporation. The shorter the steeping and the less the beating, the lighter will be the color of the indigo. The indigo plant will yield two or three cuttings a season, and one hand will cultivate about three acres, the result being from 175 to 200 lbs. of the article. Unlike sugar cane or corn, the indigo requires no expensive machinery. Where it is made only for domestic use, barrels are used for steeping and beating. - [Florida News.
The Art of Dyeing. - No. 19. Green on Wool. Olive Green. Sulphate of Indigo Green. Fast Green. Chrome Green.
Scientific American 34, 5.5.1855
Green on Wool - In a number of works on dyeing different receipts are given for producing the same color on different kinds of goods made of the same material, such as woolen yarn, merino, camlet, & c. This is wrong, for the same drugs will dye the very same colors and shades of all fabrics made of the same material. The stuffs taht will dye green on wool, will also produce the very same color on the fines broadcloth or bombazine.
Olive Green - A very beautiful olive green may be dyed at one dip with logwood, fustic, and blue vitriol (sulphate of copper). For then pounds of goods, take three pounds of logwood, seven of fustic, and half a pound of blue vitriol. These are all brought to the boil together in the dye kettle and the goods entered, handled well, and boiled for an hour, when they may be taken out, washed, and dried. Chips of logwood and fustic may be used in the dyeing of pieces, but not for yarn or wool. The quantity of stuffsa given will make a medium green. More of these will make a dark green, and less a fine apple green. This color does not stand exposure to the sun.
By boiling the goods in the above-named dye stuffs, only adding one pound of camwood, a dark and invisible olive green is the result. Indeed, a true olive hreen cannot be colored without using a little camwood. By using these very same stuffs in very minute quantities, drabs of various shades can be dyed. Any person may color this kind of olive green in a cast iron kettle. We therefore recommed it to the attention of our farmers for domestic wearing cloth, by substituting half copperas and half alum for the blue vitriol, and always adding some camwood. This makes a very permanent olive green.
Sulphate of Indigo Green - Sulphtate of indigo and fustic make the clearest green on wool. All fancy green colors for carpets, and such like work, are dyed with these stuffs. Fustic liquor is put into a copper kettle, and one ounce of alum to the ten pounds of goods added. Sulphate of indigo is then added, in such a quantity that when stirred the color if the liquor will be of the shade you want on the goods. When the liquor is brought to boil, the goods are entered and boiled for half and hour, when they are taken out, washed, and dried. If it is desired to make the goods darker in the shade, more stuffs are added. As these colors are somewhat expensive, some camwood is added to the liquor for dark shades; indeed, very good invisible greens can be dyed in this manner by addition of camwood. The goods must be carefully handled in dyeing these colros. From the very lightest pea green up tp the darkest grass green, in fancy dyeing, all the shades are dyed with the same stuffs, but in varying qualities. The sulphtae of indigo should be at least nine days old before it is used for woolen dyeing. It should also be made of the best Bengal indigo. As good indigo as that made in the East Indies has been, and can be made again, in South Carolina, but the manufacture of it is very unhealthy.
Fast Green - This color is now only dyed on broadcloth. It is produced by dyeing the goos a blue in an ash or woad vat for a base, then washing them well, and dyeing yellow on the top with a very strong decoction of fustic, and a little alum. It will take bout a pound of fustic and an ounce of alum to the pound of goods; they should be boiled about three-fourths of an hour.
Chrome Green - Within a very few years the bichromate of potash (chrome of the dyer) has come into extensive use in woolen dyeing. It has been long used in cotton dyeing for a few colors, but it is now a very general mordant for colors on woolen goods.
Boil the goods for one hour in two ounces of chrome and one of crude tartar, to every pound of goods. Then lift them, allow them to drip for ten minutes, and enter in a clean kettle of logwood and fustic - 4 pounds of logwood and ten of fustic to every ten pounds of goods. In this bath they are boiled for one hour, when they are taken out, washed, and dried. This color is more permanent than the olive green dyed with the sulphate of copper, but it is also more troublesome to dye.
Flannels should never be dyed green with the sulphate of indigo, for however beautiful the blue produced by it, warm water and sweat will discharge it. Green cloth, unless very dark, does not look well for men's wear. Soldiers in light green uniform do not look well; but dark green with red facings makes a very showy uniform. For female dress no color is more appropriate than green; light green for young females, the depths of shade corresponding with the age. Red is the complementary color of green, and some purple trimming on some part of a person's dress is necessary to relieve the green in a frock; green trimmed with purple looks well in the dresses of children.
Green on Wool - In a number of works on dyeing different receipts are given for producing the same color on different kinds of goods made of the same material, such as woolen yarn, merino, camlet, & c. This is wrong, for the same drugs will dye the very same colors and shades of all fabrics made of the same material. The stuffs taht will dye green on wool, will also produce the very same color on the fines broadcloth or bombazine.
Olive Green - A very beautiful olive green may be dyed at one dip with logwood, fustic, and blue vitriol (sulphate of copper). For then pounds of goods, take three pounds of logwood, seven of fustic, and half a pound of blue vitriol. These are all brought to the boil together in the dye kettle and the goods entered, handled well, and boiled for an hour, when they may be taken out, washed, and dried. Chips of logwood and fustic may be used in the dyeing of pieces, but not for yarn or wool. The quantity of stuffsa given will make a medium green. More of these will make a dark green, and less a fine apple green. This color does not stand exposure to the sun.
By boiling the goods in the above-named dye stuffs, only adding one pound of camwood, a dark and invisible olive green is the result. Indeed, a true olive hreen cannot be colored without using a little camwood. By using these very same stuffs in very minute quantities, drabs of various shades can be dyed. Any person may color this kind of olive green in a cast iron kettle. We therefore recommed it to the attention of our farmers for domestic wearing cloth, by substituting half copperas and half alum for the blue vitriol, and always adding some camwood. This makes a very permanent olive green.
Sulphate of Indigo Green - Sulphtate of indigo and fustic make the clearest green on wool. All fancy green colors for carpets, and such like work, are dyed with these stuffs. Fustic liquor is put into a copper kettle, and one ounce of alum to the ten pounds of goods added. Sulphate of indigo is then added, in such a quantity that when stirred the color if the liquor will be of the shade you want on the goods. When the liquor is brought to boil, the goods are entered and boiled for half and hour, when they are taken out, washed, and dried. If it is desired to make the goods darker in the shade, more stuffs are added. As these colors are somewhat expensive, some camwood is added to the liquor for dark shades; indeed, very good invisible greens can be dyed in this manner by addition of camwood. The goods must be carefully handled in dyeing these colros. From the very lightest pea green up tp the darkest grass green, in fancy dyeing, all the shades are dyed with the same stuffs, but in varying qualities. The sulphtae of indigo should be at least nine days old before it is used for woolen dyeing. It should also be made of the best Bengal indigo. As good indigo as that made in the East Indies has been, and can be made again, in South Carolina, but the manufacture of it is very unhealthy.
Fast Green - This color is now only dyed on broadcloth. It is produced by dyeing the goos a blue in an ash or woad vat for a base, then washing them well, and dyeing yellow on the top with a very strong decoction of fustic, and a little alum. It will take bout a pound of fustic and an ounce of alum to the pound of goods; they should be boiled about three-fourths of an hour.
Chrome Green - Within a very few years the bichromate of potash (chrome of the dyer) has come into extensive use in woolen dyeing. It has been long used in cotton dyeing for a few colors, but it is now a very general mordant for colors on woolen goods.
Boil the goods for one hour in two ounces of chrome and one of crude tartar, to every pound of goods. Then lift them, allow them to drip for ten minutes, and enter in a clean kettle of logwood and fustic - 4 pounds of logwood and ten of fustic to every ten pounds of goods. In this bath they are boiled for one hour, when they are taken out, washed, and dried. This color is more permanent than the olive green dyed with the sulphate of copper, but it is also more troublesome to dye.
Flannels should never be dyed green with the sulphate of indigo, for however beautiful the blue produced by it, warm water and sweat will discharge it. Green cloth, unless very dark, does not look well for men's wear. Soldiers in light green uniform do not look well; but dark green with red facings makes a very showy uniform. For female dress no color is more appropriate than green; light green for young females, the depths of shade corresponding with the age. Red is the complementary color of green, and some purple trimming on some part of a person's dress is necessary to relieve the green in a frock; green trimmed with purple looks well in the dresses of children.
Myrkytöintä Aneliini-Färiä (mainos)
Tapio 99, 15.12.1883
kotivärjäystä varten, 15 eri väriä, paketeissa, sisältävä aina 1 naulaa väriainetta summissa ja vähittäin
Wanhassa Apteekissa
Kuopiossa.
Science and Art. Color and Dress.
Scientific American 18, 13.1.1855
Red Drapery - Rose-red cannot be put in contact with the rosiest complexions without causing them to loose some of their freshness. Dark red is less objectionable for certain complexions than rose-red, because, being higher than this latter, it tends to impart whiteness to them in consequence of contrast of tone.
Green Drapery - A delivate green is, on the contrary, favorable to all fair complexions which are deficient in rose, and which may have more imparted to them without inconvenience; but it is not so favorable to complexions that are more red than rody, nor to those that have a tint of orange mixed with brown, because the red they add to this tint will be of a brick-red hue. In the latter case a dark green will be less objectionable than a delicate green.
Yellow Drapery - Yellow imparts violet to a fair skin, and in this view it is less favorable than a delicate green. To those complexions which are more yellow than orange it imparts white; but this combination is very dull and heavy for a fair complexion. When the skin is tinted more with orange than yellow, we can make it roseate by neutralizing the yellow; it produces this effect upon the black-haired type, and it is thus that it suits brunettes.
Violet Draperies - Violet, the complementary of yellow, produces contrary effects; thus, it imparts some greenish yellow to fair compelxions; it augments the yellow tint of yellow and orange skins. The little blue there may be in a complexion it makes green. Violet, then, is one of the least favorable to the skin, at least when it is not sufficiently deep to whiten it by contrast of tine.
Blue Drapery - Blue imparts orange, - which is susceptible of allying itself favorable to white and the light flesh tints of fair complexions, which have already a more or less determined tint of this color. Blue is, then, suitable to most blondes, and in this case justifies its reputation. It will not suit brunettes, since they have already too much of orange. Orange is too brillian to be elegant; it makes fair complexions blue, whitens those which have an orange tint, and gives a green hue to those of of a yellow tint.
White Drapery - Drapery of a lusterless white, such as cambrle muslin, assorts well with a fresh complexion, of which it relieves the rose color; but is is unsuitable to complexions which have a disagreeable tint, because white always exalts all colors by raining their tone; consequently, it is unsuitable to those skins which, without having this disagreeable tint, very nearly approach it. Very light white draperies, such as muslin, plaited or point lace, has entirely different aspect.
Black Drapery - Black draperies, loweing the tone of the colors with which they are in juxtaposition, whiten the skin; but if the vermillion or rosy parts are to a certain point distant from the drapery, it will follow that, although lowered in tone, they appear relatively to the white parts of the skin, contiguous to this same drapery, redder than if the contiguity to the black did not exist. -
[Harmony of Colors, by M. E. Chevreul.
[The above remarks of this distinguished French chemist must be taken with some caution, because the question of complexion is a very puzzling one. The lesson, however, which he desires to impart is a good one, that is, the study of colors in dress in relation to complexion. Some of the strangest and most disagreeable results are produced by the choice of fashionable colored bonnets and their trimmings. Every person should study the effect of color upon complexion, so that the coloring of nature and art may be in harmony, not at loggerheads, as they often are.
Red Drapery - Rose-red cannot be put in contact with the rosiest complexions without causing them to loose some of their freshness. Dark red is less objectionable for certain complexions than rose-red, because, being higher than this latter, it tends to impart whiteness to them in consequence of contrast of tone.
Green Drapery - A delivate green is, on the contrary, favorable to all fair complexions which are deficient in rose, and which may have more imparted to them without inconvenience; but it is not so favorable to complexions that are more red than rody, nor to those that have a tint of orange mixed with brown, because the red they add to this tint will be of a brick-red hue. In the latter case a dark green will be less objectionable than a delicate green.
Yellow Drapery - Yellow imparts violet to a fair skin, and in this view it is less favorable than a delicate green. To those complexions which are more yellow than orange it imparts white; but this combination is very dull and heavy for a fair complexion. When the skin is tinted more with orange than yellow, we can make it roseate by neutralizing the yellow; it produces this effect upon the black-haired type, and it is thus that it suits brunettes.
Violet Draperies - Violet, the complementary of yellow, produces contrary effects; thus, it imparts some greenish yellow to fair compelxions; it augments the yellow tint of yellow and orange skins. The little blue there may be in a complexion it makes green. Violet, then, is one of the least favorable to the skin, at least when it is not sufficiently deep to whiten it by contrast of tine.
Blue Drapery - Blue imparts orange, - which is susceptible of allying itself favorable to white and the light flesh tints of fair complexions, which have already a more or less determined tint of this color. Blue is, then, suitable to most blondes, and in this case justifies its reputation. It will not suit brunettes, since they have already too much of orange. Orange is too brillian to be elegant; it makes fair complexions blue, whitens those which have an orange tint, and gives a green hue to those of of a yellow tint.
White Drapery - Drapery of a lusterless white, such as cambrle muslin, assorts well with a fresh complexion, of which it relieves the rose color; but is is unsuitable to complexions which have a disagreeable tint, because white always exalts all colors by raining their tone; consequently, it is unsuitable to those skins which, without having this disagreeable tint, very nearly approach it. Very light white draperies, such as muslin, plaited or point lace, has entirely different aspect.
Black Drapery - Black draperies, loweing the tone of the colors with which they are in juxtaposition, whiten the skin; but if the vermillion or rosy parts are to a certain point distant from the drapery, it will follow that, although lowered in tone, they appear relatively to the white parts of the skin, contiguous to this same drapery, redder than if the contiguity to the black did not exist. -
[Harmony of Colors, by M. E. Chevreul.
[The above remarks of this distinguished French chemist must be taken with some caution, because the question of complexion is a very puzzling one. The lesson, however, which he desires to impart is a good one, that is, the study of colors in dress in relation to complexion. Some of the strangest and most disagreeable results are produced by the choice of fashionable colored bonnets and their trimmings. Every person should study the effect of color upon complexion, so that the coloring of nature and art may be in harmony, not at loggerheads, as they often are.
The Art of Dyeing - No. 3. Red Color on Cotton.
Scientific American 18, 13.1.1855
Red Color on Cotton - This color is temed the "calorific ray," and imparts a cheerful aspect to rooms looking to the north. It is a striking and gaudy color, by some called vulgar, but it is wrong to apply such a term to any color.
A common red color is dyed on a cotton, with two different kinds of vegetable dyewoods, namely, peachwood and barwood. The latter makes a more permanent color than the former. The cotton being boiled and prepared for opetarion, is first steeped for about eight or ten hours in a string decoction of sumac - about three pounds to the ten pounds of cotton, either in yarn or the piece. The goods must never be crowded too close in the vessels in which they are steeped, and no part of them should be suffered to rise above the liquor. This preparation is the same for both kinds of dyewoods. After the goods are lifted out of the sumac (if yarn, they are wrung, if pieces, they are suffered to drip well,) and then entered into the "spirit tub." This is a standing tub of the nitro murate of tin, described on the page 130; in which they receive five turns or handlings, and are then sunk under the liquor for about one hour and a half. They are then lifted, suffered to drip for a few minutes, wrung (if yarn,) and afterwards washed in clean water. If for bar-wood, great care must be exercised that no free acid is left in them; this can easily be detected by tasting them - the usual way. It requires about one pound of bar-wood to color one pound of cotton, and this is always done in a boiler bath. The yarn is wrung up, when washed out of the spirits, or if pieces, they are well dripped and run upon a winch. The bath should be a long rectangular copper kettle for yarn, if heated with a fire underneath, or it should be a water-tight long wooden box if heated with steam. The bar-wood is fisrt introduced, and allowed to boil for about fifteen minutes, then it is put off the boil with a pailfull of cold water, and the goods are entered and handled well over pins, or the winch, for about a quarter of an hour, when the liquor is brought to the boil and kept boiling for half an hour, when the goods will have attained to a good full color. Some enter the goods into the bar-wood liquor when cold, and bring it gradually up to the boil in half an hour, and keep it at this heat for half an hour longer. If the goods are to be dyed with peach wood, about six pounds are used for every ten of the goods. This wood is simply boiled for about fifteen minutes (if finely ground,) then put off the boil, and the clear liquor lifted out into a tub or tubs and equally divided for the quantity of goods to be dyed. The goods are then entered and handled quickly for fifteen minutes, then lifted, and about a small tea cupfull of spirits from the standing tub is added to the liquor., and well stirred. The goods are then re-entered, handled for ten minutes, and being raised, as it is termed, are then lfited,washed, and wrung for drying. Bar-wood reds require much washing if the goods are boiled in the liquor; peach-wood reds require but little washing. Some add two pounds of cam-wood to every eight of bar-wood, but use so much less of the latter dye wood. - Unless the bar-wood is good, and it is easy to deceive the eye with its appearance, a good full color cannot be produced.
Madder is employed for dyeing two kinds of reds on cotton, one a dull brownish red called "indian," and another the most brilliant of all, "named Turkey red." The former is dyed by preparing cottong with a very light sumac, one pound to ten of cotton in yarn, in the same way as for bar-wood red; then giving it a strong mordant of the acetate of alum. This latter is prepared by dissolving one pound of alum for every ten pounds of cotton, to be dyed in a clean vessel, then adding, in a dissolved state, one ounce of the acetate of lead, stirring all up, and allowing the sediment to fall to the bottom. The clear is then used as a mordant, at a temperature of 160°. The goods are handled in this for about ten minutes, then sunk under the liquor for six hours, after which they are lifted, dripped, and washed thoroughly. They are then fit to receive the madder dye. This is done in a copper kettle gradually brought up to a boil, and then boiled for half an hour. It takes about 1½ pounds of ground madder roots to dye one pound of cotton (a little sumac is added to the madder). This is an expensive color but very fast. No Turkey reds are dyed in our country; the process is tedious and expensive, and it would perhaps be a waste of space to describe it. A description of the process is to be found in Dr. Ure's old Chemical Dictionary, furnished by M. Papillon, the French gentleman who introduced the art into Britain, but the whole details of the process, as now practiced by the best Turkey-red dyers, is totally different, and the manipulations are much reduced in number.
Madder is the best vegetable coloring matter yet discovered for dyeing red, and were it more generally cultivated in our country, so as to reduce its price, and were the advice of Mr. Partridge, as given in former numbers of the Scientific American, followed, our country might soon rival, if nor surpass, all others in dyeing red colors on cotton. As it is, Scotland supplies us with Turkey red yarn and plain red pieces, and France (if we are not imposed upon,) with Turkey red calicoes. Speaking correctly, Turkey-red is the only pure red dyed on cotton, all the other reds - bar-wood and peach-wood - are dull and brownish when compared with it.
Alizarin is the red coloring matter od madder. Garancine is a product of madder, obtained by submitting it (the madder) for a short time to strong sulphuric acid, washing the latter well out, and then drying the madder so treated for market. Alum is the mordant used for this substance, which only yields its color at a boiling temperature. A little sumac is added in the bath, and the process is about the same as for Indian madder red. We believe its use is confined to calico print works entirely. It gives a more lively color than common madder, and it is not so liable to run upon the white parts of calicoes. Colorine is another product of madder, now extensively used in French calico printworks.
Brazil wood and sapan wood are used for dyeing red in the same manner as peachwood (Nicaragua). They are finer in quality, and superior, but not much used because they are dearer. None of the stand exposure to the sun for any lenght of time, hence they are set down as fugitive colors.
In out next we will describe the modes of coloring silk and wool, red.
Red Color on Cotton - This color is temed the "calorific ray," and imparts a cheerful aspect to rooms looking to the north. It is a striking and gaudy color, by some called vulgar, but it is wrong to apply such a term to any color.
A common red color is dyed on a cotton, with two different kinds of vegetable dyewoods, namely, peachwood and barwood. The latter makes a more permanent color than the former. The cotton being boiled and prepared for opetarion, is first steeped for about eight or ten hours in a string decoction of sumac - about three pounds to the ten pounds of cotton, either in yarn or the piece. The goods must never be crowded too close in the vessels in which they are steeped, and no part of them should be suffered to rise above the liquor. This preparation is the same for both kinds of dyewoods. After the goods are lifted out of the sumac (if yarn, they are wrung, if pieces, they are suffered to drip well,) and then entered into the "spirit tub." This is a standing tub of the nitro murate of tin, described on the page 130; in which they receive five turns or handlings, and are then sunk under the liquor for about one hour and a half. They are then lifted, suffered to drip for a few minutes, wrung (if yarn,) and afterwards washed in clean water. If for bar-wood, great care must be exercised that no free acid is left in them; this can easily be detected by tasting them - the usual way. It requires about one pound of bar-wood to color one pound of cotton, and this is always done in a boiler bath. The yarn is wrung up, when washed out of the spirits, or if pieces, they are well dripped and run upon a winch. The bath should be a long rectangular copper kettle for yarn, if heated with a fire underneath, or it should be a water-tight long wooden box if heated with steam. The bar-wood is fisrt introduced, and allowed to boil for about fifteen minutes, then it is put off the boil with a pailfull of cold water, and the goods are entered and handled well over pins, or the winch, for about a quarter of an hour, when the liquor is brought to the boil and kept boiling for half an hour, when the goods will have attained to a good full color. Some enter the goods into the bar-wood liquor when cold, and bring it gradually up to the boil in half an hour, and keep it at this heat for half an hour longer. If the goods are to be dyed with peach wood, about six pounds are used for every ten of the goods. This wood is simply boiled for about fifteen minutes (if finely ground,) then put off the boil, and the clear liquor lifted out into a tub or tubs and equally divided for the quantity of goods to be dyed. The goods are then entered and handled quickly for fifteen minutes, then lifted, and about a small tea cupfull of spirits from the standing tub is added to the liquor., and well stirred. The goods are then re-entered, handled for ten minutes, and being raised, as it is termed, are then lfited,washed, and wrung for drying. Bar-wood reds require much washing if the goods are boiled in the liquor; peach-wood reds require but little washing. Some add two pounds of cam-wood to every eight of bar-wood, but use so much less of the latter dye wood. - Unless the bar-wood is good, and it is easy to deceive the eye with its appearance, a good full color cannot be produced.
Madder is employed for dyeing two kinds of reds on cotton, one a dull brownish red called "indian," and another the most brilliant of all, "named Turkey red." The former is dyed by preparing cottong with a very light sumac, one pound to ten of cotton in yarn, in the same way as for bar-wood red; then giving it a strong mordant of the acetate of alum. This latter is prepared by dissolving one pound of alum for every ten pounds of cotton, to be dyed in a clean vessel, then adding, in a dissolved state, one ounce of the acetate of lead, stirring all up, and allowing the sediment to fall to the bottom. The clear is then used as a mordant, at a temperature of 160°. The goods are handled in this for about ten minutes, then sunk under the liquor for six hours, after which they are lifted, dripped, and washed thoroughly. They are then fit to receive the madder dye. This is done in a copper kettle gradually brought up to a boil, and then boiled for half an hour. It takes about 1½ pounds of ground madder roots to dye one pound of cotton (a little sumac is added to the madder). This is an expensive color but very fast. No Turkey reds are dyed in our country; the process is tedious and expensive, and it would perhaps be a waste of space to describe it. A description of the process is to be found in Dr. Ure's old Chemical Dictionary, furnished by M. Papillon, the French gentleman who introduced the art into Britain, but the whole details of the process, as now practiced by the best Turkey-red dyers, is totally different, and the manipulations are much reduced in number.
Madder is the best vegetable coloring matter yet discovered for dyeing red, and were it more generally cultivated in our country, so as to reduce its price, and were the advice of Mr. Partridge, as given in former numbers of the Scientific American, followed, our country might soon rival, if nor surpass, all others in dyeing red colors on cotton. As it is, Scotland supplies us with Turkey red yarn and plain red pieces, and France (if we are not imposed upon,) with Turkey red calicoes. Speaking correctly, Turkey-red is the only pure red dyed on cotton, all the other reds - bar-wood and peach-wood - are dull and brownish when compared with it.
Alizarin is the red coloring matter od madder. Garancine is a product of madder, obtained by submitting it (the madder) for a short time to strong sulphuric acid, washing the latter well out, and then drying the madder so treated for market. Alum is the mordant used for this substance, which only yields its color at a boiling temperature. A little sumac is added in the bath, and the process is about the same as for Indian madder red. We believe its use is confined to calico print works entirely. It gives a more lively color than common madder, and it is not so liable to run upon the white parts of calicoes. Colorine is another product of madder, now extensively used in French calico printworks.
Brazil wood and sapan wood are used for dyeing red in the same manner as peachwood (Nicaragua). They are finer in quality, and superior, but not much used because they are dearer. None of the stand exposure to the sun for any lenght of time, hence they are set down as fugitive colors.
In out next we will describe the modes of coloring silk and wool, red.
Inventions and Discoveries Abroad: Aluminum Bronze Pens. Aluminum Bronze Powders and Leaf. Brown Aniline Color.
Scientific American 22, 28.11.1863
Aluminum Bronze Pens. - R. Pinkney, of London - a manufacturer of metallic pens - has applied for a patent for pens made of aluminum and copper alloys, as a substitute for those made of steel and gold. He states that an alloy composed of 95 per cent aluminum is of a fine gold color; and another composed of 7½ per cent of copper is of a beautiful green color. Aluminum bronze is very ductile, and is suitable for undergoing the rolling and hammering operations through which steel and gold pass in the making of pens.
Aluminum Bronze Powders and Leaf. -- A patent has been taken out by J. Erwood, of London, for manufacturing powders of aluminum bronze to take the place of common bronze and Dutch metal leaf, to be applied to paper-hangings, gildings, &c. Aluminum bronze is composed of 90 parts copper and 10 of aluminum, and is of a beautiful yellow color. It is rolled, annealed and beaten until it becomes as thin as foil of lead, in which condition it can be used for common gilding. To reduce it to powder the foil is stamped and ground in the same manner that common bronze powders are reduced from tin and brass. The foil od leaf and the powders are applied to ornament paper-hangings by pressing and dusting them upon varnished surfaces.
Brown Aniline Color. - Red, purple, blue and green aniline colors, with all the pale shades dyed on goods, with limited quantities of such substances have been produced, but no good brown colors had been obtained. A patent has been taken out for manufacturing such colors by R. T. Monteith, of St. Malo, France, and R. Monteith, of Manchester, England. They take what is called aniline red (a substance now well known in commerce) mix it with a dry salt of aniline and submit the mixture to a temperature of 390° Fah., in close vessel for about six hours. The product thus obtained is of a brown color and part of it soluble in boiling water, and another part only soluble in alcohol. The brown coloring matter thus made is suitable for dyeing wool and silk in a bath of hot water.
G. De Laire, of Paris, France, has also obtained a patent for producing an aniline brown color, by submitting aniline violet, red or blue, mixed with the hydrochlorate of aniline to heat, in a close vessel for several hours. The two patents are almost similar in character.
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Aluminum Bronze Pens. - R. Pinkney, of London - a manufacturer of metallic pens - has applied for a patent for pens made of aluminum and copper alloys, as a substitute for those made of steel and gold. He states that an alloy composed of 95 per cent aluminum is of a fine gold color; and another composed of 7½ per cent of copper is of a beautiful green color. Aluminum bronze is very ductile, and is suitable for undergoing the rolling and hammering operations through which steel and gold pass in the making of pens.
Aluminum Bronze Powders and Leaf. -- A patent has been taken out by J. Erwood, of London, for manufacturing powders of aluminum bronze to take the place of common bronze and Dutch metal leaf, to be applied to paper-hangings, gildings, &c. Aluminum bronze is composed of 90 parts copper and 10 of aluminum, and is of a beautiful yellow color. It is rolled, annealed and beaten until it becomes as thin as foil of lead, in which condition it can be used for common gilding. To reduce it to powder the foil is stamped and ground in the same manner that common bronze powders are reduced from tin and brass. The foil od leaf and the powders are applied to ornament paper-hangings by pressing and dusting them upon varnished surfaces.
Brown Aniline Color. - Red, purple, blue and green aniline colors, with all the pale shades dyed on goods, with limited quantities of such substances have been produced, but no good brown colors had been obtained. A patent has been taken out for manufacturing such colors by R. T. Monteith, of St. Malo, France, and R. Monteith, of Manchester, England. They take what is called aniline red (a substance now well known in commerce) mix it with a dry salt of aniline and submit the mixture to a temperature of 390° Fah., in close vessel for about six hours. The product thus obtained is of a brown color and part of it soluble in boiling water, and another part only soluble in alcohol. The brown coloring matter thus made is suitable for dyeing wool and silk in a bath of hot water.
G. De Laire, of Paris, France, has also obtained a patent for producing an aniline brown color, by submitting aniline violet, red or blue, mixed with the hydrochlorate of aniline to heat, in a close vessel for several hours. The two patents are almost similar in character.
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Chromium In The Arts.
Scientific American 25, 20.6.1863
Chromium is a metal which forms several oxides that are much used in the practical arts. Its two native combinations are the chromate of lead and the chromite of iron - a compound of the oxides of chromium and iron. Metallic chromium may be obtained by igniting its oxide intensely with about one-tenth of its weight of charcoa. Its color resembles that of platinum; it scratches glass and takes a good polish. There are four oxides of chromium, namely: Protoxide, CrO; a sesquioxide, Cr2O3; an intermediate oxide, Cr O, Cr2O3, and chromic acid Cr O3. The sesquioxide of chromium (Cr2 O3) is obtained by heating chromate of mercury or chromate of ammonia to a dull redness; and it is also formed by the action of a red heat upon bichromate of potassa. In this case neutral chromate of potassa is formed, which may be removed by washing the product. This oxide is of a green color, is not changed by heat and is much used in enamel and porcelain painting, also as a pigment for printing on paper. Chromic acid forms carmine-colored needle-shaped crystals, rapidly deliquescing in the air, and dissolving very easily in water, forming a dark reddish brown or lemon yellow solution. The concentrated acid corrodes paper like oil of vitriol, and, when in dilute solution, it likewise attacks paper and other kinds of organic matter, especially when aided by light or heat, becoming converted into the brown oxide or the green sesquioxide, according to the extent of the decomposition. The chromate of potash is manufactured by heating pulverized chrome iron-ore with carbonate of potassa and a little niter in a reverberatory furnace - stirring the mixture to absorb oxygen. The product thus obtained is digested in water, and the solution obtained is super-saturated with nitric acid, which precipitates silica and leaves the chromate in solution. The bichromate of potash is much used in the arts of dyeing and printing cotton and woolen fabrics; also in photography. It is obtained by adding a sufficient quantity of sulphuric acid to a solution of the chromate until its taste becomes sour, then setting it aside for a few days, when deep orange crystals are formed, constituting the bichromate. The crystals are anhydrous prisms, and are soluble in hot water. Solutions of these chromates are very injurious to the skin, causing sores which are difficult to heal. Ppaer impregnated with a solution of the bichromate possesses photographic powers. It has remarkable coloring properties, as one art of it will impart a yellow color to 40,000 parts of water.
The great use of bichromate of potash is photographic operations in due to the ready way in which it parts with some of its oxygen to organic matter under the influence of light. Bichromate of potash may be looked upon as containing one part of chromic acid in the free state. Now chromic acid has a large quantity of oxygen locked up in it (threeequivalents of oxygen to one equivalent of chromium) and it is somewhat of an unstable compound, having a tendency to give up oxygen and pass to a lower state of oxidation at the slightest opportunity. When placed in contact with an organic substance, such as paper, gelatine, leather, horn, parchment, the skin, &c., the oxygen of the chromic acid is ready to unite with the carbon and hydrogen in those bodies. The change goes on, however, very slowly in the dark, requiring the stimulating action of light to set it up, but under this influence it speedily passes to the state of brown oxide, Cr O2, and then to the sesquioxide Cr2O3.
This formation of brown chromate of oxide of chromium is the first result of the action of light upon a mixture of bichromate of potash and organic matter, and occasions the brown tint left behind in the paper. If the action of light is allowed to proceed further, the deoxidation ultimately proceeds to the greatest possible extent, and the chromic acid is entirely reduced to the state of sesquioxide of chromium. This has a green color, and its presence may often be observed in photographs printed in this manner. The reduced brown oxide of chromium reacts in several ways, like a combination of an acid and a base, and when washed with metallic and other solutions, give rise to other insoluble metallic compounds of various colors, by a process of double decomposition. Hence the numerous bichromate of potash printing processes in which variously-colored positives are produced. Upon gelatine, in its numerous forms of gelatine, isinglass, glue and the allied bodies, gum, &c., another action takes plave at the same time. The reduction of chromic acid is effected in the same manner, but the oxygen which it loses attacs the gelatine and converts it into a slightly different chemical substance, rendering it partially or entirely insoluble in water.
The bichromate of potash is employed as a mordant to prepare woolen goods to be dyed black with logwood. The goods are simply boiled first in a weak solution of it, then in an extract of logwood. It is also employed as a mordant for brown colors on wool. With a preparation of the acetate of nitrate of lead, cotton cloth is dyed yellow by subsequent immersion in a solution of chrome; and, if immersed afterwards in warm lime-water, it will change into orange. The chromate of lead is employed as a yellow paint, and is applicable to both oil and water colors. The sulphate of chromium combines with the sulphate of potassa, forming a beautiful double salt, which crystalizes in green and purple octahedra, and is called chrome alum. A small quantity of the metal chromium will unite with steel, forming an alloy suitable for the finest cutlery instruments.
Chrome ore is obtained in great abundance in hills near Baltimore, Md., where the manufacture of the bichromate of potash is carried on extensively.
Chromium is a metal which forms several oxides that are much used in the practical arts. Its two native combinations are the chromate of lead and the chromite of iron - a compound of the oxides of chromium and iron. Metallic chromium may be obtained by igniting its oxide intensely with about one-tenth of its weight of charcoa. Its color resembles that of platinum; it scratches glass and takes a good polish. There are four oxides of chromium, namely: Protoxide, CrO; a sesquioxide, Cr2O3; an intermediate oxide, Cr O, Cr2O3, and chromic acid Cr O3. The sesquioxide of chromium (Cr2 O3) is obtained by heating chromate of mercury or chromate of ammonia to a dull redness; and it is also formed by the action of a red heat upon bichromate of potassa. In this case neutral chromate of potassa is formed, which may be removed by washing the product. This oxide is of a green color, is not changed by heat and is much used in enamel and porcelain painting, also as a pigment for printing on paper. Chromic acid forms carmine-colored needle-shaped crystals, rapidly deliquescing in the air, and dissolving very easily in water, forming a dark reddish brown or lemon yellow solution. The concentrated acid corrodes paper like oil of vitriol, and, when in dilute solution, it likewise attacks paper and other kinds of organic matter, especially when aided by light or heat, becoming converted into the brown oxide or the green sesquioxide, according to the extent of the decomposition. The chromate of potash is manufactured by heating pulverized chrome iron-ore with carbonate of potassa and a little niter in a reverberatory furnace - stirring the mixture to absorb oxygen. The product thus obtained is digested in water, and the solution obtained is super-saturated with nitric acid, which precipitates silica and leaves the chromate in solution. The bichromate of potash is much used in the arts of dyeing and printing cotton and woolen fabrics; also in photography. It is obtained by adding a sufficient quantity of sulphuric acid to a solution of the chromate until its taste becomes sour, then setting it aside for a few days, when deep orange crystals are formed, constituting the bichromate. The crystals are anhydrous prisms, and are soluble in hot water. Solutions of these chromates are very injurious to the skin, causing sores which are difficult to heal. Ppaer impregnated with a solution of the bichromate possesses photographic powers. It has remarkable coloring properties, as one art of it will impart a yellow color to 40,000 parts of water.
The great use of bichromate of potash is photographic operations in due to the ready way in which it parts with some of its oxygen to organic matter under the influence of light. Bichromate of potash may be looked upon as containing one part of chromic acid in the free state. Now chromic acid has a large quantity of oxygen locked up in it (threeequivalents of oxygen to one equivalent of chromium) and it is somewhat of an unstable compound, having a tendency to give up oxygen and pass to a lower state of oxidation at the slightest opportunity. When placed in contact with an organic substance, such as paper, gelatine, leather, horn, parchment, the skin, &c., the oxygen of the chromic acid is ready to unite with the carbon and hydrogen in those bodies. The change goes on, however, very slowly in the dark, requiring the stimulating action of light to set it up, but under this influence it speedily passes to the state of brown oxide, Cr O2, and then to the sesquioxide Cr2O3.
This formation of brown chromate of oxide of chromium is the first result of the action of light upon a mixture of bichromate of potash and organic matter, and occasions the brown tint left behind in the paper. If the action of light is allowed to proceed further, the deoxidation ultimately proceeds to the greatest possible extent, and the chromic acid is entirely reduced to the state of sesquioxide of chromium. This has a green color, and its presence may often be observed in photographs printed in this manner. The reduced brown oxide of chromium reacts in several ways, like a combination of an acid and a base, and when washed with metallic and other solutions, give rise to other insoluble metallic compounds of various colors, by a process of double decomposition. Hence the numerous bichromate of potash printing processes in which variously-colored positives are produced. Upon gelatine, in its numerous forms of gelatine, isinglass, glue and the allied bodies, gum, &c., another action takes plave at the same time. The reduction of chromic acid is effected in the same manner, but the oxygen which it loses attacs the gelatine and converts it into a slightly different chemical substance, rendering it partially or entirely insoluble in water.
The bichromate of potash is employed as a mordant to prepare woolen goods to be dyed black with logwood. The goods are simply boiled first in a weak solution of it, then in an extract of logwood. It is also employed as a mordant for brown colors on wool. With a preparation of the acetate of nitrate of lead, cotton cloth is dyed yellow by subsequent immersion in a solution of chrome; and, if immersed afterwards in warm lime-water, it will change into orange. The chromate of lead is employed as a yellow paint, and is applicable to both oil and water colors. The sulphate of chromium combines with the sulphate of potassa, forming a beautiful double salt, which crystalizes in green and purple octahedra, and is called chrome alum. A small quantity of the metal chromium will unite with steel, forming an alloy suitable for the finest cutlery instruments.
Chrome ore is obtained in great abundance in hills near Baltimore, Md., where the manufacture of the bichromate of potash is carried on extensively.
(Värjärin konkurssipesäilmoitus)
Tampereen Sanomat 24, 18.6.1878
Tämän kuun 26 p. kello 10 aamulla, myydään wärjäri Limnell'in konkurssipesään kuuluwa wärjärin werstashuoneen Nalkalassa, niinmyös 1 kyyppi, 2 pannua, 2 pataa ja yksi prässi, josta ostajille ilmoitetaan; awisioni pidetään paikalla. Tampereen awisionikamarista 17 päivä kesäkuuta 1878.
H. Bergman.
Tämän kuun 26 p. kello 10 aamulla, myydään wärjäri Limnell'in konkurssipesään kuuluwa wärjärin werstashuoneen Nalkalassa, niinmyös 1 kyyppi, 2 pannua, 2 pataa ja yksi prässi, josta ostajille ilmoitetaan; awisioni pidetään paikalla. Tampereen awisionikamarista 17 päivä kesäkuuta 1878.
H. Bergman.
New Scarlet Dye.
Scientific American 10, 7.3.1863
A new scarlet dye of great richness is attracting considerable attention in Canada. It is prepared from an insect, a species of coccus. This new dye closely resembles true cochineal - a most expensive coloring matter, capable of being produced in warm countries only, and which is employed to give a fine and permanent dye in red, crimson and scarlet, to wool and silk. Unlike cochineal, the new dye is a native product, and capable of being produced in temperate countries. Having been but recently observed, a sufficient quantity has not yet been obtained to make a complete series of experiments as to its nature and uses; but the habits of the insect, as well as the properties of the dye, seem to indicate that it may become of great practical importance. In color it closely resembles ordinary cochineal, having rather more of the hue of the adonis autumnalis, an no doubt is entertained that other shades will also be obtained.
- Massachusetts Ploteman.
A new scarlet dye of great richness is attracting considerable attention in Canada. It is prepared from an insect, a species of coccus. This new dye closely resembles true cochineal - a most expensive coloring matter, capable of being produced in warm countries only, and which is employed to give a fine and permanent dye in red, crimson and scarlet, to wool and silk. Unlike cochineal, the new dye is a native product, and capable of being produced in temperate countries. Having been but recently observed, a sufficient quantity has not yet been obtained to make a complete series of experiments as to its nature and uses; but the habits of the insect, as well as the properties of the dye, seem to indicate that it may become of great practical importance. In color it closely resembles ordinary cochineal, having rather more of the hue of the adonis autumnalis, an no doubt is entertained that other shades will also be obtained.
- Massachusetts Ploteman.
28.5.09
Myrkyllistä wariä.
Suomalainen Wirallinen Lehti 225, 29.9.1885
Äskettäin osti Tampereella eräs kaupunkilainen kotitarwetta warten punaisenruunia wäriä, joka oli niin myrkyllistä, että wärjääjän kädet siitä turmeltuimat sekä kaswot, joita kohden myrkyllinen höyry wärjätessä nousi, siitä myöskin wammoja saiwat. Tällä myrkyllisellä wärillä wärjätyt sukat ennättiwät myös jallaan wedettyinä tehdä pahan waikutuksensa ennenkin asia huomattiin. Lääkäri, jolta on apua haettu, on käskenyt polttaa kaikki mainitulla wärillä wärjätyt waatekappaleet. (A:lehti.)
Äskettäin osti Tampereella eräs kaupunkilainen kotitarwetta warten punaisenruunia wäriä, joka oli niin myrkyllistä, että wärjääjän kädet siitä turmeltuimat sekä kaswot, joita kohden myrkyllinen höyry wärjätessä nousi, siitä myöskin wammoja saiwat. Tällä myrkyllisellä wärillä wärjätyt sukat ennättiwät myös jallaan wedettyinä tehdä pahan waikutuksensa ennenkin asia huomattiin. Lääkäri, jolta on apua haettu, on käskenyt polttaa kaikki mainitulla wärillä wärjätyt waatekappaleet. (A:lehti.)
Black Noses.
Scientific American 17, 10.1.1852
A resolution has been introduced into the Kentucky Legislature, which provides "that the keeper of the Penitentiary shall procure a suitable chemical dye, such as will stain the cuticle or outer surface of the skin perfectly black, so that it cannot be washed off, or in any way be removed, until time shall wear it away, and nature furnish a new cuticle or surface; and that with this dye he shall have the nose of each convict painted thoroughly black and renew the application as often as may be necessary to keep it so, until within one month of the expiration of his sentence, when it shall be discontinued, for the purpose of permitting nature to restore to the feature its original hue, preparatory to the second advent of its owner into the world.
A resolution has been introduced into the Kentucky Legislature, which provides "that the keeper of the Penitentiary shall procure a suitable chemical dye, such as will stain the cuticle or outer surface of the skin perfectly black, so that it cannot be washed off, or in any way be removed, until time shall wear it away, and nature furnish a new cuticle or surface; and that with this dye he shall have the nose of each convict painted thoroughly black and renew the application as often as may be necessary to keep it so, until within one month of the expiration of his sentence, when it shall be discontinued, for the purpose of permitting nature to restore to the feature its original hue, preparatory to the second advent of its owner into the world.
Hair Dyes.
Scientific American 23, 22.2.1851
The coloring of hair, while growing, is an object of some consequence to those who have not the natural good fortune of enjoying sable locks. The use of chemicals for coloring the hair is very commong among the civilized nations of Europe and America. Red heads are foolishly abominated in no country more than our own. The prejudice is no doubt inherited from our English and Irish ancestors, who had such a hearty hatred of the Danes - the red-haired race. They had felt the iron hand of Denmark, and it was held to be a most unlucky event to meet a red-haired man first in the morning, but above all, a year's misfortune to meed a red-haired man first on New Year's Day. Deep auburn locks with a reddish hue, were helt to be the most beautiful of any, and among the nations of the East - in some parts of Turkey - red hair is fashionable, and ladies with fine sable ringlets often make them red with pigments. In Persia, too, blue beards are common - old men of seventy may be seen with fine blue beards, so there is no accounting for fashion, "'tis all a matter of whimsical flourish," as Dibden would say.
It has been asserted that the use of the tincture of sulphur and sugar of lead has changed old Gov. Twiggs from a gray-haired veteran to a brown-haired Adonis, consequently this lotion has become not a little fashionable, but better far to wear the gray than indulge in such vile practices.
The genetal hair dyes are made of lead and silver compositions. A lead comb, with the use of oil, makes the hair sleek and jet, but then it is a fine way to keep the hair in the negative condition of cleanliness.
Liquids made of the nitrate of silver are the common hair dyes. In powder the nitrate of silver, if made into a paste, and rubbed into a fiery set of whiskers, then bound up with a cloth for five or six hours, will change them to a black. This is merely causticizing them, and the silver sticks like lime. It can be got off, however, without a great deal of trouble. The nitrate of silver, in liquid, is the common hair dye. It is most effectual, but it is best to apply it repeatedly and to have it very weak, or otherwise it will prove very injurious to the system. In alcoholi lotions for the hair, a very small quantity of the bichromate of potash, which is of a yellow color, will affect the hair and make it darker. It takes a long time before its effects are observed but they are no less sure on that account. This is a very safe substance to use, but care must be exercised in using only a very small quantity, or the color will be of too deep yellow in the liquid.
It has been said that the Chinese have a method of treating with food, so as to change the system and give a permanent black head of hair. This is altogether an assertion, without a single fact for proof. Different nations are distinquished for their general complexion, - the Fins are red, the Scotch, brown, the Spaniards, black, and great numbers of the Irish have peculiarly fine blue-black hair; the Americans are of every hue, because made up of all nations. Those who are fond of coloring their hair to change it from a light to a dark color, can easily do so by applying to the perfumer. We have never seen a change made from a black to light hair, but we have met not a few red-headed mulattoes, they seemed to pride themselves on their sanguine appearance, but of all men we ever saw they appeared to require the nitrate of silver most.
The coloring of hair, while growing, is an object of some consequence to those who have not the natural good fortune of enjoying sable locks. The use of chemicals for coloring the hair is very commong among the civilized nations of Europe and America. Red heads are foolishly abominated in no country more than our own. The prejudice is no doubt inherited from our English and Irish ancestors, who had such a hearty hatred of the Danes - the red-haired race. They had felt the iron hand of Denmark, and it was held to be a most unlucky event to meet a red-haired man first in the morning, but above all, a year's misfortune to meed a red-haired man first on New Year's Day. Deep auburn locks with a reddish hue, were helt to be the most beautiful of any, and among the nations of the East - in some parts of Turkey - red hair is fashionable, and ladies with fine sable ringlets often make them red with pigments. In Persia, too, blue beards are common - old men of seventy may be seen with fine blue beards, so there is no accounting for fashion, "'tis all a matter of whimsical flourish," as Dibden would say.
It has been asserted that the use of the tincture of sulphur and sugar of lead has changed old Gov. Twiggs from a gray-haired veteran to a brown-haired Adonis, consequently this lotion has become not a little fashionable, but better far to wear the gray than indulge in such vile practices.
The genetal hair dyes are made of lead and silver compositions. A lead comb, with the use of oil, makes the hair sleek and jet, but then it is a fine way to keep the hair in the negative condition of cleanliness.
Liquids made of the nitrate of silver are the common hair dyes. In powder the nitrate of silver, if made into a paste, and rubbed into a fiery set of whiskers, then bound up with a cloth for five or six hours, will change them to a black. This is merely causticizing them, and the silver sticks like lime. It can be got off, however, without a great deal of trouble. The nitrate of silver, in liquid, is the common hair dye. It is most effectual, but it is best to apply it repeatedly and to have it very weak, or otherwise it will prove very injurious to the system. In alcoholi lotions for the hair, a very small quantity of the bichromate of potash, which is of a yellow color, will affect the hair and make it darker. It takes a long time before its effects are observed but they are no less sure on that account. This is a very safe substance to use, but care must be exercised in using only a very small quantity, or the color will be of too deep yellow in the liquid.
It has been said that the Chinese have a method of treating with food, so as to change the system and give a permanent black head of hair. This is altogether an assertion, without a single fact for proof. Different nations are distinquished for their general complexion, - the Fins are red, the Scotch, brown, the Spaniards, black, and great numbers of the Irish have peculiarly fine blue-black hair; the Americans are of every hue, because made up of all nations. Those who are fond of coloring their hair to change it from a light to a dark color, can easily do so by applying to the perfumer. We have never seen a change made from a black to light hair, but we have met not a few red-headed mulattoes, they seemed to pride themselves on their sanguine appearance, but of all men we ever saw they appeared to require the nitrate of silver most.
Multawieru-osakeyhtiön wärjäystehdas... (uutinen)
Satakunta 30, 27.7.1878
Multawieru-osakeyhtiön wärjäystehdas, jossa mylly y. m., mikä wiime palon jälkeen noin pari wuotta sitten uudestaan rakennettiin, oli taas mennytwiikolla walkean waarassa, jossa kolmikertaisen rakennuksen kahden ylemmän kerroksen sisärakennukset paloiwat. Valkea, joka pääsi irti kello ½2 aikana yöllä, lienee lähtenyt konehistosta, missä se suurella kiiruulla lewisi, saaden kiihottamaa syöttiä öljyisestä laattiasta, willa joukoista ja muista raaka-aineista, joita tehtaassa saatawilla oli. Apuun kiirehtiwän wapaaehtoisen palosammutuskunnan tawallisella riwakkuudellansa ja uutteruudellansa onnistui hywän weden saannin tähden, lähellä olemasta joesta, osaksi estää walkean lewenemistä. Alikerrassa olewista mylly- ja ryynilaitoksista saatiin poies korjatuksi joukko jauhoja ja ryyniä y. m. Rakennus ynnä raaka-aineet oliwat palowakuutetut. Kello ½4 oli walkea suurimmaksi osaksi sammutettu. Palanut wapriikihuoneus oli palovakuutettu Suomen kaup. palowakuutus yhtiössä 75.000 S. m. koneet taas Christiania almindelige bolag'issa 75.000 S. m. Wahinko on arwattu 100,000 S. m. (S.T.)
Multawieru-osakeyhtiön wärjäystehdas, jossa mylly y. m., mikä wiime palon jälkeen noin pari wuotta sitten uudestaan rakennettiin, oli taas mennytwiikolla walkean waarassa, jossa kolmikertaisen rakennuksen kahden ylemmän kerroksen sisärakennukset paloiwat. Valkea, joka pääsi irti kello ½2 aikana yöllä, lienee lähtenyt konehistosta, missä se suurella kiiruulla lewisi, saaden kiihottamaa syöttiä öljyisestä laattiasta, willa joukoista ja muista raaka-aineista, joita tehtaassa saatawilla oli. Apuun kiirehtiwän wapaaehtoisen palosammutuskunnan tawallisella riwakkuudellansa ja uutteruudellansa onnistui hywän weden saannin tähden, lähellä olemasta joesta, osaksi estää walkean lewenemistä. Alikerrassa olewista mylly- ja ryynilaitoksista saatiin poies korjatuksi joukko jauhoja ja ryyniä y. m. Rakennus ynnä raaka-aineet oliwat palowakuutetut. Kello ½4 oli walkea suurimmaksi osaksi sammutettu. Palanut wapriikihuoneus oli palovakuutettu Suomen kaup. palowakuutus yhtiössä 75.000 S. m. koneet taas Christiania almindelige bolag'issa 75.000 S. m. Wahinko on arwattu 100,000 S. m. (S.T.)
White Hair and Black - "A Fact Worth Knowing."
Scientific American 50, 31.8.1850
Under this head of True Union, published the following from "an autenthic source."
"A distinguished General (Twiggs,) returned from the Mexican war covered with 'glory.' He had, however, two marks of hard service which laurels could not hide - as they did Cæsar's baldness. One was a head as white as wool; and the other a cutaneous eruption on his forehead. For the latter he was advised to try a mizture of sulphur, and sugar of lead and rose water. In applying it, some of the mixture moistened his forehead, and after a while resumed its original color. He then applied the mixture to all his hair, and it all became, and is now, of its primitive and sandy hue. He communicated the fact to some of his friends in Washington - especially to some ex-members, who are widowers and seeking preferment - and it has been found eddacacious in every instance. It does not dye the hair, but seems to operate upon the roots, and restore the original color."
"The recipe is as follows: - 1 drachm Lac Sulphur, ½ drachm Sugar of Lead: 4 ounces Rose Water; mix them: shake the phial on using the mixture, and bathe the hair twice a day for a week or longer if necessary."
[The theory of the above is neither new or valuable: it is the sulphuret of lead applied to dye hair its own color. The nitrate of silver is much better, but those who consult their health and a steady brain, will refrain from both, and prefer the snowy locks of nature to the sable locks of art.]
Under this head of True Union, published the following from "an autenthic source."
"A distinguished General (Twiggs,) returned from the Mexican war covered with 'glory.' He had, however, two marks of hard service which laurels could not hide - as they did Cæsar's baldness. One was a head as white as wool; and the other a cutaneous eruption on his forehead. For the latter he was advised to try a mizture of sulphur, and sugar of lead and rose water. In applying it, some of the mixture moistened his forehead, and after a while resumed its original color. He then applied the mixture to all his hair, and it all became, and is now, of its primitive and sandy hue. He communicated the fact to some of his friends in Washington - especially to some ex-members, who are widowers and seeking preferment - and it has been found eddacacious in every instance. It does not dye the hair, but seems to operate upon the roots, and restore the original color."
"The recipe is as follows: - 1 drachm Lac Sulphur, ½ drachm Sugar of Lead: 4 ounces Rose Water; mix them: shake the phial on using the mixture, and bathe the hair twice a day for a week or longer if necessary."
[The theory of the above is neither new or valuable: it is the sulphuret of lead applied to dye hair its own color. The nitrate of silver is much better, but those who consult their health and a steady brain, will refrain from both, and prefer the snowy locks of nature to the sable locks of art.]
Colors.
Scientific American 50, 31.8.1850
In these, the ancients certainly far exceeded the moderns. Sir Humphrey Davy made many efforts to analyze the celebrated Tyrian purple of the East; but those efforts were without success. He declared he could not discover of what it was composed. The Naples yellow, too, though less known, was much used, and the art of making it is now entirely gone. The Tyrian purple is the color of many houses of Pompeii, and they look as fresh as if just painted.
The colors of Titian are equally as vivid and beautiful as when first laid on by the great artist, while those of Sir Joshua Reynolds already look chalky and dead. And Sir Joshua himself confessed, after making it the study of his life, that he had never been able to discover how Raphael and the other great artists had been able to preserve the beauty and brightness of their paintings. But if we marvel at these artists, three centuries back, what shall we say of these paintings found in the tombs of Egypt, more than two thousand years old, and yet kept fresh and bright, though buried for that time beneath the ground, in the damp, dark caves of the East!
The very wife of Solomon is found there, just as she was painted on the eve of departure from her father's home, to share the throne of Judes, and not only the color of her garments were preserved, but the bloom is still on her cheeks and lips, and the lustre in her eyes is even as it then was. Their paintings, too, date as far back as the time of Moses; a portrait supposed to be that of the Nice, the king who drove the Israelites into the Re[a]d Sea, has the colors of it preserved perfectly.
In these, the ancients certainly far exceeded the moderns. Sir Humphrey Davy made many efforts to analyze the celebrated Tyrian purple of the East; but those efforts were without success. He declared he could not discover of what it was composed. The Naples yellow, too, though less known, was much used, and the art of making it is now entirely gone. The Tyrian purple is the color of many houses of Pompeii, and they look as fresh as if just painted.
The colors of Titian are equally as vivid and beautiful as when first laid on by the great artist, while those of Sir Joshua Reynolds already look chalky and dead. And Sir Joshua himself confessed, after making it the study of his life, that he had never been able to discover how Raphael and the other great artists had been able to preserve the beauty and brightness of their paintings. But if we marvel at these artists, three centuries back, what shall we say of these paintings found in the tombs of Egypt, more than two thousand years old, and yet kept fresh and bright, though buried for that time beneath the ground, in the damp, dark caves of the East!
The very wife of Solomon is found there, just as she was painted on the eve of departure from her father's home, to share the throne of Judes, and not only the color of her garments were preserved, but the bloom is still on her cheeks and lips, and the lustre in her eyes is even as it then was. Their paintings, too, date as far back as the time of Moses; a portrait supposed to be that of the Nice, the king who drove the Israelites into the Re[a]d Sea, has the colors of it preserved perfectly.
French Polish.
Scientific American 50, 31.8.1850
This is an alcoholic solution of shellac, some of the softer resinous gums are usually added, but too much of them renders the polish less durable. Highly rectified spirit, not less than 60 over proof, should be used. Rectified wood naptha is sometimes substituted, to which the unpleasant smell is the only objection. 1st. Orange shellac 22 oz., rectified spirit 4 pints, dissolve. 2nd. Shellac 3 oz., gum sandrac ½ oz., rectified spirit 1 pint. 3rd. Shellac 4 oz., gum thus. ½ oz., rectified spirit 1 pint, dissolve and add almond or poppy oil 2 oz. 5th. Shellac 10 oz., seed-lac 6 oz., gum thus. 3 oz., sandaric 6 oz., copal varnish 6 oz., rectified naptha, or dissolve 8 oz. each of seed-lac, gum thus. and sandarac, separately in a pint of naptha; and 1 lb. of shellac in 8 pints of naptha. The mix 6 oz. of copal varnish, 12 oz. of solution of seed-lac, 6 oz. of solution of frankincense, and 12 od solution sandarac, and 5 3/4 lbs. solution of shellac. Let the copal varnishes be put into the tincture of shellac, and well shaken, and the other ingredients be added. A correspondent informs us that this polish cannot be excelled. 6th. Copal ¼ oz., gum arabic ¼ oz., shellac 1 oz., pulverize, mix and sift the powders, and dissolve in a pint of spirit.
French polish is sometimes colored with dragon's blood, turmeric root, &c. The general directions for preparing the polish are to put the gums with the spirit in a tin bottle and set it on the stove or in water, so as to keep it at a gentle heat, shaking it frequently. The cork should be loosened a little before shaking it, taking care that there is no flame near to kindle the vapor. When the gums are dissolved let it settle for a few hours and pour off the solution from the dregs. The method of using it is to have a roll of list, over the end of which five or six folds of linen rags are placed. The polish is applied to the linen with a sponge and a little linseed oil is dropped on the centre of it.
This is an alcoholic solution of shellac, some of the softer resinous gums are usually added, but too much of them renders the polish less durable. Highly rectified spirit, not less than 60 over proof, should be used. Rectified wood naptha is sometimes substituted, to which the unpleasant smell is the only objection. 1st. Orange shellac 22 oz., rectified spirit 4 pints, dissolve. 2nd. Shellac 3 oz., gum sandrac ½ oz., rectified spirit 1 pint. 3rd. Shellac 4 oz., gum thus. ½ oz., rectified spirit 1 pint, dissolve and add almond or poppy oil 2 oz. 5th. Shellac 10 oz., seed-lac 6 oz., gum thus. 3 oz., sandaric 6 oz., copal varnish 6 oz., rectified naptha, or dissolve 8 oz. each of seed-lac, gum thus. and sandarac, separately in a pint of naptha; and 1 lb. of shellac in 8 pints of naptha. The mix 6 oz. of copal varnish, 12 oz. of solution of seed-lac, 6 oz. of solution of frankincense, and 12 od solution sandarac, and 5 3/4 lbs. solution of shellac. Let the copal varnishes be put into the tincture of shellac, and well shaken, and the other ingredients be added. A correspondent informs us that this polish cannot be excelled. 6th. Copal ¼ oz., gum arabic ¼ oz., shellac 1 oz., pulverize, mix and sift the powders, and dissolve in a pint of spirit.
French polish is sometimes colored with dragon's blood, turmeric root, &c. The general directions for preparing the polish are to put the gums with the spirit in a tin bottle and set it on the stove or in water, so as to keep it at a gentle heat, shaking it frequently. The cork should be loosened a little before shaking it, taking care that there is no flame near to kindle the vapor. When the gums are dissolved let it settle for a few hours and pour off the solution from the dregs. The method of using it is to have a roll of list, over the end of which five or six folds of linen rags are placed. The polish is applied to the linen with a sponge and a little linseed oil is dropped on the centre of it.
Pesuongelma - Muutamia neuvoja pesukysymyksessä perheenemännille
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Suomi on tunnettu suuresta puhtaudestaan
kunniaksi perheenäideilleen
Maailmassa lienee tuskin montakaan maata, jossa puhtaus ja terveydenhoito olisi niin korkealla kannalla kuin juuri Suomessa.
Ulkomaalaiset, jotka ovat käyneet Suomessa, ovat sekä sanoin että kirjoituksissaan ylistäneet puhtautta, joka täällä vallitsee — ja asettaneet usein Suomen muiden maiden esikuvaksi.
Eikö siitä syystä olekin luonnollista, että jokainen suomalainen perheenäiti näitä ylistyssanoja kuullessaan tuntee oikeutettua ylpeyttä? Sillä hänhän juuri luo tämän täydellisen puhtauden ja hyvän terveydellisen tilan koteihin.
Ja yhtä varmasti kuin Suomen kansan pohjana ovat suomalaiset kodit, yhtä varmasti on suomalainen perheenäiti luonut suomalaisen puhtauden ja suojelee sitä.
[2]
Pesukysymys - polttava päivänkysymys perheenäideille ja kemisteille
Pese itse - tai lähetä pois?
Lika on liuotettava kemiallisesti.
Puhtaat vaatteet, — hohtavat liinavaatteet ja lumivalkoinen, häikäisevän puhdas pesu — kas siinä on suomalaisen perheenäidin suurin toive, ja pelkkä ajatuskin antaa mielihyvän tunteen.
Mutta samalla kertaa sekottautuu helposti pieni pisara katkeruutta ilonmaljaan — sillä ajatelkaahan, millainen tavattoman raskas työ onkaan suoritettava.
Peseminen tavalliseen tapaan on paljon vaativaa ja kuluttavaa työtä — varmastikin raskainta ja kovinta taloudessa. Juuri tällöin ovat monet perheenäidit huoanneet: »Oi, jospa pesutyö voitaisiin suorittaa mukavammalla ja yksinkertaisemmalta tavalla, niin ettei minun tarvitsisi näännyttää itseäni kuten minun nyt täytyy tehdä.»
Vanha pesutapa.
Mitenkä ei tule pestä
Tarkastakaammepa ensin oikein tarkoin vanhaa pesumenetelmää — mitenkä ei tule pestä.
Menemme suoraan pesutupaan ja avaamme oven. Kuuma höyry ja tukanduttava haju hulmahtavat vastaamme. Tässä höyryn kyllästämässä, epäterveellisessä ilmassa työskentelee 2 tai 3 pesijätärtä otsansa hiessä.
[3]
Ja mitä he tekevät?
Niin, kaiken voimansa käyttävät he raapiakseen ja hangatakseen juuriharjoilla likaa pois vaatteista. Hämmästytään. Harjata ja hangata lika pois, kuluttaa vaatteet rikki ja uuvuttaa itsensä työssä — voiko tämä olla oikeata taloudenhoitoa liinavaatteisiin ja työvoimaan nähden? Ei, mutta se on kauhean kovaa työtä, sillä kolme kertaa on pesua käsiteltävä tällä tavoin, jotta vaatteet tulisivat kauniiksi. Ja kuitenkin on niitä perästäpäin kestettävä vahvassa lipeässä.
Onko tämä kova työ välttämätöntä?
Eivätkö tiede ja kemia voi siinä auttaa?
Mutta, sanotte Te hämmästyneenä Onko kaikki tämä työ tosiaankin välttämätöntä? Eikö tiede voi keksiä mitään parempaa pesumenetelmää, kemiallista pesumenetelmää, joka helpottaisi työtä ja ennen kaikkea ei kuluttaisi vaatteita?
Kyllä, vastaamme me voitonvarmoina ja iloisina.
Se niitä nyt olemme nähneet, on vanha pesumenetelmä äidin ja isoäidin ajoilta. Mutta meidän kemistimme, fil. tohtori Yngve Dalström on erikoisesti pesukemiallisia tehtäviä varten järjestetyissä laboratorioissamme ja monivuotisten käytännöllisten kokeiden perusteella laatinut uuden, ajanmukaisen pesumenetelmän, joka varmasti säästää puolet työstä eikä lainkaan kuluta vaatteita.
Tehtaamme pesulaitoksessa on tätä menetelmää — tai oikeammin sanoen ainetta — käytetty jo kuuden vuoden aikana, ja peseminen käy kuin leikkiä lyöden.
Mitenkä se tapahtuu? kysytte Te.
Niin, seuraamalla Valkoisen Pesukarhun menetelmää.
Ensin käytämme kuitenkin muutaman sanan vastataksemme tässä yhteydessä kysymykseen:
Mitä on pesuvaatteidemme lika?
Niin, pääasiassa voidaan sanoa, että se on kolmea eri lajia:
1. Epäorgaanisia ainehiukkasia, kuten hiiltä, nokea, multaa j. n. e. sekä erilaisia suoloja.
[4]
2. Elimellistä, orgaanista alkuperää olevia aineita, ennenkaikkea munanvalkuaisaineita sekä tärkkelystä ja erilaisia sokeri-lajeja ja rasva-aineita.
3.Erilaisia värillisiä aineita, kuten marja- ja hedelmätahroja, viini- ja aniliiniväriaineita j. n. e. (Tahroista tarkemmin sivulla n:o 18).
Näistä aineista ovat munanvalkuaisaineet vaikeimmat poistaa kankaasta. Asianlaita on nimittäin niin, että ne eivät liukene juuri millään tavallisella keinolla. Ei kylmä eikä lämmin vesi saa niitä liukenemaan. Pantaessa likoon Valkoisen Pesukarhun liuokseen imevät munanvalkuaisaineet sensijaan itseensä liuosta, turpoavat sekä irtaantuvat kankaan kuiduista, joista ne sitten lopullisesti voimakkaasti huuhtelemalla poistetaan, ja samalla poistuvat luonnollisesti myös kaikki epäorgaaniset ainehiukkaset, kuten hiili, noki j. n. e., jotka sitä ennen ovat olleet yhtyneinä munanvalkuaisaineisiin. Suolat ja sokerilajit liukenevat helposti, kun vaatteet pannaan likoon Pesukarhuliuokseen. Tärkkelys yhtyy liuokseen samoin kuin rasva-aineetkin, jotka ohuena kerroksena peittävät pesuvaatteita.
Että on pantava likoon kylmään tai haaleaan liuokseen, se tapahtuu pääasiallisesti munanvalkuaisaineiden vuoksi. Jos pannaan likoon liuokseen, jolla on korkeampi lämpömäärä kuin se, jossa munanvalkuaisaineet jähmettyvät, niin saostuvat ne kankaan huokosissa ja niitä on sitten mahdoton poistaa. Vaatteet saadaan silloin pesusta harmaina ja rumina, sillä kaikki mahdolliset likahiukkaset (kuten hiili, noki y. m. s.), jotka olivat tarttuneet munanvalkuaisaineisiin, jäävät myös jälelle kankaaseen. Oikeen tapahtuneella likoonpanolla Pesukarhuliuokseen on näinollen mitä suurin merkitys pesutulokseen nähden. Puolet pesutyöstä on — liioittelematta — se kemiallinen työ, jonka Pesu-karhu likoonpantaessa suorittaa.
Lika on siis liuotettava kemiallisesti - eikä hangattava vaatteista koneellista keinoin
Niin, me liuotamme lian kemiallisesti ja sitten huuhtelemme
[5]
Pane illalla liukenemaan.
sen vaatteista. Niin yksinkertainen on koko juttu.
Ja vaatteet eivät siis vahingoitu?
Eivät, ehdottomasti ei.
Mutta aine, minkä näköistä se on?
Niin, monista erilaisista aineista olemme me valmistaneet ehdottomasti ainutlaatuisen pesujauheen, joka liuottaa lian, mutta ei vahingoita vaatteita. Kas siinä koko salaisuus.
Tämän pesujauheen nimi on
VALKOINEN PESUKARHU
Sillä jos mikään, niin se tekee vaatteet valkoisiksi ja liuottaa helposti lian.
Uudenaikainen pesumenetelmä - Valkoisen Pesukarhun menetelmä
Mitenkä tulee pestä
Pesukarhu-jauheesta tehtyyn liuokseen panette Te vaatteenne illalla. Yöllä, kun Te nukutte rauhallista untanne, työskentelee Pesukarhu ja irroittaa lian kemiallisesti. Aamulla huomaatte Te lian niin liuenneeksi, että se suorastaan valuu pois. Kunnollinen huuhtelu ja sitten keitätte Te vaatteita hiljaa 20 minuutin ajan Pesukarhu-liuoksessa. Vaatteiden keittäminen on terveydellinen toimenpide, mitä Teidän ei tule jättää tekemättä siinäkään tapauksessa, että ne ovat täysin puh‑
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Pesukarhu tekee työtä yöllä.
Vaatteita keitetään 20 minuttia.
taat ja että niiden keittämistä voitaisiin pitää turhana. Valkoisessa Pesukarhussa on nimittäin
aineita, jotka ovat erikoisesti tarkoitetut vaikuttamaan keittämisen aikana.
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Kas tässä — mitä Te säästätte ja voitatte käyttäessänne VALKOISTA PESUKARHUA.
Säästätte työtä.
Kun Te olette hyvin koetellut Valkoisen Pesukarhun ihanne-menetelmää ja nähnyt, mitenkä silkinpehmeiksi ja hohtavan valkoisiksi liinavaatteet tulevat, niin huudahdatte Te varmasti: »Pesu-karhu on ihmeellinen keksintö! Pesukarhua käytän aina!»
Ja sitä päätöstä ette Te ainakaan kadu — sillä katsokaahan, mitä kaikkea Te säästätte ja voitatte käyttäessänne Valkoista Pesukarhua:
1. Te säästätte itseänne ja voimianne, sillä Te vapaudutte vaivaloisesta harjaamisesta ja hankaamisesta. Vähintäin puolet työtaakasta nostaa Pesukarhu Teidän hartioiltanne.
2. Te säästätte aikaa ja saatte enemmän vapautta kuin ennen — sillä Valkoisen Pesukarhun avulla ja panemalla likoon yöksi ehditte Te yhdessä päivässä selvittää entiset kolmipäiväiset pesut.
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Säästätte aikaa.
Säästätte polttoaineita.
Säästätte vaatteita.
Säästätte rahaa.
3. Te säästätte polttoainetta —sillä vaatteita keitetään nyt vain yhden kerran — ja tulevat ne kuitenkin lumivalkoisiksi.
4. Te säästätte vaatteita — sillä Valkoisen Pesukarhun hellävarainen käsittely säästää liinavaatteita ja saa ne säilymään kauemmin kuin jos Te pesisitte vanhalla tavalla.
5. Te säästätte rahaa — pesemällä järkiperäisesti ja ajanmukaisesti Valkoisen Pesukarhun menetelmän mukaan — sillä Te ette tarvitse niin paljon apua kuin ennen.
Eivätkö olekin monet ja suuret edut, jotka Valkoinen Pesukarhu tarjoo Teille?
[9]
Ensi kerralla, kun Teillä, on suurpesu, on Teidän siis pestävä seuraavalla tavalla:
1. Päivää ennen pesua valmistetaan liuos Valkoisesta Pesu-karhusta. Se tapahtuu siten, että kaksinkertainen käärö (2 puolikääröä), joka on tarkoitettu noin 15 kilolle valkoisia puuvilla- ja liinavaatteita, liuotetaan 4 litraan haaleata vettä (huom.! ei kuumaa eikä kiehuvaa) ja hämmennetään, niin että jauhe täydellisesti liukenee.
2. Tämä liuos sekä 40 litraa kylmää vettä (noin 4 sangollista) kaadetaan pesuammeeseen,jonka tulee olla puuta, sementtiä, kiveä, posliinia tai muuta samanlaista — ei metallia.
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3. Likaiset vaatteet pannaan likoon tähän liuokseen, jolloin on katsottava, ettei niitä ahdeta liian tiukkaan, vaan niin että sin. Lika on nyt niin liuennut, että Te ette tarvitse sen poistamiseksi juuriharjaa ettekä pesulautaa.
Pesukarhuliuos tunkeutuu jokaisen vaatekappaleen läpi.
Kaikki saa sitten olla sellaisenaan yön yli seuraavaan pai- vään; sillä aikaa liuottaa Pesu-karhu lian kemiallisesti.
4. Seuraavana aamunatarkastatte Te pesuvaatteet, jolloin kovin likaiset tahrat (hihan suut y. m. s. )hangataan, kevyesti käsin. Lika on nyt niin liuennut, että Te ette tarvitse sen poistamiseksi juuriharjaa ettekä pesulautaa.
5. Likoonpanossa liuenneen lian lyhyt huuhtelu ennen keittämistä on erittäin edullista ja senjälkeen keitetään vaatteita Pesukarhu-liuoksessa hiljaa — noin 20-30 minuuttia.
6. Sitten seuraa huuhtelu, joka luonnollisesti on tehtävä hyvin perusteellisesti, ensin kahdessa tai kolmessa lämpimässä vedessä ja sitten yhdessä tai useammassa kylmässä, kunnes huudevesi jää
[11]
aivan kirkkaaksi. Jos Teillä on saatavissa juoksevaa tai merivettä, niin sitä parempi. Teidän tulee tietää, että huuhtelu on mitä tärkeintä kaikessa pesussa sillä juuri silloin saadaan liuennut lika lopullisesti pois vaatteista.
[12]
Kuinka värillisiä puuvilla- ja liinavaatteita on pestävä
Valkoinen Pesukarhu palauttaa oikeat värit ja tekee ne kirkkaiksi ja voimakkaiksi
Se, mitä aikaisemmin on sanottu, koskee — erittäinkin valkoisten liina- ja puuvillavaatteiden suurpesua. Värillisten vaatteiden pesuun on Valkoinen Pesukarhu myös erittäin sopivaa. Tässä on sääntönä, että värit, jotka sietävät vettä, sietävät myös pesemisen Valkoisella Pesukarhulla. Oikeat värit palautuvat Valkoisella Pesukarhulla pestäessä, ja saavat jälleen alkuperäisen sävynsä.
Kuitenkin on Teidän muistettava, että eräitä värillisiä vaatteita voidaan pestä kylmässä vedessä, ilman että värit lähtevät - mutta että samat värilliset vaatteet ehkä eivät siedä liian lämmintä vettä. Huomatkaa siitä syystä seuraavat varokeinot, kun pesette värillisiä vaatteita:
Pankaa likoon lievempään Pesukarhu-liuokseen, esim. puolet kaksinkertaisen Pesukarhu-käärön sisällöstä (= 1 puolikäärö) liuotetaan 2 litraan haaleata vettä (ei kuumaa eikä kiehuvaa) ja sekoitetaan, niin että jauhe täydellisesti liukenee.
Tämän liuoksen sekä 30 litraa kylmää vettä kaadatte Te pesuammeeseen ja tähän kylmään liuokseen panette Te värilliset vaatteet likoon illalla.
Jos värilliset vaatteet ovat vain vähän likaisia, niin riittää, että Te seuraavana aamuna kevyesti hankaatte eniten likaantuneita paikkoja, hihansuita j. n. e. Liuennut lika irtaantuu silloin. Sitten huuhdellaan tarkoin kandessa haaleassa ja kahdessa kylmässä vedessä.
Jos vaatteet ovat erittäin kovasti likaantuneet, ovat ne seuraavana aamuna, kun yölläliuennut lika on ensin huuhdeltu pois, panta‑
[13]
vat uuteen, samanlaiseen, lievään haaleaan liuokseen (ei kuumaan eikä kiehuvaan). Näitä kovin likaantuneita värillisiä vaatteita hierotaan sitten kauttaaltaan. Lika irtaantuu silloin erittäin helposti, sillä Valkoinen Pesukarhu on saanut aikaan, että se liukenee veteen. Sen jälkeen huuhdellaan tarkoin kahdessa haaleassa ja kahdessa kylmässä vedessä.
Erityisiä neuvoja värillisten vaatteiden pesua varten
Älkää koskaan peskö tai panko likoon värillisiä ja valkoisia vaatteita yhdessä. Ellette ole täysin varma siitä, että värillinen vaatekappale sietää vettä, niin peskää se silloin erikseen, jotta toiset vaatteet eivät turmeltuisi siitä mandollisesti lähteneestä väristä.
Moni suurpesu on mennyt pilalle sen vuoksi, että yksi värillinen vaatekappale, jota on luultu värinsä pitäväksi, on tullut mukaan, ja on tässä tapauksessa kuten monessa muussakin erehdyksessä vahinko luettu pesuaineen syyksi.
Älkää koskaan panko värillisiä vaatteita tiiviisti pesuammeeseen.
Jos värillisestä vaatekappaleesta lähtee pestäessä helposti väri, niin voitte sen osaksi estää panemalla vaatekappaleen ensin likoon veteen, johon on lisätty etikkaa.
Kuinka pikkulasten vaatteita pestään järkiperäisesti Valkoisella Pesukarhulla
Kenties Te tiedätte omasta kokemuksesta, mitenkä vaiva-loista on useimmiten pikkulasten vaatteiden pesu. Erittäinkin koskee tämä ensimäistä ikävuotta, jolloin kapaloriepuja on vaihdettava useita kertoja vuorokaudessa.
Ainutlaatuisen lianliuottamiskykynsä vuoksi on Valkoinen Pesukarhu erittäin sopivaa tällaiseen vaivaloiseen pesuun. Kas tässä hyvä ja järkiperäinen tapa pestä pikkulasten vaatteita:
Hankkikaa kaksi emaljoitua sankoa, jotka Te aina pidätte täynnä Pesukarhu-liuosta. Otta‑
[14]
kaa kolme tai neljä ruokalusikallista Valkoista Pesukarhua kumpaiseenkin sankoon ja liuottakaa jauhe voimakkaasti sekoittamalla. Toiseen sankoon panette Te likaantuneet vaatekappaleet ja toiseen tahriintuneet (joita viimemainittuja on sitä ennen puhdistettava ja huuhdeltava vedellä). Tilaisuuden saatuanne nostatte Te sitten sangosta vaatekappaleet, keitätte niitä hiljaa uudessa Pesukarhu - liuoksessa, mikä on valmistettu samalla tavalla, noin 20 minuuttia, ja huuhtelette voimakkaasti tavalliseen tapaan. Keittämiseen käytetyn Pesukarhu-liuoksen kaadatte Te sitten vaihteeksi sankoihin j. n. e. Kuten näette, jatkuu pesu tällä tavoin keskeytymättä,- mikä on aivan välttämätöntä, kun kysymyksessä ovat pikkulasten vaatteet, jotka aina ovat heti pestävät. Tällä tavalla saatte Te oivallisen pesua vähällä työllä.
Erittäin tärkeätä pikkulasten vaatteita pestäessä
Pikkulasten iho on äärimmäisen arka ja voi hyvin helposti saada tartunnan, elleivät vaatteet ole ehdottomasti puhtaat. Seuratkaa siitä syystä Valkoisen Pesukarhua menetelmää pikkulasten vaatteita pestessä, sillä silloin tulevat vaatteet »kemiallisesti puhtaiksi» ja täydellisesti desinfioiduiksi, millä seikalla on mitä suurin merkitys lapsen terveydelle.
Sitäpaitsi tekee Valkoinen Pesukarhu vaatekappaleet huokoisiksi ja pehmeiksi, niin että ne eivät ärsytä eivätkä vaivaa ihoa. Myöskin tällä seikalla on mitä suurin merkitys lapsen terveydelle ja hyvinvoinnilla.
Mitenkä villavaatteita on pestävä
On erittäin tärkeätä pestä villavaatteita oikealla tavalla, jottei villa kutistuisi.
[15]
Valkoinen Pesukarhu ei kutista villaa, sillä Valkoisessa Pesukarhussa löytyvät rasva-aineet ovat erittäin otollisia villakuiduille, ja Te voitte olla aivan varma siitä, että saatte oivallisen villapesun, jos Te vain tarkoin seuraatte ohjeitamme:
1. Valmistakaa. lievä Pesukarhu-liuos seuraavalla tavalla:
Liuottakaa kaksi runsasta teelusikallista Pesukarhu-jauhetta yhteen litraan haaleata vettä ja kaatakaa tämä liuos ynnä 10 litraa (noin yksi sangollinen) haaleata vettä (ei missään tapauksessa kuumaa eikä kiuhuvaa) sopivaan pesuastiaan.
2. Järjestäkää sitten kahteen astiaan haaleata liuuhdevettä ja muistakaa tällöin tarkoin, rkoin, että näiden molempien huuhdevesien lämpömäärän tulee olla sama kuin liuoksen, jossa villavaatteet pestään.
3. Peskää nyt villavaatteet haaleassa Pesukarhu-liuoksessa siten, että Te panette vaatteet hyvin likoon ja sitten puserratte niitä useita kertoja kevyesti käsin.
4. Huuhdelkaa senjälkeen hyvin kahdessa haaleassa huuhdevedessä, jotka Te olette laittaneet kuntoon, ja pusertakaa myöskin huuhdellessa vaatekappaleita varovasti.
Erikoisia neuvoja villapesua varten
Muistakaa, ettette koskaan kierrä villavaatteita, sillä silloin kadottavat ne muotonsa. Kun Te kuivaatte villavaatteita, niin ripustakaa ne varovaisesti, jotta ne säilyttäisivät muotonsa ja saisivat kuivua hitaasti.
Suuremmat villaiset vaatekappaleet, erittäinkin löyhästi kudotut, kuten jumperit, villaröijyt, shaalit y. m. kääritään ensin kuivaan limaan ja niitä puserretaan varovaisesti. Levittäkää ne sitten lakanan tai muun sellaisen päälle kuivumaan ja suoristakaa vaatteet, jotta alkuperäinen muoto säilyisi. Antakaa aina villavdatteiden kuivua hitaasti!
Villavaatteiden pesuun on Valkoinen Pesukarhu voittamatonta.
Mitenkä uutimia pestään Valkoisella Pesukarhulla
Sekä värillisiä että valkoisia uutimia voidaan pestä Valkoisella Pesukarhulla ja parhaiten tapahtuu se seuraavalla tavalla:
Pankaa uutimet likoon illalla
[16]
haaleaan Pesukarhu-liuokseen, joka valmistetaan liuottamalla 3 runsasta teelusikallista yhteen litraan haaleata vettä, ja sekoittakaa sitten tämä liuos noin 10 litraan haaleata vettä.
Antakaa uutimien olla siinä yön yli. Ne ovat silloin niin puhtaat, että niitä tarvitsee vain tarkoin huuhdella useassa haaleassa vedessä. Jos on tahroja, saatte Te ne pois hankaamalla niitä varovaisesti käsin, uutimien ollessa vielä Pesukarhu-liuoksessa.
Erikoisia neuvoja uudinten pesua varten
Älkää koskaan kiertäkö uutimia, sillä silloin ne turmeltuvat. Kuivattaessa ovat uutimet pingoitettavat alkuperäiseen muotoonsa, sillä muutoin tulevat ne vinoiksi ja kutistuvat.
Huomatkaa myös, että uutimet, jotka ovat olleet kauan ikkunoissa, tulevat auringon vaikutuksesta niin hauraiksi, että ne usein eivät kestä pesua, vaan menevät rikki. Se ei tietenkään ole pesuaineen syy, vaan riippuu se auringonvaloa heikentävästä vaikutuksesta.
Mitenka silkkiä ja tekosilkkiä on pestävä Valkoisella Pesukarhulla
Kun on pestävä silkkiä tai tekosilkkiä, tulee Teidän olla erittäin varovainen, sillä nämä kankaat ovat kokoonpanoltaan aivan toisenlaisia kun liina ja puuvilla.
Menetelkää seuraavalla tavalla, niin Te voitte olla varma hyvästä tuloksesta:
Laittakaa kuntoon lievä Pesukarhu-liuos 2 runsaasta teelusikallisesta Pesukarhu-jauhetta kymmeneen litraan huoneenlämpöistä vettä. Peskää siinä silkki-vaatteita hetkinen kastamalla niitä useita kertoja liuokseen ja
[17]
varovaisesti puristamalla. Huuhdelkaa sitten myöskin huoneenlämpöisessä vedessä.
Erittäin tärkeätä silkkipesussa
Älkää koskaan kiertäkö! Kuivatkaa silkkivaatteet käärimällä ne kuivaan, puhtaaseen pyyheliinaan ja pusertakaa.sitten varovaisesti. Levittäkää ne sitten alkuperäiseen muotoonsa ja antakaa niiden kuivaa hitaasti puhtaalla liinavaatteella.
Muistakaa, että monet tekosilkkiset vaatekappaleet, kuten jumperit y. m. ovat väiljätyt niin aroilla väreillä, etteivät ne edes siedä vettä.
Luonnonvärinen silkki, sukat ja vaaleat alusvaatteet sietävät yleensä hyvin vettä.
Mitenkä ruoste- ja mustepilkut poistetaan
Mitä pahimmat ja vanhimmatkin ruostepilkut voidaan täydellisesti poistaa vahingoittamatta kangasta vähimmässäkään määrin. Tämä tapahtuu Helios-Lazarol Tehtaan erikoisella ruosteenpoistoaineella »Rostol».
Ruostepilkkuja kostutetaan ennen pesua useita kertoja Rostolilla kunnes ne ovat täydellisesti hävinneet, mikä yleensä kestää noin 5-15 minuuttia. Sitten huuhdellaan kangas hyvin tarkoin kylmässä vedessä, niin että liuennut ruoste saadaan todella poistetuksi, sillä muuten saattaa ruostepilkku pesun jälkeen tulla vielä jonkunverran näkyviin.
Mustetahrat poistetaan siten, että vaatekappale saa ensin olla Pesukarhu-pesussa, jonka jälkeen jää vielä jälelle ruostemainen pilkku. Tämä tahra, joka on saman laatuinen kuin tavallinen ruostepilkku, poistetaan täydellisesti »Rostolilla» yllämainitulla tavalla.
Eräisiin mustelajeihin on lisätty jotain aneliiniväriä, minkä vuoksi sattuu, ettei tahroja voida kokonaan poistaa, koska nämä värit ovat erittäin kestäviä ja niiden kokonaan poistaminen siitä syystä melkein mahdotonta.
Tahrojen poistamisesta yleensä
Erilaiset marja- ja hedelmätahrat katoavat yleensä pestäessä
[18]
Valkoisella Pesukarhulla. Jos tahrat sattuisivat olemaan erittäin vaikeasti poistettavia, voidaan vaaratta käyttää hieman voimakkaampaa liuosta, esim. 1 runsasta ruokalusikallista 1 litran 50° lämpöistä vettä ja sillä liuottaa tahrat. Senjälkeen huuhdellaan tavalliseen tapaan.
Värillisen silkkipaperin aiheuttamien tahrojen poistaminen on tavattoman vaikeata, melkeinpä mandotonta. Jos ne ovat vielä verrattain tuoreet, voidaan ne poistaa hautomalla useita kertoja voimakkaammalla, noin 50° lämpöisella Pesukarhu-liuoksella ja vuoroin huuhtelemalla lämplmässä vedessä.
Rasva- ja öljytahrat saadaan ilman muuta häviämään pesemällä Valkoisella Pesukarhulla tavalliseen tapaan. Jos ne ovat erittäin pahoja, voidaan osa ensin poistaa esim. bensiinillä.
Tahroja, jotka ovat tulleet erilaisista aniliiniväreistä ja n. s. kotiväreistä, käsitellään, kun niitä ensin on huuhdeltu kylmässä -vedessä, voimakkaalla, noin 50° lämpöisellä Pesukarhu-liuoksella, vuoroin huuhdellen lämpimässä vedessä. Jos väriä on mahdoton poistaa tällä tavalla, on koetettava sitruunahappoliuoksella.
Viinilahrat huuhdellaan ensin kylmässä vedessä ja sitten käsitellään niitä haalealla Pesukarhuliuoksella. Elleivät ne silloin täydellisesti häviä, niin jää luultavasti jälelle lievä ruostemäinen tahra, jota käsitellään Rostolilla 5-15 minuuttia ja huuhdellaan erittäin tarkoin, sillä muussa tapauksessa ilmestyy se jälleen takaisin, vaikkakin. heikompana.
Tuntematonta alkuperää olevaa tahraa käsitellään yleensä seuraavalla tavalla: Ensin käsitellään tarmokkaasti kylmällä vedellä; ellei se auta, koetetaan spriillä tai bensiinillä. Jos sekin osottautuu turhaksi, koetetaan lämpimällä vedellä ja senjälkeen kylmällä tai 50° lämpöisellä Pesukarhu-liuoksella. Jos kaikki yritykset ovat turhia, koetetaan Rostolilla ja sitten sitruuna - happoliuoksella. Jos kaikki nämä aineet antavat kielteisen tuloksen, voidaan, noudattamalla suurta varovaisuutta, koettaa kloorikalkki-liuoksella, mutta tahroja on sitten ehdottomasti käsiteltävän. s. antikloorilla, esim. tavallisella kehitysnatronilla, jota käytetään valokuvauslevyjen ja filmien kehittämiseen.
[19]
Kirkkaat kuin kuvastimet.
Valkoista pesukarhua lasin, porsliinin, maalattujen
esineiden y. m. puhdistamiseen
Jokaisessa kodissa on paitsi vaatteiden pesua myös jokapäiväiset puhdistamistyöt, ja niissäkin tarjoo Valkoinen Pesukarhu Teille todella suuren avun.
Lasit, porsliinit, pöytähopeat y. m. tulevat tavattoman helposti ehdottomasti puhtaiksi ja peilikirkkaiksi, jos Te käytätte Pesukarhu-liuosta.
Ottakaa runsas ruokalusikallinen Pesukarhujauhetta noin 10 litraan (1 sangolliseen) lämmintä vettä. Liuottakaa jauhe sekoittamalla. Huuhdelkaa astiat mieluimmin haaleassa, puhtaassa vedessä.
Maalatut esineet, kuten ovet, panelit, öljyvärillä maalatut seinät ja katot, pöydät, tuolit y. in. pestään puhtaiksi Pesukarhuliuoksella. Ottakaa runsas ruokalusikallinen Pesukarhujauhetta 10 litraan (noin 1 sangolliseen) haaleata vettä. Peskää pehmeällä rievulla tai varovaisesti pehmeällä paneliharjalla, niin että väriä ei turhaan kuluteta ja ettei se tule himmeäksi. Kuivatkaa esineet puhtaalla, pehmeällä rievulla heti pesun jälkeen, sillä muuten tekee vesi niihin helposti jälkiä.
Korkkiinalot ja vernissatut lattiat pestään lievällä Pesukarhuliuoksella; ruokalusikallinen Pesukarhujauhetta 10 litraan (1 sangolliseen) haaleata vettä.
Tavalliset puulattiat, pöydät ja penkit y. m. pestään ja puhdistetaan voimakkaammalla Pesukarhuliuoksella: kaksi runsasta ruokalusikallista 10 litraan (1 sangolliseen) haaleata vettä.
[20]
Mitä tiede sanoo Valkoisesta Pesukarhusta?
Olemme jo sanoneet Teille, että Valkoinen Pesukarhu on täysin tieteellisellä pohjalla valmistettu pesuaine. Siitä syystä on Teille varmaankin mielenkiintoista kuulla, mitä etevä suomalainen tiedemies, fil. t:ri Gust. Komppa, Helsingin Teknillisen Korkeakoulun professori, sanoo Valkoisesta Pesukarhusta :
Tutkittuani 2, itse eri kaupoista ostamaani näytettä »Valkoinen Pesu-Karhu» nimistä pesupulveria olen saanut seuraavat tulokset:
(Analyysi - - - -)
Vapaata alkalia, vesilasia ja kloria ei ollut.
Koska siis sen vesipitoisuus on suhteellisesti alhainen, eikä se sisällä mitään syövyttäviä tai muuten kankaille vahingollisia aineita ja koska kaupassa esiintyvä tavara
näyttää olevan laadultaan hyvin samanlaista kuten tämä tutkimus verrattuna 2 vuotta sitten suorittamani tutkimuksen kanssa osoittaa, niin on "Valkoinen Pesu-Karhu" pidettävä ensiluokkaisena pesujauheena.
GUST. KOMPPA
Prof. Toht.
Teknillisen Korkeakoulun kemiallisen osaston johtaja.
[21]
Eräs ruotsalainen tiedemies, Tukholman Kunink. Tekn. Korkeakoulun dosentti, fil. t:ri Sten Kallenberg antaa seuraavan lausunnon:
Yleisestä kaupasta 4/1 27 kokeeksi ostetussa »Valkoisessa Pesukarhussa» oli korkea saippua- ja alhainen vesipitoisuus, jotavastoin ei siinä ollut vapaasti alkalia tai kloria muodostavia aineita (esim. klorkalkia), ja oli se niin yhdistetty, ettei se voinut vaikuttaa "syövyttävästi" pesuvaatteisiin.
Kun valmiste sitäpaitsi on näkyisää ja antaa kuiduille kauniin kiillon, täyttää se täydellisesti ne vaatimukset, jotka tulee asettaa ensiluokkaiselle pesujauheelle.
Tukholmassa 12 p:nä tammik. 1927.
STEN KALLENBERG
Fil. toht. Kuninkaat. Teknill.
Korkeak. Dosentti.
Monilta sadoilta suomalaisilta perheenäideiltä olemme myös saaneet todistuksia Valkoisen Pesukarhun oivallisuudesta. -Valkoista Pesukarhua käytetään jo nyt monissa tuhansissa Suomen kodeissa.
Kas tässä muutamia todistuksia:
1975.
Pyykin pesussa ehdottomasti paras.
Hamina. A. S.
[22]
2023.
Katson Valkoisen Pesukarhun erinoinaiseksi vaatteiden, lattioiden, ovien y. m. pesuun. Erittäinkin pyykkivaatteet se puhdistaa pienellä vaivalla.
Hanko. E. B.
1997.
Pidän Valkoista Pesukarhua parhaimpana pyykkipulvereista. Heinola. E. K.
2163.
Olen erittäin kiitollinen tulokseen, joka on suuressa määrässä huojentanut pesua.
Helsinki. 0. S.
1085.
Tiedän kokemuksesta, että se on vaatteita vahingoiltamaton sekä kaikin puolin parhain puhdistus-aine, joten kiitollisena suosittelen sitä. Hämeenlinna. I. L.
2785.
Olen kokeillut useampaa eri pesupulveria, mutta Valkoisen Pesu-karhun olen huomannut kaikista tehokkaimmaksi ja edullisimmaksi käyttää kotitaloudessa.
Iisalmi. H. K.
3025.
Yleensä koko taloudessa y. m. Ja olen huomannut erittäin hyväksi ja halvaksi.
Joensuu. 0. T.
1843.
Kokemukseni perusteella tunnustan sen täydellisesti vastaavaksi tarkoitustaan.
Jyväskylä. M. L.
2192.
Suuresti kiitollinen olen Teille siitä, että olen saanut niin hyvää puhdistusainetta käyttää, joka säästää aikaa ja vaivoja niin paljon. Tulen sitä edelleen käyttämään,
Kajaani. I. K.
2638.
Pyykin pesuun ja puhdistukseen Valkoisella Pesukarhulla olemme olleet hyvin tyytyväisiä.
Kokkola. M. J.
1512.
Olen tyytyväinen jo suosittelen käyttämään ainoastaan Valkoista Pesukarhua.
Kotka. H. T. 1783.
Hierominen on tarpeetonta. Pesu-karhu säästää aikaa ja työtä. Kristiina. J. N.
2108.
Monet, jotka käyttävät Pesu-karhua, tunnustavat, että se on tarkoitukseensa hyvä käyttää.
Käkisalmi. A. K.
1945.
Pidän Valkoisesta Pesukarhusta sen vuoksi, että se säästää paljon työtä, ja vaatteet puhdistuvat niin helposti.
Loviisa. T. T.
2578.
Olen täydellisesti kiitollinen siitä avusta, jonka Pesulearhu antaa pesua aikana.
Mikkeli. 0. S.
[23]
3512.
Olemme huomanneet kaikista pesupulvereista parhaanunaksi. Nurmes. O.P.
1468.
Valkoisesta Pesukarhusta on oikein pidetty ja tullaan sitä aina ostamaan ja suosittelemaan kiitettävänä tavaralla.
Naantali. W. L.
2179.
Olen käyttänyt Valkoista Pesu-karhua yli kaksi vuotta vakituisesti, ja minun mielestä se on paras pesujauhe.
Oulu. H. M.
1439.
Olen erittäin tyytyväinen Valkoiseen Pesukarhuun.
Pietarsaari. L. K.
2253.
Olen täysin tyytyväinen Valkoiseen Pesukarhuun, joka ahtaissa kaupunkilaisoloissa niin paljon huojentaa pyykinpesun hommia.
Pori. H. K.
1907.
Olen käyttänyt ikkunaverhojen pesussa ja olen hyvin tyytyväinen. Raahe. A. A.
1210.
Valkoista Pesukarhua käyttämällä menee paljon vähemmän aikaa kuuden hengen pyykin pesuun, ja se käy ilman apulaista.
Rauma. L S.
2071.
On käytetty pyykin, lattioiden, ovien sekä muiden puhdistuksessa ja olen pitänyt sitä hyvänä pulverina.
Sortavala. M. A.
2854.
Valkoinen Pesukarhu on parhainta pesupulveria.
Savonlinna. M. T.
1868.
Olen huomannut, että Valkoista Pesukarhua on hyvä käyttää. Suomenlinna. A. L.
1407.
Valkoista Pesukarhua on käytetty suurella menestyksellä. Sitä on käytetty sekä pyykin että myöskin käsien ja lattioiden pesussa. Tavallista saippuaa ei ole nimeksikään käytetty. Pidämme Valkoista Pesukarhua erinomaisena.
Tampere. L. T.
3097.
Olen hyvin tyytyväinen, ja koska itse pesen vaatteemme niin tiedän käytännön.
Tornio. K. K.
1336.
Olen tullut siihen käsitykseen, että Valkoinen Pesukarhu tekee todella kiitettävää työtä' vähällä ajalla ja vaivalla.
Turku. E. H.
2290.
Olen pitemmän ajaa käyttänyt Valkoista Pesukarhua, ja havain‑
[24]
nut sen olevan parhainiinan nykyään kaupassa olevista pesujauheistamme.
Uusikaupunki. M. S.
2265.
Pidän sitä parhaana kokeilemistani pesupulvereista.
Vaasa. M. L.
3054.
Minä pidän sitä erinomaisena, suosittelen sitä kaikille.
Varkaus. I. I.
2459.
Olen huomannut pestikarhun parhaimmaksi pesupulvereista. Viipuri. A. R.
Tekin voitte vapautua pesuhuolista Valkoisen Pesukarhun avulla ja seuraamalla käyttöohjetta, joka on jokaisessa käärossa, sekä tässä annettuja neuvoja.
Rohkenemme taata, että Te, kuten kaikki perheenäidit, jotka jo käyttävät Pesukarhua, tulette olemaan siihen tyytyväinen.
Helsingissä, heinäkuu 1927.
TEHDAS HELIOS-LAZAROL
Valkoista Pesukarhua myydään kaikkialla.
Hinta 4:— Smk. Kaksinkertainen käärö 7:50.
R 0 S T 0 L
Hinta 5: —
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VALKOINEN PESUKARHU ON ENSILUOKKAINEN PESUJAUHE, NÄKYISÄ JA SENTÄHDEN HALPA
LAADUN HYVYYS ON LUONUT VALKOISEN PESUKARHUN MENESTYKSEN
HELSINKI 1927
SENTRALIKIRJAPAINO JA KIRJANSITOMO O.Y.