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31.5.11
A Dictionary of Arts: Tan or Tannic acid.
A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice
by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.
Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.
New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII
1847
TAN, or TANNIC ACID. (Tannin, Fr.; Gerbstoff, Germ.) See its preparation and properties described under GALLS.
The barks replete with this principle should be stripped with hatchets and bills, from the trunk and branches of trees, not less than 30 years of age, in spring, when their sap flows most freely. Trees are also sometimes barked in autumn, and left standing, whereby they cease to vegetate, and perish ere log; but afford, it is thought, a more compact timber. This operation is, however, too troublesome to be generally practised, and therefore the bark is commonly obtained from felled trees; and it is richer in tannin the older they are. The bark mill is described in Gregory's Mechanics, and other similar works.
The following TABLE shows the quantity of extractive matter and tan in 100 parts of the several substances: -
30.5.11
A Dictionary of Arts: Sumach.
A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice
by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.
Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.
New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII
1847
SUMACH (Eng. and Fr.; Schmack, Germ.) is the powder of the leaves, peduncles, and young branches of the Rhus coriaria, and Rhus cotinus, shrubs which grow in Hungary, the Bannat, and the Illyrian provinces. Both kinds contain tannin, with a little yellow colouring matter, and are a good deal employed for tanning light-colored leathers; but the first is the best. With mordants, it dyes nearly the same colours as galls. In calico-printing, sumach affords, with a mordant of tin, a yellow color; with acetate of iron, weak or strong, a gray or black; and with sulphate of zinc, a brownish-yellow. A decoction of sumach reddens litmus paper strongly; gives white flocks with the protomuriate of tin; pale yellow flocks with alum; blue flocks with red sulphate of iron, with an abundant precipitate. In the south of France, the twigs and leaves of the Coriaria myrthifolia are used for dyeing, under the name of rédoul, or rodou.
29.5.11
A Dictionary of Arts: Sulphate of iron.
A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice
by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.
Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.
New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII
1847
SULPHATE OF IRON, Green vitriol, Copperas (Couperose verte, Fr.; Eisen-vitriol, Schwefelsures Eisenoxydul, Germ.), is a crystalline compound of sulphuric acid and protoxide of iron; hence called, by chemists, the protosulphate; consisting of, 26.10 of base, 29.90 of acid, and 44.00 of water, in 100 parts; or of 1 prime equivalent of protoxide, 36, +1 of acid, 40, +7 of water, 63, =139. It may be prepared by dissolving iron to saturation in dilute sulphuric acid, evaporating the solution till a pellicle forms upon its surface, and setting it aside to crystallize. The copperas of commerce is made in a much cheaper way, by stratifying the pyrites found in the coal measures (Vitriolkies and Strahlkies of the Germans), upon a sloping puddled platform of stone, leaving the sulphuret exposed to the weather, till, by the absorption of oxygen, it effloresces, lixiviating with water the supersulphate of iron thus formed, saturating the excess of acid with plates of old iron, then evaporating and crystallizing. The other pyrites, which occurs often crystallized, called by the Germans Schwefelkies or Eisenkies, must be deprived of a part of its sulphur by calcination, before it acquires the property of absorbing oxygen from the atmosphere, and thereby passing from a bisulphuret into a bisulphate. Alum schist very commonly contains vitriolkies, and affords, after being roasted and weather-worn, a considerable quantity of copperas, which must be carefully separated by crystallization from the alum.
This liquor used formerly to be concentrated directly in leaden vessels; but the first stage of the operation is now carried on in stone canals of considerable length, vaulted over with bricks, into which the liquor is admitted, and subjected at the surface to the action of the flame and heated air, from a furnace of the reverberatory kind, constructed at one end, and discharging its smoke by a high chimney raised at the other. See SODA MANUFACTURE. Into this oblo ng trough, resting on dense clay, and rendered tight in the joints by water-cement, old iron is mixed with the liquor, to neutralize the excess of acid generated from the pyrites, as also to correct the tendency to superoxidizement in copperas, which would injure the fine green colour of the crystals. After due concentration and saturation in this surface evaporator, the solution is run off int o leaden boilers, where it is brought to the proper density for according regular crystals, which it does by slow cooling, in stone cisterns.
Copperas forms sea-green, transparent, romboidal prism, which are without smell, but have an astringent, acerb, inky taste; they speedily become yellowish-brown in the air, by peroxidizement of the iron, and effloresce in a warm atmosphere: they dissolve in 1.43 parts of water at 60°, in 0.27 at 190°, and in their own water of crystallization at a higher heat. This salt is extensively used in dyeing black, especially hats, in making ink and Prussian blue, for reducing indigo in the blue vat, in the China blue dye, for making the German oil of vitriol, and in many chemical and medicinal preparations.
There is a persulphate and subpersulphate of iron, but they belong to the domain of chemistry. The first may be formed, either by dissolving with heat one part of red oxide of iron (colcothar) in one and a half of concentrated sulphuric acid, or by adding some nitric acid to a boiling-hot solution of copperas. It forms with galls and logwood a very black ink, which is apt to become brown-black. When evaporated to dryness, it appears as a dirty white pulverulent substance, which is soluble in alcohol. It consists, in 100 parts, of 39.42 of red oxide of iron, and 60.58 sulphuric acid.
Hydrated peroxyde of iron, prepared by precipitation with alkali from solution of the persulphate, is an excellent antidote against poisoning by arsenic. A French peruquier, who had swallowed two drachms of arsenious acid,was, after a interval of twenty minutes, treated with the oxide precipitated from 6 ounces of that salt by caustic potash. It was diffused in 20 quarts of weak sirup, and administered in successive doses. After repeated vomiting and purging, the patient felt no more pain, and was pronounced by the physician to be quite convalescent.
In the copperas and alum works, a very large quantity of ochrey sediment is obtained; which is a peroxyde of iron, containing a little sulphuric acid and alumina. This deposite, calcined in reverberatory hearths, becomes of a bright-red color; and when ground and elutriated, in the same way as is described under white lead, forms a cheap pigment, in very considerable demand, called English red, in the French market.
Colcothar of Vitriol, and Crocus of Mars, are old names for red oxide of iron. This brown-red powder is obtained in its purest state, by calcining dried sulphate of iron in a furnace till all its acid be expelled, and its base become peroxidized. It must be levigated, elutriated, and dried. This powder is employed extensively in the steel manufacture, for giving the finishing lustre to fine articles; it is used by silversmiths under the name of plate powder and rouge; and by the opticians for polishing the specula of reflecting telescopes. Much of the crocus in the marked, is made, however, from the copperas and alum sediments, and is greatly inferior to the article prepared by the last process. The finest rouge is made by precipitating the oxide with soda, then washing and calcining the powder.
An excellent powder for applying to razor-strops, is made by igniting together in a crucible equal parts of well-fried copperas and sea salt. The heat must be slowly raised and well regulated, otherwise the materials will boil over in a pasty state, and the product will be in a great measure lost. When well made, out of contact of air, it has the brilliant aspect of plumbago. It has a satiny feel, and is a true fer olegiste, similar in composition to the Elba iron ore. It requires to be ground and elutriated; after which it affords, on drying, an impalpable powder, that may be either rubbed on a strop of smooth buff leather, or mixed up with hog's-lard or tallow into a stiff cerate.
A Dictionary of Arts: Sulphate of Copper.
A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice
by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.
Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.
New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII
1847
SULPHATE OF COPPER, Roman or Blue Vitriol (Vitriol de Chypre, Fr.; Kupfervitriol, Germ.), is a salt composed of sulphuric acid and oxide of copper, and may be formed by boiling the concentrated acid upon the metal, in an iron pot. It is, however, a natural product of many copper mines, from which it flows out in the form of a blue water, being the result of the infiltration of water over copper pyrites, which has become oxygenated by long exposure to the air in subterranean excavations. The liquid is concentrated by heat in copper vessels, then set aside to crystallize. The salt form in oblique four-sided tables, of a fine blue color; has a spec. gravity of 2.104; an acerb, disagreeable, metallic taste; and, when swallowed, it causes violent vomiting. It becomes of a pale dirty blue, and effloresces slightly, on long exposure to the air; when moderately heated, it loses 36 per cent. of water, and falls into a white powder. It dissolves in 4 parts of water, at 60&dec;, and in 2 of boiling water, but not in alcohol; the solution has an acid reaction upon litmus paper. When strongly ignited, the acid flies off, and the black oxide of copper remains. The constituents of crystallized sulphate of copper are - xyde, 31.80; acid, 32.14; and water, 36.06. Its chief employment in this country is in dyeing, and for preparing certain green pigments. See SCHEELE's and SCHWEINFURTH GREEN. In France, the farmers sprinkle a weak solution of it upon their grains and seed before sowing them, to prevent their being attacked by birds and insects.
28.5.11
A Dictionary of Arts: Stained glass.
A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice
by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.
Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.
New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII
1847
STAINED GLASS. When certain metallic oxydes or chlorides, ground up with proper fluxes, are painted upon glass, their colours fuse into its surface at a moderate heat, and make durable pictures, which are frequently employed in ornamenting the windows of churches as well as of other public and private buildings. The colours of stained glass are all transparent, and are therefore to be viewed only by transmitted light. Many metallic pigments, which afford a fine effect when applied cold on canvass or paper, are so changed by vitreous fusion as to be quite inapplicable to painting in stained glass.
The glass proper for receiving these vitrifying pigments, should be colorless, uniform, and difficult of fusion; for which reason crown glass, made with little alkali, or with kelp, is preferred. When the design is too large to be contained on a single pane, severalare fitted together, and fixed in a bed of soft cement while painting, and then taken asunder to be separately subjected to the fire. In arranging the glass pieces, care must be taken to distribute the joinings so that the lead frame-work may interfere as little as possible with the effect.
A design must be drawn upon paper, and placed beneath the plate of glass; though the artist cannot regulate his tints directly by his palette, but by specimens of the colours producible from his palette pigments after they are fired. The upper side of the glass being sponged over with gum-water, affords, when dry, a surface proper for receiving the the colours, without the risk of their running irregularly, as they would be apt to do, on the slippery glass. The artist first draws on the plate, with a fine pencil, all the traces which mark the great outlines and shades of the figures. This is usually done in black, or, at least, some strong color, such as brown, blue, green, or red. In laying on these, the painter is guided by the same principles as engraver, when he produces the effect of light and shade by dots, lines, or hatches; and he employes that colour to produce the shades, which will harmonize tbest with the colour which is to be afterwards applied; but for the deeper shades, black is in general used. When this is finished, the whole picture will be represented in lines or hatches similar to an engraving finished up to the highest effect possible; and afterwards, when it is dry, the vitrifying colours are laid on by means if larger hair pencils; their selection being regulated by the burnt specimen tints. When he finds it necessary to lay two colours adjoining, which are apt to run together in the kiln, he must apply one of them to the back of the glass. But the few principal colours to be presently mentioned, are all fast colours, which do not run, except the yellow, which must therefore be laid on the opposite side. After coloring, the artist proceeds to bring out the lighter effects by taking off the colour in the proper place, with a goose quill cut like a pen without a slit. By working this upon the glass, he removes the colour from the parts where the lights should be the strongest; such as the hair, eyes, the reflection of bright surfaces and light parts of draperies. The blank pen may be employed either to make the lights by lines, or hatches and dots, as is most suitable to the subject.
By the metallic preparations now laid upon it, the glass is made ready for being fired, in order to fix and bring out the proper colours. The furnace or kiln best adapted for this purpose, is similar to that used by enamellers. See ENAMEL, and the Glaze-kiln, under POTTERY. It consists of a muffle or arch of fire-clay, or pottery, so set over a fireplace, and so surrounded by flues, as to receive a very considerable heat within, in the most equable and regular manner; otherwise some parts of the glass will be melted; while, on others, the superficial film of colours will remain unvitrified. The mouth of the muffle, and the entry for introducing fuel to the fire, should be on opposite sides, to prevent as much as possible the admission of dust into the muffle, whose mouth should be closed with double folding-doors of iron, furnished with small peep-holes, to allow the artist to watch the progress of the staining, and to withdraw small trial slips of glass, painted with the principal tints used in the picture.
The muffle must be made of very refractory fire-clay, flat at its bottom, and only 5 or 6 inches high, with such an arched top as may make the roof strong, and so close on all sides as to exclude entirely the smoke and flame. On the bottom of the muffle a smooth bed of sifted lime, freed from water, about half an inch thick, must be prepared for receiving the pane of glass. Sometimes several plates of glass are laid over each other with a layer of dry pulverulent lime between each. The fire is now lighted, and most gradually raised, lest the glass should be broken; and after it has attained to its full heat, it must be kept up for 3 or 4 hours, more or less, according to the indications of the trial slips; the yellow colour being principally watched, as it is found to be the best criterion of the state of the others. When the colours are properly burnt in, the fire is suffered to die away, so as to anneal the glass.
STAINED-GLASS PIGMENTS.
Flesh color. - Take an ounce of red lead, 2 ounces of red enamel, (Venetian glass enamel, from alum and copperas calcined together,) grind them to fine powder, and work this up with spirits (alcohol) upon a hard stone. When slightly baked, this produces a fine flesh color.
Black color. - Take 14½ ounces of smithy scales of iron, mix them with two ounces of white glass, (crystal,) an ounce of antimony, and half an ounce of manganese; pound and grind these ingredients together with strong vinegar. A brilliant black may also be obtained by a mixture of cobalt blue with the oxydes of manganese and iron. Another black is made from three parts of crystal glass, two parts of oxide of copper, and one of (glass of) antimony worked up together, as above.
Brown color. - An ounce of white glass or enamel, half an ounce of good manganese; ground together.
Red, rose, and brown colours, are made from peroxyde of iron, prepared by nitric acid. The flux consists of borax, sand, and minium in small quantity.
Red color, may be likewise obtained from one ounce of red chalk pounded, mixed with two ounces of white hard enamel, and a little peroxyde of copper.
A red, may also be composed of rust of iron, glass of antimony, yellow glass of lead, such as is used by potters, (or litharge,) each in equal quantity; to which a little sulphuret of silver is added. This composition, well ground, produces a very fine red colour on glass. When protoxide of copper is used to stain glass, it assumes a bright red or green color, according as the glass is more or less heated in the furnace, the former corresponding to the orange protoxide, the latter having the copper in the state of peroxyde.
Bistres and brown reds, may be obtained by mixtures of manganese, orange oxide of copper, and the oxide of iron called umber, in different proportions. They must be previously fused with vitreous solvents.
Green color. - Two ounce of brass calcined into an oxyde, two ounces of minium, and eight ounces of white sand; reduce them to a fine powder, which is to be enclosed in a well luted crucible, and heated strongly in an air-furnace for an hour. When the mixture is cold, grind it in a brass mortar. Green may, however, be advantageously produced by a yellow on one side, and a blue on the other. oxide of chrome has been also employed to stain glass green.
A fine yellow color. - Take fine silver laminated thin, dissolve in nitric acid, dilute with abundance of water, and precipitate with solution of sea salt. Mix this chloride of silver, in a dry powder, with three times its weight of pipe-clay well burnt and pounded. The back of the glass pane is to be painted with this powder; for when painted on the face, it is apt to run into the other colours.
Another yellow can be made by mixing sulphuret of silver with glass of antimony, and yellow ochre previously calcined to a red-brown tint. Work all these powders together, and paint on the back of the glass. Or silver lamina melted with sulphur, and glass of antimony, thrown into cold water, and afterwards ground to powder, afford a yellow.
A pale yellow may be made with the powder resulting from brass, sulphur, and glass of antimony, calcined together in a crucible till they cease to smoke; and then mixed with a little burnt yellow ochre.
The fine yellow of M. Merand is prepared from chloride of silver, oxide of zinc, white-clay, and rust of iron. This mixture, simply ground, is applied on the glass.
Orange color. - Take 1 part of silver powder, as precipitated from the nitrate of that metal by plates of copper, and washed; mix it with 1 part of red ochre and 1 of yellow, by careful trituration; grind into a thin pap with oil of turpentine or lavender, and apply this with a brush, dry, and burn in.
In the Philosophical Magazine, of December, 1836, the anonymous author of an ingenious essay, "On the Art of Glass-painting," says, that if a large proportion of ochre has been employed with the silver, the stain is yellow; if a small proportion, it is orange-colored; and by repeated exposure to the fire, without any additional coloring-matter, the orange may be converted into red; but this conversion requires a nice management of the heat. Artists often make use of panes coloured throughout their substance in the glass-house pots, because the perfect transparency of such glass gives a brilliancy of effect, which enamel painting, always more or less opaque, cannot rival. It was to a glass of this kind that the old glass-painters owed their splendid red. This is, in fact, the only point in which the modern and ancient processes differ; and this is the only part of the art which was ever really lost. Instead of blowing plates of solid red, the old glass-makers (like those of Bohemia, for some time back) used to flash a thin layer of brilliant red over a substratum of colorless glass; by gathering a lump of the latter upon the end of their iron rod in one pot, covering it with a layer of the former in another pot, then blowing out the two together into a globe or cylinder, to be opened into circular tables, or into rectangular plates. The elegant art of tinging glass red by protoxyde of copper, and flashing it on common crown glass, has become general within these few years.
That gold melted with flint glass stains it purple., war originally discovered and practised as a profitable secret, by Kunckel. Gold has been recently used at Birmingham for giving a beautiful rose-color to scent bottles. The proportion of gold should be very small, and the heat very great, to produce a good effect. The glass must contain either the oxide of lead, bismuth, zinc, or antimony; for crown glass will take no colour from gold. Glass combined with this metal, when removed from the crucible, is generally of a pale rose-color; nay, sometimes is as colorless as water, and does not assume its ruby colour till it has been exposed to a low red heat, either under a muffle or at the lamp. This operation must be nicely regulated; because a slight excess of fire destroys the colour, leaving the glass of a dingy brown, but with a blue (green ?) transparency, like that of gold leaf. It is metallic gold which gives the color; and, indeed, the oxide is too easily reduced, not to be converted into the metal by the intense heat which is necessarily required.
Upon the kindred art of painting in enamel, Mr. A. Essex has published an interesting paper in the same journal, for June, 1837, in which he says that the ancient ruby glass, on being exposed to the heat of a glass-kiln, preserves its colour unimpaired, while the modern suffers considerable injury, and in some cases becomes almost black. Hence the latter cannot be painted upon, as the heat required to fix the fresh colour would destroy the beauty of the original basis. To obviate this difficulty, the artist paints upon a piece of plain glass the tints and shadows necessary for blending the rich ruby glow with the other parts of his picture, leaving those parts untouched where he wishes the ruby to appear in undiminished brilliancy, and fixed the ruby glass in the picture behind the painted piece, so that in such parts the window is double glazed. Mr. Essex employs, as did the late Mr. Muss, chrome oxide alone for greens; and he rejects the use of iron and manganese in his enamel colours.
Coloured transparent glass is applied as enamel in silver and gold bijouterie, previously bright-cut in the metal with the graver or the rose-engine. The cuts, reflecting the rays of light from their numerous surfaces, exhibit through the glass, richly stained with gold,silver, cobalt, &c., a gorgeous play of prismatic colours, varied with every change of aspect. With the enamel is to be painted on, it should be made opalescent by oxide of arsenic, in other to produce the most agreeable effect.
The artist in enamel has obtained from modern chemistry, preparations of the metals platinum, uranium, and chromium, which furnish four of the richest and most useful colours of his palette. oxide of platinum produces a substantive rich brown, formerly unknown in enamel painting; a beautiful transparent tint, which no intensity or repetition of fire can injure. Colours proper for enamel painting, he says, are not to be purchased; those sold for the purpose, are adapted only for painting upon china. The constituents of the green enamel used by his brother, Mr. W. Essex, are, silica, borax, oxide of lead, and oxide of chrome.
Mr. Essex's enamelling furnace is a cubic space of about 12 inches, and contains a fire-clay muffle, without either bottom or back, which is surrounded with coke, except in front. The entire draught of air which supplies the furnace, passes through the muffle; the plates and paintings being placed on a thin slab, made of tempered fire-clay, technically termed planche, which rests on the bed of coke-fuel. As the greatest heat is at the back of the muffle, the picture must be turned round while in the fire, by means of a pair of spring tongs. The above furnace serves for objects up to five inches in diameter; but for larger works a different furnace is required, for the description of which I must refer to the original paper.
Relatively to the receipts for enamel colours, and for staining and gilding on glass, for which twenty guineas were voted by the Society for the Encouragement of Arts, in the session of 1817, to Mr. R. Wynn, Mr. A. Essex says, in p. 446 of his essay - "the unfortunate artist who shall attempt to make colours for the purpose of painting in enamel from these receipts, will assuredly find, to his disappointment, that they are utterly useless." In page 449 he institutes a comparison between Mr.- Wynn's complex farrago for green, as published in the Transactions of the Society, with the simple receipt of his brother, as given above. It is a remarkable circumstance, that not one of our enamel artists, during a period of twenty years, should have denounced the fallacy of these receipts, and the folly of sanctioning imposture by a public reward. Should Mr. Essex's animad versions be just, the well-intentioned Society in the Adelphi may, from the negligence of its committee, come to merit the sobriquet, "For the Discouragement of Arts."
[Alla oleva osa täydennyksenä painoksesta: New-York: D. Appleton & Company, 443 & 445 Broadway, 1868. Reprinted entire from the last corrected and greatly enlarged English edition.]
The blues of vitrified colours are all obtained from the oxide of cobalt. Cobalt ore (sulphuret) being well roasted at a dull red heat, to dissipate all the sulphur and arsenic, is dissolved in somewhat dilute nitric acid, and after the addition of much water to the saturated solution, the oxide is precipitated by carbonate of soda, then washed upon a filter, and dried. The powder is to be mixed with thrice its weight of saltpetre; the mixture is to be deflagrated in a crucible, by applying a red hot cinder to it, then exposed to the heat of ignition, washed, and dried. Three parts of this oxide are to be mixed with a flux, consisting of white sand, borax, nitre, and little chalk, subjected to fusion for an hour, and then ground down into an enamel powder for use. Blues of any shade or intensity may be obtained from the above, by mixing it with more or less flux.
The beautiful greenish yellow, of which color so many ornamental glass vessels been lately imported from Germany, is made in Bohemia by the following process. Ore of uranium, Uran-ochre, or Uran-glimmer, in fine powder, being roasted, and dissolved in nitric acid; the filtered solution is to be freed from any lead present in it, by cautious addition of dilute sulphuric acid. The clear green solution is to be evaporated to dryness, and the mass ignited till it becomes yellow. One part of this oxide to be mixed with 3 or more parts of a flux, consisting of 4 parts of red lead and 1 of ground flints; the whole fused together and then reduced to powder.
Chrome Green Triturate together in a mortar equal parts of chromate of potash flowers of sulphur; put the mixture into a crucible and fuse. Pour out the fluid mass; when cool, grind and wash well with water to remove the sulphuret of potash and leave the beautiful green oxide of chrome. This is to be collected upon a filter, dried, rubbed down along with thrice its weight of a flux, consisting of 4 parts of red lead 1 part of ground flints fused into a transparent glass; the whole is now to be and afterward reduced to a fine powder.
Violet. One part of calcined black oxide of manganese, one of zaffre, ten parts white glass pounded, and one of red lead, mixed, fused, and ground. Or gold purple (Cassius's purple precipitate) with chlorsilver previously fused, with ten times weight of a flux, consisting of ground quartz, borax, and red lead, all melted together; solution of tin being dropped into a large quantitveof water, solution of nitrate silver may be first added, and then solution of gold in aqua regia, in proper proportions. The precipitate to be mixed with flux and fused.
Exhibition Stained Glass Windows. Leaded work with medallions and ornamental work of the early Gothic style; and in the style of the fourteenth century, the figures being St. Peter and St. Paul, St. George and Britannia; armorial decoration; a landscape and ornamental work suitable for a dwelling house. Flowers painted and enamelled on a large plate of glass, with borders; the glass having been burnt in a kiln four times.
The interest attached to this beautiful art, and its comparatively recent revival, calls for a few remarks. Its antiquity is undoubted. Pliny speaks of "coloured glasses made to imitate precious stones and gems," and painted glass in the church of Notre Dame at Paris is described as early as the sixth century. To Suggerius Abbot of St. Denis, in 1150, is probably owing the introduction of painted glasses in churches. How rapidly his example was followed, is proved by the magnificent glass of the thirteenth century abounding on the continent, and partially existing in this country, the oldest examples we have being in Canterbury Cathedral. At first the ornaments consisted of a mere drapering; then rude representations of saints and kings; then panels of various forms, with subjects from the Testaments, on grounds of blue or ruby, the intermediate parts rilled with Mosaic patterns in rich colours, and the whole enclosed within a coloured border. In later styles single figures predominated, with flowing patterns of foliage, and later still, with canopies over them. Some of the finest works are by French and Flemish artists; and this art was traditionally known to the early Florentine painter Cimabue, who is said to have introduced it into Italy. Probably our actual obligations are due to our Norman neighbours, as a necessary appendage to their architecture. It has been a popular notion that this art was lost to us; such is not the case; it has indeed been dormant, but nevei extinct.
A Dictionary of Arts: Soot.
A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice
by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.
Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.
New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII
1847
SOOT (Noir de fumie, Suie, Fr.; Rus, Flatterrus Germ.), is the pulverulent charcoal condensed from the smoke of wood or coal fuel. A watery infusion of the tormer is said to be antiseptic, probably from its containing some creosote.
The soot of pitcoal has not been analyzed with any minuteness. It contains some []ate and carbonate of ammonia, along with bituminous matter.
27.5.11
A Dictionary of Arts: Silk Manufacture.
A Dictionary of Arts, Manufactures, and Mines; containing A Clear Exposition of Their Principles and Practice
by Andrew Ure, M. D.;
F. R. S. M. G. S. Lond.: M. Acad. M. S. Philad.; S. PH. DOC. N. GERM. Ranow.; Mulh. Etc. Etc.
Illustrated with nearly fifteen hundred engravings on wood
Eleventh American, From The Last London Edition.
To which is appended, a Supplement of Recent Improvements to The Present Time.
New York: D Appleton & company, 200 Broadway. Philadelphia: George S. Appleton, 148 Chestnut St.
MDCCCXLVII
1847
SILK MANUFACTURE. (Fabrique de soie, Fr.; Seidenfabrik, Germ.) This may be divided into two branches; 1. the production of raw silk; 2. its filature and preparation in the mill, for the purposes of the weaver and other textile artisans. The threads, as spun by the silkworm, and wound up in its cocoon, are all twins, in consequence of the twin orifice in the nose of the insect through which they are projected. These two threads are laid parallel to each other, and are glued more or less evenly together by a kind of glossy varnish, which also envelopes them, constituting nearly 25 per cent. of their weight. Each ultimate filament measures about 1/2000 of an inch in average fine silk, and the pair measures of course fully 1/1000 of an inch. In the raw silk, as imported from Italy, France, China, &c., several of these twin filaments are slightly twisted and agglutinated to form one thread, called a single.
The specific gravity of silk is 1.300, water being 1.000. It is by far the most tenacious or the strongest of all textile fibres, a thread of it of a certain diameter being nearly three times stronger than a thread of flax, and twice stronger than hemp. Some varieties of silk are perfectly white, but the general colour in the native state is a golden yellow.
The production of silk was unknown in Europe till the sixth century, when two monks, who brought some eggs of the silkworm from China or India to Constantinople, were encouraged to breed the insect, and cultivate its cocoon, by the Emperor Justinian. Several silk manufacturers were in consequence established in Athens, Thebes, and Corinth, not only for rearing the worm upon mulberry-leaves, but for unwinding its cocoons, for twisting their filaments into stronger threads, and weaving these into robes. The Venetians having then and long afterwards intimate commercial relations with the Greek empire, supplied the whole of western Europe with silk goods, and derived great riches from the trade.
About 1130, Roger II, king of Sicily, set up a silk manufacture at Palermo, and another in Calabria, conducted by artisans whom he had seized and carried off as prisoners of war in his expedition to the Holy Land. From these countries, the silk industry soon spread throughout Italy. It seems to have been introduced into Spain at a very early period, by the Moors, particularly in Murcia, Cordova, and Granada. The last town, indeed, possessed a flourishing silk trade when it was taken by Ferdinand in the 15th century. The French having been supplied with workmen from Milan, commenced, in 1521, the silk manufacture; but it was not till 1564 that they began successfully to produce the silk itself, when Traucat, a working gardener at Nismes, formed the first nursery of white mulberry-trees, and with such success, that in a few years he was enabled to propagate them over many of the southern provinces of France. Prior to this time, some French noblemen, on their return from the conquest of Naples, had introduced a few silkworms with the mulberry into Dauphiny; but the business had not prospered in their hands. The mulberry plantations were greatly encouraged by Henry IV.; and since then they have been the source of most beneficial employment to the French people. James I. was most solicitous to introduce the breeding of silkworms into England, and in a speech from the throne he earnestly recommended his subjects to plant mulberry-trees; but he totally failed in the project. This country does not seem to be well adapted for this species of husbandry, on account of the great prevalence of blighting east winds during the months of April and May, when the worms require a plentiful supply of mulberry-leaves. The manufacture of silk goods, however. made great progress during that king's peaceful and pompous reign. In 1629 it had become so considerable in London, that the silk-throwsters of the city and suburbs were formed into a public corporation. So early as 1661, they employed 40,000 persons. The revocation of the edict of Nantes, in 1685, contributed in a remarkable manner to the increase of the English silk trade, by the influx of a large colony of skilful French weavers, who settled in Spitalfields. The great silk-throwing mill mounted at Derby, in 1719, also served to promote the extension of this branch of manufacture; for soon afterwards, in the year 1730, the English silk goods bore a higher price in Italy than those made by the Italians, according to the testimony of Keysler.
Till the year 1826, however, our silk manufacturers in general labored under very grievious fiscal burdens. Foreign organzine, or twisted raw silk, paid an import duty of 14s. 7½ d. per pound; Raw Bengal silk, 4s.; and that from other places, 5s. 7½d. Mr. Huskisson introduced a bill at that time, reducing the duty on organzine to 5s., and the duty on other raw silk to 2d. per pound. The total prohibition of the import of French manufactured silks, which gave rise to so much contraband trade, was also converted into a duty of 30 percent. ad valorem. During the reign of the proihbitory system, when our silk weavers had no variety of patterns to imitate, and no adequate stimulus to excel, on account of the monopoly which they possessed in the home market, the inferiority of their productions was a subject of constant pride and congratulation among the Lyonnais; and accordingly the English could not stand their competition any where. At that time, the disadvantage on English silk goods, compared to French, was estimated in foreign markets at 40 per cent.; of late years it certainly does not exceed 20, notwithstanding the many peculiar facilities which France enjoys for this her favourite staple.
The silkworm, called by entomologists Phalæna bombyx mori, is, like its kindred species, subject to four metamorphoses. The egg, fostered by the genial warmth of spring, sends forth a caterpillar, which, in its progressive enlargement, casts its skin either three or four times, according to the variety of the insect. Having acquired its full size in the course of 25 or 30 days, and ceasing to eat during the remainder of its life, it begins to discharge a viscid secretion, in the form of pulpy twin filaments, from its nose, which harden in the air. These threads are instinctively coiled into an ovoid nest round itself, called a cocoon, which serves as a defence against living enemies and changes of temperature. Here it soon changes into the chrysalis or nymph state, in which it lies swaddled, as it were, for about 15 or 20 days. Then it bursts its cerements, and comes forth furnished with appropriate wings, antennæ and feet, for living in its new element, the atmosphere. The male and the female moths couple together at this time, and terminate their union by a speedy death, their whole existence being limited to two months. The cocoons are completely formed in the course of three or four days; the finest being reserved as seed worms. Form these cocoons, after an interval of 18 or 20 days, the moth makes it appearance, perforating its tomb by knocking with his head against one end of the cocoon, after softening it with saliva, and thus rendering the filaments more easily torn asunder by its claws. Such moths or aureliias are collected and placed upon a piece of soft cloth, where they couple and lay their eggs.
The eggs, or grains, as they are usually termed, are enveloped in a liquid which causes them to adhere to the piece of cloth or paper on which the female lays them. From this glue they are readily freed, by dipping them in cold water, wand wiping them dry. They are best preserved in the ovum state at a temperature of about 55° F. If the heat of spring advances rapidly in April, it must not be suffered to act on the eggs, otherwise it might hatch the caterpillars long before the mulberry has sent forth its leaves to nourish them. Another reason for keeping back their incubation is, that they may be hatched together in large broods, and not by small numbers in succession. The eggs are made up into small packets, of an ounce, or somewhat more, which in the south of France are generally attached to the girdles of the women during the day, and placed under their pillows at night. They are, of course, carefully examined from time to time. In large establishments, they are placed in an appropriate stove-room, where they are exposed to a temperature gradually increased till it reaches the 86th degree of Fahrenheit's scale, which term it must not exceed. Aided by this heat, nature completes her mysterious work of incubation in eight or ten days. The teeming eggs are now covered with a sheet of paper pieced with numerous holes, about one twelfth of an inch in diameter. Though these apertures the new-hatched worms creep upwards instinctively, to get at the tender mulberry leaves strewed over the paper.
The nursery where the worms are reared is called by the French a magnanière; it ought to be a well-aired chamber, free from damp, excess of cold or heat, rats, and other vermin. It should be ventilated occasionally, to purify the atmosphere from the noisome emanations produced by the excrements of the caterpillars and the decayed leaves. the scaffolding of the wicker-work shelves should be substantial; and they should be from 15 to 18 inches apart. A separate small apartment should be allotted to the sickly worms. Immediately before each moulting, the appetite of the worms begins to flag; it ceases altogether at that period of cutaneous metamorphosis, but revives speedily after the skin is fairly cast, because the internal parts of the animal are thereby allowed freely to develop themselves. At the end of the second age, the worms are half an inch long; and then should be transferred from the small room in which they were first hatched, into the proper apartment where they are to be brought to maturity and set to spin their balls. On occasion of changing their adobe, they must be well cleansed from the litter, laid upon beds of fresh leaves, and supplied with an abundance of food every six hours in succession. In shifting their bed, a piece of network being laid over the wicker plates, and covered with leaves, the worms will creep up over them; when they may be transferred in a body upon the net. The litter, as well as the sickly worms, may thus be readily removed, without handling a single healthy one. After the third age, they may be fed with entire leaves; because they are now exceedingly voracious, and must not be subsequently stinted in their diet. The exposure of chloride of lime, spread thin upon plates, to the air of the magnanière, has been found useful in counteracting the tendency which sometimes appears of an epidemic disease among the silkworms, from the fetid exhalations of the dead and dying.
When they have ceased to eat, either in the fourth or fifth age, agreeably to the variety of the bombyxm and then they display the spinning instinct by crawling up among the twigs of heath, &c., they are not long of beginning to construct their cocoons, by throwing the thread in different directions, so as to form the floss, filoselle, or outer open network, which constitutes the bourre or silk for carding and spinning.
The cocoons destined for filature, must not be allowed to remain for many days with the worms alive within them; for should the chrysalis have leisure to grow mature or come out, the filaments at one end would be cut through, and thus lose almost all their value. It is therefore necessary to extinguish the life of the animal by heat, which is done either by exposing the cocoons for a few days to sunshine, by placing them in a hot oven, or in the steam of boiling water. A heat of 202° F. is sufficient for effecting this purpose, and it may be best administered by plunging tin cases filled with the cocoons into water heated to that pitch.
80 pounds of French (88 Eng.) of cocoons, are the average produce from one ounce of eggs, or 100 from one ounce and a quarter; but M. Folzer of Alsace obtained no less than 165 pounds. The silk obtained from a cocoon is from 750 to 1150 feet long. The varnish by which the coils are glued slightly together, is soluble in warm water.
The silk husbandry, as it may be called, is completed in France within six weeks from the end of April, and thus affords the most rapid of agricultural returns, requiring merely the advance of a little capital for the purchase of the leaf. In buying up cocoons, and in the filature, indeed, capital may be often laid out to great advantage. The most hazardous period in the process of breeding the worms, is at the third and fourth moulting; for upon the sixth day of the third age, and the seventh day of the fourth, they in general eat nothing at all. On the first day of the fourth age, the worms proceeding from one ounce of eggs will, according to Bonafons, consume upon an average twenty-three pounds and a quarter of mulberry leaves; on the first of the fifth age, they will consume forty-two pounds; and on the sixth day of the same age, they acquire their maximum voracity, devouring no less than 223 pounds. From this date their appetite continually decreases, till on the tenth day of this age they consume only fifty-six pounds. The space which they occupy upon the wicker tables, being at their birth only nine feet square, becomes eventually 239 feet. In general, the more food they consume, the more silk will they produce.
A mulberry-tree is valued, in Provence, at from 6d. to 10d.; it is planted out of the nursery at four years of age; it is begun to be stripped in the fifth year, and affords an increasing crop of leaves till the twentieth. It yields from 1 cwt. to 30 cwt. of leaves, according to its magnitude and mode of cultivation. One ounce of silkworm eggs is worth in France about 2½ francs; it requires for its due development into cocoons about 15 cwts. of mulberry leaves, which cost upon an average 3 francs per cwt. in a favorable season. One ounce of eggs is calculated, as I have said, to produce from 80 to 100 pounds of cocoons, of the value of 1 fr. 52 centimes per pound, or 125 francs in whole. About 8 pounds of reeled raw silk, worth 18 francs a pound, are obtained from these 100 pounds of cocoons.
There are three denomination of raw silk; viz., organzine, frame (shute or tram), and floss. Organzine serves for the warp of the best silk stuffs, and is considerably twisted; tram is made usually from inferior silk, and is very slightly twisted, in order that it may spread more, and cover better in the weft; floss, or bourre, consists of the shorter broken silk, which is carded and spun like cotton. Organzine and trame may contain from 3 to 30 twin filaments of the worm; the former possesses a double twist, the component filaments being first twisted in one direction, and the compound thread in the opposite; the latter receives merely a slender single twist. Each twin filament gradually diminishes in thickness and strength, from the surface of the cocoon, where the animal begins its work in a state of vigor, to the centre, where it finishes it, in a state of debility and exhaustion; because it can receive no food from the movement of its beginning to spin by spouting forth its silky substance. The winder is attentive to this progressive attenuation, and introduces the commencement of some cocoons to compensate for the termitanion of others. The quality of raw silk depends, therefore, very much upon the skill and care bestowed upon its filature. The softest and purest water should be used in the cocoon kettle.
The quality of the raw silk is determined by first winding off 400 ells of it, equal to 475 metres, round a drum one ell in circumference, and then weighing that length. The weight is expressed in grains, 24 of which constitute one denier; 24 deniers constitute one ounce; and 16 ounces make one pound, poids de marc. This is the Lyons rule for valuing silk. The weight of a thread of raw silk 400 ells long, is two grains and a half, when five twin filaments have been reeled and associated together.
Raw silk is so absorbent of moisture, that it may be increased ten per cent. in weight by this means. This property has led to falsifications; which are detected by enclosing weighed portions of the suspected silk in a wire-cloth cage, and exposing it to a stove-heat of about 78° F. for 24 hours, with a current of air. The loss of weight which it thereby undergoes, demonstrates the amount of the fraud. There is an office in Lyons called the Condition, where this assay is made, and by the report of which the silk is bought andsold. The law in France requires, that all the silk tried by the Condition must be worked up into fabrics in that country.
In the Journal of the Asiatic Society of Bengal, for January, 1837, there are two very valuable papers upon silkworms; the first, upon those of Assam, by Mr. Thomas Hugon, stationed at Nowgong; the second by Dr. Helfer, upon those which are indigenous to India. besides the Bombyx mori, the Doctor enumerates the following seven species, formerly unknown: - 1. The wild silkworm of the central provinces, a moth not larger than the bombyx mori. 2. The Joree silkworm of Assam, Bombyx reliosæ, which spins a cocoon of a fine filament, with much lustre. It lives upon the pipul tree (Ficus relígiosa), which abounds in India, and ought therefore to be turned to account in breeding this valuable moth. 3. Saturnia silhetica, which inhabits the cassia mountains in Silhet and Dacca, where its large cocoons are spun into silk. 4. A still larger Saturnia, one of the greatest moths in existence, measuring ten inches from the one end of the wing to the other; observed by Mr. Grant, in Chirra Punjee. 5. Saturnia paphia, or the Tusseh silkworm, is the most common of the native species, and furnishes the cloth usually worn by Europeans in India. It has not hitherto been domesticated, but millions of its cocoons are annually collected in the jungles, and brought to the silk factories near Calcutta and Bhagelpur. It feeds most commonly on the hair-tree (Zizyphus jujuba), but it prefers the Terminalia alata, or Assam tree, and the Bombyx heptaphyllum. It is called Koutkuri mooga, in Assam. 6. Another Saturnia, from the neighborhood of Comercolly. 7. Saturnia assamensis, with a cocoon of a yellow-brown color, different from all others, called mooga, in Assam; which, although it can be reared in houses, thrives best in the open air upon trees, of which seven different kinks afford it food. The Mazankoory mooga, which seeds on the Adakoory tree, produces a fine silk, which is nearly white, and fetches 50 per cent. more than the fawn colored. The trees of the first year's growth produce by far the most valuable cocoons. The mooga which inhabits the soom-tree, is found principally in the forests of the plains, and in the villages. The tree grows to a large size, and yields three crops of leaves n the year. The silk is of a light fawn color, and rans next in value to the Mazankoory. There are generally five broods of mooga worms in the year; 1. in January and February; 2. in May and June; 3. in June and July; 4. in August and September; 5. in October and November; the first and last being the most valuable.
The Assamese select for breeding, such cocoons only as have been begun to be formed in the largest number on the same day, usually the second or third after the commencement; those which contain males being distinguishable by a more pointed end. They are put in a closed basket suspended from the roof; the moths, as they come forth, having room to move about, after a day, the females (known only by their large body) are taken out, and tied to small wisps of thatching-straw, selected always from over the hearth, its darkened colour being thought more acceptable to the insect. If out of a batch, there should be but few males, the wisps with the females tied to them are exposed outside at night; and the males thrown away in the neighborhood find their way to them. These wisps are hung from upon a string tied across the rood, to keep them from vermin. The eggs laid after the first three days are said to produce weak worms. The wisps are taken out morning and evening, and exposed to the sunshine, and in ten days after being laid, a few of them are hatched. The wisps being then hung up to the tree, the young worms find their way to the leaves. the ants, whose bite is fatal to the worm in its early stages, are destroyed by rubbing the trunk of the tree with molasses, and tying dead fish and toads to it, to attract these rapacious insects in large numbers, when they are destroyed with fire; a process which needs to be repeated several times. The ground under the trees is also well cleared, to render it easy to pick up and replace the worms which fall down. They are prevented from coming to the ground by tying fresh plantain-leaves round the trunk, over whose slippery surface they cannot crawl; and they are transferred from exhausted trees to fresh ones, on bamboo platters tied to long poles. The worms require to be constantly watched and protected from the depredations of both day and night birds, as well as rats and other vermin. During their moultings, they remain on the branches; but when about beginning to spin, they come down the trunk, and being stopped by the plantain-leaves, are there collected in baskets, which are afterwards put under bunches of dry leaves, suspended from the rood, into which the worms crawl, and form their cocoons - several being clustered together: this accident, due to the practice of crowding the worms together, which is most injudicious, rendering it impossible to wind off their silk in continuous threads, as in the filatures of Italy, France, and even Bengal. The silk is, therefore, spun like flax, instead of being unwound in single filaments. After four days the proper cocoons are selected for the next breed, and the rest are uncoiled. The total duration of a breed varies from 60 to 70 days; divided into the following periods: -
Four moultings, with one day's illness attending each - - - 20
From fourth moulting to beginning of cocoon - - -10
In the cocoon 20, as a moth 6, hatching of eggs 10 - - - 36
- - - 66
On being tapped with the finger, the body renders a hollow sound; the quality of which shows whether they have come down for want of leaves on the tree, or from their having ceased feeding.
As the chrysalis is not soon killed by exposure to the sun, the cocoons are put on stages, covered up with leaves, and exposed to the hot air from grass burned under them; they are next boiled for about an hour in a solution of the potash, made from incinerated rice-stalks; then taken out, and laid on cloth folded over them to keep them warm. The floss being removed by hand, they are then thrown into a basin of hot water to be unwound; which is done in a very rude and wasteful way.
The plantations for the mooga silkworm in Lower Assam, amount to 5000 acres, besides what the forests contain; and yield 1500 maunds of 84 lbs. each per annum. Upper Assam is more productive.
The cocoon of the Koutkuri mooga is of the size of a fowl's egg. It is a wild species, and affords filaments much valued for fishing-lines. See SILKWORM GUT.
8. The Arrindy, or Eria worm, and moth, is reared over a great part of Hindustan, but entirely within foors. It is fed principally on the Hera, or Palma christi leaves, and given sometimes 12 broods of spun silk in the course of a year. It affords a fibre which looks rough at first; but when woven, becomes soft and silky, after repeated washings. The poorest people are clothed with stuff made of it, which is so durable as to descend from mother to daughter. The cocoons are put in a closed basket, and hung up in the house, out of reach of rats and insects. When the moths come forth, they are allowed to move about in the basket for twenty-four hours; after which the females are tied to long reeds or canes, twenty or twenty-five to each, and these are hung up in the house. The eggs that are laid the first three days, amounting to about 200, alone are kept; they are tied up in a cloth, and suspended to the rood till a few begin to hatch. These eggs are white, and of the size of turnip-seed. When a few of the worms are hatched, the cloths are put on small bamboo platters hung up in the house, in which they are fed with tender leaves. After the second moulting, they are removed to bunches of leaves suspended above the ground, beneath which a mat is laid to receive them when they fall. When they cease to feed, they are thrown into baskets full of dry leaves, among which they form their cocoons, two or three being often found joined together. Upon this injudicious practice I have already animadverted.
9. The Saturnia trifenestratahas a yellow cocoon of a remarkably silky lustre. It lives on the soom-tree in Assam, but seems not to be much used.
The mechanism of the silk filature, as lately improved in France, is very ingenious. Figs 973 and 974 exhibit it in plan and longitudinal view. a is an oblong copper basin containing water heated by a stove or by steam. It is usually divided by transverse partitions into several compartments, containing 20 cocoons, of which there are 5 in one group, as shown in the figure. b, b, are wires with hooks or eyelets at their ends, through which the filaments run, apart, and are kept from ravelling. c, c, the points where the filaments cross and rub each other, on purpose to clean their surfaces. d, is a spiral groove, working upon a pin point, to give the traverse motion alternately to right and left, whereby the thread is spread evenly over the surface of the reel e. f, f, are the pulleys, which by means of cords transmit the rotatory movement of the cylinder d, to the reel e. g, is a friction lever or tumbler, for lightening or slackening the endless cord, in the set of starting or stopping the winding operation. Every apartment of a large filature contains usually a series of such reels as the above, all driven by one prime mover; each of which, however, may by means of the tumbling lever be stopped at pleasure. The reeler is careful to remove any slight adhesions, by the application of a brush in the progress of her work.
The expense of reeling the excellent Cevennes silk is only 3 francs and 50 centimes per Alais pound; from 4 to 5 cocoons going to one thread. That pound is 92 hundredths of our avoirdupois pound. In Italy, the cost of reeling silk is much higher, being 7 Italian livres per pound, when 3 to 4 cocoons go to the formation of one thread; and 6 livres when there are from 4 to 5 cocoons. The first of these raw silks will have a titre of 20 to 24 deniers; the last, of 24 to 28. If 5 to 6 cocoons go to one thread, the titre will be from 26 to 36 deniers, according to the quality of the cocoons. The Italian livre is worth 7½d. English. The woman employed at the kettle receives one livre and five sous per day; and the girl who turns the reel, gets thirteen sous a day; both receiving board and lodging in addition. In June, July, and August, they work 16 hours a day, and then they wind a rub or ten pounds weight of cocoons, which yield from 1-5th to 1-6th of silk, when the quality is good. The whole expenses amount from 6-7 livres upon every ten pounds of cocoons; which is about 2s. 8d. per English pound of raw silk.
The raw silk, as imported into this country in hanks from the filatures, requires to be regularly wound upon bobbins, doubled, twisted, and reeled in our silk-mills. These processes are called throwing silk, and their proprietors are called silk throwsters; terms probably derived from the appearance of swinging or tossing which the silk threads exhibit during their rapid movements among the machinery of the mills.
A prepresentation of a French mill for throwing silk, is given in the Dictionnaire Technologique, under the article Moulinage de Soie. But it is a most awkward, operose, and defective piece of machinery, quite unworthy of being presented to my readers. It was in Manchester that throwing-mills received the grand improvement upon the antient Italian plan, which had been originally introduced into this country by Sir Thomas Lombe, and erected at Derby. That improvement is chiefly due to the eminent factory engineers, Messes. Fairbairn and Lillie, who transferred to silk the elegant mechanism of the throstle, so well known in the cotton trade. Still, throughout the silk districts of France, the throwing mills are generally small, not many of them turning more than 1000 pounds of organzine per annum, and not involving 5000t. of capital. The average price of throwing organzine in that country, where the throwster is not answerable for loss, is 7 francs; of throwing trame, from 4 fr. to 5 fr. (per kilogramme ?) Where the throwster is accountable for loss, the price is from 10 fr. to 11 fr. for organzine, and from 6 to 7 for trame. In Italy, throwing adds 3s. 9d. to the price of raw silk, upon an average. I should imagine, from the perfection and speed of the silk-throwing machinery in this country, as about to be described, that the most of converting a pound of raw silk either into organzine or trame must be considerably under any above sums.
Silk-Throwing Mill.
The first process to which the silk is subjected, is winding the skeins, as imported, off upon bobbins. The mechanism which effects this winding off and on, is technically called the engine, or swift. The bobbins to which the silk is transferred, are wooden cylinders, of such thickness as may not injure the silk by sudden flexure, and which may also receive a great length of thread without having their diameter materially increased, or their surface velocity changed. Fig. 975 is an end view of the silk throwing machine, or engine, in which the two large hexagonal reels, called swifts, are seen in section, as well as the table between them, to which the bobbins and impelling mechanism are attached. The skeins are put upon these reels, from which the silk is gradually unwound by the traction of the revolving bobbins. One principal object of attention, is to distribute the thread over the length of the bobbin-cylinder in a spiral or oblique direction, so that the end of the slender semi-transparent thread may be readily found when it breaks. As the bobbins revolve with uniform velocity, they would soon wind on too fast, were their diameters so small at first as to become greatly thicker when they are filled. They are therefore made large, are not covered thick, but are frequently changed. The motion is communicated to that end of the engine shown in the figure.
The wooden table A, shown here in cross section, is sometimes a great length, extending 20 feet, or more, according to the size of the apartment. Upon this the skeins are laid out. It is supported by the two strong slanting legs B, B, to which the bearings of the light reel C are made fast. These reels are called swifts, apparently by same etymological casuistry as lucus à non lucendo; for they turn with reluctant and irregular slowness; yet they do their work much quicker than any of the old apparatus, and in this respect may deserve their name. At every eight of tenth leg there is a projecting horizontal piece D, which carries at its end another horizontal bar a, called the knee rail, at right angles to the former. This protects the slender reels or swifts from the knees of the operatives.
These swifts have a strong wooden shaft b, with an iron axis passing longitudinally through it, round which they revolve, in brass bearings fixed near to the middle of the legs B. Upon the middle of the shaft b, a loose ring is hung, shown under c, in fig. 976, to which a light weight d, is suspended, for imparting friction to the reel, and thus preventing it from turning round, unless it be drawn with a gentle force, such as the traction of the thread in the net of winding upon the bobbin.
Fig. 976 is a front view of the engine. B, B, are the legs, placed at their appropriate distances (scale 1½ inch to the foot); C, C, are the swifts. By comparing figs 975 and 976, the structure of the swifts will be fully understood. From the wooden shaft b, six slender wooden (or iron) spokes e, e, proceed, at equal angles to each other; which are bound together by a cord f, near their free ends, upon the transverse line f of which cord, the silk thread is wound, in a hexagonal form; due tension being given to the circumferential cords, by sliding them out from the centre. Slender wooden rods are set between each pair of spokes, to stay them, and to keep the cor tight. E is one of the two horizontal shafts, placed upon each side of the engine, to which are affixed a number of light iron pulleys g, g (shown on a double scale in fig. 977.) These serve by friction, to drive the bobbins which rest upon their peripheries.
To the table A, fig. 975, are screwed the light cast-iron slot-bearings I, I, wherein the horizontal spindles or skewers rest, upon which the bobbins revolve. The spindles (see F, fig. 981) carry upon one end of a little wooden pulley h, whereby they press and revolve upon the larger driving pulleys g, of the shaft E. These pulleys are called stars by our workmen. The other ends of the spindles, or skewers, are cut into screws, for attaching the swivel nuts i (fig. 981.), by which the bobbins E, E, are made fast to their respective spindles. Besides the slots, above described, in which the spindles rest when their friction pulleys h, are in contact with the moving stars g, there is another set of slots in the bearings, into which the ends of the spindles may be occasionally laid, so as to be above the line of contact of the rubbing periphery of the star g, in case the thread of any bobbin breaks. Whenever the girl has mended the thread, she replaces the bobbin-spindle in its deeper slot-bearings, thereby bringing its pulley once more into contact with the star, and causing it to revolve.
G is a long ruler or bar of wood, which is supported upon every eighth or twelfth leg B, B. (The figure being, for convenience of the page, contracted in length, shows it at every sixth leg.) To the edge of that bar the smooth glass rods k, are made fast, over which the threads glide from the swifts, in their way to the bobbins. H is the guide bar, which has a slow traverse or seesaw mo]tion, sliding in slots at the top of the legs B, where they support the bars G. Upon the guide bar J, the guide pieces l, l, are made fast. These consist of two narrow, thin, upright plates of iron, placed endwise together, their contiguous edges being smooth, parallel, and capable of approximation to any degree by a screw, so as to increase or diminish at pleasure the ordinary width of the vertical slit that separates them. Through this slit the silk thread must pass, and, if rough or knotty, will be either cleaned or broken; in the latter case, it is neatly mended by the attendant girl.
The motions of the various parts of the engine are given as follows. Upon the end of the machine, represented in fig. 975, there are attached to the shafts X (fig. 976), the bevel wheels 1 and 2, which are set in motion by the bevel wheels 3 and 4, respectively. These latter wheels are fixed upon the shaft m, fig. 975. m is moved by the main steam shaft which runs parallel to it, and at the same height, through the length of the engine apartment, so as to drive the whole range of the machines. 5 is a loose wheel or pulley upon the shaft m, working in gear with a wheel upon the steam shaft, and which may be connected by the clutch n, through the hand lever or gearing rod o (figs. 975 and 976), when the engine is to be set at work. 6 is a spur wheel upon the shaft m, by which the stud wheel 7 is driven, in order to give the traverse motion to the guide bar H. This wheel is represented with its appendages, in double size, gigs. 979 and 980, with its boss upon a stud p, secured to the bracket q. In an eccentric hole of the same boss, another stud r, revolves, upon which the little wheel s, is fixed. This wheel s, is in hear with a pinion cut upon the end of the fixed stud p; and upon it is screwed the little crank t, whose collar is connected by two rods u (figs. 975 and 976), to a cross-piece v, which unites the two arms w, that are fixed upon the guide bar H, on both sides of the machine. By the revolution of wheel 8, the wheel s will cause the pinion of the fixed stud p to turn round. If that wheel bear to the pinion the proportion of 4 to 1, then the wheel s will make, at each revolution of the wheel 7, one fourth of a revolution; whereby the crank t will also rotate through one fourth of a turn, so as to be brought nearer to the centre of the stud, and to draw the guide bar so much less to one side of its mean position. At the next revolution of wheel 7, the crank i will move through another quadrant, and come still nearer to the central position, drawing the guide bars still less aside, and therefore causing the bobbins to wind on more thread in their middle than towards their ends. The contrary effect would ensue, were the guide bars moved by a single or simple crank. After four revolutions of the wheel 7, the crank t will stand once more as shown in fig. 980, having moved the bar H through the whole extent of its traverse. The bobbins, when filled, have the appearance represented in fig 982; the thread having been laid on them all the time in diagonal lines, so as never to coincide with each other.
Doubling is the next operation of the silk throwster. In this process, the threads of two or three of the bobbins, filled as above, are wound together in contact upon a single bobbin. An ingenious device is here employed to stop the winding-on the moment that one of these parallel threads happens to break. Instead of the swifts or reels, a creel is here mounted for receiving the bobbins from the former machine, two or three being placed in one line over each other, according as the threads are to be doubled or trebled. Though this machine is in many respects like the engine, it has some additional parts, whereby the bobbins are set at rest, as above mentioned, when one of the doubling threads gets broken.
Fig. 983 is an end view, from which it will be perceived that the machine is, like the preceding, a double one, with two working sides.
Fig. 984 is a front view of a considerable portion of the machine.
Fig. 985 shows part of a cross section, to explain minutely the mode of winding upon the single bobbing.
Fig. 986 is the plan of the parts shown in fig. 985; these two figures being drawn to double the scale of figs. 983 and 984.
A, A, figs. 983 and 984, are the end frames, connected at their tops by a wooden stretcher, or bar-beam, a, which extends through the whole length of the machine; this bar is shown also in figs. 985 and 986.
B, B, are the creels upon each side of the machine, or bobbin bearers, resting upon wooden beams or boards, made fast to the arms or brackets C, about the middle of the frames A.
D, D, are two horizontal iron shafts, which pervade the whole machine, and carry a series of light moveable pulleys, called stars, c, c, (figs. 985, 986,) which serve to drive the [] E, E, whose fixed pulleys rest upon their peripheries, and are therefore turned [] by friction. These bobbins are screwed by swivel nuts e, e, upon spindles, as to the silk engine. Besides the small friction pulley or boss, d, seen best in fig. 986, by which they rest upon the star pulleys c, c, a little ratchet wheel f, is attached to the other end of each bobbin. This is also shown by itself at f, in fig. 987.
The spindles with their bobbins revolve in two slot-bearings F, F, fig. 986, screwed to the bar-beam a, which is supported by two or three intermediate upright frames, such as A. The slot-bearings F, have also a second slot, in which the spindle with the bobbin is laid at rest, out of contact of the star wheel, while its broken thread is being mended. G is the guide bar (to which the cleaner slit pieces G, G, are attached), for making the thread traverse to the right and the left, for its proper distribution over the surface of the bobbin. The guide bar of the doubling machine is moved with a slower traverse than in the engine; otherwise, in consequence of the different obliquities of the paths, the single threads would be readily broken. h, h, is a pair of smooth rods of iron or brass, placed parallel to each of the two sides of the machine, and made fast to the standards H, H, which are screwed to brackets projecting from the frames A, A. Over these rods the silk threads glide, in their passage to the guide wires g, g, and the bobbins, E, E.
I, I is the lever board upon each side of the machine, upon which the slight brass bearings or fulcrums i, i, one for each bobbin in the creel, are made fast. This board bears the balance-lever k, l, with the fallers n, n, n, which act as dexterous fingers, and stop the bobbin from winding-on the instant a thread may chance to break. The levers k, l, swing upon a fine wire axis, which passer through their props i, i, their arms being shaped rectangularly, as shown at k, k, fig. 986. The arm l, being heavier than the arm k, naturally rests upon the ridge bar m, of the lever board I. n, n, n, are three wires, resting at one of their ends upon the axis of the fulcrum i, i, and having each of their other hooked ends suspended by one of the silk threads, as it passes over the front steel rod h. and under h. These faller wires, or stop fingers, are guided truly in their up-and-down motions with the thread, by a cleaner plate o, having a vertical slit in its middle. Hence, whenever any thread happens to break, in its way to a winding-on bobbin E, the wire n, which hung by its eyelet end to that thread, as it passed through between the steel rods in the line of h, h, falls upon the lighter arm of the balance lever k, l, weighs down that arm k, consequently jerks up the arm l, which pitches its tip or end into one of the three nothces of the ratchet or catch wheel f (figs. 986 and 987), fixed to the end of the bobbin. Thus its motion is instantaneously arrested, till the girl has had leisure to mend the thread, when she again hangs up the faller wire n, and restores the lever k l, to its horizontal position. If, meanwhile, she took occasion to remove the winding bobbin out of the sunk slot-bearing, where pulley d touches the star wheel c, into the right-hand upper slot of repose, she must new shift it into its slot of rotation.
The motions are given to the doubling machine in a very simple way. Upon the end of the framing, represented in fig. 983, the shafts D, D, bear two spur wheels 1 and 2, which work into each other. To the wheel 1, is attached the bevel wheel 3, driven by another bevel wheel 4 (fig. 984), fixed to a shaft that extends the whole length of the apartment, and serves, therefore, to drive a whole range of machines. The wheel 4 may be put in gear with the shaft, by a clutch and gear-handle, as in the silk engine, and thereby it drives two shafts, by the one transmitting its movement to the other.
The traverse motion of the guide bar G, is effected as follows: - Upon one of the shafts D, there is a bevel wheel 5, driving the bevel wheel 6m upon the top of the upright shaft p (fig. 984, to the right of the middle); whence the motion is transmitted to the horizontal shaft q, below, by means of the bevel wheels 7 and 8. Upon this shaft q, there is a hear-wheel r, working against a roller which is fixed to the end of the lever s, whose fulcrum is at t, fig. 983. The other end of the lever s, is connected by two rods (shown by dotted lines in fig. 984) to a brass piece which joins the arms u (fig. 984), of the guide bars G. To the same cross piece a cord is attached, which goes over a roller v, and suspends a weight w, by means of which the level s, is pressed into contact with the heart-wheel r. The fulcrum t, or the lever s, is a shaft which is turned somewhat eccentric, and has a very slow rotatory motion. Thus the guide bar, after each traverse, necessarily winds the silk in variable lines, to the side of the preceding threads.
The motion is given to this shaft in the following way. Upon the horizontal shaft q, there is a bevel wheel g (figs. 983 and 984), which drives the wheel 10 upon the shaft x; on whose upper end, the worm y works in the wheel 11, made fast to the said eccentric shaft t; round which the lever s swings or oscillates, causing the guide bars to traverse.
The spinning silk-mill. - The machine which twists the silk threads, either in their single or doubled state, is called the spinning mill. When the raw singles are first twisted in one direction, next doubled, and then twisted together in the opposite direction, and exceedingly wiry, compact thread, is produced, called organzine. In the spinning mill, either the singles or the doubled silk, while being unwound from one set of bobbins, and wound upon another set, is subjected to a regular twisting operation; in which process the thread is conducted as usual through guides, and coiled diagonally upon the bobbins by a proper mechanism.
Fig. 988 exhibits and end view of the spinning mill; in which dour working lines are shown; two tiers upon each side, one above the other. Some spinning mills have three working tiers upon each side; but as the highest tier must be reached by a ladder or platform, this construction is considered by many to be injudicious.
Fig. 989, is a front view, where, as in the former figure, the two working lines are shown.
Fig. 990, is a cross section of a part of the machine, to illustrate the construction and play of the working parts; figs. 996, 997, are other views of fig. 990.
Fig. 991, shows a single part of the machine, by which the bobbins are made to revolve.
Figs. 992, and 993, show a different mode of giving the traverse to the guide bars, than the represented in fig. 990.
Figs. 994, and 995, show the shape of the full bobbins, produced by the action of these two different traverse motions.
The upper part of the machine being exactly the same as the under part, it will be sufficient to explain the construction and operation of one of them.
A, A, are the end upright frames or standards, between which are two or three intermediate standards, according to the length of the machine. They are all connected at their sides by beams a and c, which extend to whole length of the machines. D, D, are the spindles, whose top bearings a, a, are made fast to the beams B, and their bottoms turn in hard brass steps, fixed to the bar X. These two bars together are called, by the workmen, the spindle box. The standards A, A, are bound with cross bars N, N.
c, c, are the wharves or whorls, turned by a band from the horizontal tin cylinder in the lines of E, E, fig. 988, lying in the middle line between the two parallel rows of spindles D, D. F, F, are the bobbins containing the untwisted doubled silk, which are simply pressed down upon the taper end of the spindles. d, d, are little fliers, or forked wings of wire, attached to washers of wood, which revolve loose upon the tops of the said bobbins F, and round the spindles. One of the wings is sometimes bent upwards, to serve as a guide to the silk, as shown by dotted lines in fig. 990. e, e, are pieces of wood pressed upon the tops of the spindles, to prevent the fliers from starting off by the centrifugal force. G, are horizontal shafts bearing a number of little spur wheels f, f. H, are slot-bearings, similar to those of the doubling-machine, which are fixed to the end and middle frames. In these slots, the light square cast-iron shafts or spindles g, fig. 989, are laid, on whose end the spur wheel h is cast; and when the shaft g lies in the front slot of its bearing, it is in gear with the wheel f, upon the shaft G; but when it is laid in the back slot, it is out of gear, and at rest. See F, F, fig. 986.
Upon these little cast-iron shafts or spindles g, fig. 991, the bobbins or blocks r, are thrust, for receiving, by winding-on, the twisted or spun silk. These blocks are made of a large diameter, in order that the silk fibres may not be too much bent; and they are but slightly filled, at each successive charge, lest, by increasing their diameter too much, they should produce too rapid an increase in the rate of winding, with proportional diminution in the twist, and risk of stretching or tearing the silk. They are therefore the more frequently changed. K, K, are the guide bars, with the guides i, i, through which the silk passes, being drawn by the revolving bobbins r, and delivered or laid on by the fliers d, d, from the rotatory twisting bobbins F. The operation of the machine is therefore simple, and the motions are given to the parts in a manner equally so.
Upon the shaft of the tin cylinder or drum, exterior to the frame, the usual fast and loose pulleys, or riggers, L, L, are mounted, for driving the whole machine. These riggers are often called steam-pulleys by the workmen, from their being connected by bands with the steam-driven shaft of the factory. In order to allow the riggers upon the shafts of the upper and the under drums to be driven from the same pulley upon the main shaft, the axis of the under drum is prolonged at L, L, and supported at its end, directly from the floor, by an upright bearing. Upon the shafts of the tin cylinders there is also a fly-wheel M, to equalize the motion. Upon the other ends of these shafts, namely, at the end of the spinning-mill, represented in fig. 988, the pinions 1 are fixed, which drive the wheels 3, by means of the intermediate or carrier wheel 2; called also the plate wheel, from its being hollowed somewhat like a trencher. 1, is called the change-pinion, because it is changed for another, or a different size and different number of teeth, when a change in the velocity of wheels 2 and 3 is to be made. To allow a greater or smaller pinion to be applied at 1, the wheel 2 is mounted upon a stud k, which is moveable in a slot concentric with the axis of the wheel 3. This slot is a branch from the cross bar M. The smaller the change-pinion is, the nearer will the stud k approach to the vertical line joining the centres of wheels 1 and 3; and the more slowly will the plate wheel 2 be driven. To the spur wheel 3, a bevel wheel 4, is fixed, with which the other also revolves loose upon the stud. The bevel wheel 5, upon the shaft l, is driven by the bevel wheel 4; and it communicates motion, by the bevel wheel 6 and 7, to each of the horizontal shafts G, G, extending along the upper and under tiers of the machine. At the left-hand side of the top part of fig. 988, the two wheels 6 and 7 are omitted, on purpose to show the bearings of the shaft G, as also the slot-bearings for carrying the shafts or skewers of the bobbins.
If it be desired to communicate twist in the opposite direction to that which would be given by the actual arrangement of the wheels, it is necessary merely to transpose the carrier wheel 2, from its present position on the right hand of pinion 1, to the left of it, and to drive the tin cylinder by a crossed or close strap, instead of a straight or open one.
The traverse motion of the guide is given here in a similar way to that of the engine, (fig. 975.) Near one of the middle or cross-frames of the machine (see fig. 990) the wheel f, in geer with a spur wheel h, upon one of the block-shafts, drives also a spur wheel m, that revolves upon a stud, to which wheel is fixed a bevel wheel u, in geer with the bevel wheel o. To wheel o, the same mechanism is attached as was described under figs. 979 an 980, and which is here marked with the same letters.
To the crank-knob r, fig. 990, a rod x, is attached, which moves or traverses the guide bar belonging to that part of the machine; to each machine one such apparatus is fitted. In figs. 992 and 993 another mode of traversing the guide bar is shown, which is generally used for the coarser qualities of silk. Near to one of the middle frames, one of the wheels f, in gear with the spur wheel m, and the bevel wheel n, both revolving on one stud, gives motion also to the wheel o, fixed upon a shaft a, at whose other end the elliptical wheel b' is fixed, which drives a second elliptical wheel c, in such a way that the larger diameter of the one plays in gear with the smaller diameter of the other; the teeth being so cut as to take into each other positions. The crank-piece d is screwed upon the face of the wheel c, at such a distance from its centre as may be necessary to give the desired length of traverse motion to the guide bar for laying the silk spirally upon the blocks. The purpose of the elliptical wheel is to modify the simple crank motion, which would wind on more silk at the ends of the bobbins in their middle, and to effect an equality of winding-on over the whole surface of the blocks. In fig. 993 the elliptical wheels are shown in front, to illustrate their mode of operating upon each other. Fig. 994 is a block filled by the motion of the eccentric, fig. 990; and fig. 995 is a block filled by the elliptical mechanism. As the length of the motions of the bar in the latter construction remains the same during the whole operation, the silk, as it is wound on the blocks, will slide over the edges, and thereby produce the flat ends of the barrel in fig. 995. The comical ends of the block (fig. 994) are produced by the continually shortened motions of the guide bar, as the stud approaches, in its sun-and-planet rotation, nearer to the general centre.
Figs. 996, 997 are two different views of the differential mechanism described under fig. 990.
The bent wire x, fig. 990, is called the guider iron. It is attached at one end to the pivot of the sun-and--planet wheel-work t, s, o, and at the other to the guide bar f, f, fig. 989. The silk threads pass through the guides, as already explained. By the motion communicated to the guide bar (guider), the diamond pattern is produced, as shown in fig. 994.
In this machine, the silk is unwound from the blocks of the throwing-mill, and formed into hanks for the market. The blocks being of a large size, would be productive of much friction, if made to revolve upon skewers thrust through them, and would cause frequent breakage of the silk. They are, therefore, set with their axes upright upon a board, and the silk is drawn from their surface, just as the west is from a cop in the shuttle. On this account the previous winding-on must be executed in a very regular manner; and preferably as represented in fig. 994.
Fig. 998 is a front view of the reel; little more than one half of it being shown. Fig. 999 is and end view. Here the steam pulleys are omitted, for dear of obstructing the view of the more essential parts. A, A, are the two end framings, connected by mahogany stretchers, which form the table u, for receiving the bobbins C, C, which are sometimes weighted at top with a lump of lead, to prevent their tumbling. D is the reel, consisting of four long laths of wood, which are fixed upon iron frames, attached to as octagonal wooden shaft. The arm which sustains one of these laths is capable of being bent inwards, by loosening a tightening hook, so as to permit the hanks, when finished, to be taken off, as in every common reel.
The machine consists of two equal parts, coupled together at a, to facilitate the removal of the silk from either half of the reel; the attendant first lifting the one part, and then the other .E is the guide bar, which by a traverse motion causes the silk to be wound on in a cross direction. b and c are the wire guides, and d are little levers lying upon the cloth covered guide bar E. The silk, in its way from the block to the reel, passes under these levers, by which it is cleaned form loose fibres.
On the other end of the shaft of the reel, the spur wheel 1 is fixed, which derives motion from wheel 2, attached to the shaft of the steam-pulley F. Upon the same shaft there is a bevel wheel 3, which impels the wheel 4 upon the shaft c; to whose end a plate is attached, to which the crank f is screwed, in such a way as to give the proper length of traverse motion to the guide bar E, connected to that crank or eccentric stud by the jointed rod g. Upon the shaft of the steam-pulleys F, there is a worm or endless screw, to the left of f, fig. 999, which works in a wheel 5, attached to the short upright shaft h (fig. 998). At the end of h, there is another worm, which works in a wheel 6; at whose circumference there is a stud i, which strikes once at every revolution against an arm attached to a bell, seen to the left of G; thus announcing to the reel-tenter that a measured length of silk has been wound upon her reel. e is a rod or handle, y which the for l, with the strap, may be moved upon the fast or loose pulley, so as to act on or arrest the motion at pleasure.
Throwsters submit their silk to scouring and steaming processes. They soak the hanks, as imported, in lukewarm soap-water in a tub; but the bobbins of the twisted single silk from the spinning mill are enclosed within a wooden chest, and exposed to the opening section of steam for about ten minutes. They are then immersed in a cistern of warm water, from which they are transferred to the doubling frame.
The wages of the workpeople in the silk-throwing mills of Italy are about one half of their wages in Manchester; but this difference is much more than counterbalanced by the protecting duty of 2s. !0d. a pound upon thrown silk, and the superior machinery of our mills. In 1832, there was a power equal to 342 horses engaged in the silk-throwing mills of Manchester, and of about 100 in the mills of Derby. The power employed in the other silk mills of England and Scotland has not been recorded.
There is a peculiar kind of silk called marabout, containing generally three threads, made from the white Novi raw silk. From its whiteness, it takes the most lively and delicate colours without the discharge of its gum. After being made into tram by the single twist upon the spinning mill, it is reeled into hanks, and sent to the dyer without further preparation. After being dyed, the throwster re-winds and re-twists it upon the spinning mill, in order to give it the whipcord hardness which constitutes the peculiar feature of marabout. The cost of the raw Novi silk is 19s. 6d. a pound; of throwing it into tram, 2 s. 6d.; of dyeing, 2s.; of re-winding and re-twisting, after it has been dyed, about 5s.; of waste, 2s., or 10 per cent.; the total of which sum is 31s.; being the price of one pound of marabout in 1832.
AN ESTIMATE of the Annual Quantities of SILK produced or exported from the several Countries in the World, exhibiting also the Countries to which exported.
Note. - These estimates exclude the silk manufactured in Italy.
The declared value of the silk manufactures exported from the United Kingdom in 1886,was 917,822l.; and in 1837, only 494,569. The deficit in the last year was owing to the commercial crisis in the United States; which country took, the preceding year, our silk goods to the value of 524,301l.