20.1.22

Chinese insect white wax.

The Living Age 2138, 13.6.1885

From Nature.

(Tekstiin lisätty kappaleita lukemisen helpottamiseksi. // Some paragraphs added to the original text for making reading easier.)A Parliamentary paper which has recently been published (China, No. 2, 1885) contains a report of a journey through central Sze-chu'an, which was made by Mr. Hosie, consular agent at Chung-king, chiefly for the purpose of collecting information on the subject of insect white wax, specimens of the insect wax-trees, and forms of the wax product, at the request of Sir Joseph Hooker. The report describes the country traversed, its trade and trading capabilities, and such information as was attainable on any commercial product of the district; but the portion relating to insect white wax is the most interesting part of the paper.

"Insect tree "is the name given by the Chinese in the extreme west of Sze chu'an to what is probably the Ligustrum lucidum of botanists. The point will doubtless be decided at Kew by the specimens which Mr. Hosie has sent home. It is also called the winter-green or evergreen tree; while in the east of the province it is known as the "crackling flea tree," owing, it is said, to the sputtering of the wood when burned. It is an evergreen, with leaves which spring in pairs from the branches. They are thick, dark green, glossy, ovate, and pointed. In the end of May or beginning of June the tree bears clusters of small white flowers, which give place to small seeds of a dark blue color.

In the month of May, 1883, Mr. Hosie found attached to the bark of the boughs and twigs numerous brown, pea-shaped excrescences or galls, in various stages of development. In the earlier stages they looked like minute univalves clinging to the bark. The larger galls were readily detachable, and, when opened, presented either a whitey-brown, pulpy mass, or a crowd of minute animals, whose movements were only just perceptible to the naked eye.

Last year an opportunity of examining these galls and their contents with some minuteness in the chief wax-producing locality in the province presented itself. They are very brittle, and there was found, on opening them, a swarm of brown creatures, like minute lice, each with six legs and a pair of club antenna, crawling about. The great majority of the galls also contained either a small white bag or cocoon, containing a chrysalis, whose movements were visible through the thin covering, or a small black beetle. This beetle also has six legs, and is provided with a lung proboscis, armed with a pair of pincers. It is called by the Chinese the "buffalo," probably from its ungainly appearance. After a few days it turned out that each chrysalis developed into a black beetle, or buffalo." If left undisturbed in the broken gall, the beetle will, heedless of the wax insects, which begin to crawl outside and inside the gall, continue to burrow with his proboscis and pincers in the inner lining of the gall, which is apparently his food.

The Chinese believe that he cats his minute companions in the gall, or at any rate injures them with the pressure of his heavy body, and galls in which beetles are numerous sell cheaper than others. But careful investigation showed that the beetle does not cat the other insects, and that his purpose within the gall is a more useful one. When a gall is plucked from the insect tree an orifice is disclosed where it was attached to the bark. By this the wax insects escape. But if the gall remained attached to the tree no mode of escape would appear to be provided for them. The beetle provides this mode. With his pincers he gradually bores a hole in the covering of the gall, which is of sufficient size to allow him to escape from his imprisonment, and which allows egress at the sane time to the wax insects.

When the beetles were removed from the galls some of them made efforts to fly; but at that time their elytræ were not sufficiently developed, and they had to content themselves with crawling, a movement which, owing to the long proboscis, they performed very clumsily.

Through the orifice thus created by the beetle the insects escape to the branches of the tree, if the gall be not plucked soon enough. When plucked, the galls are carried in headlong flight by bearers who travel through the night for coolness to the market towns, and every endeavor is made to preserve a cool temperature in order that the heat may not torce the insects to escape from the galls during the journey.

The wax-tree is usually a stump, varying from three or four to a dozen feet in height, with numerous sprouts or branches rising from the gnarled top of the stem. The leaves spring in pairs from the branches. They are light green, ovate, pointed, serrated, and deciduous. The branches are rarely found more than six feet in length, as those on which the wax is produced are cut from the stems with it. The sprouts of one and two years' growth are too pliant, and it is only in the third year, when they are again sufficiently strong to resist the wind, that wax insects are placed on them. In June some of the trees bear bunches apparently of seeds in small pods, and specimens of these have been sent to Kew.

The wax insects are transferred to these trees about the beginning of May. They are made into small packets of twenty or thirty galls, which are inclosed in a leaf of the wood-oil tree, the edges of which are fastened together with rice straw. These small packets are then suspended close to the branches under which they hang. A few rough holes are made in the leaf by means of a large needle, so that the insects may find their way through them to the branches. On emerging from the galls the insects creep rapidly up the branches to the leaves, where they remain for thirteen days, until their mouths and limbs are strong.

During this period they are said to moult, casting off "a hairy garment," which has grown in this short time. They then descend to the tender branches, on the under sides of which they fix themselves to the bark by their mouths. Gradually the upper surfaces of the branches are also dotted with the insects.

They are said not to move from the spots to which they attach themselves. The Cnincse idea is that they live on dew, and that the wax perspires from the bodies of the insects. The specimens of the branches encrusted with wax show that the insects construct a series of galleries stretching from time bark to the outer surface of the wax.

At an early stage of wax production an insect called by the Chinese the "wax-dog" is developed. Mr. Hosie was unable to obtain a specimen of this insect, but it was described to him as a caterpillar, in size and appearance like a brown bean. His theory (which, he confesses, is unsupported by outside evidence) is that the female of the "buffalo" beetle, already mentioned, deposits eggs on the boughs of the insect tree or the wax-tree, as the case may be, and that time wax-dog is the offspring of the buffalo.

There may possibly be a connection between this caterpillar and the gall containing the wax insects. It is said that during time night and early morning the insects relax their hold of the bark, and that during the heat of the day they again take firm hold of it. The owners of trees are in the habit, during the first month, of belaboring the trees with thick clubs to shake off the wax-dog, which, they assert, destroys the wax insects. After this period the branches are coated with wax, and time wax-dog is consequently unable to reach his prey. The first appearance of wax in the boughs and twigs has been likened to a coating of sulphate of quinine. This gradually becomes thicker, until, after a period of from ninety to a hundred days, the wax in good years has attained a thickness of about a quarter of an inch.

When time wax is ready, the branches are lopped off, and as much of the wax as possible is removed by hand. This is placed in an iron pot with water, and the wax, rising to the surface at melting-point, is skimmed off and placed in round moulds, whence it emerges as the white wax of commerce. The wax which cannot be removed by hand is placed with the twigs in a pot with water, and the same process is gone through.

This latter is less white and of an interior quality. But the Chinese, with their usual carefulness that nothing be lost or wasted, take the insects, which have meantime sunk to the bottom ot the pot, and, placing them in a bag, squeeze them until they have given up the last drop of the wax. They finish their short, industrious existence by being thrown to the pigs.

The market price of the wax is about ts. 1s. 6d. per pound. It is used chiefly in the manufacture of candles. It melts at 160°F., while tallow melts at about 95°. In Sze-chus'an it is mixed with tallow to give the latter greater consistency, and candles, when made, are dipped in melted white wax to give them a harder sheathing and to prevent the tallow from running over when they are lighted.

An indigo plantation in Bengal.

The Living Age 2138, 13.6.1885

From the Field.

(Tekstiin lisätty kappaleita lukemisen helpottamiseksi. // Some paragraphs added to the original text for making reading easier.) An indigo plantation or factory, with its extensive buildings and large sheets of indigo land adjoining, is not unlike a home farm, and is generally picturesquely situated on the edge of a lake or river for the sake of water during manufacture.

These great sheets of land, aggregating from two to four hundred acres, include the home cultivation; but the bulk of the indigo lands, from three to four thousand acres, it may be, are scattered far and near among the surrounding villages, and cultivated by the peasants of those villages. Superintending this work is a set of employés, who are always of high caste, often Brahmins for the sake of their greater influence over the villagers; while over home and outside cultivation is the overseer. On the other hand, a separate staff of employés, each head of his own department, have charge of the office work. The moonshee attends to the payment of rentals, renewal of village leases, law matters, and correspondence in Persian and Hindi with the different ranks of natives, and is au fait in all the special forms of address adapted to each, in regard to which such extreme particularity prevails. Next, the treasurer, who keeps his books or accounts in Persian, and is assisted by lallahs or Hindi writers, and the hereditary accountants of each village. Lastly, the Bengali baboo, who keeps a summary of all in English, which the European manager is supposed to check and sign.

The preparations for the indigo cultivation begin immediately with the close of the previous season's manufacture in October, and extend almost continuously till within a month of the sowings in March, for if the land is allowed to lie any length of time unbroken after rain (being the close of the rainy season), the tropical sun soon cakes the surface, and all moisture evaporates. During the four intervening months, therefore, it is undergoing an almost constant process of ploughing, hoeing, smoothing, and weeding, till it has reached a high state of culture in readiness for the delicate indigo plant. In the large home fields may be seen long lines of weeders (coolies), men, women, and children, from four to seventy years of age, moving slowly over the ground on their hams, each with a little spud or stick to dig up weeds or powder small clods.

In upper Bengal, where indigo cultivation is carried to its greatest perfection, the sowings begin about March 1, just as the last traces of the glorious cold weather are wearing away, and the dry west winds are growing hotter and more dusty each day. To get the sowings over without a drop of rain is now the first object, and these, once begun, continue all day, and by night if there be moonlight, for should even a single shower occur, entire re-sowing may be entailed.

Only when the plant is two or three inches high, and can stand raking is it considered safe. The seed germinates, if the weather be warm enough, in a couple of days, and the plant then presents a pretty appearance in its long, unbroken lines of blanched, delicate yellow. At this early stage, all it requires is warmth, a single night of cold bring sufficient to blight and wither it.

In a day or two, as its hue changes to a deep emerald, it is almost the only green thing to be seen over the parched, baked country. At this stage it may have to encounter caterpillars, locusts, or, it may be, hailstones as large as hen's eggs, but happily these enemies are not of frequent occurrence.

During the weeding, which begins again when the plant is two or three inches high, the planter has plenty of saddle exer6se to see that this is attended to over the cultivation.

When the plant has got about a foot high it is ploughed through, and this, instead of crushing or uprooting, as would be the case with a field of wheat, loosens the soil, lets in the air, and gives it a fresh start, so tough has the delicate plant now become. Rain, formerly so dreaded, now becomes each day more desirable, and should six weeks or more elapse without any, the plant gradually begins to blacken and burn as the moisture sinks to a lower level.

Manufacture begins with July, the commencement of the rainy season, when the plant is from two to five feet high, according to quality of soil. It consists entirely of tall, straight stem, and of leaf resembling the pea, and presents rich, waving masses of bright green, now in full leaf. The cutting is simply done by the primeval hook, small and serrated. Every morning hundreds of carts now come pouring into the factory, loaded with the cut plant; and it is quite a picture to see the little bullocks struggling bravely along the soft corduroy country roads, with their heavy loads and creaking bamboo carts, often kneedeep in water or mud.

This is now the busiest time of the year to the planter, as in it is condensed the burden of the whole year's labor; and what with the unaccustomed bustle and life all around him, it is quite a relief to the semisleepy rule of the other nine months of the year.

After the plant has been tightly packed into the vats, water is run on, and it is left to steep. The steeping is superintended by a special man, the hourman, a Brahmin or pundit who registers the flight of time by floating a perforated brass cup on water, each time the cup fills and sinks marking an hour. An hour or two after steeping commences, bubbles begin to rise rapidly to the surface, and the clear water gradually changes to a light green, as fermentation extracts the dye from the plant. These bubbles gather into a thick, inflammable froth, which explodes on the application of a light.

After eight to twelve hours, depending on the temperature, the steeping is over, and the liquid is run off into a lower vat to undergo the second process of manufacture — the "beating." This is done in one long vat running the whole length of the upper range, at one end of which a revolving paddle-wheel, driven by a shalt from an engine, keeps up a continual current and cloud of spray, and by bringing the liquid into contact with the air separates the dye, and gradually changes the color from rich amber green to dark blue. In this liquid now appear small particles of indigo distinctly floating about, which quickly settle to the bottom, leaving a clear brown liquid above.

Meantime the upper vats are being emptied of the waste plant or seet, which is carted away and spread over the fields for manure, the stems being afterwards dried and stacked for fuel to the engine. When the dye has settled to the bottom the waste water is run off, and the thick mass is pumped up through a succession of strainers into the boilers, where it is brought to the boiling-point to further separate the water, and consolidate the dye.

Thence it is run off through fresh strainers on to a long, shallow tank, called the table, through which the remaining waste water filters, leaving the indigo behind like a thick jelly. It is then spooned into iron or wooden presses, and subjected to continuous pressure by hand screws for five or six hours till moisture ceases to percolate.

The contents of each, now in the shape of a firm rake, are cut by a brass wire into a hundred smaller cakes or cubes, which are ranged on bamboo frameworks in the cake-house to dry. In about a couple of months, when the cakes have ceased to lose weight, they are classified according to quality, and packed in mango-wood chests for transmission to Calcutta, where they are sold by public auction, the richest shade and softest paste fetching the highest price. Such is the variation of quality, and a strange feature of manufacture, that one day's cutting may fetch nearly double that of another, without any accountable reason for the difference.

Manufacture closes about the end of September, averaging three months' duration, including two successive cuttings of the plant, the second nearly always giving the finer indigo, because from a more delicate leaf, grown quicker in the moist heat of the rains.

Russia is the largest customer, indigo forming the base of so many of her dyes, though nearly all Europe is represented among the buyers. The price of a chest of indigo weighing three hundred pounds varies from £80 to £110, according to quality and rate of market, the price in different years varying enormously. This, together with the great dependence of the indigo crop on the weather, and the variation of produce, even from a good crop, makes indigo planting so much of the lottery it is — at least, to the non-capitalist. In a good season a large factory of six thousand acres will send out perhaps six hundred chests, each three hundred pounds weight, realizing a gross value of about £50,000, and a net profit of at least half that amount.

- W. S.

Lyhyitä selontekoja. (Ote Suomen teollisuuslehdestä, "Muudan sana rakennusten ulkomaalauksesta")

Nykyaika 13-14, 30.7.1898

Suomen Teollisuuslehti N:o 24: "Muudan sana rakennusten ulkomaalauksesta" — nimisessä kirjoituksessa sanotaan m. m. seuraavaa:

Rakennusmaalauksella on oikeastaan kaksi päämäärää, kauneus ja kestävyys. Kun rakennus on saanut oikean värinsä; saa se eloa ja virkeyttä, jolloin se tietysti vaikuttaa silmään miellyttävästi ja itseensä kiinnittävästi. On tunnettua että mitä kirkkaampi esine on, sitä selvemmin se pistää esiin etäisyydestä; kaikki kirkkaat värit erittäinkin valkea, keltainen ja punainen pistävät enemmin silmään kuin tumma väri, varsinkin sininen, ruskea, vihreä j. e. p.

Metsän tai puiston sisällä olevan maatalon tulee olla vaalea ja kirkasvärinen voidakseen esiintyä vähänkään vaikuttavana. Kaupungin taloista on sitä vastaan rakennussäännöissä määräyksiä päinvastaiseen suuntaan: niillä ei saa olla liian räikeitä värejä. Varsinkin fasaadimaalauksessa olisi välttämätöintä, etteivät ala- ja yläpinnat, sileät ja epätasaiset paikat olisi samalla värillä siveltyjä. Hauska olisi myös suurissa taloissa, jos edes jonkun kerroksen väri olisi erilainen kuin toisten.

S. O. K:n osastoilta. Tuotantolaitosten osasto. S. O. K:n villavärit.

Osuuskauppalehti 12, 30.6.1922

Kotivärjäykseen käytetyt villakankaat ja -langat eivät useinkaan ole kyllin puhtaiksi pestyjä, vaan on niissä joko ohut rasva- tai saippuakerros. Villaväreillä värjättäessä on senvuoksi edullista, riippuen väriaineen luonteesta, värin tasaisen laskeutumisen ja kiintymisen parantamiseksi toimittaa värjäys happamessa liuoksessa.

Mitä S. O.'K:n villaväreihin tulee, tapahtuu värjäys muuten pussien sisällä olevan ohjeen mukaan, paitsi että väriliemeen, ennenkuin värjättävä upotetaan siihen, on lisättävä väripussia kohti pieni ruokalusikallinen S. O. K:n etikkaesanssia, jonka esanssin voimakkuus aina on taatusti sama.

Etikkaesanssia saa käyttää seuraavilla villaväreillä värjättäessä, jolloin värisävy vielä huomattavasti paranee:
Villaväri N:o 1
» » 4
» » 5
» » 6
» » 7
» » 8
Villaväri N:o 9
» » 10
» » 11
» » 12
» » 13

Kiintymättömän, käsiin tarttuvan liikavärin huuhtelua voidaan jouduttaa pesemällä värjättävä saippualla ja vedellä, minkä jälkeen se huuhdellaan vielä kylmällä vedellä.

Tämä koskee ainoastaan S. O. K:n villavärejä.

Ilmari Virkkala: Kodin koristemaalaus.

Otavainen 21, 1922

Käydessämme museoissa pistää silmiimme isoisiemme nuoruuden kotien huonekalujen erinomaisen loistavavärinen ja rikasmuotoinen koristemaalaus. Tietystikin on värien alkuperäinen loisto himmentynyt ja maalaus osittain hileillyt pois näistä museoesineistä, mutta kuitenkin voimme saada niistä aavistuksen, miltä ne ovat näyttäneet nuo kaapit, kellot, tuolit, pöydät ja penkit niukasti valaistuissa, pärevalkean mustuttamissa tuvissa tummia seiniä vasten. Ne ovat loistaneet pimennoistaan kuin jalokivet ja sunnuntaiaamun valkeudessa partaansa ajeleva talonisäntä, katsellessaan koreihin kansallispukuihin pukeutuneita, kirkkoon aikovia tyttäriään ja takkavalkean ääressä punoittavaa "pökkyräpaistia" keittävää emäntäänsä, on varmaankin tuntenut hiljaista nautintoa siitä, minkä ulkonainen sopusointu kodin elollisten olentojen ja elottomien esineiden välillä on hänessä herättänyt.

Vielä muutamissa maalaiskodeissa voi löytyä näiden museoesineiden veljiä ja sisaria, vaikkakin niin moninkertaisen maalin peitossa, että niiden alkuerän voi vain arvata. Me voimme ottaakappaleen hiekkapaperia ja ilman tunnonvaivoja hangata päällimäistä värikerrosta pois. Se on ohut ja huolimattomasti vedetty, jotakin epämääräistä väriä, jota on jostakin sattunut jäämään ja joutunut tähän noin 15— 20 vuotta takaperin. Tämän värin alta alkaa näkyä ruskeankellertävää väriä, jossa kulkee tummempia juovia, se on "ootrausta", jonka joku kylämaalari on kaupungissa oppinut ja tuonut tänne sen tympäisevimmässä muodossa jo noin 40—50 vuotta sitten.

Meitä ei huvita tämä keksintö,vaan hieromme hiekkapaperilla edelleen, entistä uteliaampina, — ja silloin alkaa värin lävitse kuultaa ensin hohtavaa punaista, sitten vihreätä, keltaista j.n.e. Me vapisemme jännityksestä, sillä nyt näkyy jo kukkaisryhmiä, lehtiä, hedelmiä ja niiden yläpuolella kirjaimia, kirjoitusta, vieläpä vuosilukukin. Se voi olla 17-sataluvun loppu- tai 18-sataluvun alkupuolelta, mutta jokatapauksessa vaikuttaa se meihin suurena yllätyksenä. Me olemme ikäänkuin tavanneet vanhan, rakkaan sukulaisen, joka on verta meidän verestämme, lihaa meidän lihastamme, esi-isiemme uskollisen palvelijan jo 5:ssä ja 6:ssa polvessa taaksepäin, Paljastaessamme tällaisten vanhojen huonekalujen koristemaalaukset peittävän vaipan alta ja uusiessamme ne entiseen uskoonsa, paljastuu meille koko senaikainen katsantokanta kodin kaunistamisesta.

Tavallisessa talonpoikaiskodissa oli koko kauneudentarve keskitetty juuri noihin muutamiin huonekaluihin. Seiniin ei voitu huomiota kiinnittää sen enempää kuin että asuintuvassa ne silloin tällöin piiluttiin valkoisiksi. Isännän ja emännän kamarin seinät sitävastoin rapattiin kalkkirappauksella, herraskartanoiden tapaan, ja maalattiin kalkkiväreillä. Alaosa ,"paneeli", maalattiin tummaksi ja yläosa vaaleaksi sekä koristeltiin usein vinoristejä tai ruutuja muodostavilla maalatuilla pisteviivoilla t. m. hyvin yksinkertaista koristeellisuutta tavottelevilla keinoilla. Kattoon pingotetulle paperille maalattiin muutamia ympäri juoksevia raitoja, ]a kulmiin raitojen leikkauskohtiin joku lehti ja kukkakiehkura.

Meillä olisi syytä nykyään korjatessa vanhoja ja rakentaessa uusia maalaistaloja, huviloita ja "oma-koti"-rakennuksia, ottaa esimerkkiä näistä "vanhankansan" kodeista ja jatkaa sitä tyyliä.

Ensinnäkin nykyisissä hätä ajan rakennuksissa koetetaan pyrkiä niin halvan rakennusaineen käyttöön kuin mahdollista, ja siitä syystä olisi huoneiden lämpimiksi saamisen kannalta jo suositeltava niiden rappaamista sisältä kalkkirappauksella varsinkin sen takia, että tikuttamisen ja rappaamisen voivat maalaisoloissa naiset ja lapset suorittaa hyvin kätevästi.

Toiseksi olisi pyrittävä mitättömän tyylisistä yksivärisistä huonekaluista, ikävystyttävistä tapeteista ]a kaikesta ala-arvoisesta kamasta, mikä nykyään on kotiemme pääasiallisena kaunistuksena, iloisampaan, värikkäämpään ja samalla kansallisempaan kodin sisustustyyliin. Tehdäänhän nykyäiin paljon työtä naisten kansallispukujen käytäntöön ottamiseksi, mutta niinkauan kuin kotimme ovat mitä ne ovat, esiintyvät vaimomme ja tyttäremme kansallispukuihin pukeutuneina näiden seinien sisällä niinkuin hyvä maalaus huonoissa puitteissa.

Ylläesitetyllä kalkkirappauksella on, paitsi lämmön eristäjänä, etunsa vielä siinä, etteivät rapatut seinät ole niin tulenarkoja kuin paperoidut ja sitäpaitsi suojelee rappaus täydellisesti puuaineen mädäntvmiseltä. Maalauskustannukset ovat myöskin halvat.

Kalkkivärimaali valmistetaan yksinkertaisesti siten, että kuiva väri sekoitetaan sammutetun kalkin päältä kuorittuun veteen, ja väreinä kelpaavat ainoastaan luonnonvärit, ei keinotekoiset.

Seinien koristemaalauksessa on parempi tyytyä niukkaan, ja samalla harkittuun koristeluun, mutta sen sijaan saavat huonekalut loistaa kaikessa koristerikkaudesraan. Kodikkuutta lisäävät vielä sopiviin paikkoihin seinille ripustetut ryijyt, raamit tai seinämatot — ja niin on meillä koti, jossa on tuota vanhankansan arvokkuutta ja sunnuntaiaamun tunnelmaa, jota tekstiin liittyvä sisustakuvakin tahtoo lukijan mieleen havainnollistuttaa.

- Ilmari Virkkala.

19.1.22

The Art of Dyeing No. 15.
Purple on silk.
Alum Purple.
Cochineal Purple.
Peach Blossom Color.
Archil Shades.
Claret.
Maroon.
Lilac.
Archil and Cudbear.

Scientific American 30, 7.4.1855

Purple on silk.

This color on fine wool was the most famous in ancient times, and the city of Tyre was distinguished for dyeing it. It was a badge of power and wealth, as monarchs and rich men only could buy it. It woe, however, somewhat different from what is now known by the name of purple, it being a deep crimson, like clotted blood, while the modern purple is a blue tinged with red. It is dyed on silk in the plum vat, just in the same manner as upon cotton, and as described on page 218. All the shades of lavender can also be done in the same manner the plum colors on cotton. But there are other methods of dyeing purple on silk, very different from the processes of cotton dyeing.

Alum Purple.

This is the most simple method of dyeing purple on silk. It consists in preparing the silk in an alum tub or mordant, at about 3° Twad., for an hour, then dripping them, and washing in two tubs of clean water, after which they are handled in hot logwood liquor (about 5 lbs. of dyewood to ten of silk) for half an hour, and lifted.

Into the logwood liquor about a wine glassful of the muriate of tin is added for every ten pounds, the liquor stirred up, and the goods again catered. Five turns will finish, when they may he lifted up, washed, and made ready for drying. The redder the shade desired, the more spirits are added for railing. The old plan of dyeing simple logwood purple on silk, was to use spirits, cream of tartar, and logwood all together, heated up in a copper kettle to a sealding heat, and handle in this till the color was full. It is not to sure, cheap, nor quick a method as to use an alum mordant, the logwood by itself, and then raise with the spirits.

Cochineal Purple.

A beautiful purple can be dyed on silk by dyeing a good cochineal red on it, as described on page 154, then bluing on the top, by a bath of cudbear and pure liquid ammonia. Dyers use urine in place of pure ammonia, for cheapness. One pound of cudbear will answer for ten pounds of goods. The ammonia must be pretty strong, and the goods handled at a good heat until the desired shade is obtained. This is a very rich color, but expensive. The goods must be well washed before they are dried.

Peach Blossom Color.

This color it dyed on silk with cudbear and ammonia liquid, or urine. The quantity of cudbear must just be proportioned to the depth of shade desired. Four ounces will color one pound of silk a full shade.

Archil Shades.

Beautiful shades, between a ruby and purple, are dyed with archil.

They are dyed at one dip, in liquor kept at a scalding heat. Neither cudbear nor archil colors are fast, although they will stand washing in cold soap suds. By exposure to the sun and air, they soon fade and become rusty.

Claret.

This color is simply a deep purple. It is dyed by preparing the silk in an alum mordant, as for simple purple, dyeing a good full red with peachwood on it, and then darkening with logwood to the desired shade. The logwood should never be added until the goods have obtained a deep red color. It has been discovered, that it takes twice as much peachwood to produce the same effect when the logwood is given before the peechwood, as afterwards.

Maroon.

This is simply a peachwood red slightly darkened by adding a little logwood to the red liquor. To make a rich maroon, and a rich claret, a full red is positively necessary, as the base of the color. Brazil wood is more economical for use than common hypernie wood, although the price is higher. It yields a greater quantity of, and a superior color.

Lilac.

A very simple lilac can be colored by preparing the silk in alum for about twenty minutes,then giving a very weak logwood liquor. All shades of lilac, however, can be colored with archil and cudbear. The goods must be white for all these colors, except claret.

The purples that are dyed in the plum tub may be blued deep, by running them afterwards through a dilute solution of chemic (sulphate of indigo).

Archil and Cudbear.

These dye drugs are made from the lichen rocella, a species of sea weed. The best comes from the Cape de Verd Islands, but it is found in many other countries. It is steeped for about a smooth in a close cask, in a solution of urine, when it ferments, after which it may be used, and in this state is called "archil." Cudbear is a powder of these lichens. Archil and cudbear colors require no mordant. Many experiments have been tried with archil in order to color cotton with it, but hitherto they have all proved abortive. If it could be dyed on cotton, and rendered permanent, it would be a grand triumph for practical chemistry.

Kotitalouskysymyksiä. Vastauksia kysymykseen n:o 1. (Miten saa ehdottomasti kestävän mustan värin?)

Pellervo 5, 4.2.1926

I

Vanhat ryijynkutojat eivät pitäneet tehtaissa värjättyjä lankoja niin luotettavina kuin kotona oikealla tavalla värjätyt ovat.

Hyvä, kestävä musta väri saadaan seuraavalla tavalla: Otetaan S. O. K:n pussivärejä (ne ovat muuten pussiväreistä parhaimpia) ja värjätään lanka aivan niinkuin värin mukana olevassa kirjoituksessa sanotaan. Ainoastaan langan huuhtominen toimitetaan toisin. Värjätty lanka huuhdotaan nim. huolellisesti kylmässä kaljassa, johon on sekoitettu humalia. Saippuaa ei käytetä. Lanka saa sitten liota kaljassa kaksi tuntia, jonka jälkeen se vasta huuhdotaan kylmässä vedessä ja kuivataan varjossa. Kun lanka on melkein kuivaa, asetetaan se jonkun vaatteen sisään ja silitetään kuumalla raudalla molemmin puolin. Näin huuhdottu lanka, olkoon se minkäväristä tahansa, pitää värinsä niin kauan kuin itse lankakin kestää.

Ennen sanoivatkin taitavat värjääjät: "Kyllä väri kestää, jos lanka pestään kylmässä oluessa." Mutta kaljallakin saavutetaan sama tulos, jos se vain on käynyttä ja humalilla sekoitettua.

Koettakaa vain, hyvä emäntä!

- Alli.

II

Ostetaan rohdoskaupasta sinilastua (bresiljaa) ja kromihappoista kalia. Yhdelle kilolle villalankoja tarvitaan edellistä 500 grammaa ja jälkimmäistä 75 grammaa.

Kromihappoinen kali sulatetaan hyvin kiehuvassa vedessä, pestyt ja kuivatut villalangat pannnan tähän liemeen ja annetaan hiljalleen kiehua ½ tunnin ajan. Lankoja on aina välillä hämmennettävä, että väri tulisi tasaista. Kiehuttua otetaan langat vedestä pois, puserretaan ja kuivataan.

Sitten pannaan uuteen veteen sinilastut ja saavat ne kiehua 1½ tuntia. Tuman jälkeen siivilöidään lastut pois ja langat upotetaan väriherneen, jossa saavat hiljalleen ja usein sekoitellen kiehua noin ¾ tuntia. Senjälkeen huuhdotaan langat puhtaiksi ja kuivataan.

Näin menetellen saadaan kaunis musta väri, joka ei valossa haalistu eikä pesussa lähde.

- "Kotivärjäri"

18.1.22

The Art of Dyeing. No. 36. Dyeing Straw.

Scientific American 51, 1.9.1855

Purple

Into a clean copper kettle containing two gallons of boiling water, put four ounces of alum, and about forty drops of the muriate of tin, and boil two hats in this for half an hour, then lift them. Now throw out the liquor in the kettle and put in the same amount of clean hot water, and the clear liquor of half a pound of logwood well boiled. Let the hats now be entered in this and boiled for twenty minutes; then take them out, wash them, and they are done. A little sumac added to the preparing liquor improves the color. For a darker color, add more dye stuffs.

Alkanet root makes a very beautiful light purple color on chip hats. Boil one hat in one gallon of water with six ounces of alkanet root, and half an ounce of alum, for one hour; then lift and wash.

Green Color.

To two gallons of boiling water in a kettle, add two ounces of the extract of indigo, two ounces of alum, one-quarter of an ounce of sugar of lead, and the clear liquor of half a pound of fustic well boiled. Let two hats be boiled in this for twenty minutes, then lifted out and washed. A kind of greenish slate color, sometimes fashionable, is dyed on straw hats, by coloring them a light blue first, with the prussiate of potash and copperas, and then dipping them for fifteen minutes in a weak fustic liquor.

Many dyers use turmeric for dyeing the yellow of their greens on straw, but this is wrong, as this color cannot stand exposure for more than it few hours to bright sunlight. Fustic, therefore is the best coloring material for the yellow of straw hats dyed green. Ebony is also good, but is too expensive.

Yellow

Straw can be dyed a beautiful yellow with the bichromate of potash and lead. The straw is handled for about fifteen minutes, in a warm liquor containing three ounces of sugar of lead dissolved, then lifted and introduced into another warm liquor containing one ounce of the prussiate of potash dissolved, and in which it is handled for ten or fifteen minutes. These quantities of dye stuffs will dye one pound of straw. We have never seen yellow straw hats, but no one can account for fashionable taste — such hats may yet adorn the heads of our gay belles.

Maroon and Crimson

Into a clean kettle containing four gallons of hot water, near the boiling point, add four ounces of alum, a wine glass full of the muriate of tin, and two ounces of sumac. Handle three straw hats in this for half an hour; then lift them, cool, and rinse in six gallons of clean cold water. Clean out the kettle, and put into it four gallons of hot water, and the liquor of one pound of peachwood well boiled, and tour ounces of logwood; handle the hats is this at a scalding heat for one hour, and they will be a maroon. With one half the quantity of logwood, they will be a crimson. Dark colored straw bonnets must be washed well in cold water before they are dried.

Cudbear dyes a number of beautiful shades of ruby color. Take one pound of cudbear and place it in a vessel containing four gallons of water, and one ounce of soda, and boil three hats in it for half an hour, then take them out and they will he a beautiful color.

The size that is used for stiffening colored straw bats, is white glue. It is dissolved in hot water, then suffered to cool before it is used. It is better to dip the hats in a solution of this size, than to rub it on as some do, with is sponge. Black straw hats should be dipped into a hot solution of glue, for stiffening; it takes away all the brownish appearance of an excess of logwood, and leaves them a shining jet color. Gum arabice kept dissolved in a bottle, is put on black straw bats with a sponge after they are pressed, to give them a glossy appearance.

Uudet merkintantovalot rautateille.

Pieksämäen Sanomat 12, 18.12.1925

Jo jonkun aikaa on rautateillämme kokeiltu sopivan valosignaali järjestelmän keksimiseksi, jotta mahdollisimman parhaiten taattaisiin liikenneturvallisuus myöskin värisokeille. Nämä kokeet ovat nyttemmin pääasiallisesti loppuunsuoritetut. Niiden perusteella on valittu väreiksi, jotka helposti erottaa, punanen ja sinivioletti ja sensijaan hylätty vihreä. Jotta värien ero ilmenisi vieläkin selvemmin, on annettu valojen esiintyä välähtelynä, eripitkin väliajoin kumpaakin raidetta varten erikseen. Ellei mitään junaa ole tulossa ja meno siis vapaa, merkitään tämä siniviolettivalolla hitain välähdyksin. Kun juna lähenee, esiintyy jälleen automaattisesti voimakas punainen valo nopein välähdyksin.

Uusi signaalijärjestelmä tulee piakkoin otettavaksi käytäntöön rautateillämme ja jos osoittautuu, että se täyttää tehtävänsä, kaikkialle rautateillämme järjestettäväksi.

Sinisiä hortensioita.

Puutarha 7, 1910

Kuten tunnettua, on hortensian kukkaväri valkoinen tai punertava. Keinotekoisella tavalla voidaan tätä väriä muuttaa siniseksi.

Ennen saatiin kukille sininen väri sekoittamalla multaan puhtaita rautaviilalastuja nuppujen esiintyessä, kerran viikossa käyttämällä kastelussa ruosteenpitoista vettä tai sekoittamalla puoleksi rautapitoista suomultaa ja puoleksi savimaata. Rautakäsittely antaa kuitenkin epävarmoja tuloksia. Usein antaa se kukille ruman likaisen tumman värin, ja joa vähän rautaa annetaan, ei saa minkäänlaista värimuutosta.

Kauniimman ja sinisemmän värin saa käyttämällä Kali-alunaa tai ammoniakki-alunaa. Tällä päästään pikemmin perille. Joko kastellaan vetelöidyllä liuoksella tahi riputetaan ja sekoitetaan sitä kuivana multaan. Jos liian paljon alunaa annetaan, voi tapahtua, että lehdet varisevat; se ei muuten vaikuta kasviin epäedullisesti, ja kukat tulevat siitä huolimatta sinisiksi. Ammoniakki-aluna näyttää olevan parhain. Keväällä kastellaan ensimmäisinä 6 viikkona kahdesti viikossa liuoksella, joka on valmistettu 1 kilosta ammoniakki-alunaa ja 100 l. vettä: sitten kukintaan saakka kastellaan kerran viikossa laimennetulla liuoksella 400 gr. 100 1. vettä. Täydessä auringonpaisteessa kukan väri kyllä tummemmaksi, mutta silti ei kauniimmaksi. Dahlioitten, kesäasterien ja Crysanthemumin y. m. värit saadaan myöskin kirkkaammiksi lannoittamalla ne makkilannalla, joka on desinfisioitu kuparivihtrillillä ja sitten pidetty kompostissa.

Vaaleat ruusut saavat myös loistavamman värin, jos multaan sekoitetaan puuhiilijauhetta tai kivihiilitomua. Näitä keinoja voidaan myös käyttää monien muiden kasvien viljelyksessä ja saadaan aina tummempia ja kirkkaampia värejä.

Oil Color on Cement.

Manufacturer and builder 10, 1875

If oil colors will not adhere to cement, prime with boiling linseed oil; when dry, coat with white-lead mixed with oil, and then give a ground coat composed of white-lead, Spanish-white, oxid of iron, and red-lead, or other pigment, ground together in oil.

Veikko Puro: Rakennusten väri.

Rakennustaito 10, 19.5.1923

Rakennusten ulkopuolinen maalaus on mielenkiintoinen tutkimuksen ala.

Rakennusten muun ulkoasun ovat tavallisesti määränneet ammattimiehet arkkitehdit, rakennuspiirtäjät y. m., joilla — toisilla enemmän ja toisilla vähemmän — on työssään ollut turvana koulutettu maku. Mutta heidän tahtonsa ei ole enään ulottunut määräämään vanhojen rakennusten väriä ja vain harvoin uusienkin.

Ammattimaalarit ovat kylläkin koettaneet jossain määrässä vaikuttaa isäntiin, mutta mitä enemmän etäännyttyään kaupungin keskustasta, sitä suuremmassa määrässä ovat he olleet voimattomia pyrkiessään taivuttamaan työnteettäjiä tahtoonsa. Keskikaupungin taloja isännöivät henkilöt ovat olleet edesvastuuntuntoisempia ja myöskin valistuneempia kuulemaan ammattimiesten neuvoja. Mutta sitä itsepintaisemmin ovat sivukaupungin isännät vaatineet noudatettavaksi väriä määrättäessä heidän toisinaan aivan hullunkurisia päähänpistojaan. Esikaupungit ovat kehittäneet asiaa edelleen, ja samoin huvilain omistajat. Voimme siis sanoa, että värihulluus ja mauttomuus kasvaa kaupungissa laitoja kohti saavuttaen huippunsa esikaupunkihökkeleissä.

Laitakaupungin isännät ovat tahtoneet panna omalla tavallaan vastalauseen itse teossa keskikaupungin pidättyneeseen tomunharmaaseen värisävyyn. He ovat tahtoneet osoittaa "personallista makua" sekä myöskin kohottaa iloista tunnelmaa asuinpaikoillaan.

Mutta he ovat aivan säännöllisesti perinpohjin epäonnistuneet. Lukija voisi lyhyellä kävelymatkallaan laitakaduilla todeta tämän asian. Sillä on taloja, joiden seinänpinnat on sivelty puolukkapuuron värisiksi, ikkunaja nurkkalaudat taivaansinisiksi ja vihdoin ikkunaristikot jollain huutavalla myrkynvihreällä seoksella. Samankaltaisia, kirkuvia, joskin toisilla väreillä aikaansaatuja näytteitä isäntäin mausta, on joukottain. Ne eivät ole suinkaan yksinäisiä harvinaisuuksia.

Värikirkunaa korostaa vielä perinpohjaisella tavalla se, että naapuri ei ole vähimmässäkään määrässä välittänyt naapurinsa talon väristä, vaan on itsepäisesti kohottanut kirjavan lähitalon viereen oman "ihanan" värirunoelmansa. Rinnakkain kohoavat näin muodoin toinen toistaan kummallisemmat harvinaisuudet.

Katu, jonka varsilla tämänkaltaiset "väriruusut" kukkivat, on suorastaan ällöttävä ja omiaan kiihoittamaan ihmistä rauhattomalle tuulelle. Jokainen ihminen on siinä määrin altis värin vaikutuksille, että tavattomat epäsoinnut vaikuttavat hermostoon ärsyttävästi.

Esikaupungit kulkevat siinä suhteessa, kuten aluksi mainittiin edellä, ja niidenkin edelle ovat ennättäneet useat huvilaseudut, joissa ihmisten kuitenkin pitäisi etsiä rauhaa ja harrasta hiljaisuutta.

Yksi seikka, jonka erikoisesti ulkomaalaiset, matkustaessaan rautateillämme, ovat panneet merkille, on taasen suomalaisen saamattomuuden syy. Tämän perisyntimme vuoksi könöttää maaseudulla siellä täällä taloja, joiden seiniin ei milloinkaan ole maalarin sivellin koskettanut. Ne ovat armaan Luonnon kymmenien vuosien kuluessa maalaamia omalla värillään. Kun sitten vuosien varrella ikkunalaudat ovat mädänneet ja sijaan laitettu uusia, hohtavat ne uutuuttaan. Samoin on laita usein eteisten ja uusien rakennusosien, joiden vuoksi talot näyttävät aivan eriskummallisen kirjavilta.

Kun usein vauraatkin talot on jätetty maalamatta, osoittaa se, ettei suinkaan varojen puute ole ollut tähän syynä, vaan edellämainittu saamattomuus. Ja mitäpä maksaisi puna- tai keltamultamäärä, jolla yhden suuremmankin maalaisrakennuksen sivelisi värikkääksi.

Saituus!

Niin sitäkin on, mutta tuskin niin suuressa määrässä, että se estäisi talon maalaamisen esim. punamullalla. Onhan sitäpaitsi vesivärikin melkoinen suoja ajan hampaan nakerteluja vastaan.

Kun haluaisimme lausua muutamia pieniä toivomuksia talojen ulkomaalauksen suhteen, tahtoisimme kehoittaa vanhojen maalaisasumuksien omistajia sivelemään talonsa jollakin, vaikka kuinka huokeahintaisella maalilla. Harvaan asutulla maaseudulla on punaisella värillä aivan erikoinen oikeutensa. Vihreän luonnon keskellä se vilkkaasti houkuttelee puoleensa, is se on toisinaan silmää hivelevän sointuisa lehtipuuvihreän lomassa.

Mutta suurempia asutusryhmiä maalattaissa ei punamulta ole enää paikallaan. Se tympäisee ja saa aikaan raskaan vaikutelman. Silloin täytyy tulla kyseeseen keveämmät ja hilpeämmät värit. Mitä tiheämpään asumuskeskukseen tullaan, sitä vähemmän ovat paikallaan huutavat ja raskaat värit. Silloin tulee myöskin ehdottomasti ottaa huomioon kokonaisuuden vaikutus. Ensimmäinen vaatimus on, että yksityisten erikoisuuksien tulee alistua soveltumaan ryhmään kokonaisuudessaan. Kaupungista puheen tullen on yhteisen vaikutuksen huomioonottammen tärkeimpiä seikkoja rakennuksia maalattaissa. Seikka, johon kaupunkipaikoissa jo viranomaisten tulisi puuttua. "Rakennusjärjestyksen" tulee ohjata myöskin talojen värittämistä ei ainoastaan siinä mielessä, ettei talojen anneta maalaukseltaan rappioitua, vaan myöskin värin määräämiseen nähden. Jonkunlainen "makukatselmus" olisi otettava käytäntöön.

Huomauttaaksemme vielä muutamalla sanalla erikoisesti huvila-asumuksien maalaamisesta, on tunnustettava, että niissä on todellakin väriin nähden runsaimmin myönnettävä vapauksia, mutta mauttomuudet olisi kuitenkin estettävä. Huvila, joka on rakennettu keveäksi ia muodoiltaan rikkaaksi edellyttää jo tavallaan myöskin keveätä väritystä, mutta siinäkin on otettava huomioon paikka ja ennenkaikkea eri värien sopusointu. Arvokkaaseen tai yksinkertaiseen tyyliin rakennettu huvila edellyttää tietenkin harrasta ja yksinkertaisempaa väritystä j.n.e.

Erikoisesti on juuri syntyneillä omakotialueilla pidettävä tarkkaa nuolta, ettei niiden viihdyttäviä ominaisuuksia säretä taitamattomuuksilla eikä millään liiallisilla "erikoisuuksilla". Otettakoon jo edeltäpäin huomioon, mitä näiden alueiden rauhaan sopii. Kun niitä muutamien vuosien kuluttua aletaan lopullisesti maalata, olisi niissä säilytettävä yhtenäinen värisävy, joka asutusalueen laatuun katsoen olisi oleva kevyt ja lämpöä säteilevä.

(Tur. San.)

- Veikko Puro.

16.1.22

Bluing Small Steel Pieces.

Manufacturer and builder 1, 1891

First blue the object without any special regard as to uniformity of color. Should it prove to be imperfect, take a piece of clean pith, or a piece of dead wood that will not crumble too easily, and whiten the surface with rouge without letting it be too dry. Pieces when thus prepared, if cleaned and blued with care, will assume a very uniform tint.

Mielenkiintoisia sanoja XVI. [Väriä koskevat osat]

Sanastaja 24, 31.8.1935

[...]

366. Hattulan pitäjästä on olemassa seuraava muistiinpano: "Kyllä ne (heinät) kepissä on ninku huanossa larossaki jo, jos ne päältä vähä haalistuu (= menettävät värinsä) niin ne kuivaa kans". Sana haalistua tarkoittaa monissa muissakin murteissa värinsä menettämistä, varsinkin vaatteista puhuttaessa. Sama sana äännetään kuitenkin muutamin paikoin hallistua, siis ensi tavultaan lyhytääntiöisenä ja l-äänne "kahdentuneena". Käytetäänkö Teidän kotipitäjässänne jompaakumpaa näistä muodoista?

[...]

Shway Yoe: Burmese Lacquer-Ware.

The Living Age 1964, 11.2.1882

From St. James's Gazette.

For a long time it was assumed that Japanese and Chinese lacquered goods were simply papier-mâché. A popular fancy for the ware has brought to the knowledge of all who care for the information that it is really wood of different kinds painted over with the juice of the urushi-tree. Should fashion ever inspire a similar enthusiasm for Burmese productions of the same kind, it is probable that it may be supposed that these also are composed of solid wood, and people will wonder at the extreme thinness and flexibility of the finer specimens. But it is only the coarsest ware which is thus produced. All the better boxes and cups are made of a woven basket-work of slips of bamboo. The varnish used on them is, like the Japanese lacquer, the sap obtained from the stem of a tree, and has nothing whatever to do with the insect-produced lac, such as English varnishers employ in solution with alcohol. I am not botanist enough to know whether the urushi (Rhus vernicifera), the Japanese tree, is identical with the Burman thit-see (Melanorrhæa usitissima), or even whether it is of the same genus or order. Thit-see (literally tree-oil) is dark in color from the moment it is gathered, whereas the urushi sap is described as being light yellow when first extracted, and only turning black after considerable exposure to the air. The urushi has been cultivated by royal order for hundreds of years in Japan; but in Burma no one troubles himself much about national manufactures, and the thit-see bin grows wild in the jungle; and not even near Nyoung 0o, where nearly every household in the town is occupied in the trade, not even there do I remember seeing a regular plantation of the trees. Nevertheless it is plentiful enough, and affords a magnificent spectacle when it is in flower — a huge forest tree covered so thickly with creamy-white blossoms that the leaves cannot be seen. The flowers have a fragrant scent not unlike that of apples. and the needy and practical Burman often makes a very acceptable curry of the buds. In full-grown trees the average height to the first branch is thirty feet, and the ordinary girth, six feet from the ground, is nine feet. Charcoal-burners have a predilection for the wood which would not meet with approval in Japan; and it is much used for anchors and tool-helves, being very close and fine-grained. It is too heavy to float, when green, but dried it is not particularly weighty. The sap may be collected at all times, except when the fruit is on the trees, from Pyatho to Taboung — the first three months of the English year. Then it is thin, and does not produce such a brilliant polish. The collection is simple enough. Incisions are made in the stem, and the sap trickles into bamboos placed to catch it; when it is to be kept any time there must be a depth of two or three inches of water on the top, otherwise it would dry up and become solid. The water, however, does not improve it. The best varnish — thit-see a-young tin — is that which has been just drawn from the tree; second quality contains twentyfive per cent. of water, and inferior as much as fifty.

The articles made are chiefly drinking-cups and betel-boxes, consisting of a cylindrical inner case, in which are fitted two or three trays for holding the lime, betelvine leaves, cutch, nuts, and other ingredients for betel-chewing, the whole covered by an outer lid reaching to the bottom of the inner case. Ordinary kohn-itt betel-boxes are three or four inches high and two and a half to three in diameter. Articles of the same shape are made of all sizes up to a couple of feet or more in height, these last being used for holding clothes and women's working materials. The bee-itt, ladies' toilet-boxes, are often the most delicate and carefully worked. The actresses always carry splendid specimens about with them to contain their combs, oils, scent, the white lead and thana'kha for the complexion, and a few tresses of false hair. Other articles are the pyramidal tamin-sa oht, used for carrying food to the monasteries and the pagodas, fashioned somewhat in the style of the sacred spires of five or seven roofs, and of all sizes, from eighteen inches to the huge things, the height of a man, which the king sends under the royal umbrellas to the Arrakan Pagoda in Mandalay. Byat, platters of all sizes, up to the gigantic article as big as a small table used for dishing up the family dinner, are always made of wood, like the Japan ware. The Burmans do not think much of them, and they are therefore almost always quite plain — either black or red. There is no inferiority to the Japanese in capacity for making fantastic designs; and the future may see great developments in this branch of the art.

The process of manufacture is as follows. Little basket-like boxes of the required size and shape are woven of fine bamboo wicker-work, upon round pieces of wood prepared and firmly fixed for the purpose. The bamboos used, which are usually split and cleaned by the women and children, are of different kinds, that called myin wah being the most highly esteemed. Similarly the yet, or woven basket-work, is of different degrees of excellence, the kyoung lehn yet being the finest. Some of the Shan and the better work men at Nyoung Oo are celebrated for the delicacy of their work. On this is then evenly applied with the hand (so that the slightest particle of sand or dirt may be at once detected) a coat of the pure wood-oil. This is then put away to dry — not in the sun, which is apt to pucker and blister it, but in a cool, airy place. Some careful workmen have often an underground room prepared specially for the purpose. After three day s it is quite dry, and is then liberally and evenly covered over with a paste called thahyoh. This is made in a variety of ways; the commonest being a mixture of finely sifted teak sawdust, thit-see, and rice-water. But instead of the sawdust, or often mixed with it, finely ground bone-ash, or paddy-husk burnt and strained through a cloth, is kneaded in. In the coarse common articles for everyday use, tempered clay and some other materials are often used: but this, being thicker and less puttylike, is apt to scale and come off in flakes, especially if at all roughly used. This thahyuh is allowed to dry quite hard, and the box is then fastened to a rude lathe, which is turned with one hand while the other is employed in polishing the box. This smoothing-down is effected with sifted ashes, or sometimes with a piece of silicious bamboo, which is as good as fine sand paper. When this is done the box is ready for a fresh coat, which almost invariably consists of a mixture of finely powdered bone-ashes and thit-see. This, after drying, is polished in the same way as before. We have now a box of a brilliant glossy black, in itself very pretty, and fit for use anywhere. But this is only the end of the first stage: none but the byat and common wooden platters are left in this state.

The ground-color of almost all the cups and boxes is red; but some of the black wood-oil is required to rise through it and define the pattern. This is effected in a most ingenious way. The black box is put on the lathe again and turned round, while the lines and spots, and the form of the black pattern generally, is sketched on with a sold, or split style, charged with thit-see. The drawer has no guide but his eye. There is no preliminary mapping out, yet a practised hand will never make a mistake and spoil a box. The fresh thit-see thus put on stands up above the general level of the surface. The whole box is now covered with red paint; and when this is dry the box is put on the lathe again, and the operator turns it round and rubs it steadily with ashes. By this means the red paint is removed where the lines of Chitsee rise above the general surface, and the black pattern stands out clearly on the red ground. A quaint chequer-work is also always produced, where the slightly projecting edges of the bamboo wicker-work raise the black wood-oil through the vermilion layer. Still, however, we are not finished. No box is complete without three colors: and this last shade is applied in an equally simple and effective way. The desired pattern is incised with a graving-tool called a kouk — often nothing more elaborate than a pin firmly tied to a piece of stick. Then the whole box is coated over with the new color, and this is in its turn polished off on the lathe till nothing remains but the lines of the engraved pattern. If another color is required, a similar process is gone through.

When the design is complete a clear varnish of another vegetable oil, called shan-shee, with a little thit-see in it, is applied, and, if necessary, a high polish is effected by rubbing with the powdered petrified wood found so useful in imparting a gloss to the alabaster images. The patterns are none of them very intricate, and are handed down as heirlooms from father to son, so that the same family will have all its ware made on a few clearly defined models, and there is no fear of "spoiling a set." The invention does not as yet soar beyond scroll-work and line-figures of infinite variety; but should a foreign demand spring up there would be no lack of skill to meet it; just as the Rangoon tattooers have taken to copying pictures out of the Graphic on English sailors' breasts. The supreme test of excellence in the manufacture is when the sides will bend in till they touch without cracking the varnish or breaking the wicker-work. Connoisseurs can discriminate between Shan, Nynung Oo, and the ware of other places by the shadow thrown on the inside (which is varnished plain red or black) when the cup or box is held at an angle of forty-five. Three colors only are used besides the black ground. work; but variety is produced by varying their intensity of shade. They are red, green, and yellow. Red is prepared from finely ground vermilion mixed with shanshee. The Nyoung Oo people prefer a vermilion called kinthapadee yuè, prepared by themselves, to that procured from China and used elsewhere. The home-made stuff seems to be much brighter in tint. Maya-nee — red ochre — is used only with the coarsest work. For yellow, yellow orpiment is ground down and washed several times until a pure, impalpable powder remains. This is mixed with a pellucid gum, and when required for use worked up with shansee. Green is obtained by adding finely ground indigo to the yellow orpiment until the required tint is obtained. Red and yellow are, however, always the predominating colors.

The thit-see is turned to a variety of other uses besides the manufacture of lacquer-work. Applied to wood, or to marble and clay images, it enables them readily to take on gilding. It is used to varnish all the umbrellas in the country, and makes them as impervious to rain as if they were made of wood, while it protects the palmleaf against the rays of the sun, which otherwise would burn it as brittle as an egg-shell. All the racing and war boats in the country are painted with it, and the best caulking in the world could not make them more watertight. Finally, boiled down thick it furnishes the material for delineating the square, heavy characters of the sacred Kamma-Wah-Sah, the ritual for admission to the Sacred Order.

The oil is usually put in the sun for a short time before being used, and is at first of a light-brown color, soon darkening into a brilliant black. It seems to be of a particularly mordant character, and raises huge blisters on the hands of some people, leaving marks of the ashy-white color suggestive of leprosy. Hence strangers suspected of being afflicted with the terrible malady always declare they are thit-see workers; and many people avoid these latter, in case they might find they had been holding communication with an outcast. A lotion composed of tine teak-wood sawdust, mixed with a little water, is used as a cure for the blains. Many of the workmen periodically swallow small doses of the wood-oil, under the impression that it acts as a preventive. The capriciousness with which the varnish acts, leaving some men quite unharmed and punishing others severely, has given rise to a proverb in Nyoung Oo —

Thit-see is a witness *
To a burgher's fitness:
If bad he's marked an outcast,
If good not lung can doubt last.

- Shway Yoe.

Omituisia arvomerkkejä.

Keski-Uusimaa 81, 25.7.1929
Savo 174, 31.7.1929

Kaikissa maissa, niin sivistyneissä kuin sivistymättömissäkin, on eri ihmisten arvoa ja asemaa yhteiskunnassa aina pyritty ulkolaisin merkein osoitamaan. Kiinassa, jonka kulttuuri on monta tuhatta vuotta vanha, on paljon omituisia anvomerkkejä käytännössä. Siellä ensinnäkin pukujen väri ilmaisee ihmisten yhteiskunnallisen arvon. Keltainen on väreistä hienoin ja keisari, aikana vain keisarillisen, perheen jäsenet saivat käyttä[ä] keltaisia vaatteita. Vielä nytkin, vaikka Kiina on tasavalta, kunnioittaa kansa suuresti keltaista väriä. Ennenaikaan kiellettiin tavallisesti ihmisiä hengen menettämisen uhalla käyttämästä keltaisia vaatteita. Sininen väri on korkeiden virkamiesten väri - alemmalla as[t]eella olevat käyttävät punaista, ja ne, joilla ei ole mitään yhteiskunnallista arvoa käyttävät mustia, ruskeita tai epämääräisen värisiä vaatteita.

Kiinan mandariinien eri arvot ilmenevät myssyjen napeista. Niitä on 9 eri luokkaa. Hienoimman luokan mandariinit käyttävät rubiininappeja, sitten seuraavat kulta- ja edelleen helmiäis-, kristalli-, turkoosi-, safiiri-, koralli- ja bopeanapit. Turkissa hevosenhäntä aikoinaan oli hieno arvomerkki. Hevosenhännät olivat kalliita. Kenen kannatti, hänen vaatetukseensa kuului hevosenhäntä, kuvernöörillä oli kaksi ja paskalla kolme. Turkin suurivisiitillä oli kolme hevosenhäntää, joita hän ei kuitenkaan itse kantanut, vaan jotka kiinnitettiin hänen edellään kannettavaan lippuun.

Persiassa turkikset ovat arvomerkkejä ja vain ylimmillä virkamiehillä on lupa käyttää niitä. Noin viisi sataa vuotta sitten muuan mies nimeltä Kovalh nousi kapinaan Zahak-tyrannia vastaan. Hänellä ei ollut lippua, mutta hän kohotti jonkun turkestanin nahan tankoon yhteiseksi merkiksi ja siitä lähtien turkiksia pidetään korkeassa arvossa.

Turkissa vihreä väri on hienoin. Tarun mukaan enkeli Gabriel ojensi ensimmäiselle sultaanille vihreän lipun, joka vieläkin on tallella ja otetaan esille vain, kun maa jouuu suureen vaaraan.

Eteläisillä valtamerensaarilla ovat höyhenistä sidotut takit korkeimpia arvomerkkejä. Ne ovat erittäin kauniit ja taiteellisesti tehdyt, mutta myös tavattoman kalliit. Muutamilla saarilla kaikkein ylhäisimmät käyttävät lavalangoista valmistettuja takkeja. Mutta ne ovat sangen hankalat käyttää, joten ylhäisenä olo siellä - kuten ehkä muuallakin - on verraten raskasta.

15.1.22

The Changes of Color in the Chameleon.

The Living Age 1737, 29.9.1877

From Chambers' Journal.

From very ancient times the curious changes of color which take place in the chameleon, and its supposed power of living on air, have been the wonder of the uninformed, and have furnished philosophers and poets with abundant material for metaphor. The belief that the animal can live on air has been exploded long ago, and was no doubt due to its power of long fasting and to its peculiar manner of breathing. It is only quite lately, however, that any satisfactory explanation has been given of the apparently capricious changes which take place in the color of the chameleon; the latest researches on the subject being those of M. Paul Bert, the French naturalist, which have been described in a recent paper by M. E. Oustalet. As most of our readers are no doubt familiar with the appearance and figure of this curious reptile, and as descriptions of it may be found in any encyclopedia or elementary work on natural history, we do not consider it necessary to repeat them here.

Many and various theories have been proposed to explain the changes of color which chameleons undergo; changes the importance of which have been greatly exaggerated. It is generally believed that these animals have the power of assuming in a few seconds the color of any neighboring object, and that they intentionally make use of this trick to escape more easily from the sight of their enemies. But this opinion is erroneous; and experiments conducted with the greatest care have proved that chameleons are incapable of modifying their external appearance in anything like so rapid and complete a manner.

The first probably to give any rational account of the causes of the puzzling changes of color in these reptiles was the celebrated French naturalist, Milne-Edwards, about forty years ago. After a patient and minute examination, hc discovered that the coloring matters of the skin, the pigments, are not confined as in mammals and birds, to the deep layer of the epidermis, but are partly distributed on the surface of the dermis or true skin, partly located more deeply, and stored in a series of little cells or bags of very peculiar formation. These color-cells are capable of being shifted in position. When they are brought close to the surface of the outer skin, they cause a definite hue or hues to become apparent; but by depressing the cells and causing them to disappear, the hues can be rendered paler, or may be altogether dispersed. It is noteworthy that the cuttle-fishes change color in a similar manner.

Underneath the color-bags (or chromoblasts as they are called) of Milne-Edwards, Pouchet, a recent inquirer, has discovered a remarkable laver, which he calls cæruscent, and which possesses the singular property of appearing yellow on a clear, and blue on an opaque background.

M. Paul Bert, within the last two years, has by his researches thrown still further light upon these curious changes, and upon the mechanism by which they appear to be accomplished. He endorses most of the results of Milne-Edwards and subsequent inquirers, but has carried his observations much further. It would be out of place here to give a detailed account of the methods by which M. Bert has arrived at his conclusions. Suffice it to say, that by a series of careful experiments, fie has discovered that these changes of color seem to be entirely under the control of the nervous system, and that the chameleon can no more help their taking place than a toad can help twitching its leg when pinched. By acting in various ways upon the spinal marrow and the brain, the operator can send the color to or withdraw it from any part of the body he pleases. Indeed a previous observer was able to cause a change of color in a piece of the skin of the animal by acting upon it with electricity; and M. Bert has proved that even in the absence of the brain the usual changes can be produced by exciting the animal in any way; thus showing that they are due to that class of nervous action which physiologists name reflex, and of which sneezing is a good example. M. Bert has also made some interesting experiments on the animal while under the influence of amesthetics and during sleep. It was formerly known that in the litter case, and also after death, the chameleon assumed a yellowish color, which under the influence of light became mare or less Clark. M. Bert has found that exact:y the same effects are produced (luring anxsthesia as during natural sleep, and that light influences not only dead and sleeping chameleons, but that it modifies in a very curious fashion the coloration of the animal when wide awake. The same result is produced when the light is transmitted through glass of a deep blue color, but ceases completely when red or yellow glass is used. To render these results more decisive, M. Bert contrived to throw the light of a powerful lamp upon a sleeping chameleon, taking care to keep in the shade a part of the animal's back, by means of a perforated screen. The result was curious: the head, the neck, the legs, the abdomen, and the tail became of a very dark green; while the back appeared as if covered with a light-brown saddle of irregular outline, with two brown spots corresponding to the holes in the screen. Again, by placing another animal, quite awake, in full sunlight, but with the forepart of its body behind a piece of red glass, and the bindpart underneath blue glass, M. Bert divided the body into two quite distinct parts — one of a clear green with a few reddish spots, and the other of a dark green with very prominent spots.

From his researches as a whole, M. Bert concludes: 1. The colors and the various tints which chameleons assume are due to changes in the position of the colored corpuscles, which sometimes, by sinking underneath the skin, form an opaque background underneath the czrulescent layer of Pouchet; sometimes, by spreading themselves out in superficial ramifications, leave to the skin its yellow color, or make it appear green and black. 2. The movement of these color-bags or chromobiasts are regulated by two groups of nerves, one of which causes them to rise from below to the surface, while the other produces the opposite effect.

As to the effects produced by colored glass, they no doubt result from the fact that the colored corpuscles, like certain chemical substances, are not equally influenced by all the rays of the spectrum, the rays belonging to the violet part having alone the power of causing the color-bags to move and drawing them close to the surface of the skin. This exciting action of light on a surface capable of contraction, an action which hitherto has only been recognized in the case of heat and electricity, is one of the most unexpected and curious facts which in recent times have transpired in the domain of physiology. Hence M. Paul Bert's researches are likely to prove of far more value than merely to explain the changes of color which take place in the chameleon. He hopes especially in carrying out his researches to discover the reasln of the favorable in:luence on health which is exerted by the direct action of light oft the skin of children and of ptrsons of a lymphatic temperament; and this may lead to some very important practical results in the treatment of disease. In the mean time he has done much to clear up a very puzzling and very interesting fact.

The Extraction of Indigo from Woad.

Chapter XX. On the Cultivation of Woad, and the Extraction of Indigo from it.
Chymistry applied to Agriculture.
By John Antony Chaptal, court of Chanteloup, Peer of France, Member of the Institute, &c.
Translated from the Second French Edition.
Boston: Hilliard, Gray, and co.
1836

ARTICLE III.
The Extraction of Indigo from Woad.

Before the discovery of indigo, the isatis tinctoria was cultivated for the manufacture of woad cakes in nearly all parts of Europe: the blue color obtained from this plant was the most durable one known, and the commerce in woad was immense.

The neighbourhood of Toulouse, and particularly Laraguaisi furnished an enormous quantity of woad, and the cakes prepared there were everywhere considered of the best quality this section of the country became so rich, that it was called the pays de cocagne, from the name of its manufacture; and this epithet has passed into a proverb, and is used to designate a very rich and fertile country.

Two hundred thousand packages of cakes were exported every year by the port of Bordeaux alone: so great was the want of this commodity amongst foreign nations, that, during the wars we were obliged to sustain, it was always agreed that the commerce in it should be free and protected, and that foreign unarmed vessels should be allowed to come into our ports to obtain it.

The finest establishments at Toulouse have been founded by the manufacturers of woad cakes; when Charles V. wished to secure the ransom of Francis I., who was a prisoner in Spain, he required that the rich Beruni, a manufacturer of this article, should become surety for it.

* This calculation is founded upon the supposition that 100 lbs. of woad leaves yield 3 oz. of indigo; for the cakes, which contain all the indigo of The plant, represent only ½ of the weight of leaves employed in their manufacture.The indigo, which is an extract from a plant of the same name, first made its appearance in Europe early in the seventeenth century; and the injury which the cultivation of woad would receive from it, was foreseen from the first moment of its introduction. An equal weight of the pure coloring principle of indigo contains about 165 times more coloring matter than the woad cakes do. Thus 15 lbs. of good indigo, such as is usually employed in dying, are equal, in point of coloring matter, to 2625 lbs. of the woad cakes. From this some judgment may be formed of the difficulty of producing a deep dye with the woad alone; for, besides the inconvenience of managing such an enormous mass of matter in a dye, the colorer must be very skilful in his art to draw from it a uniform and wellsustained color. It is not then astonishing, that the use of indigo should have superseded that of the cakes, and that consequently the culture of woad should be much diminished.

Henry IV., who foresaw the depreciation of this principal branch of French agriculture, wished to arrest the evil in its infancy, and by an edict of 1609, he pronounced the penalty of death against all those who should make use of "the false and pernicious drug called indigo." The same severity was adopted by the governments of Holland, Germany, and England, though they had not the same interest in the subject: the law was, however, maintained and executed only in the last of these kingdoms.

This source of prosperity may easily be revived in France, not however by increasing the manufacture of woad cakes, of which we cannot extend the use, but by extracting from the leaves of the woad, indigo which shall be equal to that brought from India.

The long war of the revolution deprived us of navigation, and our colonial supplies of various articles became consequently very dear and incomplete: in this state of dietress and privation, government made an appeal to our learned men, upon the subject of attempting to obtain from our own soil a portion of the supplies, which had before been brought hither from the New World. The efforts made were not unsuccessful, and in a short time indigo was made from woad, which was not excelled by the best of that brought from Guatimala.

Three large establishments for the manufacture of this article, were established at the expense of government; one at Albi, another in the neighbourhood of Turin, and a third in Tuscany. These establishments prospered for several years, and the processes for obtaining indigo were much improved in them; but the changes which took place in 1813, deprived the manufactories of protection; the establishments were sold by the respective governments, and thusthis profitable branch of industry, which would have continued if the establishments had belonged to individuals, has disappeared. M. Rogues, a skilful, dyer at Albi, has alone maintained an establishment that he had formed, and during ten years he has made use of no other indigo for coloring than that which he prepared himself from woad.

At this time, nothing more is necessary than to make known those simple and advantageous, methods by which this branch of manufacturing industry may be conducted. I shall however observe, that it is more profitable to the proprietor to extract the indigo from woad, than to convert the leaves of the plant into cakes.

Hellot assures us that it had been proved in his time, that four pounds of good Guatimala indigo yielded as much coloring matter as a package of Albigense woad cakes weighing two hundred and ten pounds.

* These results appear to me exaggerated. I place dependence only on those of the experiments which have been made under my own inspection.At Quiers, in Piedmont, where the dyers are very skilful, it is calculated that three hundred pounds of the cakes afford as much coloring matter as six pounds of the best indigo.*

According to the experiments of M. Giobert, there is no doubt that it is more profitable to extract indigo from the woad leaves, than it is to convert them into cakes.

The indigo which is obtained in America from the anil, in Indostan from the nuricum, and in Europe from the isatis, does not differ sensibly in character: the care which is taken in the manufacturing of it, and the state of the plants, which many circumstances may cause to vary during vegetation, can alone produce some changes in its color, and cause its value in commerce to vary.

This difference in the quality and price of indigo, may arise in some degree from the different methods adopted for extracting it. In America it is made to ferment cold; in Java in the form of a decoction; and generally in India, since the discoveries of the learned Roxburgh, by infusion.

Prior to the year 1810, a great number of processes had been employed in France, Germany, Italy, and England, for obtaining indigo from the isatis, without any general method having been established. It was at this period that the French government, urged by the necessity of obtaining a coloring substance which the state of the country would not allow them to import but at a great expense, formed establishments for the extraction of indigo from woad, and offered encouragement to those who would undertake the business.

I shall not describe all the methods that were practised during the three years following 1810. I shall confine myself to pointing out that which is the simplest, least expensive, and most expeditious; and which the most constantly furnishes indigo of a uniform and good quality.

No other apparatus is required in this process, than a boiler for heating water, one tub for leaching, a second for a receiver, and a bucket in which the water charged with indigo is beaten to precipitate the fecula.

The manner of operating, as described by M. Giobert, author of the process, is as follows.

Begin by heating the water till it boils. In the mean time, place the leaves of woad (which have been cut according to the signs of their fitness pointed out in the process for making woad cakes) in the tub, taking care to arrange them so that they shall not be anywhere crowded, and that the distribution shall be equal throughout the whole inside of the tub. Cover the tub with a hurdle of osiers, or with a coarse net, and throw over it a coarse woollen cloth.

When the apparatus is thus arranged, pour boiling water over the leaves till every portion of them be moistened, and the water stand upon the top. Remove the woollen cloth and the net, and stir the leaves gently, that the water may be equally diffused through them, and may not descend to the bottom of the tub, where it will not act upon them.

Allow the leaves to rest during five or six minutes, and then draw off the liquid through the stop-cock of the tub, causing it to pass through a sieve into the receiver. If the color of the liquid be too light, not having the depth of wellcharged new white wine, the flow of it must be stopped, and that which has run out is to be again turned upon the leaves, and allowed to remain until it has acquired the appearance just mentioned.

As soon as the liquor is drawn'off, turn a fresh quantity of warm water over the leaves, and allow it to. act upon them for the space of fifteen minutes. During this second infusion, remove the water of the first leaching into the bucket called the beater, and cause that of the second leaching to flow into it, thus mixing the two.

As the leaves are not by these two leachings exhausted of all their indigo, cold water must now be turned upon them; and this may remain an hour or two. The liquor of this third leaching is kept by itself, to be treated with lime-water. After it has been drawn off, the leaves may be strongly pressed, to obtain from them all the juice which may serve to deepen dyes, made of the cakes, for obtaining light blues. M. Pariolati, dyer at Quiers, has found this an excellent article for giving a fine blue to silks. But it can be employed only when the dye-house is in the neighbourhood of the indigo manufactory.

The leaves may also be bruised after having had the two first waters passed through them, and be formed into cakes in the usual manner. These cakes will not be of the first quality, but they are useful as a fermentable substance, and produce in this way the same effect upon the woad dye which is prepared for coloring. This has been proved by experiments conducted upon a large scale, and these cakes are in demand at a price one third less than those made from leaves containing all the indigo.

The process which I have described for obtaining indigo by a hot infusion, is more simple than any other mode. But as the indigo is more or less formed or oxidated in the leaves, according to the period of their vegetation, it is not at all times equally soluble, and especially when it is (as in leaves that have passed their maturity) in the state of blackish blue. It is therefore necessary, when this process is to be followed, that the leaves should be gathered between the sixteenth and eighteenth day of their growth, and before their borders become shaded with blue, as, when that takes place, the indigo has arrived at a degree of oxidation which prevents it from being completely dissolved.

If the method of obtaining indigo by fermentation be less advantageous than the one I have already described, it is capable of being employed upon leaves which have arrived at a higher degree of maturity, and I shall therefore give a short description of it; and I feel the more inclined to do this, because in small manufactories this process is on some accounts preferable to the other.

When indigo is to be obtained by fermentation, a tub is about three fourths filled with woad leaves, pressed down so that they shall remain immersed in the water, which is thrown over them of the temperature of 15° or 16° Réaumur, (= 65° to 68° Fahr.) The heat of the manufactory should be at the same degree. Fermentation will in a short time be evident by the appearance of bubbles, which rise and break upon the surface. This should be terminated in eighteen hours. The period when it should be stopped, may be known by the color of the water being that of a yellow lime, and by the formation, upon the top, of thin, greenish, and iridescent pellicle: When in this state, the liquor is to be drawn off into the receiving tub, and changed from that into the beating-vessel.

In both methods, it is necessary to precipitate the indigo which is held in solution or in suspension in the water; and this operation, which is called beetling or beating, is needed to give to the indigo the blue color which belongs to it.

There are two methods of beating which are practised, one being applicable to the liquor obtained by infusion, and the other to that procured by fermentation. I shall here describe both of them.

As soon as the heat of the liquor, which has been passed through the leaves in the manner described in the first process, has fallen to between 120° and 111° Fahrenheit, beating is commenced. The instrument employed for this purpose is a broom, or a handful of willow twigs from which the bark has been peeled. With this the liquor is forcibly agitated, the quickness of the motion being gradually lessened as the infusion cools.

As soon as a white foam rises upon the top, beating is suspended, but is resumed again as soon as the foam subsides, and assumes a fine blue color. If the liquor is too hot, or has been too much beaten, the blue borders upon the violet; otherwise it is the color of the sky. Beating is continued at intervals, allowing the foam to exhibit its color. When by rest it appears only of a pale blue, the beating is continued without any interruption. When the foam remains white, or changes to a reddish color, the operation draws to a close.

By beating, the color of the water, which was that of white wine, becomes more and more brown. The beating is ended, when upon pouring the liquor into a glass vessel, it appears of a uniform brown. Should a tinge of bluish green be perceived near the sides of the glass, the beating must be continued. Upon the whole, it is better to beat it too much than too little. The time requisite for performing the operation upon the liquor drawn from three hundred pounds of leaves, is generally about an hour and a half.

When the liquor is at length left undisturbed, the indigo is deposited in grains at the bottom of the bucket. Eight or ten hours are sufficient for this purpose. The liquor is then to be drawn off and the indigo dried, in order that all the water which could cause it to ferment may be separated from it.

In this operation, no foreign substance by which the indigo can be adulterated is employed; and it is therefore obtained as pure as the best of the imported kind.

When the leaves of the isatis are operated upon with cold water by maceration, fermentation, or any other method, the indigo cannot possibly be separated by beating. The reason of this is, that the elevation of the temperature is not high enough to cause the combination of oxygen with the indigo, and thus to give it the color and other characteristics which render it so valuable in the art of dyeing.

The substance which in these cases is most usually employed to produce precipitation, is lime-water; but as this process requires much attention, I shall describe particularly the use and action of this ingredient, that the manufacturer may be the better able to direct it.

After all the water which has been prepared in the course of the day, has been collected in a tub, the operation of precipitating the indigo from it is commenced in the following manner.

The liquor is beaten almost uninterruptedly, and without any particular method, for half an hour, the operation being interrupted only to allow the foam to subside and exhibit its color. When the liquor begins to appear of a deep brown, five or six pints of lime-water are thrown into it. The beating is continued, and the lime-water added at intervals, till the liquor exhibits a greenish yellow, begins to grow turbid, and to show in a state of suspension the substance which is about to be precipitated. The quantity of lime-water which is necessary to be used in this process, when added at intervals, in the manner here directed, is never more than one tenth of the volume of the liquor with which it is mixed; but if the lime-water be all thrown in at once, the lime more than saturates the carbonic acid of the liquor, and the carbonate thus formed, being precipitated, mixes with and weakens the indigo.

In the last described method of producing precipitation, a large quantity of air is introduced into the liquor by beating. This combines with the indigo, rendering it insoluble in water, and forming at the same time a great deal of carbonic acid. The admixture of a small quantity of lime-water after each beating, produces an acidulated carbonate, which remains in solution in the liquor, and a kind of soapy combination with the extractive and vegetoanimal portions of the plant, so that the indigo disengaged from its several combinations can be oxidated and precipitated more easily, and in a state of greater purity.

The first result of this process appears to be a much smaller quantity of indigo than is obtained by employing a volume of lime-water equal to that of the liquor. But the indigo obtained is purer, being equal in quality to the kind which bears the highest price in commerce. This process may be employed in all cases; even when the infusion of leaves is at 122° Fahr. The length of time during which beating must be continued in those cases in which it can alone be employed, is much diminished; and yet the indigo obtained is equally as pure.

When all the indigo has been precipitated, the water is drawn off. The precipitated fecula requires some further operations to bring it to the requisite degree of perfection.

The precipitated indigo still contains a greater or less portion of particles which are not sufficiently oxidated, and consequently it has neither the color nor properties which characterize good indigo. Prolonged beating would, it is true, bring these portions to the desired state; but it would likewise cause those particles which had been first oxidated to imbibe an additional quantity of oxygen, by which their color would bo too much deepened, and indigo of this quality would be rejected in commerce as burnt; it is therefore better to give to the imperfectly oxidated particles the degree of oxidation required, in the following manner.

Stir the liquid fecula strongly, and throw over the whole mass a volume of warm water, double that of the fecula; by this means the perfect indigo will be precipitated, and the other will be held in suspension by the water. This water is to be drawn off and treated with lime-water, by which the green color becomes of a yellow brown, and the indigo being rendered insoluble is precipitated.

It sometimes happens, that the liquor which has been treated with lime-water, and beaten, if the operations have not been well conducted, still retains a portion of indigo in solutiori; this can be ascertained by adding lime-water to a small portion of it, to see if it will become brown.

That indigo may have the purity and brilliancy belonging to it, it must be twice washed, once in cold, and once in hot water.

To perform the first washing, collect all the fecula in an earthen pan, and pour over it four or five times its own volume of very pure water; stir the fecula very carefully, raising it with the hand in the water, and let this be repeated occasionally for several hours, after which it may be allowed to settle; when the fecula is entirely deposited, turn off the water and add more, and let this be repeated till the water is no longer colored. As washing in cold water will not remove all the foreign substances which injure indigo, it is necessary to have recourse to hot Water; but to perform the last washing economically, it is necessary to collect the product of several cold washings, and to operate upon large quantities.

Before commencing the washing in hot water, the fecula receives a certain degree of consistency by compression, after which it is placed in a tub and allowed to ferment during ten or twelve days, till it exhales a strongly acid odor; by this means a mealy portion, which escapes the action of cold water, is decomposed. The process of washing in hot water is next performed in the same manner as I have directed for the cold washing; the operation may, however, be shortened, and very nearly the same results obtained boiling the indigo in water, taking care to stir it the whole time.

To bring indigo to the greatest degree of purity, and to give it the forms which it ought to have in commerce, it must undergo certain other processes.

The washings in water remove all those substances which are capable of being dissolved; fermentation decomposes certain principles which are foreign to the nature of indigo; but there still remain in it, in greater or less quantities, , certain earths, which, according to their several proportions, adulterate it, and which should therefore be extracted; for this purpose the indigopaste is thrown into a vat furnished with two or three stop-cocks situated at various heights, and is there diluted with a large quantity of water. The indigo is carefully mixed with the water; so that all the particles of it may swim separately in the liquid; the upper stop-cock is then opened and the water drawn off into a bucket; the second is then opened, and afterwards the third, and the indigo which the water carries off is allowed to precipitate itself.

As the earthy deposit which is formed at the bottom of the vat contains some indigo, it is washed in a great quantity of water, which is drawn off in the same way as the first, this being repeated till no more indigo can be obtained from the deposit.

Nothing more is necessary to be done to the paste of indigo when it has been freed from all foreign substances, than to separate from it the water which renders it of the consistency of porridge; and for this purpose I shall propose a method which I have practised successfully in some analogous operations. Line the inside of a basket with a coarse bag of woollen or tow cloth, throw the paste into the bag, and leave it to drain. When filtration is ended, cover the paste with the upper end of the bag, which had been turned down, and place upon it a large round wooden dish, which will fit the inside of the basket, and upon this put a weight, which is to be gradually increased till the fecula acquires a great degree of closeness of texture: if the operation be well performed, the mass can scarcely be broken by the hand. This cake is afterwards cut into squares, and dried at a temperature of between 30° and 40°. (Probably of Réaumur, and equal to 99° and 122° of Fahrenheit.) The preparation of indigo is afterwards terminated by an operation which is called sweating.

M. de Puymaurin states, that the most favorable time for operation is when, "upon breaking an angle of one of the cubes, a dry noise is heard." When this is the case, the cakes of indigo are put into a large barrel till it is full, when the top is covered, without having the head fastened in. The indigo remains in this cask three weeks, during which time it heats and gives out a disagreeable odor, it transpires a portion of water, and becomes covered with a white down. At the end of the specified time the surface of the indigo is rubbed and smoothed, and it is then prepared for sale.

The indigo of woad, if prepared with all the care here described, is equal, if not superior to the best of that brought from Guatimala; its effbcts are the same in dying, and it differs from that neither in nature nor in characteristics. By the manufacture of this kind of indigo in France, a new source of agricultural prosperity may be bestowed upon her.

It now only remains to be determined whether or not the farmer can with advantage turn his attention to the manufacture of woadindigo; for without this, though the discovery of the possibility of extracting indigo from the isatis would be in itself an important one, it would be of no use to the nation.

If it should be ascertained that this manufacture would be advantageous in peaceful times, it certainly must be regarded as of great importance at those periods, when a maritime war, by increasing the difficulty of procuring foreign indigo, shall cause the price of it in commerce to be greatly enhanced. Besides, if good king Henry IV. was willing to pronounce penalty of death upon the importers of indigo, in order that he might preserve to agriculture the manufacture of woad cakes, why should not government prohibit the importation of the same article as soon as the manufacture of it from woad is established? France would, by such a course, be endowed with a product of the value of at, least 20, 000, 000: she would be placed above the chances of war, would retain within herself an immense sum which passes into foreign hands, and would furnish employment to the numerous population of the fields.

But let us see if, in the actual state of things, the manufacture of woad indigo can compete with. the importation of it.

An acre of land (old Paris measure) produces at the various cuttings 7½ tons of woad leaves. At the lowest calculation, the product of an acre in leaves, especially in the south, may be fixed at 7½ tons, and that of the indigo which they will yield, at three ounces per hundred weight, will make nearly 28 lbs. of indigo per acre.

The value of good indigo may be estimated at nine francs (a franc being about eighteen or nineteen cents), and this will make the value of the indigo from an acre of land to be 252 francs. Let us now compare this with the value of wheat raised upon the same land: the quantity of wheat may be estimated at about 12 hectolitres ( = 34 bushels), and the price at eighteen francs; this will give 215 francs per acre. We will now calculate and compare the expense attendant upon the cultivation of each plant.

The preparation of the ground by tillage and manures is the same for the seeds of bothplants, but the expense of cultivation and of hand-labor differ essentially.

Weeding by the hand is sufficient for wheat, and the expense of this is very trifling, whilst the same operation when performed upon woad, to which it is much more necessary, must be done with instruments which will loosen the earth, and root out all the noxious herbs: the expense of this cannot be estimated at less than twenty-five francs.

The cutting of the leaves, which must be repeated five or six times, amounts during a season to about fifty francs.

The expenses attendant upon the manufacturing processes cannot be estimated at less than two francs per pound of indigo; this will make fifty-six francs.

The seed necessary for sowing an acre costs about twelve francs, but by leaving the roots in the ground to produce seed, this may be reduced to six francs.

Thus, from the gross product, in indigo, of two hundred and fifty-two francs, there must be deducted
for weeding ... 25 francs
" cutting ... 50 francs
" expense of manufacturing 56 ... francs
" seed ... 6 francs

137 francs

Deducting this from 252 francs, there will remain a net product of 115 francs, (equal to between $21 and $23.)

The expenses attendant upon cultivating and harvesting wheat are not so great as those for woad; for, stating the price of seed at 1/8 of the value of the product, and the weeding, reaping, gathering in, and threshing, at 1/6, the whole expense would be but sixty-three francs, and this reduces the net value of the product to one hundred and sixty-three francs; the balance would thus be in favor of the cultivation of wheat.

It must, however, be remembered, that stated the value of the product in indigo at the lowest. M. de Puymaurin has obtained five ounces, and that of a good quality, from 1 cwt. of leaves; at this rate an acreof land would yield forty-seven pounds of. indigo, instead of twenty-eight; and this sold in commerce even at the low price of six francs, would produce two hundred and eighty-two, instead of two hundred and fifty-two francs. An additional profit likewise arises from the cakes into which the leaves are formed after having been nearly exhausted of their indigo; these may be sold with advantage to the dyers, or if there be no demand of this kind for. them, they form a better and more abundant manure than that which is yielded by the dried stalks and leaves of wheat.

I may likewise add, that in those establishments which are in the vicinity of dye-houses, the indigo paste, which produces the same effect as the indigo cakes, may be sold, and thus the manufacturer may save himself the performance of the three principal operations, filtration, drying, and sweating; and the dyer will be spared the trouble of breaking the cakes. I am even assured, that by making use of the fecula, instead of the indigo, which has gone through all the processes, the dyer can diminish the quantity of woad cakes which he uses in the composition of his coloring liquor.

It seems very evident to me that the introduction of this valuable branch of industry into our country, needs only some slight encouragement on the part of government; the only one I would ask is, the augmentation of the present duty upon imported indigo of ten francs per kilogramme, (about 80 cts. per lb.) Without this, the agriculturist can hardly determine to undertake a manufacture, which, though promising advantage, is new to him, and, if badly conducted, presents, like all others, danger of loss.

I shall conclude this chapter by inviting all agriculturists who are zealous for the progress of their art, to undertake the cultivation of the isatis tinctoria upon a very small portion of their ground, and in a soil suited to it, for the purpose of making indigo; they may in this way familiarize themselves with the processes of the manufacture so as to be able to enter into it upon a large scale with confidence.

The isatis grows and prospers in all climates; that which is raised in the northern departments of our country has been known to yield five ounces per cwt. which corresponds to the quantity afforded by it in the south.

It would be wrong to be discouraged in any undertaking by the failure of a first attempt; neither in cultivation nor in manufacturing can one hope to arrive at perfection at once; time, experience, and especially close observation, can alone enable us to overcome all obstacles, and so to manage our concerns as to be always sure of success. The experiments which I recommend are not costly, neither do they require any other utensils than are to be found in every farm house.