Pellew, C. E. (Professor, Columbia University): Basic Colors V

Craftsman, 1909

Some of my readers may remember that, in the first paper of this series, it was mentioned that the modern dye-stuffs originated with the discovery, in 1856, by Perkin, of the violet coloring matter known as Mauvein. This dye was made by the oxidation of the then rather rare chemical, Aniline, and, following this discovery, other chemists, especially in France and Germany, soon obtained from the same chemical, or from substances very closely resembling it, a considerable quantity of powerful and brilliant dye-stuffs of the same general character.

The original Mauvein was before long superseded, first by Hoffman's Violet, and then by a very important series of violet and purple dyes known as Methyl Violet, with shades ranging from 6 or 7 B for the deep, full purples, to the 6 or 7 R for the very red shades. These violet colors have never been surpassed, or even equaled by any other dyes for brilliancy and richness, although, in common with almost all the other dyes of this class, they are not very fast to sunlight.

Another extremely powerful and brilliant color, used considerably to this day, although discovered nearly fifty years ago, is the dye often called, from its origin, Aniline Red, but named by the German manufacturers Fuchsine, from its rich, full, crimson shades, and, by the French, who discovered and manufactured it soon after the close of Louis Napoleon's Italian campaign, Magenta, after the famous victory of that name.

About this same time some German chemists discovered and introduced a full, rich, brown dye, still largely used for dyeing leather (kid gloves and the like), and, naturally enough, gave it the name of Bismarck Brown. And at approximately the same date was discovered the very valuable blue dye-stuff, perhaps the best of the whole class, with quite a range of full, deep shades and with great fastness to light, called Methylene Blue.

The early colors of this group are the dye-stuffs properly known as the "Aniline Colors" because of their origin, although this name has been applied, loosely, to all of the thousands of artificial dye-stuffs without regard to their source or composition. To the chemist, their chemical structure and their behavior toward reagents, such as acids and alkalies, naturally suggested the name Basic Colors, thereby indicating that they were substances with strong affinity for all sorts of acids, with which they form more or less stable salts, while they can be liberated from these salts by the action of stronger bases, such as ammonia, or the fixed alkalies, soda and potash.

These facts were discovered by Perkin while trying to introduce his Mauvein into the dyeing industry, and the same chemist discovered the methods, used to this day, for applying these dyes to the different textile materials. He found that the dyes of this class have a strong affinity for the different animal fibers, such as wool, silk, leather, etc., all of which seem to possess some acid properties of their own; but pure vegetable materials, like cotton, linen and paper, from which all impurities such as vegetable acids, gums, etc., have been removed, have no affinity at all for even the most powerful of the Basic Dyes. A cotton handkerchief, boiled for hours in a strong solution of Methyl Violet, can be washed in a few minutes clear of any shade of color, while a piece of silk or wool, soaked for an instant in the same dye bath, will be permanently stained, deep and full.

In order to fasten these colors to the vegetable fiber it is necessary to impart to the latter a distinctly acid character, and this was accomplished by Perkin in a manner still used. He steeped the material for several hours in a hot bath of the vegetable compound, tannic acid or tannin, found so largely in hemlock and chestnut bark, sumac leaves, nutgalls, and the like; and then loosely fixed the tannin, thus absorbed, by a weak bath of tartar emetic. Cotton or linen fabrics, thus "mordanted," will combine with the Basic Dyes as readily and as firmly as any animal fiber, and the resulting colors, while not necessarily fast to light, are extremely fast to washing.

Since the introduction of the direct cotton dyes, both Salt Dyes and Sulphur Colors, this method of dyeing, for skeins or piece goods, has been very largely discontinued; but, by using a modification of this process, enormous quantities of Basic Colors are still used, on cotton and linen, in the manufacture of calicoes, organdies and other printed fabrics.

Most vegetable materials that are used in a more or less natural condition, like straw, raffia, grass, wood-shavings, jute and the like, contain enough of this natural tannic acid to act as a mordant for the Basic Colors, which are largely used in this connection.

For most of the animal fibers, such as wool, silk, furs, feathers, etc., they have been almost entirely superseded, in commerce, by the class of dye-stuffs known as the Acid Colors, which occur in much greater abundance and variety, and can be applied with much less danger of spoiling the goods by uneven results.

On a small scale it is hardly worth while for the amateur to attempt to use these Basic Colors upon either cotton or linen. The difficulty of correctly and evenly mordanting the goods is quite as great as that of dyeing them afterward. And the Sulphur Colors and Vat Colors will be found quite as fast to washing as the best mordanted Basic Colors, with the additional advantage of being, as a rule, much faster to light, as well as easier of application.

Nor are the shades of these Basic Dyes, as a rule, as attractive as those hitherto discussed. The strong, and brilliant, not to say coarse, shades of Methyl Violet, Malachite Green, Aniline Red and the rest, which created such a sensation when they first appeared in the early sixties, were the particular colors which provoked John Ruskin to unscientific, if not unparliamentary remarks, and which even now are apt to harrow the feelings of the faithful reader of THE CRAFTSMAN.

But these Basic Dyes are not to be scorned in their proper place, even by the most devoted arts and crafts worker. For straw, raffia, chips and other materials used so widely for hats and basketwork these dyes are invaluable; and, judiciously handled, give excellent results. And for the leatherworker they give an easy and simple method of getting effects which it is not always easy to obtain with the acid dyes. They are also useful in dyeing some kinds of artificial silk.

Dyeing Directions.

Straw, raffia, etc. — The material, well wet in warm water after, if necessary, a good scouring in hot soap suds to remove grease and dirt, is immersed in the dyeliquor containing the dye-stuff dissolved in water acidified with a little acetic acid or vinegar. The dye-bath is slowly heated with the constant turning of the goods, until near boiling; it is then taken off the fire, and the goods lifted out, rinsed in warm water and carefully dried.

These basic colors are not, as a rule, very soluble in water, and generally need the presence of some acid to dissolve them and prevent them from depositing tinevenly on the goods. The methylene colors are perhaps the most soluble, as well as the fastest to light of any class.

Many of these Basic Colors, when applied in at all a strong solution, are apt to give a decided metallic luster to the goods. This is occasionally of distinct advantage. When it is not desired, the goods should be brought up to dark shades by carefully dyeing them in successive baths of very dilute dye-liquor.

Leather. — The dyeing of leather on a small scale is rather a special art, and needs considerable practice to get good results.

First of all great pains must be taken to have the leather thoroughly and evenly moistened. This can be generally accomplished by soaking it for several minutes in a bath of warm water, and then carefully working over the material until the dry spots are all opened out and softened. Sometimes, however, the leather is quite resistent to the water, and it may be necessary to soak it for several hours, over night even, in warm water containing a few drops of ammonia.

If the goods are to be dyed a solid color the dyeliquor may be applied by sponge or pad, or as is more frequently done, the leather may be immersed in a cold or luke warm dye-bath, and then gently heated to 120 degrees or 130 degrees F. The colors are, as before, dissolved in water and a little acetic acid, and the same precautions must be used with regard to a metallic luster.

For dyeing patterns on leather, it is generally best to dissolve the color in water and acetic acid, and apply it to the damp, but not too wet, leather, with a camelhair brush or a little wad of cotton. The surplus liquor should be wiped off, or taken up with blotting paper, and, as soon as possible, the color rubbed well into the leather.

To get good effects it is necessary to finish the goods carefully. Some workers let the leather dry, and then rub up the leather, on the hair side of course, with the palm of the hand or with the finger, without using any wax or oil. Others finish by rubbing into the smooth side of the leather a little of the white or yellow wax, used as a finishing polish for tan shoes. This can readily be bought at any summer shoe store, or can be prepared by mixing together equal quantities of beeswax and carnauba wax, and thinning it with a little turpentine.

One very successful member of the Arts and Crafts Society, whose leather work has been much admired, uses, as a finish, a mixture of beeswax, turpentine and neatsfoot oil. She makes this by first melting the beeswax with a small quantity of turpentine, and then stirring in enough oil to make it soft. This finish is never applied directly, but is always put in a little bag of soft muslin, and rubbed on, and into, the leather with a circular motion.

Selected Dye Stuffs. — Out of the many well known colors of this group, the patents for which have long expired so that they are manufactured and sold at a cheap rate by all of the great dyehouses, comparatively few can be recommended as being fast to light. Methylene Blue, which comes in various dark shades, generally with somewhat of a grayish tone, is thoroughly fast, but is apt, on leather, to dye rather unevenly. The best yellow is Thioflavine T, which is fast and good. Bismarck Brown will be found rather useful in leather dyeing, although it is not particularly fast. The reds are not, as a rule, as fast as the blue and the yellow just mentioned, but the Basic Dyes, known as Safranines and Rhodamines, give beautiful shades, and are perhaps the most permanent reds of the class.

Besides these, the following special colors of the individual dyehouses may be found interesting:

Badische
Rheonine G. F. Yellow

Cassella
Cyanole F. F. Blue
New Phosphine G. Yellow
Irisamine G. Red
Nigrosine N. Y. Black

Metz
Rosazeine 5 G. Red
Methylene Yellow H.
Methylene Heliotrope 0.
Methylene Violet 3 R. A. Extra

Tanning Buckskins.

Scientific American 47, 9.8.1851

We present the following simple process for preparing buckskins, as a useful accompanyment to the foregoing interesting letter. During the war of 1836-7, in Florida, the officers and soldiers while encamped on the Withlacoochee river, were frequently not in the beet of circumstances respecting good coverings for their understandings. The Indians have long been distinguished for making an exceedingly good and durable buckskin, and it so happened that a number of them, with their squaws, were kept kind of prisoners at the camp of our army. One day a friend of ours in the army, (one of the beet practical tanners and leather dressers in the United States) watched with great earnestness, the mode by which the squaws dressed their deer skins. He observed that they used the brains of the deer mixed along with lye made of wood ashes forming a kind of soap. This solution was rubbed on the skins, allowing them to dry at each operation — two or three times, until the skins were completely saturated with the solution. After this, the thins were smoked, the same as hams, in a pit dug in the ground. After the Indians had left the camp, the officers could not even get moccasins. The idea suggested itself to our friend, that there was no use of wanting shoes when there were plenty of deer killed; but from a distance in the woods they could not, and were not accustomed to bring the brains of the animal; but a remedy was at hand; he knew that soap was the same composition, as that used by the Indian in tanning, and he had plenty of that. The blacksmith made him an old sharing knife, and he got his post up between two trees, while be kept an anxious eye to his skins soaking in the river, for the aligators were not very respectful of the right of property. After the skins were properly prepared, a strong solution of warm yellow soap was made up, in which they were handled until cold; they were then dried and went through the same process until the practical tradesman saw that they were made into leather; when they were afterwards smoked in the manner of the Indians. From these operations an excellent buckskin was made, which through the drenching of rains and the frequent immersions in the swamps and everglades, retained its pristine softness and qualities. Thus, in the wilds of Florida, a scientific tradesman applied his knowledge and art, in manner for which many s gallant soldier had reason to be thankful. In each situations the mechanic rises far above the philosopher.

Tanning and the Tanning Weeds of America.

Scientific American 47, 9.8.1851

We request the attention of our readers to the following letter of Dr. Reid, of Rochester, N. Y., to Dr. Gate, of the Patent Office, respecting the At of Tanning, and the woods or vegetable substances which are used, or might be used in the processes.

Dr. GALE — Dear Sir: As. a chemist interested in the discovery of now chemical facts, and as an American citizen in the developement of all branches of industry of our common country, permit me to call your attention to the following remarks and suggestions.

For two years and a half put I have been engaged, more or less of the time, in the investigation and developement of an improved system of tanning, founded, an I flatter myself, upon a more correct knowledge of the chemical affinities and qualities of the various substances used and of the processes employed is making leather.

The art of making leather embraces two species of operation, viz., the chemical and mechanical the first includes all the changes produced in the raw hide, by means of other substances applied to it, till it becomes leather. The second, all the physical labor expended upon it, whether by manual tools or machinery. The first is by far the moat essential and important, and petit is that which is least understood by practical tanners. For the want of chemical knowledge they are, in a great degree, incapable of understanding and appreciating the chemical phenomena daily passing before their eyes; hence improvement in the art of leather-making has been very slow; and those improvements which have been attempted belong chiefly to the tools and machinery employed. Very few tanners have ever ventured upon an improvement in the chemical branch of their art; and when they have, their supposed inventions or discoveries were in direct contradiction of chemical laws, and of course were impracticable and soon abandoned: as, for instance, patents have been taken out for the use of potash and soda ash, dissolved in the tan liquor or ooze. One man, a few years since, actually obtained s patent for the suspension of bags of ashes in the tan vays. If he were a tanner be must have known, what every practical tanner knows, that lime, remaining in the hide, prevents the process of tanning, besides making bad leather; but he did riot know that time and potash were both alkalies, and that tannin was an acid, and that alkalies and acids neutralize each other, and therefore, for his purpose, incompatible, or he never would have made such an absurd mistake.

For the last fifty yeare, nearly all the improvements, real or supposed, that have been patented, were chiefly for tools or machinery, for the purpose of expediting the mechanical labor necessarily employed, but the discovery and improvements which I have been investigating appertain solely to the chemical processes of tanning. They were first proposed by Harmon Hibbard, to whom Letters Patent were granted, as you are already aware; and with which improvements, and the chemical principles on which they are founded, you are familiar, having given them s careful and patient examination pending his application for a patent. But it is not my purpose to discuss, these topics now and I will diemiss this part of my subject by a quotation from Dr. Ure, and by offering a remark or two thereon.

In his Dictionary of the Arts, Dr. Ure says, "Various menstrua have been proposed for the purpose of expediting and improving the process of tanning; among others, limewater and a solution of pearlash; but these two substances form compounds with tannin, which are not decomposable by gelatine; it follows that their effects most be prejudicial. There is very little reason to suppose that any bodies will be found, which, at the same time that they increase the solubility of tannin in water, will not likewise diminish its attraction for skin."

Now the very objects here supposed by Dr. Ure to be unattainable, are literally and perfectly accomplished by Hibbard's method, viz., a menstruum has been found "for expediting and improving the process of tanning," and that, too, by "increasing at the same time both the solubility of tannin and its attraction for gelatine or skin;" by means, also, so simple, direct, and obvious, that it is wonderful that so learned a chemist as Dr. Ure should not himself have made the discovery.

But I come now to the principle object in view in this communication.

During the experiments and investigations above alluded to, my attention has been dirested to two important branches of the manufacture of leather.

First. The chemical principles involved in the several processes of making the various kinds of leather, whether it be in "tawing," as in making kid-glove leather, or in oil dressing, as in making buck-skin and chamois; leather, or in tanning proper, at in making morocco, upper, and sole leather.

Second. The various species and qualities of the tannin materials ueed, viz., the bark of hemlock, several varieties of oak, American and Sicily sumac, and terra japonica: these embrace the chief kinds used in this country.

It is to this latter — the materials for tanning — that I wink more particularly to call your attention.

We greatly need both a qualitive and quantative analysis, of the several kinds of substances used for tanning, especially of the hemlock bark — of the white, black, red, Spanish chestnut, oak, and other varieties of the Quercus; also of the American and Sicily sumacs, and of cstechu or terra japonica. We have many native trees and shrubs, of whose barks an analysis might prove to be something more than mere scientific curiosities.

A writer in one of our scientific journals asserts that the bark of the chesnut contains more tannin than oak, and more coloring matter than logwood of equal weights and qualities. On what authority he makes this statement, I know not, but if the fact be so, it should be established and known.

I am not ignorant that Sir Humphrey Davy and other distinguished foreign chemists have investigated this subject to considerable extent, but the barks and substances examined by them were not our indigenous products; besides, since their day, better and more sccurate methods of analysis have been discovered, so that even their experiments need revision, and many of their conclusions may need correction.

According to Sir H. Davy, terra japonica contains about 54 per cent. of tannin, and is equal, in tanning properties, to 6 and 7 lbs. of English oak bark and to 3 lbs. of Sicily sumac. The tanners of this country consider American sumac as possessing only half the amount of tannin of the foreign and imported article; and it is worth only half as much per ton hence it would require 6 lbs. of it to equal 1 lb. of terra japonica or catechu, and is, therefore, equal in tanning to English oak bark. But the hemlock of this country has probably double the amount of tannin that the white oak of the Northern States has; hence it holds a middle rank between Sicily sumac and terra japonica, and would consequently require 4 or 5 lbs. of it to equal one of the latter.

But the quality of the tannin, or rather the quality of the leather produced by three different kinds of tanning materials, is a matter of quite as much importance as the relative or absolute quantity of tanning contained in each of them. While terra japonica possesses the greatest quantity of tannin, it is considered Le producing the most inferior quality of leather. So hemlock, which, excepting the Sicily sumac, possesses the next highest quantity, produces the next worst quality of leather; while the oaks, which are the lowest in the scale of quantity, afford the most superior in quality. And although the American and Sicily sumachs may be considered to be on a par with the oaks, as to quality, yet the same law, seems to hold with respect to each other, that is, the American sumac, which possesses only about half the amount of tannin, makes a better quality of leather than the Sicily sumac.

Now pure tannin is probably the same in all cases, then why this grest diversity of quality in the leather? A careful chemical analysis of the substances; used, would determine the question; but, in the absence of such analysis, we readily and perhaps correctly conjecture, that very different vegetable gume, reeine, aside, extracts, &c., must be combined with the tannin in these several tanning materials, which being also soluble in water, combine in some way with the gelatine of the hide as well ae the tannin, and become fixed, although none of them could alone be made to dolts thus permanently with the hide. It becomes, therefore, a matter of much importance to the tanner to know what these aeveral vegetable products are which are combined with the tannin of each species of bark, or substance used for tanning, and, as they are not merely useless, but injurious, to know how, if possible, he may get rid of them. Among these products, there is in hemlock bark a large amount of resin or pitch, a small portion of which, however, is soluble, unless very hot water is used in leeching the bark; but in all barks there is, besides extractive or coloring matter, a large amount of acetite of potash, which is nearly as soluble as tannin itself, and which is always leeched out of the bark and forms a part of the tan liquor or ooze in which the tanner steeps his hides. That the potash, which abounds in all barks, is leeched out, is evident from the fact, that ashes, obtained from burning the leeched bark of tan yards, will not afford a ley sufficiently strong to make soap. The same thing is true of wood that has been long soaked in water. The black oak or Quercitron — the Quercus Tinctoria which is no valuable for its coloring properties, is among the richest of barks in tannin, and makes the best quality of leather, but it is generally abhorred by tanners, and avoided in the first stages of tanning. It abounds in a rich, deep yellow precipitate, which attaches itself, like paint, so tenaciously to the surface of the hides, that the tannin penetrates very slowly. But by the Hibbard process of tanning, the hydro-chloric acid used decomposes and neutralizes both the potash and coloring matters leeched out of the bark, in a great degree., so that the process of tanning ia more rapid, and the color of the leather much fairer and more beautiful, besides it, the leather, being tougher and more pliable.

Here then, in the analysis of our indigenous barks, is a field large enough to give useful and honorable employment to all the Brat chemists of the country. Not possessing, myself, either the time, skill, or requisite means to pursue this subject, but believing that you possessed them all, in addition to a taste and zeal for such pursuits, I have taken the liberty to present these views and suggestions for your consideration.

There are other matters connected with this subject which belong rather to the commercial and agricultural business of the country, but are not wholly devoid of interest to the naturalist and chemist. I allude to the quality and quantity of tanning materials as produced and influenced by latitude, locality, and climate. In the Eastern, Northern, and Western States the quality and qnantity of tan barks are far inferior to those of the Middle, Southern and Southwestern. The facilities and natural resources of the South for manufcturing leather, over those of the North, as far exceeds those of the latter, as the actual amount of leather and shoes manufactured by the North exceeds those manufactured by the South. The South, in fact, ought to furnish the North with leather; and should, moreover, produce all the sumac needed for home consumption, both for dyeing and tanning, of which we now import large quantities. By procuring from the coast of the Mediterranean the beet varieties of sumac, viz., the Rhus Coriana and the Rhus Cotinus — the former used chiefly in tanning, and the latter in dyeing, the South might grow enough in a few years for export, and find it a profitable branch of industry.

But having extended this communication much beyond the limits first designed, I close by expressing the hope that you will find it of sufficient interest to secure your good wishes and efforts to aid in the developement of the great unexplored resources of our country.

With much esteem I am, respectfully yours,
W. W. REID.

Gebhard Hartmann: Painovärien käytöstä ja käsittelystä

Kirjapainotaito 10, 1926

Käytännössä tulee mustan painovärin jälkeen ehkä kaikista useimmin punainen väri kysymykseen alkaen yksinkertaisesta reklaamirivistä aina hienoimpiin kolmi- tai useampiväripainatuksiin saakka. Samaten kuin käytön moninaisuus, ovat myöskin punaisten värien laadut hyvin monenlaiset ja värivivahdukset lukemattomat. Niitten kuivuminen paperille on myöskin hyvin erilaista. Toinen laatu kuivuu päivässä ja toinen vaatii sileälle paperille kuivuakseen jopa viikkoja.

Sininen ja vihreä sitävastoin ovat joitakin poikkeuksia lukuunottamatta melkein kaikki helposti kuivuvia värejä. Myöskin on niiden valonkestäväisyys melkoisen hyvä. Poikkeuksen tekee loistava Viridinilakka (Nachtgrün). Parhaiten valoakestävät värit löytyvät violeteista. On sentään näissäkin poikkeuksia. Kromikeltaisista löydämme koko joukon valoakestäviä värejä, alkaen vihreänvivahteisesta aina oranssiin saakka. Myöskin monet ruskeat kuuluvat valoakestäviin väreihin.

Värillisten värien käyttöhyvyys kulkee useimmiten rinnan niiden ominaispainon ja väriaineen laadun kanssa. Hyviksi painatuskelpoisuudeltaan luetaan etupäässä sellaiset värit, jotka siirtyvät helposti paperille eivätkä painettaessa pyri liimaamaan kehilöä ja paperia kiinni toisiinsa. Värit jotka eivät painettaessa siirry kunnolleen paperille jättävät epätasaisen painopinnan koska osa väristä aina jää kehilöön. Tällainen epäkohta johtuu kylläusein myöskin paperista. Väri, joka toiselle paperille jättää hyvinkin epätasaisen pinnan, saattaa toisenlaatuiselle paperille painettuna peittää mainiosti. Syy tällaiseen epätasaiseen peittämiseen on värissä oleva paperin laatuun verraten liian heikko sitoavaisuus. Se voidaan kyllä useimmiten auttaa sekoittamalla väriin pieni määrä vahvaa tai keskivahvaa liinaöljyvernissaa.

Valkoisten värien pääasiallisena tarkoituksena on muitten värien vaalentaminen. Väriä vaalennettaessa riippuu käytettävän valkoisen värin laatu siitä, halutaanko sekotettava väri vaaleanakin täysin peittäväksi vaiko läpikuultavaksi. Parhaiten peittäviä ovat titan- ja kremservalkoinen. Jälkimmäinen on lyijypitoista eikä sentakia ole rikkipitoisten värien sekotusväriksi sopivaa. Sentakia ei se myöskään ole ruokatavarapakkauksien tai -etikettien painamiseen kelvollista. Titanvalkoista, joka on jonkun verran peittävämpää kuin kremservalkoinen, voidaan sitävastoin käyttää kaikkien värien vaalentamiseen. Samaten voidaan heikommin peittävää sinkkivalkoista käyttää kaikkien värien yhteydessä. Läpikuultavia valkoisia löytyy sekotusvalkoinen, kiiltovalkoinen ja magnesiavalkoinen. Riippuen pienemmästä tai suuremmasta läpikuultavuudestaan näyttävät näinä väriaineet purkissa maidonvalkeasta kellertävän harmaaseen väriltänsä. Peittävät valkoiset sensijaan näyttävät purkissa puhtaan valkoisilta.

Värit, jotka kaupassa kulkevat plakaattivärien nimellä, ovat halpoja ja tarkoitetut yksinomaan ns. afissipaperille painettavaksi. Paremmat plakaatit, ilmoitustaulut ja muut samantapaiset työt vaativat tietenkin parempaa väriä käytettäväksi. On myöskin otettava huomioon jos plakaatit esim. tehdaslaitoksissa joutuvat olemaan jollain tavalla kaasupitoisen ilman vaikutuksen alaisena ja on tällaisissa tapauksissa käytettävä sellaista kestäviä värejä. (Jopa vähimmin arat maaväritkin voivat tällaisen ilman vaikutuksesta huomattavasti muuttua.)

Erikoisväreistä ovat kansivärit tunnetuimmat. Näitä löytyy hyvin peittäviä ja sitäpaitsi ominaispainoltaan raskaita värejä. Kuitenkaan ei värin peittovoima aina riitä toivotun värisävyn aikaansaamiseksi ja tällaisissa tapauksissa on, varsinkin erikoisen huokosrikkaissa papereissa turvauduttava kaksinkertaiseen painamiseen. Vaaleamman vivahduksen aikaansaamiseksi on kansivalkoinen käytännöllisintä. Kovapintaisia kansipapereita painettaessa on väri pidettävä mahdollisimman jäykkänä. Painettaessa suurempia pintoja, joissa tulee paljon väriä päällekkäin, on oltava varovainen painosta käsiteltäessä. Tällaisessa tapauksessa ei paperi enää jaksa imeä toista väriä sisäänsä koska se on jo ensimmäisestä väristä kyllästytetty. Ja koska ei toiseksi painetulla värillä ole mitään yhteyttä painospaperin kanssa vaan on se ainoastaan ensiksi painetun värin pinnalla, pyrkii se imeytymään väliarkkeihin. Seuraus on että painos ja väliarkit liimautuvat kiinni toisiinsa. Tällaisissa tapauksissa painoksen likaantumisen estämiseksi on ainoa varma keino ripustaa arkit kuivumaan. Riippuen huoneen korkeudesta, vedetään n. 2,50—3 m korkeudelle 1 mm vahvuisia rautalankoja seinästä seinään. Niiden kiinnittäminen käy helpoimmin väärillä vaatekoukuilla. Painoksen ripustaminen langalle tapahtuu kuvassa esitetyllä laitteella. Kaksi arkkia yhdistetään selkäpuolet vastakkain yhteen ja ripustetaan langalle.

Kiiltoväreillä painettaessa on huomattava, että siinäkin on paperi suurena tekijänä. Hyvin huokosrikkaalle paperille ei parhaallakaan kiiltovärillä saa kunnon kiiltoa aikaan koska tällainen paperi imee itseensä värin kiiltoa-antavine aineosineen päivineen sensijaan kun ne kovapintaisella paperilla jäävät pinnalle. Värin pitää olla kokoomukseltaan sellaista että se helposti itse kuivuu. Kiiltovärit ovat kaikki nopeasti kuivuvia. Nopea kuivuminen tekee kaikkikin värit kiiltäviksi mikäli niissä yleensä löytyy kiiltoa-antavia aineosia. Viimeistään päivää ennen painamista on väri kokeiltava ja halutun kuivumisnopeuden aikaansaamiseksi sekoitettava siihen tarpeellinen määrä sikkatiivia. Painoksen pitää tällöin olla seuraavana päivänä täysin kuivunut. Toinen keino kiillon tehostamiseksi on päällepainaminen kiiltopainolakalla. Lakan sekoittaminen väriin ei ole paikallaan koska värissä on koetettava säilyttää sen alkuperäinen syvyys. Ainoastaan aivan pieni sekoitus lienee suotavaa. Päällepainettaessa pitää ensiksi painetun värin varmasti olla kuivunut jos halutaan olla varmoja onnistumisesta. Jos ensiksi painettu väri ei ole aivan kuiva liuottaa kiiltolakka sen. Tällöin lakka ja väri sekoittuvat ja paperi imee myöskin osan lakasta sisäänsä, jolloin se ei enää täytä tarkoitustaan. Tähänkään tarkoitukseen eivät sovi kaikki paperit eikä kaikki värit. Kokeilu ennen painamista on suositeltavaa mikäli tehdas ei ole antanut ehdottomia ohjeita lakan käyttöön nähden. Painettaessa on varottava etteikiiltolakka kohdistu paperiinvaan ainoastaan kovaksi kuivuneelle väripinnalle. Painettaessa liimautuvat sellaiset arkit helposti väliarkkeihin ja irroitettua näkyy painoksessa läikkiä. Pienemmissä painoksissa onkin viisainta ripustaa arkit kuivumaan sitämyöden kun ne tulevat painettua.

Saippuan ja muitten pesuaineitten kääreiden painamiseen on käytettävä ainoastaan alkalivapaita värejä. Hiiva- ja ruokatavaraetiketteihin kelpaavat ainoastaan kosteutta kestävät värit, koska liuennut väri helposti tunkeutuu paperin lävitse ja värjää sisällyksen. Lävitsetunkeutuva väri pilaa myös hajullaan ruokatavaran maun.

Kohopainovärit ovat erikoisia vahvoja värejä kestääkseen puristuksen ja taivutuksen jonka alaiseksi ne painamisen jälkeen joutuvat.

Selatiinille ja selluloosalle painettavien värien tulee olla kiinteitä ja helposti kuivuvia. Ennen painamista on kokeiltava ettei värikuivuttuaan rapise pois.

Lakeerattujen paperien painamiseen käytettävien värien tulee olla kiinteitä. Tällaiset paperit kuitenkin ovat hyvin erilaisia. Riippuen lakkakerroksen vahvuudesta on käytettävä erivahvuisia värejä, lakkapitoisemmissa vahvempia värejä ja ohuemminlakatuissa heikompia.

Lueteltuihin erikoistarkoituksiin värejä tilattaessa on viisainta ilmoittaa tehtaalle tarkoitus ja esittää näyte käytettävästä paperista.

Olemme kosketelleet ainoastaan paperin ja värin suhteita ja vaikutusta toisiinsa mutta löytyy myöskin seikkoja, joissa väri ja kehilö vaikuttavat toisiinsa. Näin on laita rikkipitoisissa väreissä. Nämä eivät sovi kupari- ja galvanokliseitten painamiseen koska niissä oleva rikki syövyttää kuparia ja kuparilla taas on vaikutuksensa väriin. Esim. zinoberilla painettu kuparikliseevedos tulee koneesta ruskeana. Joissakin valkoisissa väreissä voi vivahdus myöskin muuttua, jos rikki ja lyijypitoisia värejä tulee päällekkäin tai muulla tavalla sekoittuu keskenään.

Jauhepronssauksessa pitää painettavalla värillä olla kaksi ominaisuutta. Sen pitää tarttua paperiin ja sitäpaitsi sitoa sille siroteltu metallipulveri. Tähän tarkoitukseen löytyy tehtaitten valmistamia värejä ja niitä tietenkin käytetään tavallisesti mutta voidaan niitä tavallisesti tilapäistä tarvetta varten itsekin valmistaa sekoittamalla halutunvivahteiseen väriin joku määrä vahvaa vernissaa. Valmiit pronssivärit ovat painettavat normaali värimäärällä eikä liian pienellä puristuksella. Paras tulos saadaan kiilloitetulle paperille painettaessa. Telojen kuivuminen kesken painamisen voidaan auttaa pienellä määrällä tärpättiä. Pronssivärien tapaisia, joskin painatuskelpoisempia ovat "Atlas"- ja "satiini"-värit. Näille väreille ominaista on niissä itsessään löytyvä metallimainen kiilto. Eri vivahdusten valikoima on laaja.

Der Graphisehe Betrieb-lehdessä
Gebhard Hartmann

The Art of Dyeing. No. 27.Butternut Brown.Hickory Black.Bronze Color.Dark Claret Brown.Brown Color on Cotton.Rich Bark Brown.

Scientific American 42, 30.6.1855

Butternut Brown.

A very good cinnamon brown color is dyed with butternut bark and camwood, and many of our farmers' good-wives are well acquainted with the method, but to those who are not, the following will be useful:

For 24 yards of common homemade woolen cloth, put into a large clean kettle 3 lbs. of camwood, and 3 pecks of butternut bark, and allow them to boil for ten minutes; the cloth is then entered and boiled for one and a half hours. The cloth is then lifted, and two ounces of copperas placed in the kettle, dissolved, and the froth skimmed off; the goods are then re-entered, boiled for half an hour, lifted out, washed and dried. By increasing the quantity of these dye stalls, and using more copperas for saddening, a darker brown will be produced. The butternut bark is used as a substitute for rustic, it makes a fast color, but does not give as rich a hue to the goods.

Hickory Black.

By preparing woolen goods in an alum mordant of 4 ounces to the pound of wool, and washing the goods well afterwards, they can be dyed a beautiful brown by using hickory bark, butternut hark or yellow oak bark, as substitutes for fustic, and pursuing the process above described. Lombardy poplar bark or the leaves of the peach tree, may also be used for the same purpose and in the same way.

From almost every tree in our forests, by the use of an alum mordant or preparation, some camwood, and a little logwood (always saddening as described with copperas) every variety of brown shades may be dyed — The easiest way, however, to dye good browns on woolen goods, is that described in the first receipt of last week's article.

Bronze Color.

For ten pounds of woolen goods, use five pounds of logwood, one of camwood, and half a pound of alum. Boil the goods in the liquor for two hours, then lift them out and wash them well. Into another clean kettle of boiling water, add five pounds of fustic; boil the goods in this for one hour, then lift, wash and dry.

Dark Claret Brown.

For ten pounds of goods, use 8 lbs. of logwood, half a pound of crude tartar, as much of alum, and one gill of the muriate of tin. Boil the goods in this for one hour and a half, then lift and wash them well. Into another clean kettle of boiling water, place one pound of fuetic, and halt a pound of crude tartar; enter the goods, boil for one hour, then lift and wash them, and they are ready for being dried. This color is subject to crock off, hence the last course described — boiling in fustic and tartar, is simply for the purpose of rendering them cleaner — some call it "setting the color."

The muriate (chloride) of tin must never be used with camwood. It may, however, be employed as a preparation or mordant for camwood, like alum, but great care must be exercised to wash the goods before they receive the camwood.

Brown Color on Cotton.

There are various ways of Ilyeing this color on cotton, all of which are different from that pursued for dyeing the same color on silk and woolen goods.

Rich Bark Brown.

The cotton is first dyed a deep yellow with quercitron bark. 3 lbs. to the 10 of goods, then washed, and then steeped in sumac for twelve hours, and afterwards mordanted in the red spirit tub for about two hours, receiving a preparation exactly as if for claret brown. About four pounds of peachwood and two of logwood are then boiled, and in this liquor the goods are handled for half an hour, and raised with some spirits. This is the only correct method of dyeing a rich bark brown on cotton. It is positively necessary that the goods should have the proper depth of yellow on than before they receive the redwood and logwood, and that they should be dyed as quickly as possible in the latter bath. It is exceedingly difficult to bring up bark browns to the proper shade if they fail in yellow. The yellow color leaves the cotton — dissolves off as it were — by long handling in either redwood or logwood liquors, hence the necessity for a certain depth of yellow as a base, and rapid handling in the finishing dye liquors.

Preparing Madder.

Scientific American 12, 21.3.1863

C. A. Kurtz, chemist, of Manchester. Eng., patentee. The improvement is for treating madder roots and ground madder, or munjeet, for calico color-makers. The patentee takes 20 lbs., of crushed malt and boils it in 100 gallons of water for half an hour; he then stops the boiling and adds 45 lbs. of wheat bran, stirring the whole together, and then allows the liquor to settle. When settled the clear is runoff, and to every 65 gallons of it 100 gallons of water are added, which is placed in a copper vessel and heated to 112° Fah., and to this is added 3 cwt., of madder or of munjeet ("Rubia Munjista"), which is stirred at intervals of 15 minutes, until a homogenous mass is produced. In this state the mass is allowed to stand until it exhibits symptoms of fermentation, when they are checked by successive stirrings for 18 hours. This prepared madder is then filtered, pressed, dried, and ground, and packed away for use like garancine.

Pronssi-sinisen painaminen taidepainopaperille

Kirjapainotaito 2, 1914

Pronssi-sinisen painaminen taidepainopaperille useimmiten tuo suuria vaikeuksia. Th Br.P. valittaa eräs että hän on suurikokoisessa Golding Jobber-koneessakoettanut painaa tällä värillä taidepainopaperille, mutta painos näytti epätasaiselle eikä pysynyt paperissa. Vernissan ja muiden lisäkkeiden joukkoon sekoittamisesta tulos vain huononi. Tiikelikoneessa työskennellessään kertoo aina joutuneensa vaikeuksiin. Kysyy lopuksi, löytyisikö minkäänlaista keinoa noiden vaikeuksien voittamiseksi.

Toimituksen ohje asian auttamiseksi on seuraava:
Kuten jo osaksi ylläolevastakin selviää, olisi pronssisininen ylimalkaan aina painettava silinteri- eikä tiikelikoneessa. Jos tästä huolimatta syntyy vaikeuksia, täytyy käyttää tähän tarkoitukseen löytyviä erikoisvärejä. Eräs näistä on Mander Brothersin Gloriosa-sininen o 279, sekä toinen Shackell'en Fast leustra-sinistä 374. Jos nämä värit tähän tarkoitukseen yksinään ovat liikaa kalliita, käytettäköön lisänä kiina- tai milorisinistä; tällä sekoituksella painettaessa saavutetaan tyydyttävä tulos. Jos väriä on pakko ohentaa, käytettäköön varovasti vernissaa.

Natural Colored Photographs.

Scientific American 12, 21.3.1863

The celebrated French chemist, Mr. Niepce De Saint Victor, has been for many years devoting himself to experimental heliochromy, for tho purpose of discovering the art of taking fixed photographs in their natural colors. He has lately presented his fifth memoir on the subject to the Academy of Sciences, Paris. The following are some extracts from it:-

"I have always found yellow the color most difficult to obtain in the same space of time as the other tints; but I have recently discovered the means of developing it with certainty, and of obtaining it in the same time as other colors. I had previously obtained, with great facility, red, green, and blue; I have arrived at obtaining yellow, by employing as an agent for chloridizing my plates, a bath composed of hypochlorite of soda, in preference to the hypochlorite of potent. This bath must be in the following conditions:

— Take newly-prepared hypochlorite of soda, marking six degrees of the areometer; dilute it with onehalf its bulk of water, and then add alcohol in quantity equal to ½ per cent of the soda, and heat the bath to a temperature of 180° to 190°, Fah.; then pour it into a flat capsule, half-plate size, stirring the liquid for a few seconds, immerse the plate in it at once, a time sufficient for the plate to take a black tint. It Is then rinsed in abundance of water, and dried over a spiritlamp. In 200 grammes (6¼ oz) of this bath we can chloridize five or six quarter-plates, among which some will give better results than others, according to the thickness of the film and the degree to which the plate has been heated. In these conditions of chloridization the colors are produced (especially by contact) with very vivid tints, and very frequently the blacks appear in their full intensity. To operate in the camera obscure, we select plates which, by the action of heat, have received a fine cherryred tint, as well as those which are more slightly reheated, because they are the most sensitive to light. On this account the film of chloride of silver must not be too thick. Rot, to obtain the effects which I now describe, the chlorldized plate must be covered with a varnish with a base of chloride of lead.

"With regard to the problem of fixing the colors, I have only suoceeded in doubling the time of duration announced in my last report. Many substances, added after the action of heat upon the chloride of lead, give a greater fixity than if the chloride of lead was alone; such are, among others, the tincture of benzoic, chloride of tin, and aldehyde. Rut what has given me the best result is the tincture of Siamese benzoin, applied to the plate while it is yet warm, and, after the plate has become dry, heating it until a little of the benzoic acid is volatilized. It Is by means of this lead varnish that I have been enabled to preserve colors during three er four days, in an apartment strongly illuminated by daylight, in the month of July. If we incline a heliochromic Image, at a certain degree of incidence, the color, appear much more vivid, and the blacks assume the greatest intensity. I have also remarked that, according to the manner in which the figure of a doll (which I used) is illuminated by the solar rays, the obtaining the colors in the camera obscure becomes singularly modified, and produces very advantageous effects as to intensity of color and brilliancy; as, for example, gold and silver lace, precious stones, &c. But what is very extraordinary, is that, having placed a strip of unglazed black paper upon a large piece of silver lace, which the figure wore as a belt, the black of the paper was reproduced with the white of the silver lace. Black is reproduced with a violet hue, viewed direct; but, if the plate be inclined at a certain angle, it assumes its greatest intensity, and the silver lace its metallic splendor. Light, in changing tho holiochromic colors made in certain cases, changes green into blue, and yellow into green; as, for instance, if we cover them with a varnish having chloride of tin for a base, which, moreover, greatly retards the activity of the light; if it had not this objection, it would serve as a temporary fixing agent, for the reds are preserved a very long time.

"I have proved that all the binary colors are decomposed by heliochromy. If the green be natural, like that of the emerald, arsenite of copper, oxide of chrome, sulphate of nickel, green carbonate of copper, they are reproduced green by heliochromy; but if the green be a compound, like that, for example, formed by a mixture of Prussian blue and chrome yellow, or that of stuffs dyed by means of a blue coloring material and a yellow, or of certain glasses colored by blue and yellow pigments, these greens, I repeat, give blue only by heliochromy, either by contact, or in the camera obscure.

A light blue glass, superimposed upon a light green glass, give by transparency, a very fine green; but, being applied to a heliochromic plate, they only produce blue; whatever be the time of exposure to the light, or whether the blue glass be uppermost or below, the results are the same. Certain kinds of green glen reproduce green very well; others give only blue or yellow effects. There are also other examples: a red glass, superimposed upon a yellow glass, giving an orange by transparency, produces only red upon the sensitive plate. A red glass, superimposed upon a blue glass, giving violet by transparency, first produces a violet, then blue follows: the red being replaced by an orange green, also quickly reproduces blue. A white paper, colored green by green leaves, is reproduced only very slowly by contact: the sensitive plate remains red a very long time, as if the light had no action; and if the exposure be prolonged, a bluish grey tint in produced; the same result takes place if we attempt to reproduce natural foliage in the camera, such as, for instance, the herbage of a green meadow; but if the foliage be a bluegreen, as, for instance, the leaves of the dahlia, the blue tint will be more vivid. If the foliage be yellow or red, like that of dead leaves, the color reproduced will be a yellow or a red, more or less pure, accord. ing to the greater or lesser absence of the blue matter, which, with the yellow, constitutes the green color of leaves. The dye of a peacock's feather is well reproduced in the camera, that is, the color appears under a certain degree of incidence, now green, now blue."

Hemfärgning.

Husmodern 3, 1919

Färgningen med växtämnen har gamla anor i vårt land. Genom att begagna de färgstoffer, som skogens och ängens blommor och löv, lavar och mossor giva, uppnåddes den harmoni och hållbarhet, som ofta gör åsynen av gamla vävnadsalster till en sann glädje. Denna gamla färgningskonst kom dock nästan helt och hållet ur bruk, då de s. k. "paketfärgerna" började användas. Under de två senaste årtiondena ha åtgärder vidtagits för att väcka intresset för metoden att använda våra inhemska växter vid färgning. Nu är liden kommen att söka återerövra åt kvinnorna den gamla värdefulla växtfärgningskonsten.

En hel mängd av våra vilda växler kunna användas till hemfärgning av ull och bomull. Och dessa växter förekomma i allmänhet rikligt, det kostar endast ringa möda att insamla och torka dem. Lämpliga till färgning äro t. ex. hägg, björk, ljung, pors, lummer, syra och lavar. Av en del växter användes barken, av andra lövet och andra åter användas helt och hållet vid färgningen.

En del färger kunna användas till färgning blott såsom färska, emedan de vid torkning förlora mycket av sitt färgämne. Andra åter kunna användas både färska och torkade. Växter, som skola användas i friskt tillstånd, böra begagnas genast och icke få vissna. De, som skola förvaras, böra torkas väl och hastigt på en skuggig plats; de böra ofta vändas för att icke bli bruna eller mögla. När de äro väl torra, nedläggas de i säckar och förvaras på torr plats.

Bark insamlas om våren, medan saven stiger och den lätt kan skalas av trädet. Den är bäst innan den blivit klädd med lav; av mycket unga grenar är barken icke nog kraftig.

Löv insamlas när det är fullt utvecklat, men ännu livligt grönt och saftigt, efter midsommar.

Lavar kunna insamlas hela året om.

I regel är kopparkittel bäst till färgning, men i några särskilda fall kan järngryta användas. Färgen blir ej lika ren och klar, då den kokas i järngryta och vissa växter förändra härvid alldeles färg.

Torkade växter huggas och brytas i små bitar och läggas i blöt och urkokas i tillräckligt vatten. Lagen silas och garnet kokas däri, sedan det först blivit omsorgsfullt tvättat och betat.

Betningen försiggår sålunda att garnet kokas en halv timme i alunlösning bestående av 150 gr. alun på 30 à 40 liter vatten till 1 kg. garn. För vissa färger behövs annan slags betning, andra färger behöva ingen betning alls.

Alla i det följande angivna mått av betning och färgämne äro beräknade till 1 kg garn.

* * *

Äppelbark. Barken, som innehåller ett kraftigt rödgult färgämne, kan användas både som färsk och torkad. 1 kg av barken kokas 1—2 timmar och det i alun betade garnet kokas i lagen ½—1 timme. En kraftig gul färg. Efteråt erhålles av samma lag ljusare färger.

Brakved (Rhamnus frangula). Barken av detta trädslag måste ligga ett år, innan den kan användas och giver då en vacker bronsbrun färg som går över till brunt vid längre kokning. Barken kokas 2 à 3 timmar och silas. Garnet betas icke, men alun enligt samma beräkning, som för betning av garnet, slås i lagen samtidigt som garnet ilägges.

Gråal (Aluns incana). Barken kan användas både som färsk och som torkad och kokas 3 à 4 timmar, lagen silas och det betade garnet kokas från ½—l timme.
Gulgrå färg. Genom att tillsätta 10—50 gr. järnvitriol kan färgen bli mera grå nästan svart.

Häggbark användes och behandlas på samma sätt som barken av gråal. Färgen av häggbark blir rödaktigt grå. Utan tillsats av järvitriol matt ljusröd.

Bark av björk giver gulgrå färg.

Ljung (Caluna vulgaris). När växten har skjutit nya färska skott, avskäras dessa eller användas färska. Ljungen kan användas ända tills den blommar.
3 kg av växten kokas 3—4 timmar; det i alun betade garnet kokas i den silade lagen ¼—2 timmar, allt eftersom man vill hava mörk eller ljus färg. Giver på ull och bomull en kraftig gul färg. Genom att förnya kokningen flere gånger i samma eller i ny lag och för varje gång låta garnet torka ånyo, erhålles vackra bronsgula färger. Kokas ljungen i järngryta, blir färgen ljust olivgrön.

Pors (Myrica gale). De nya skotten av denna växt insamlas vid midsommartid. Användes färsk och torkad. — 2—3 kg pors kokas 2 timmar, det i alun betade garnet erhåller i denna lag efter ½ timmes kokning en stark gul tärg, vilken blir mörkare vid längre kokning. Genom tillsats av litet järnvitriol blir färgen grågrön.

Berberis (Berberis vulgaris). De färska nya skotten av denna buske samlas före blomningen och användas genast. Kokas en timme. 1 den avsilade lagen erhåller det i alun betade garnet en vacker ljusgul färg.

Hundloka (Anthriscus silvestris). Stjälkar och blad av växten samlas ända till blomningstiden; användes både färsk och torkad. 5 kg. kokas 1 timme och i den silade lagen tillsättes den vanliga satsen av alun. Det obetade garnet kokas häri ½-1 timme.

Vacker frisk citrongul färg.

Fräken (Equisetum silvaticum, E. arvensis E. pratensis). Alla tre arterna av denna växt kunna användas. Hela växten tages när den är fullt utvecklad och friskt grön samt torkas. 3 kg av den kokas 2—3 timmar. I alun betat garn, som kokas i den silade lagen ½-1 timme, får en rödaktig klädesfärg.

Lummer (Lycopodium alpinum) samlas om våren och torkas. 1 kg av växten får i 3 à 4 dagar å rad ett grundligt uppkok, varpå lagen silas och det obetade garnet lagges däri; lagen med garnet står åter 3 à 4 dagar och uppkokas engång varje dag. En vacker grågul färg. Genom att överfärgas i en svag lag av bresiljespånor blir färgen vackert mörkblå.

Nata (Stellaria media). Denna växt kan användas både färsk och torkad i stället för lummer såsom bottenfärg till blått.

Syra (Rumex Acetosa). Blad och stjälk användas färska före blomningen. En järngryta fylles med syra, som får koka en timme. 1 den silade lagen kokas obetat garn en timme, då det erhåller en grågrön färg. När det sedan överfärgas i en stark lag av bresiljespånor, erhåller garnet vacker och hållbar svart färg.

Pilört (Polygonum percicaria). De färska bladen, som plockas från stjälkarna av 3 kg växter, nedläggas i en kopparkittel varvtals med det våta, i alun belade garnet, kokas en timme och får stå tills det kallnat. Stark mässingsgul färg.

Björklöv. Lövet kan användas både färskt och torkat. 2—4 kg urkokas i 1—2 timmar. Genom att koka i alun betat garn häri, kan man få ljusa och mörkare gula färger. Av björklöv kan man också få vackra gröna färger. Garnet bör då, sedan det betats i alun, kokas ½ timme i rent vatten tillsatt med 2 —15 gr olium (fås på apotek och är en lösning av indigo och svavelsyra). När det är blåfärgat, kokas allt i den gula björklövslagen ½—2 timmar eller längre.

Allöv användes färskt och giver stark gulgrön färg.

Bår av en (Juniperus communis). Bären användas färska eller torkade. 6 liter bär kokas först 2 timmar, därefter kokas de tillsammans med det betade garnet tills bären äro väl urkokade. Bären bortsilas och i lagen tillsattes 65 gr spanskt grönt. Garnet kokas ånyo häri ¼ timme. — Betningen härtill består av 70 gr vinsten, 125 gr alun, 70 gr kopparvitriol och 50 gr salmiak. Olivbrun färg.

Vitmåra (Galium boreale). Rötterna av denna växt insamlas före blomningen, rensas och torkas. Rötterna skäras fina och kokas tillsammans med garnet, vilket antingen är betat med endast alun eller med 100 gr alun och 75 gr vinsten. Vacker krappröd färg. För att få färgen mörk, bör man hava samma vikt av rötter och vara.

Stenlav (Parmelia saxatilis). Lav och garn läggas varvtals ned i en kittel eller gryta, så mycket vatten, att det står över laven, hälles däri, får koka långsamt i 4—6 timmar och kvarligga i lagen tills denna kallnat. Genom att kokningen upprepas flera gånger blir garnet mycket mörkt. Sker kokningen i kopparkittel blir färgen gulbrun, men järngryta rödbrun.

Renlav (Cladonia rangiferina). 2 kg lav kokas 1—2 timmar. Genom att koka det med alun betade garnet i den avsilade lagen ½-1 timme erhålles en vacker grågul färg. Tillsättes 50 gr. järnvitriol och 50 gr. pottaska, får garnet en gråaktig färg, som liknar vissna blad.

Granlav (Usnea barbata plicata). 1 kg. lav urkokas och i den silade lagen kokas det med alun betade garnet ½—2 timmar. Vacker, glänsande gul färg.

* * *

Allt garn bör efter färgningen tvättas i såp eller tvålvatten och torka i skugga. Före färgningen bör del vara omsorgsfullt tvättat.

I regel lämpar sig färgning med växtfärger bäst för hem på landet och i mindre städer, där färgmaterialet kan samlas på platsen eller i närmaste omgivning. Härvid inbesparas utgifterna för ett stort lager och lång transport.

Fördelarna av färgning med växtämnen äro utom de redan framhållna — färgernas varaktighet, det lätt åtkomliga materialet till dessa och de ojämförligt mjukare och vackrare färgtonerna än "paketfärgernas" — även prisbilligheten och giflfriheten samt att flera växtfärger snarare öka än förringa garnets styrka, vilket sistnämnda ofta är fallet med "påsfärger".

Visserligen finnas några växtfärger, som blekna av sol, däremot äro de alla fullkomligt tvättäkta.

Detta blev en lång historia om färgning! Husmodern har ju under tidigare år haft liknande artiklar. Men det är längesedan och då jag hört många önskemål om recept för hemfärgning är det kanske välkommet att få råden och recepten efter många år ånyo införda i Marthas tidning.

- Klockarmor.

Maailmantaloudellinen katsaus.

Kauppalehti 208, 8.9.1923

Kirj. prof. Hermann Levy.

Englannin väritehtaat ja värien käyttäjät kiinnittävät yhä suurempaa mielenkiintoa kysymykseen, miten Ruhrin miehittäminen ja jälleenrakennussuoritusten toimittamatta jääminen vaikuttaa Saksan värihankintoihin. Luonnollisesti toivotaan Englannin nuoren väriteollisuuden harjoittajain keskuudessa siitä peräti tärkeitä etuja, kun taas tekstiilitehtailijat pelkäävät siitä johtuvan pahoja haittoja. Jo heti Ruhrin miehityksen jälkeen British Dyestuffs Corporationin (Britannian väriaine-yhtymän) puheenjohtaja sir W. Alexander julkaisi tiedonannon, jossa esitettiin, että Britannian väriteollisuus kykenee tyydyttämään maan tarpeen. Äskettäinkin on vielä tätä samaa käsitystä korostettu edellämainitun yhtymän joku viikko sitten pitämässä kokouksessa, jossa sir Alexander tuki sitä m.m. seuraavilla perusteilla:

1. Väriteollisuus on jo nyt Englantiin kiinteästi juurtunut.

2. Värien laatu vastaa parhaita saksalaisia valmisteita.

.3. Yhdessä Englannin muiden tehtaitten kanssa yhtymä voi tyydyttää maan tarpeen.

4. Enin osa niistä väreistä, joita Englannissa ei vielä valmisteta, ovat erikoislaatuja, joiden valmistaminen vaatii ei ainoastaan perinpohjaisia tutkimuksia, vaan useissa tapauksissa myös erityisten tehtaitten rakentamista. Ennenkuin Englannin tehtailijat voivat ryhtyä niihin suuriin kustannuksiin, joita sellaisten värien valmistaminen kysyy, täytyy saada varmuus ulkomaista kilpailua vastaan.

Viimeisestä ponnesta huomaa, ettei väriteollisuus kuitenkaan näytäkään niin peräti "juurtuneelta" Englantiin. Siitä, mikä merkitys juuri Englannissa vielä valmistamattomilla väreillä on, vaietaan ymmärrettävästi kylläkin. Samoin jätetään Englannin väritehtailijain taholla koskettelematta toista, kenties kaikkein tärkeintä kohtaa: hintakysymystä. Vaikkakin uskoisi Englannin väriteollisuuden paljoudesta ja laadusta esitettyjä väitteitä - siitä huolimatta, että Englannin värien käyttäjät ovat kotimaisten värien hyvyydestä olleet tähän asti toista mieltä —, jää hintakysymys pahaksi pulmaksi. Englantilaiset värien käyttäjät eivät sentähden ole jättäneetkään liittonsa puheenjohtajan kautta vastaamatta, "että hintakysymys on päävaikeutena, josta värien käyttäjät nykyisin joutuvat kärsimään". Tämä kanta on sitä käsitettävämpi, kun tekstiilitavarain vientimarkkinain lamaantunut tila ehdottomasti pakottaa tuotantokustannusten alentamiseen tai ainakin mahdollisimman pieninä pitämiseen. - Saksassa luonnollisesti seurataan mielenkiinnolla tämän asian kehittymistä.

Calico Printing.

Scientific American 26, 11.3.1854

Concluded from page 198.

Another method of calico printing remains to be described, namely, press printing, by which several colors can be printed at once. The cloth to be printed is wound upon a roller at one end of a machine, and the design, which is formed in a block of mixed metal about two and a half feet square, is supported with its face downwards in an iron frame, and can be raised or lowered at pleasure. The face of the block is divided into as many stripes, ranging cross-ways with the table, as there are colors to be printed. lf, for example, the pattern be made up of five stripes of different colors, and each stripe to be six itches broad, and as long as the breadth of the cloth, the colors have to be applied without mingling or interfering with each other. This is accomplished in the following manner:

— The side edges of the table are furnished with a couple of rails similar to a railway, and upon this is a shallow tray or frame, capable of moving backwards and forwards upon wheels. Within this frame is a cushion of about the came size as the printing block, and by its side are four small troughs containing the thickened colors. By means of a long piece of wood, formed so as to dip into all the troughs at once, the tearer applies a small portion of each color to the surface of the cushion, and spreads them evenly into five portions or stripes, taking care not to mix them; but making their breadth equal to that of the stereotype rows on the block. The cushion being prepared, the frame is rolled along the railway until it is immediately under the printing-block, which the pressman then lowers upon the cushion, by which means the five stripes of the block become charged, each with its proper color. The block is then raised, the frame rolled away, and the block brought down upon the cloth, which it prints with five rows of different colors. On raising the block, the cloth is drawn forward about six inches in the direction of its length, or exactly the width of one stripe on the block; the tearer again pushes forward the cushion with the colors renewed and the block is again charged and applied to the cloth. Now, as a length of the cloth equal to the width of a stripe is drawn front under the block at each impression, every part of the cloth is brought into contact with all the stripes on the block. Great care is required so to adjust all the moving party of the preset, that the colors may not mingle, and distort the pattern.

We have said nothing about the chemical nature of the art of Calico Printing, than which no one displays a more extensive or finer field for chemical research, and the application of chemical knowledge. Indeed, it is exceedingly exciting to the mind, and has tended to the development of very high mental qualities in some of England's greatest statesmen, and especially in her great Commoner, Robert Peel.

As an art it is divided into a number of branches, such as the resist, discharge, and topical styles, each one being quite different from the other.

Resist Style - Blue.

— By printing any pattern on white cloth, with a certain paste, and then dyeing the cloth in a blue vat, the parts printed with the paste will come out white, and the parts not so printed will be blue. The following is the way to do this. A vat containing 150 gallons of water is charged with 30 lbs., of good indigo ground together finer than wheat flour, 40 lbs. of the sulphate of iron and 60 lbs. of flour quick-lime. These ingredients must be well stirred every two hours with a flat iron rake, for three days, before the vat is fit to be worked. The copperas and lime deprive the indigo of its oxygen, and it then gives out its color. This vat must be allowed to settle well before it is worked. The cloth to be dyed is printed with a paste made by dissolving 1½ lbs., of the sulphate of copper in one gallon of water with S lbs. of fine ground pipe-clay, to which is added some dissolved gum-tragacanth, arabic, or British. This paste having been printed by blocks, or rollers on the goods, and dried, they are taken and placed on a frame, and cautiously let down into the blue vat, then made to move carefully on rollers up and down, so as to expose them to the air; they may also get dips in several vats — always ending with the strongest. When they are of the proper shade of color, they are taken out and run through a very weak solution of sulphuric acid, and well washed in cold water afterwards. The figure printed with the paste will be white, and the rest will be blue.

Another variety of the style may be produced by mixing some acetate, or subnitrate of lead with the above paste, and after the goods are dyed, and well washed, they are passed slowly through a hot solution, at 24 degs, strength, of the bichromate of potash, then through a weak solution of acetate of lead, and afterwards washed. The figures printed with the paste will then be yellow, and the ground blue, or if instead of running the goods lastly through a solution of the acetate of lead, they are passed through hot lime water, they (the yellow figures) will become an orange color. We have thus described the methods of producing white and blue, yellow and blue, and orange and blue calicoes. By printing different pastes, on the cloth, a great number of colors can afterwards be dyed in them, and still there may be white flowers in the pattern.

The madder resist style it another branch of the art, lea we will proceed to that of the "charge style." This consists in discharging the color by figured blocks, from plain pieces of goods. This is all done oy presses. The cloth to be discharged is pressed very firmly between huge leaden blocks, which have the pattern so cut in thent that the parts not to be discharged are so firmly squeezed that none of the discharge liquor (which is strong chloride of lime, the chlorine being set free by sulphuric acid) will touch them, while the parts to be discharged of color are allowed to come in contact with the liquor. Turkey-red goods are the kind on which this branch of the art is practiced. It has been carried to the greatest perfection at the Works of Sir Henry Monteath, near the City of Glasgow. Many men have lost their lives working at this unhealthy business.

Topical Style

— This style consists in printing the colors at once on the cloth, like paint, but still the colors are very different from paint, as many of them, when printed on the cloth, have to he submitted to a steam bath, in order to fix them, ash in this manner calico printing differs entirely front that of oil-cloth printing, the colors of the latter lie on the surface, those of the former must combine with the fibre of the cloth, and become something like a part of the cloth itself. The difference between a fast and a fugitive color in calicoes, simply consists in the quality of the color a related to the cloth. The color which is the most insoluble in water acid soap, and withstands sunlight best, is the fastest; that which is the easiest affected with washing or sunlight is the most fugitive.

Tapestry carpets are calico prints, in a certain sense; their warps are printed by rollers on large drums, and the yarn so printed, according to a registered pattern, is afterwards spooled, warped out, and beamed in such a manner, that the pattern is formed in the warp, the weft being merely woven in like plain work; the warp which, is raised by the wires, shows the pattern which was printed by rollers. The colors are all steamed (like some of those on calicoes) after they are printed.

We do not see why carpets may not be printed to look as well as those which are woven. Two patents have been taken out for printing them on both sides, and it may be that they will yet bo printed, by rollers, on both sides at one continuous operation. We think this possible — it is at least worthy of an effort. A press might be made with a succession of pattern cylinders, to print the pattern on onr side, and a succession of pattern rollers may print a different pattern on the other side, and thenthe whole piece may be run into a steam room to raise and set the colors. This may yet be accomplished. Such an invention would revolutionize the whole art of carpet manufacturing.

We have no statistics at hand to give full and correct information respecting the number of calico printworks in the United States, and their history, but there are quite a number of them, and some not a little famous for their styles of goods. The Printworks it Lowell, Mass., Fall River, Conn., Providence, R. I., Lodi, N. J., and Frankfort, Pa., are known far and near. Massachusetts is the great calico State, however. In 1845 there were 14 prints works in it (6 being in Middlesex Co.,) employing 2,053 persons, with a capital invested, of $1,401,500, and producing 40,855,818 yards, valued at $4,779,817. There are some styles of printing which have not yet been introduced into our country, such as the fine muslin and turkey red styles. Our calicoes are principally of the coarser qualities; the finer are all imported mostly from France, at least they are all sold under French titles, a very good evidence of the character of French calicoes. It was attempted, we believe, to establish Turkey-red dyeing by Joseph Marshall, at Hudson, N. Y., some years before he died, but the effort failed of success. At the present moment there are colors sold for Turkey reds, which, are just as like that beautiful color as a brown is to a clear bright scarlet, and indeed at the present prices of goods, it is not possible to produce such fabrics in our country, as they can be bought for 183 cents per yard by the piece, while the dusky red barwoods cost 12 cents. The calicoes manufactured at Merrimac have long been famous for their permanent colors; they are mostly produced from madder; but as a general thing they do not exhibit that beauty of pattern and design peculiar to the French calicoes, or even those of Switzerland and Britain, and it is even admitted that the designs of the British calicoes of the present day are not equal to those which were produced 50 years ago, because the calico printers find it to their profit to copy from the French. The person who conducts a calico printfield, should be a man of great chemical information, have a fine taste for the harmony of colors, and the grouping of forms, and have his head well filled with a knowledge of machinery.

Neljäs käsky eli erilaiset weljekset. (Tarina)

Karjalatar 14, 18.2.1887

Huwittawa ja opettawainen kertomus nuorisolle.

(Jatkoa wiime numeroon.)

5:des Luku.

Koe.

Petter, kimröökkipoika oli sillä wälin kärrineen tullut Zschopenthal'iin. Hänen edessään oli koko joukko suuria ja pieniä taloja, kaikki maalatut kauniilla sinisellä maalilla. Nämä kuuluiwat siniwäritehtaasen. Eräästä piipusta nousi paksu, musta sawu. Sinnepäin meni hän ja tuli ensin suurelle kartanolle, jossa näki suuria kiwi läjiä, jotka kerrassaan kiusasiwat hänen uteliaisuuttaan. Muutamissa läjissä oli tawallisia harmaita kiwiä, jotka loistiwat walkoisilta ja oliwat hywin kowia; toisissa taas oliwat kiwet tummansinisiä ja näyttiwät suurilta kiwihiilikappaleilta. Hänen tarkasti katsellessa näitä hänelle wieraita esineitä, huusi joku: Poika, mitä siellä teet?

Petter näki työmiehen aiwan sinisellä nenällä tulewan wastaansa, otti lakin päästään ja sanoi:

Minä etsin työnjohtajaa ja minulla on muutamia papereita hänelle jätettäwiä.

Hän on luultawasti muserrushuoneessa, lausui mies ja osoitti kädellään matalaa rakennusta, josta hirmuinen mäiske kuului. Petterin sinne tultua, näki hän joukon poikia, hänen ikäisiänsä, jotka par'aikaa särkiwät asken mainittuja, walkeita, harmaita ja hopealta hohtawia kiwiä jauhoksi. Täällä ei siis woinut kowalta jyskeeltä kuulla omia sanojaan, ja Petter sai sentään monesti turhaan kysyä: onko työmestari täällä? Pojat työskenteliwät niin ahkeraan etteiwät huomanneetkaan Petterin sisääntuloa. Wihdoin huomasi joku heistä sattumalta Petterin awonaista suuta. Kiireesti pani hän pois wasaran, meni aiwan hänen luoksensa ja kysyi: Mitä tahdot?

Petter uudisti kysymyksensä-ja sai sen lyhyen wastauksen:

Työmestari meni ikään sulatusuunille. Tuliwirta joka näkyi awonaisesta owesta, johdatti hänet sulatusuunille. Monta miestä kantoiwat tänne jauhoksi muserrettua kiweä ja kantoiwat sen suureen, poltetusta tiilistä tehtyyn uuniin, jonka alla paloi tuli, kylliksi suuri paistaakseen kerrallaan monta härkää. Täällä tapasi Petter työmestarin joka wastaan otti kapakan isännän kirjeen, ja sen luettua käski hän Petterin seuraamaan itseänsä. He kulkiwat nyt monen huoneen läwitse, joissa sinikiweä muserrettiin jauhoksi ja sekoitettiin weden kanssa niin kutsutuissa jauhinkiwissä. Sittenkuin tämä sininen welli oli ammennettu mataloihin astioihin lisättiin siihen taaski wettä, joka muutaman minutin kuluttua kaadettiin pois aiwan siniseksi wärjättynä. Petter näki myös monta sataa pienempää ja suurempaa astiaa täytettyinä siniwärillä ja päällekkäin ladottuina. Useammista työmiehistä osasi warmaan nähdä mitä työtä he tekiwät. Olihan Petterikin mustunut, joka ilmoitti että hän oli kimröökin kauppias.

Noh, poikani, sanoi työmestari, kuinka kallista wäriä sinä tahdot, jota maksaa 2 äyriä luoti eli yhden riksin 30 äyriä?

Kun nyt Petter tästä ällistyi ja ääneti katseli työmestaria, jatkoi tämä: Huomaan että minun täytyy tehdä ostokset sinulle. Tässä on sinulle wadillinen wäriä, jota naula maksaa 36 äyriä. Jos myyt luodin 3 äyriin, kuinka suuri silloin on woittosi naulalta?

Kuusikymmentä äyriä, wastasi Petter oikein.

Aiwan oikein, nyykäytti työmestari. Eihän se ole mikään huono kauppa, jossa woittaa niin paljon. Mutta kuinka on? Onko sinulla waakaa ja mittoja mukanasi.

Ah, ei! wastasi Petter pahoilla mielin.

Kuinkas aiot sitte myödä wäriä, jos ei sinulla ole waakaa? Kouran täyden kerralla, eli ehkä laatikoissa, kuin kimröökkiä?

Petter katsoi ujosti maahan.

Ymmärrän, sanoi työmestari, saan luultavasti auttaa sinua toisen kerran. Hän toi pienen läkkimitan johon hän mittasi 2 luotia wäriä ja sanoi: Tämmöisestä mitasta annat maksaa itsellesi 6 äyriä, ja puolesta 3 äyriä. Nyt et tarwitse waakaa etkä mittoja. Tämän mitan lahjoitan sinulle, ja sitäpaitsi ostan tusinan kimröökkilaatikoita sinulta.

Woipi helposti ajatella kuinka sydämmellisesti kiitollinen Petter oli. Tiedon halu kuitenkin antoi hänelle rohkeutta kysyä, mistä aineesta tämä kaunis sininen wäri tehtiin.

Näitkö ne harmaat ja walkeat kiwet kartanolla? kysyi työmestari.

Petterin tähän myöntäwästi wastattua, sanoi edellinen: Edelliset sanotaan kobolttikiwiksi ja sisältäwät sinisen wärin, jonka tässä näet; jälkimmäiset owat ukonkiwiä, jotka yhdessä potaskan kanssa seoitetaan kobolttiin tehdäkseen aineen tulella juoksewaksi, niin että siitä tulee lasia. Tästä sinisestä lasista saadaan musertamalla, hienontamalla ja huuhtomalla se wäri jonka ikään olet nähnyt.

Jatket.

Black Oak Bark In Tannin.

Scientific American 25, 17.12.1864

The black oak (quercus nigra of botanists) grows spontaneously in the northern American States, and is used in the art of dyeing for producing colors on cotton called "bark greens, bark yellows, bark browns, and olives." The name by which it is commonly known is "quercitron bark," and constitutes the inner hark of the tree. The color which it produces in a simple aqueous solution is yellow. Its coloring properties were discovered by Dr. Bancroft, of London, in 1794. He discovered it while on visit to America in search of new dyewoods, and the British Parliament granted him a patent for its exclusive use for twenty years. It was the principle substance employed in Britain for coloring yellow on cotton from the date of the Doctor's patent until about the year 1820, when the bichromate of potash was introduced, — which has now almost superseded it.

The bark of this tree, when used for tanning, makes leather of as good quality as white oak bark, but because its color is a light yellow, it will not bring the some price in the market as hemlock and white oak tanned leather: — The prejudice against it on account of the color is wrong, and is founded on ignorance, but tanners cannot afford to wait until this public prejudice is cured. Many of them, therefore, knowing the quality of the yellow bark, have consulted us in reference to some method that would enable them to use it in their vats and change its color, and make the leather tanned by it resemble the reddish hemlock, or the buff of white oak.

We will give them some information relating to substances which act as reagents on the color of the bark, and then they can make experiments for themselves, and no doubt they will discover a method of giving the leather the desired color, although, with us the yellow leather would meet with the most favor.

Decoctions of this bark should always be made very strong, as it then deposits a portion of its coloring matter on cooling. It contains a great quantity of tannin and quercitrine — the coloring matter. Much of this coloring matter disappears if the decoction is allowed to stand until it becomes stale, a hint which may be of use to tanners. Lime water gives a yellowish red precipitate with a decoction of this bark; the muriate of tin a yellow precipitate; alum a yellow precipitate; the sulphate of copper, a greenish yellow precipitate; the sulphate of iron (copperas) a dark olive green. In dyeing cotton a brown color with this bark, the goods are first dyed yellow with it, then redwood and logwood liquors are given on the top of the yellow. It has been observed by dyers that the yellow forming the base of the brown color will disappear, as it were, by long handling of the goods afterwards in a redwood or logwood liquor. Tanners may take advantage of this property of quercitrine and use its decoctions, in the earlier stages of tanning, and then finish off with hemlock bark liquors. They may also get the proper Oades of leather desired, by using the bark with hemlock in the same vat, or with catechu.

We have no doubt but this bark will yet come into more extensive use, and that the leather tanned by it will come up to a useful value, which does not lie in the color of it.

Preparation of Blue Ink.

Scientific American 25, 17.12.1864

Prussian blue dissolves in oxalic acid, giving a dark blue limpid liquid. This interesting discovery of MM. Stephen and Rasch, patented in England in 1837, is of great interest in tinctorial chemistry, as by its means Prussian blue may be very simply used in the form of a solution. To dissolve commercial Prussian blue in oxalic acid, first mix the blue with concentrated hydrochloric or sulphuric acid, then add an equal weight of water, leave to digest for forty-eight hours, then carefully extract all the acid by repeated washings. This process being minute and tedious, it is better to employ recently-precipitated Prussian blue, which does not need the previous treatment by a concentrated acid.

By the following process Vogel has always obtained a good solid blue ink with Prussian blue and oxalic acid:—

Dissolve in a matrass, in a large quantity of water, ten grammes of sulphate of protoxide of iron; boil, and then add sufficient nitric acid to sesquioxidise all the iron. Then add a solution of yellow prussiate of potash containing ten grammes of this salt, and leave the precipitate to deposit. After decanting the supernatant liquid, throw the deposit on a filter, wash with cold water, and leave it to drain until it can be easily raised from the filter with a knife; then, without further dryness, mix it in a porcelain mortar with two grammes of oxalic acid in crystals. Let the reaction continue for an hour, then gradually add 400 cubic centimetres of water. A dark blue solution is thus obtained, in which even after long standing no precipitate is to be found. This blue ink will not bear the least addition of black gall-nut ink; it is even advisable not to use a pen retaining a particle of this black ink.

- Moniteur Scientifique, vi, 666, 64.

Iron minium.

Scientific American 25, 17.12.1864

Iron minium, a coloring matter founded on the iron principle, is destined to supplant red lead and other pigments that have been used until now for coating wood, iron and other metals. The advantages of iron minium are; its solidity, durability, cheapness, and above all, its property of preserving the iron completely from oxydation, and of hardening the wood. These qualities, now acknowledged by firstrate manufacturers, have assured the fullest success to the iron minium, which is advantageously employed all over Europe in the largest manufactories and sugarworks, as well as by the railway and steam navigation companies.

The great solidity of this new paint is principally due to its extreme purity. It contains no acid, no adulteration, and is therefore superior to lead minium, which contains always some sulphuric acid, a small quantity, it is true, but quite enough to attack the iron and to eat into it, after a very short space of time.

Iron minium forms a very smooth and stripeless coat upon the iron, varnishing, as it were, the metal, and preventing the atmospheric influences from having any action upon the paint.

It results, from statements made by eminent English and French chemists and engineers, that the use of red-lead and generally of all preparations in which lead is employed, is injurious to the iron coated with it. They examined vessels in which the iron, after one single voyage to the East Indies, was visibly corroded, and blisters discovered on the coating itself, containing a clear liquid, and exposing thus the iron, which presented a certain number of metallic crystals. Each blister was found to be a sort of galvanic battery, and corrosion in such a case is unavoidable, because there is always a chemical action going on, whenever electricity is produced. This phenomenon must needs continue as long as there remains any red-lead, in consequence of the immediate contact of the lead paint with the metallic surface. Red-lead, therefore, as well as any other lead pigment, ought to be completely excluded from the paint of iron vessels. The best result, therefore, has been obtained by coating with iron minium the exterior and the interior of iron vessels.

Iron minium has been tried by first-rate manufacturers, and always to their greatest satisfaction; it is employed in the most important building yards, for sugarworks, for railways and steam navigation, for the prisons of Belgium and other countries, it has been adopted by the great public services, civil and military, in almost all the countries of Europe.

Iron minium is also preferred for the under-coat of all the running railway material, the painting inside and outside of the wagons, as well as for the under and upper part of carriages. Locomotives, tenders, and iron and wooden bridges are all, with great advantage, coated by this minium. It also covers usefully all kinds of tarpaulins.

The iron minium is employed the same as all other paints, with boiled or unboiled linseed oil; if the oil is not boiled, some dryers must be added, for instance litharge or any good siccative, but not turpentine. For iron vessels or any works exposed to the contact of salt water, it is necessary to take boiled flax oil, and not to employ litharge, but a good siccative, and not to expose the object to the action of the water before the painting is perfectly dry.

Iron minium mixes easily with other colors, such as black, yellow, green, etc.; and by so doing a variety of colors is obtained, to the convenience of persons who would not like the dark brown of the iron minium paint. It has been proved by experiments that the iron minium paint lasts twice and even three times as long as red-lead paint.

Iron minium has also been employed for the painting of sugar vats, standers of iron plate or cast-iron boilers, and all kinds of steam engines; it resists generally the strongest heat. Mixed with mineral tar, it forms an excellent coat for wooden vessels, since it hardens the wood to a remarkable degree. It is most advantageous for gas tubes.

It is another important advantage of this paint, that mixed with oil there is no apparent alteration, whilst red-lead, when it remains a few days not used, shows some clots not to be reduced, and brought forward by the influence of the oil on the oxide of lead. The iron minium paint is to be applied in several layers, the first ought to be thin, the second a little thicker. The proportions of the mixtures are as follows:—One pound of iron minium to be ground with one and a half per cent of boiled or unboiled flax oil, to be added one-twentieth per cent of dryer.

— London Practical Mechanic's Journal.

Ett godt polervax för svarfvare

Industri-vännen 12A, 1.6.1890

Ett godt polervax för svarfvare erhåller man genom att smälta samman 500 grm gult vax med 125 grm. hartz. Sammansmältningne värkställes i en kopparpanna och bör ske öfver lindrig eld. Sedan dessa ingredienser blandats väl, tages pannanafelden, hvarefter 125 grm terpentinolja under flitig omröring tillsättes ända tills massan kallnat. Vaxet nos med mjuka yllelappar på trätg, och inom några få dagar ser detta ut, som vore det lackeradt.

Nytt blekningssalt för tvätt.

Industri-vännen 12A, 1.6.1890

För att få bomulls- och linnevaror fort blekta, sedan de tvättats läggas de i ett bad bestående af ½ kilogram kaliumclorat i 50 kilogram vatten, och hvilket bad gjorts surt med renad saltsyra, så att dess reaktion på lakmuspapper är tydlig, d. v. s. färgar det blå lakmuspapperets färg till rödt genast vid indoppningen (den röda färgen får dock ej blifva allt för högröd). I detta bad som hålles vid en temperatur af 37.5—39,5 Cels. nedläggas kläderna i en ½ procentig lösning af borax i vatten. Sedan syrorna genom detta senare bad neutralicerats sköljas tvättsakerna upprepade gånger med flodvatten samt hängas upp till torkning. På detta sätt behandlade tyger blifva bländande hvita och erhålla, utan att växttråden på minsta sätt förstöres, stor mjukhet och smidighet. Dessutom kan ett dylikt clorbad förnyas med samma lösning, om man blott tillsätter behöflig mängd kaliumclorat och värmer upp vätskan genom inledning af varm vattenånga uti henne.
— (Polyt. Not. bl.)

Restoring old silk ribbons.

Scientific American 16, 27.12.1856

Old soiled silk ribbons, which, by many persons, are considered worthless, may be rendered almost as good as new by the performance of it few of the most beautiful experiments in practical chemistry, which can be executed by any lady. Hard or intestring ribbons cannot be renovated to give satisfaction; satin, plain soft silk, and figured silk ribbons, are the kind to which we allude.

As maroon is a very beautiful color, and is somewhat fashionable this winter for ladies' bonnets, &c., we will describe how to dye old silk ribbons this color. Take pink, light blue, or salmon colored old silk ribbons, and open them out so as to take out all their plaits. They are noe to be all sewed together, so as to make a continuous piece, and are ready for the first operation. Now, put a clean tin pan on the fire or the stove, fill it with soft water: cut up it few pieces of scrap soap in it, and bring it up to the boiling point.

When the soap is all melted by stirring the water, the suds should feel slippery between the fingers; if they do not, add as little more soap. The vessel containing the soapsuds should just he of sufficient size to hold the ribbon loosely in it; any more suds would he wasted.

Now place the ribbon in the suds and boil it for half an hour, keeping it down under the liquor with a small clean stick whittled to a proper shape. Boiling the ribbon in the soap will remove all the grease and old color. It is now lifted out and washed in water to remove all the soap from it.

After this it is stretched out between the fingers, pressed between the two hands, and laid down on a clean table. It is now to be steeped in alum liquor. This is made by dissolving a little alum in a clean stoneware vessel with a little boiling water, then cooling it down with cold water until it is about milk heat. The ribbons are bundled for a few minutes in this liquor in such us manner as to lie loose in it, and are sunk under the liquor, where they are to remain one hour. One ounce of alum will be sufficient for a vessel that will contain two quarts of water; this is called the mordant.

The ribbons are nose taken out and gently rinsed in a little clean cold water, and are now fit to be dyed.

Take about four ounces of what is called hypernic — red dyewood—which can be obtained at any druggist's, and boil it for fifteen minutes; and pour the clear liquor into a stone-ware vessel, with as much hot water as will alloy the ribbons to be handled freely. Now enter them and draw them between the fingers, and push them down from time to time under the liquor, for ten minutes, when they will have assumed a deep red color.

They are now lifted out, and a very small quantity of the extract of logwood, in liquor, is added to the red wood liquor, all stirred together, and the ribbons again entered and handled for ten minutes longer, when they will have acquired is beautiful maroon color. They are now washed in cold water and hung up to dry.

To dress them, they are sponged on the right side with a little weak liquid of dissolved gam arabic, and ironed on the wrong side with a hot flat-iron.

This finished the operations, which, if carefully performed, will render old ribbons, originally worth three and four shillings per yard, almost equal to new, for a cost not exceeding three cents per yard.

There are hundreds of families in our country who have lots of old ribbons laid past, and held to be no better than waste paper. Let them be brought out and treated as described, when they will be found fit for adorning fashionable new silk hats. Many persons are not aware of the fact, that many of the ribbons which they purchase in stores are re-dyed — changed from unsaleable to saleable colors.

Manufacturing Ornamental Glass.

Scientific American 16, 27.12.1856

The last number of Newton's London Journal contains the following specification of G. Rees, of Clerkenwell, Eng., for a simple method of producing ornamental stamped glass.

"This invention consists in an improved metbod of producing figured or ornamental surface on glass and for this purpose as sheet of finished glass, either white or colored, of the dimensions required, is employed, which is rendered plastic by heat, and pressed between a pair of metal dies, engraved with the design or pattern which is to be given to the glass. After impressing the pattern upon the glass it is annealed, and in then his for used in windows, or for ornamental purposes.

In carrying out this invention, a sheet of that finished glans, either white or colored, of the dimension, required, is made plastic by heating it in a reverberatory furnace. It is then pressed between a pair of metal dies or rollers, engraved with the design, pattern, or desorption which is to be given to the glass. The dies or rollers may have the pattern raised in the one and sunk in the other or one of them may be plain, according to the character of the ornamental surface that is to be produced. After impressing the pattern upon the glass, it is annealed in the ordinary manner, when it is fit for use in windows, or for decorative purposes.

In order to indicate the application of those improvements, and to show some of the purposes to which they are suitable, the patentee remarks that ornamental surfaces of glass, produced us decribed, and hollow on their under side. May be ornamented by gilding, silvering, enameling, painting, staining, or otherwise, so us to produce any determined artistic effect. Another description of figured or ornamental surface may be produced by pressing the glass between dies or rollers, so as to leave the required pattern or inscription in slight relief. After the glass has been annealed, the raised pattern may be removed by, grinding, when the pattern or inscription will appear dull upon a bright ground; or flashed glass may be thus treated, that is, white glass coated or covered on one side wi:h a colored glass. In this case the pattern will appear white upon a colored ground, or vice versa.

Mitä nykyisin kuuluu muodin alalta.

Kaiku 267, 16.11.1924

Muutamia käyntejä ja tiedusteluja oululaisissa vaatetusliikkeissä.

Muodin alaakaan ei ole lupa unohtaa, sillä ei ole tärkeätä ainoastaan se, mitä ihmiset syövät ja juovat, vaan myöskin se, miten ja millä he itsensä verhoavat. Siksipä tällä kertaa saakoon huomiota osakseen se, mitä Oulussa tässä suhteessa on havaittavissa.

Millä tavalla miehet nykyisin itsensä verhoavat, siitä antaa tietoja kolme eri ammattimiestä.

Saadaksemme selville, mitä miesten talvimuodissa on nykyisin huomattavaa, tiedustelimme asiaa allamainituilta, kaupunkimme huomattavimmilta edustajilta vaatturi- ja kangas teollisuuden alalla ja saimme tiedusteluumme seuraavat vastaukset:

Räätälimestari Jaakko Kemppainen mainitsi muotien suhteen jonkunverran tapahtuneen pienempiä muutoksia, ollen puvut ja palttoot nykyisin entisestään väljempiä sekä palttoot vähän pitempiä. Kankaat vivahtavat vielä raitaisiin ja osaksi myös ruudullisiin. Värien suhteen on huomattava, että ne yleensä ovat tummat, lukuunottamatta matkailupukuja, jotka ovat hyvinkin räikeä värisiä. Mitä turkiksiin tulee, ei niiden suhteen ole mitään erikoista huomattavissa, lukuunottamatta sitä seikkaa, että lammasnahat alkavat olla entistä enemmän kysyttyjä, johtuen se etupäässä niiden halpuudesta ja myöskin siitä, että niiden valmistuksessa on kehitytty niin pitkälle, että ne nykyisin tyydyttävät suurimpiakin vaatimuksia. Kankaisiin nähden on vielä mainittava, että hintojensa puolesta ovat niin kotimaiset kuin ulkolaisetkin kankaat nousseet suhteellisesti.

Johtaja K. Aura ilmoitti tiedusteluumme miesten muotien nykyisin seuraavan jonkunverran naisten muoteja, ollen päällysvaatteet yleensä pitempiä, kiristyen lanteilta, mikä on itse asiassa vastoin käytäntöä, joten tämä muotisuunta lienee pian ohimenevää. Kankaiden laatuun nähden ilmoitti johtaja Aura raidallisten ja ruudullisten kankaiden olevan vielä määräävässä asemassa, valloittaen tämän lajin kankaat suurimman osan malleissa. Turkiksien suhteen taas on mainittava, että niitä nykyisin alkaa olla markkinoilla aika paljon, joskaan niitä ei kuitenkaan ole vielä niin paljon, kuin entisinä normaaliaikoina. Yleensä ei niiden suhteen ole mitään erikoista entisestään huomattavissa. Huolimatta siitä, että sesonkiaika on käynnissä, ei ole huomattavissa erikoisempaa vilkkautta, vaan pikemminkin on se hyvin rauhallista, aiheutuen tämä ilmeisestikin huonosta raha-ajasta. - Mitä kotimaisten ja ulkolaisten kankaiden hintasuhteisiin tulee, ovat niiden hinnat suhteellisesti nousseet, koskien nousu etupäässä parempia kangaslajeja.

Räätälimestari A. Kaihla mainitsi haastattelijallemme, että yleensä muodit ovat entisellään, joskin pienempiä muutoksia on kylläkin ollut havaittavissa. Talvipalttojen suhteen on huomattava, että värikkäitä puolipalttoja aletaan entistä enemmän kaivata, vaikkakin yleisemmin käytännössä kuitenkin ovat mustat ja sileäpintaiset palttoot. Puvuista alkavat yksiväriset ja yleensä hillityt värit tulla enempi käytäntöön, jääden n.s. roimarannukkaat vähitellen pois muodista. Hintojensa puolesta tulevat ulkolaiset kankaat tullin vuoksi jonkunverran kalliimmiksi kuin kotimaiset, mutta oli haastateltavamme sitä mieltä, että ulkolaiset kankaat ovat ominaisuuksiltaan tuota hinnaneroa parempia. Lujaa kangasta saadaan kyllä kotimaisistakin tehtaista, mutta on niissä se vika, että villasta ei saada tehtaissa pois sitä joustavuutta, mikä vaikuttaa esim. sen, ettei prässäys pysy kankaassa. Huolimatta raaka-aineiden hintojen noususta, ovat hinnat kuitenkin entisellään, aiheutuen tämä toimenpide laimeasta kysynnästä ja ennenkaikkea huonosta raha-ajasta.

Oululaiset harrastavat pääasiassa käytännöllistä ja ovat talvipuvuissaan taipuvaisia ruskeaan väriin.

Käännyimme myöskin erään suureniman naisten ja herrain vaatetusliikkeen puoleen saadaksemme tietoja siitä, minkälainen maku yleisöllä on vaatteiden valinnassa ja minkälainen tilanne vallitsee nykyisin muotimarkkinoilla.

- Yleisön maku on monenlainen, yksi tahtoo yhtä, toinen toista, joten mitään varmaa muotia värivalinnassa ei voi sanoa esiintyvän. Sen huomion kuitenkin voi tehdä, että ainakin oululaisilla on tapana suosia ruskeaa eniten talvivärinä, ehkä siksi, että se on kaikinpuolin käytännöllinen väri ja oululaiset tahtovat olla käytännöllisiä.

- Tuottavatko ulkolaiset valmiiden vaatteiden valmistajat valmisteitaan meikäläisille markkinoille?

- Hyvin harvoin, sillä kotimainen tuotanto on kyllin riittävä ja kilpailuky kyinen voidakseen tyydyttää kysynnän. Hintain suhteen näytti kulunut kesä pienyä noususuuntaa, joka kuitenkin kesä- ja syyssesongin loppuessa ja talvipukujen kysynnän tullessa etualalle, siirtyi viimevuotiseen uomaansa. Mikä on huomattavaa tälle alkavalle talvisesonkikaudelle on se, että turkikset ovat hyvin haluttuja. Niitähän näkee jo melkein jokaisen talvikapan hiansuissa ja kauluksissa. Kotimaiset turkkuritkin ovat päässeet valtaasemaan omilla markkinoillaan, sillä ulkoapäin tuleva tarjonta, josta voi mainita Ruotsia, ei ole saanut mainittavia aikaan syystä, että kruunun kurssi on korkealla ja sieltä päin hankitut turkikset tulevat kalliiksi. Hinnat ovat pysyneet jotenkin samassa missä ne olivat viime vuonna. Joitakin pienempiä muutoksia un kyllä sattunut. Kysytyin turkisnahka on obosum syystä, että se samalla kertaa on sekä kaunis, kestävä ja suhteellisen halpa.

Mitään erikoisen mulliistavaa ei muotimarkkinat ole täksi talveksi tuoneet ja oululaisethan eivät yleensä rakastakaan turhaa komeutta ja muotioikkujen moninaisuutta, lämmin ja yksinkertainen, mutta samalla aistikas on oululaisen tunnuslause.

"Naisten paratiisi" tarjosi nähtäväksemme kauniita, ihastuttavia tavaroita.

Tässä joku päivä sitten Pakkahuoneenkadulla tallustellessamme, kiintyi huomiomme neiti Aina Hurskaisen naisten pukimoliikkeen, joka liike muuten on jo kauan kulkenut nimellä "Naisten paratiisi", näyteikkunoissa oleviin uuden uutukaisiin saaleihin. Pistäysimme eilen mainitun liikkeen omistajan puheilla tiedustamassa saalien alkuperää samoinkuin muistakin naisten pukimoillaan kuuluvista muotiuutuuksista ja saimme kuulla seuraavaa:

- Saalit ovat italialaisia erittäin kauniita hartiasaaleja. Ne ovat myöskin tämän alan viimeisintä muotia. Ulkomailla naisten muotimaailmassa ovat ne jo ehtineet aivan yleiseen käytäntöön, mutta myöskin meillä Oulussa on niitä jo alettu ottaa käytäntöön.

- Muista uutuuksista mainittakoon silkki-, sametti-, samoinkuin kauniit villakankaatkin, joita saapuu päivittäin aina uusia. Erikoisena uutuutena nähdään liikkeessä myöskin villaisia ja pumpulisia englantilaisia naisten alusvaatteita, jotka ovat valmistetut aito egyptiläisestä pumpulista. Muitakin, kuten kirjavat kreppi ja sileät villakankaat ovat tätä nykyä uutuutena, ollen niitä sitäpaitsi runsas valikoima.

- Vielä kiintyi huomiomme kauniisiin mattoihin, ikkunavarhokankaisiin ja villasiin pöytäliinoihin, jotka kuuluivat olevan ranskalaista alkuperää ja lisäksi viimeisiä uutuuksia tällä alalla.

- Tiedustimme vielä, onko nykyisin mitään kotimaisia naisten pukimoalaan kuuluvia uutuuksia.

- Niistä voidaan mainita erikoisesti naisten trikooalusvaatteet ja sukat. Erikoinen uutuus on myöskin kotimaiset clase-hansikkaat. Talvikäsineitä on myöskin hyvä valikoima ei yksistään naisille vaan myöskin herroille.

- Kaikellaisia koristetavaroita on >uun valikoima, joukossa myös uutuuksia, samoin pitsejä ja brodyyrejä. Kotimaisista valmisteista mainittakoon vielä uudet naisten käsilaukut.

- Hinnat ovat tätä nykyä päivän halvimmat. Muuten ovat silkki- ja villakankaat tätä nykyä kohoamaan päin. Muillekaan tavaroille ei liene lähiaikoina hinnanalennukisia odotettavissa. Siitä huolimatta tullaan nykyinen varasto myömään entistäkin huokeammilla hinnoilla.

Kankaitten laatu, hinta, käytäntö. Alusvaateuutuudet.

Tiedustimme eilen Högstenin tunnetusta vaatetusliikkeestä erinäisiä mainittua alaa koskevia asioita ja saimme seuraavia tietoja:

- Mitä ensinnäkin tulee kangasten hintoihin, niin ovat ne noususuunnassa, johtuen se siitä, että ulkomailla ovat lankain hinnat kohonneet. Tosin ei viime aikoina ole kankaiden hinnoissa tapahtunut mitään erikoisen huomattavia ja jyrkkiä hinnannousuja.

- Kotimaiset kangastuotteet ovat viime vuosina huomattavasti parantuneet ja ovat ne nykyisin täysin kilpailukykyisiä ulkolaisten kanssa. Tosinhan on muutamia hienompia kangaslajeja, joissa ulkolaiset ehkä vielä lienevät hiukan voitolla. Kotimaisten kankaiden kilpailukykyisyyden parantuessa, on myöskin sitä mukaa niiden kysyntä kasvanut. Vähitellen on niinikään vanha käsitys ulkolaisten kankaiden ehdottomasta paremmuudesta häipynyt.

- Mitä naisten nykyisiin muotikankaisiin tulee, ovat tässä etualalla tummat värit. Sitäpaitsi käytetään kevyimmissa puvuissa kirjavia (matlassé) kankaita. Paljon on Oulussa ja lähiseudulla myöskin yksinkertaisten mutta samalla hyvien kankaiden käyttäjiä.

- Uutuuksia naisten ja miesten alusvaatteissa voidaan mainita prof. Jägersin trikoot, joita ei moneen vuoteen ole ollut markkinoilla. Nyt on kuitenkin liike saanut varastoonsa näitä trikooalusvaatteita Liikkeessä on myöskin suuri valikoima kotimaisia verka- ja puuvillakankaita, joiden varsinkaan viimemainittujen menekkiä eivät ulkolaiset tuotteet kykene häiritsemään. Liikkeessä on sitäpaitsi kaikkea herrain ja naisten vaatetusalaan kuuluvaa ensiluokkaista tavaraa.

- Mainittakoon vielä, että Högstenin liike hankkii villalangat tunnetusta kuuluisasta tehtaasta.