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shown in the following engraving), for raising the contents to the required temperature.

PREPARATION OF COLORS, &C

Although the different methods of printing are numerous, and the combinations of colors and shades of color almost infinite, yet each color in a pattern must, in the present state of the art, be applied by one of six different styles of work. These are termed, 1, the Madder style; 2, Printing by steam; 3, the Padding style; 4, the Resist style; 5, the Discharge style; and 6, the China-Blue style. By the proper combination of two or more of these styles, any pattern, however complicated, is produced.

The madder style is so called from its being chiefly practised with madder; but it is applicable to most soluble vegetable and animal coloring matters. The first process in this style is to print the calico with a mordant; that is, instead of printing at once with color, the parts of the surface which are to have a madder color imparted to them are first impressed with a mordant. After the calico has passed through the hot flue, it is in many cases suspended free from folds for one or two days in what is called the ageing-room, where by exposure to air the mordant, or a portion thereof, undergoes a chemical alteration, whereby it becomes attached to the cloth in an insoluble state. Any portion of the mordant that remains in a soluble state must be completely removed, or the color in being subsequently applied would spread over the surface, instead of being confined within the limits of the pattern. The superfluous mordant is removed by passing the dried calico through a warm mixture of cow-dung and water. This is called dunging. The mixture is usually contained in two stone cisterns, placed end to end, each about 6 feet long, 3 feet wide, and 4 feet deep. The mixture in one cistern is formed with about 2 gallons of dung to the cistern full of water, heated to about 160° or 180°. The second cistern contains about half this quantity of dung. The calico, guided by rollers to keep it free from folds, is drawn quickly through the first trough, and

then immediately through the second. It is then washed in clean water in what is called a wince-pit, and again in a dash-wheel. [See BLEACHING.] Dunging is further useful in removing the thickening paste by which the mordant is applied, and it also determines a more intimate union between the mordant and the fibre of the cloth. The process is necesssary for alum, iron, and tin mordants, when applied to the cloth before the coloring matter.

The difficulty of procuring cow-dung in sufficient quantities has led to attempts to find substitutes in those chemical substances which an analysis of dung indicates as the essential ingredients. Thus a solution of phospate of soda and phosphate of lime, with a little glue or some other form of gelatine, has been used under the name of dung-substitute, or simply substitute.

After washing in cold water, the mordanted cloth is winced in a weak solution of substitute and size It is then ready for the color. This is not applying by the process of printing, but simply by drawing the cloth for two or three hours through a solution of the coloring material. The color attaches itself permanently to those portions of the cloth to which the mordant has been applied, and forms a true chemical compound therewith; but on the unmordanted portions the color is feebly attached, and is subsequently removed by washing in soap and water, or in bran and water, or in a dilute solution of chloride of lime. This last washing is called clearing.

Such is a very meagre outline of the most important processes concerned in printing and dyeing a piece of calico according to the madder style. The processes actually required for finishing a piece of cloth are numerous, as for example in producing a red stripe upon a white ground, the bleached cloth is submitted to nineteen operations, as follows: 1. Printing on mordant of red liquor (a preparation of almina) thickened with flour, and dyeing; 2. Ageing for three days; 3. Dunging; 4. Wineing in cold water; 5. Washing at the dash-wheel; 6. Wincing in dung-substitute and size; 7. Wincing in cold water; 8. Dyeing in madder; 9. Wincing in cold water; 10. Washing at the dash-wheel; 11. Wincing in soap-water containing a salt of tin; 12. Washing at the dash-wheel; 13. Wincing in soapwater; 14. Wincing in a solution of bleaching-powder; 15. Washing at the dash-wheel; 16. Drying by the water extractor; 17. Folding; 18. Starching; 19. Drying by steam.

The operations of washing and drying are very important, and provision is made for them on a very complete scale. The pieces of cloth are brought down into water-tanks, passing under and over rollers, furnished with balance-weights to keep the calico stretched: these weights can be adjusted on their levers, so as to vary the tension to any degree required. In some cases, the bottom of the tank is supplied with water in jets, so that the calico is subjected to the dashing action of the water. In pass

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ing out of the washing-machine, the calico is received on a skeleton roller, where it is smoothed by an attendant, and passes from this to the drying

DRYING CYLINDERS.

cylinders, a section of which is shown in the following figure, where the arrow on the left shows the calico proceeding from the washing-machine, passing over a guide-roller R, and then over the drying cylinders, which are of metal, and heated by steam. It is then guided by a second roller R to the drum D, on which it is finally wound.

R

In another form of washing-machine, the cloth is arranged in folds upon a shelf to the left of the machine, whence it is guided by rollers into the first vat or division of the machine: it then passes out between rollers which press out the water, and thus make it again absorbent, before passing into the second division: it proceeds in this way until it arrives at the sevenih division, where the rollers are pressed together with weighted levers, and the calico leaves the machine with most of its moisture pressed out. The object of having the divisions of unequal height is to establish a current of water; for the tallest vat being first supplied, overflows into the next, and this into the third from the right, until the collected overflowings escape by the lowest vat. In this way a current is kept up, and the calico, moving in a contrary direction to that of the current, is completely washed.

The second style of calico-printing is by steam.

D

The colors which attach themselves firmly to the cloth by being printed on it with a mordant are not numerous, but by exposing the goods so printed to the action of steam, an intimate combination, takes place between the tissue, the coloring matter, and the mordant. The mechanical arrangements for steaming are various. In some works the cloth is suspended free from folds in a small chamber of masonry, into which steam is admitted. In other works the goods are placed in a large deal box, the lid of which is made nearly steam-tight by edges of felt, and the steam is admitted through a pipe perforated with a multitude of small holes, which traverses the box. But the common method is to coil the calico round a hollow copper cylinder, A, (see p. 120,) perforated with holes, the lower end of which is connected with a steam-pipe. The cylinder is prepared by mounting it in a horizontal position in a frame. A roll of blanket is first lapped round it, then a piece of white calico, and, lastly, three or four pieces of the printed and dried calico stitched end to end. The cylinder is then fixed upright in a small apartment furnished with a chimney to carry off the steam. The open end of the cylinder is screwed to a pipe connected with the spheres ss, which are supplied with steam from the main boiler of the works, the quantity being regulated by a stopcock c. The temperature is kept at 211° or 212° to prevent much condensation, which makes the colors run. A higher temperature is injurious, but a slight condensation is required to keep the goods moist. The steaming is carried on for from twenty to forty minutes, according to the nature of the color. When the steam is cut off, the cloth is unrolled immediately, to prevent condensation. On exposure to the air, the thickening material soon solidifies, and the goods become dry and stiff. The cloth is then aged for a day or two, and the thickener gently washed out with cold water.

The operation of steaming not only attaches the color firmly, but gives it brilliancy and delicacy of finish. It is not always adopted, for some colors become firmly attached to the cloth by mere expo. sure to air. A variety of cheap goods are printed in fugitive colors; these, not being fixed by steaming or by a mordant, are called spirit, fancy, or wash-off colors.

The third style, called the padding style, applies to mineral colors only. By this style a pattern may be produced on white or colored ground. and a ground may also be formed for the design in other colors. For the latter purpose the padding machine is used. A roller covered with blanket dips partly into the trough, and above and in contact with this is another roller, and the cloth to be padded passes between the two. When the cloth is uniformly im

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bued with the color, it is dried at a temperature of 212°. If the color is to be applied to the face of

STEAMING APPARATUS.

the cloth only, the common printing machine with a roughened roller is used instead of the padding machine. The ground is sometimes produced by the union of two colors in solution forming within the fibre of the cloth itself an insoluble colored precipitate. For this purpose the cloth is first passed through one colored solution, and then dried. It is next passed through the other colored solution; the two then react upon each other, and produce the desired effect. Or the cloth may be padded in one solution, and afterwards winced in the other. In order to produce a design on a white or colored ground, the cloth is printed with one of the solutions, and then padded or winced in the other.

In the next style of printing, the resist style, the white cloth is printed with a resist paste, the object of which is to prevent those portions of the cloth to which it is applied in the form of a pattern, from taking up color when the cloth is passed through the dye-beck. A white design on a colored ground is a simple example of this style. There are two classes of resists-one to prevent a mordant from attaching itself to the portions of the cloth so protected, and the other to shield the cloth from coloring matter. Some resists act mechanically; such

are fat resists. Others act chemically as well as mechanically.

The object of the fifth or discharge style is to produce a white or colored figure upon a colored ground. For this purpose, the dyed or mordanted cloth is printed with a substance called the discharger, which acts either on the coloring matter or on the mordant before the cloth is exposed to the dye. The discharger acts by converting the coloring matter on the mordant into colorless or soluble products, which may thus be removed so as to allow the parts thus discharged to be dyed in another color. A vegetable or animal coloring matter is usually discharged by chlorine and chromic acid; and a mordant is dissolved by an acid solution.

By this style are produced the well-known imitations of Bandana handkerchiefs, in which white figures are formed on a ground of Turkey-red by means of an aqueous solution of chlorine. This is made to flow down through the red cloth in certain points, which are defined and circumscribed by the pressure of hollow lead types inserted into plates of lead contained in a hydraulic press. The press is furnished with a pair of pattern plates, one attached to the upper block of the press, and the other to the movable part or sill. From twelve to fourteen pieces of cloth previously dyed in Turkey-red are stretched over each other as evenly as possible, and then rolled round a drum. A portion of the fourteen layers equal to the area of the plates being drawn through between them, the press is worked and the plates are brought together with a force of upwards of 300 tons. The solution of chlorine is then allowed to flow into the hollows of the upper lead plate, whence it descends on the cloth, and percolates through it, extracting the Turkey-red dye, the intense pressure preventing the bleaching liquor from spreading beyond the limits of the figures perforated in the plates. When a certain quantity of bleaching liquor has passed through, water is admitted in a similar manner to wash away the chlorine. The pressure is then removed, and another square of the fourteen layers is moved forward under the plates, and the process is repeated. When all the pieces have been discharged, they are winced in water, and further treated so as to improve the lustre both of the white and of the red.

The sixth and last style of printing is for Chinablue, a peculiar style, practised with indigo only, two or three shades of color being commonly associated with white. The bleached calico is printed of the required pattern with a mixture of indigo, orpiment, sulphate of iron, gum and water. It is then aged for a day or two, and afterwards stretched in perpendicular folds on a rectangular frame of wood. This is immersed in a certain order in three liquids, contained in stone cisterns, the tops of which are on a level with the ground: 1, in milk of lime: 2, in a solution of sulphate of iron; 3, in a solution of caustic soda. The frames are dipped

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several times alternately into the first and second cisterns, with exposure to the air for a short time

INDIGO VAT.

between each dip; they are not dipped so frequently into the third cistern, but the dipping into this follows immediately after that in No. 2. By these operations, the insoluble indigo, which had been applied to the surface becomes converted into soluble indigo, or indigotin, which is dissolved and transferred to the interior of the fibres, where it is precipitated in the original insoluble form.

Such is a general outline of the mechanical and

chemical arrangements of a large print-work. In addition to these, every calico-printer must have the means of producing a constant succession of new patterns; for, were he to neglect to satisfy the craving after novelty in dress which seems to form a part of the mental constitution of all classes, his goods would be neglected, however fine in material, excellent in weaving, elegant in design, and tasteful in the choice, variety, and combination of color. The spring or the winter fashions of each year must be new; and although millions of patterns have preceded those of any particular year, yet the patterns each year must be stamped with the characteristic of novelty, or they will not sell. The production of this novelty requires months of previous preparation; and it is the business of a peculiar set of artists or pattern designers to furnish the printer with a large variety of designs, from which he selects those which he thinks likely to suit the taste of his customers.

A set of designers is usually attached to large print-works, consisting of two or three artists, and four or five apprentices. The designs furnished by them often amount to several thousands every year, from which the printer selects those which appear likely to succeed, either from novelty of design or the tasteful distribution of form and color. Some designers work on their own account, and sell their designs at prices varying from a few shillings to many dollars. In our next, we will give a description of the mode of calendering various cloths.

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THE LOVE-LETTER.

BY KATE WILDFIRE.

(See Plate.)

ANDY CAVENDER was a sad trifler in his way. There was scarcely a maiden in the village to whom he had not made love at one time or another, and all as a pleasant piece of pastime; not seeming to understand that maidens' hearts were tender things, and liable to be hurt in the handling.

Many tears had he caused to flow from beautiful eyes, yet, if he knew of the fact, it did not appear to give him serious concern. There was always a smile on his lip and a light word on his tongue.

At last, however, Andy's heart received an impression. The image of a fair young girl rested upon it; not as of old, like the image in a speculum, to pass with the object, but like the sun-fixed image of the Daguerreotype. Strange fact! the fickle, light-hearted Andy Cavender was in love; really and truly in love.

There had come to Woodland, to pass a few months during the warm summer-time, a city maiden, whose charms were too potent for the village flirt. She came, he saw, and was conquered. It was soon plain to every one that it was all over with Andy Cavender. Kate-the lively, witty, darling Kate Archer had subdued him with her charms, though all unconscious herself of the conquest she had made.

But others saw what she perceived not, and looked on curious for the issue.

"What do you think of this, Jenny?" said Kate Archer, one day, to the young friend with whom she was spending her summer in the country, and she laughed as she spoke, at the same time holding up a letter.

"News from home?" remarked Jenny, smiling.

"Oh dear, no! It's a love-letter." "What!"

"A real righty love-letter, and, as they say, nothing else. Oh dear! To think that I should have made a conquest already!"

"A love-letter, Kate? Well, here is an adventure, sure enough! Whose heart have you broken?"

"You shall see and hear for yourself," replied the laughing girl. Then, as she unfolded the letter, she put on a grave countenance, and, opening the pages to the eyes of her friend, read aloud

"MY DEAR MISS ARCHER: Will you permit one who, from the moment he saw you, became an ardent admirer, to lay his heart at your feet? Until you appeared in our quiet village, no maiden had passed before me who had power to win my love. But, from the moment I saw you, I no longer had control over my affections. They flew to you like a bird to its mate. You cannot but have observed, in all our recent meetings, that I regarded you with more than a common interest, and I have permitted myself to believe that you read the language of my eyes, and understood its meaning. You did not turn from me; you did not look coldly on me. Have I erred in believing that your heart responded to the warm emotions of my own? I trust not. If it be so, then am I of all men most miserable. I will wait, with trembling and impatient hope, your answer to this.

"Tenderly and faithfully yours,
"ANDREW CAVENDER."

"Now, Jenny dear, what do you think of that?" said Kate, gayly, as she folded up her letter. "Havn't I made a real conquest ?"

"Andy Cavender! Well, that beats everything!" "None of your country maidens for him," laughed Kate. "He must have a city belle."

"Country maidens! He's made love to every good-looking girl within ten miles round." "He ?"

"Yes. There's no counting the hearts he has broken."

"Did he ever make love to you?"
"Oh, certainly," replied Jenny, gayly.

"In real earnest ?"

"Ah! now you come to the point. Perhaps you 've not heard that Andy is our village flirt?" "A flirt, indeed! And so I am to be one of his victims. Oh dear!"

"I don't know as to that. I more than half suspect him to be in earnest now. In fact, I've heard, from more than one source, that he is desperately in love with you."

"Will he hang himself if I'm inexorable ?" "There's no telling. But what kind of an answer are you going to make to his avowal of love?"

"What shall I say?"

"Oh, that depends on your feelings." "He's a regular flirt you say?"

"I could name you a dozen girls at least, to whom his attentions have been of a character to make them believe that his designs were serious. Two or three were made very unhappy when he turned from them, like a gay insect, to seek another flower."

"Then he must be punished," said Kate, resolutely; "and be mine the task to lay the smarting lash upon his shoulders. For the man who deliberately trifles with a woman's feelings I have no pity. He has been the cause of pain beyond what it is possible for himself to feel; and, if I can reach his sensibilities in any way, you may be sure that I will do it with a hearty good-will."

"I do not like the thought of giving pain," remarked Jenny, "even to a reptile."

"Pain is salutary in most cases; and will be particularly so in this, I hope. He will have some idea of how it feels, as the woman said, when she rapped her boy over the head with a stick for striking his sister."

It was as Jenny supposed, and as we intimated in the beginning; Andy Cavender was really and truly over head and ears in love with Kate Archer, and every line of his amatory epistle was from his heart. Two or three letters were written and destroyed before he produced one exactly to his mind, and this he finally dispatched in full confidence that, as it came from his heart, it must reach the heart of the lovely maiden.

Two days went by, and no answer was received by the enamored swain. He began to feel anxious. On the third day, a neat little perfumed envelop came into his hands, which, on opening, he found to contain a pink, perfumed, satin-edged sheet of notepaper, on which were a few lines most delicately written. They were as follows:

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Andy was in ecstasies at this answer to his epistle. Its meaning to him was as plain as if Kate had said, "Dear Andrew, my heart is yours."

On the next evening, he repaired to Mrs. T-'8, trembling with fond anticipation. On entering the parlor, he found but a single person therein, and that a young lady named Herbert, to whom he had formerly paid very marked attentions. Aware that she had been made unhappy by his fickleness, not to call it by a harsher name, the meeting rather threw a damper over his feelings. But Andy had

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