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Conclusion of Mr. Henry's Considerations Relative to the Nature of Wool, Silk, and Cotton, as Objects of the Art of Dying,
Conclusion of Mr. Henry's Considerations Relative to the Nature of Wool, Silk, and Cotton, as Objects of the Art of Dying,
Article · 27 pages
Conclusion of Thomas Henry's essay on wool, silk and cotton as materials for dyeing, from the Repertory of Arts and Manufactures (1795). It finishes the step-by-step Turkey red (Adrianople red) process for cotton: galling, aluming with Roman alum and barilla liquor, maddering with sheep's blood, and the final nine-hour enlivening boil. Part Three then gives a chemical theory of mordants or bases, covering Hellot, Keir and Macquer on alum, the astringent principle of galls, animalizing cotton, and Henry's disagreement with Macquer about the alkaline mordant. It closes with remarks on black dyes made from iron and galls, including Lewis, Percival and the Dijon Academicians.
Considerations Relative to the Nature of Wool, Silk, and Cotton, as Objects of the Art of Dying, Part 1
Considerations Relative to the Nature of Wool, Silk, and Cotton, as Objects of the Art of Dying, Part 1
Article · 20 pages
First part of Thomas Henry's memoir, reprinted from the Manchester Literary and Philosophical Society, on the nature of wool, silk, and cotton as materials for dyeing. It opens with a short history of dyeing (Egyptians, Phoenician and Tyrian purple, early English dyeing and a 1596 dyeing tract). It then reviews theories of why fibres take dye differently, namely pore structure versus chemical attraction, and reports Neumann's and Berthollet's chemical analyses of wool, silk, and cotton. It ends at the start of the discussion of scouring wool, and is to be continued.
Considerations Relative to the Nature of Wool, Silk, and Cotton, as Objects of the Art of Dying, Part 2
Considerations Relative to the Nature of Wool, Silk, and Cotton, as Objects of the Art of Dying, Part 2
Article · 18 pages
Continuation of Thomas Henry's 1795 paper on the chemistry of dyeing, covering the preparation of silk, cotton and linen before dyeing. It describes degumming silk with soap or alkaline solutions and sulphur bleaching, and alkaline boiling, souring and bleaching of cotton and linen. It then classifies colouring substances into three groups by how they attach to cloth, and discusses phlogiston versus antiphlogistian explanations of colour. The second part begins the discussion of mordants, which Henry proposes to call bases, naming alum and tin solutions as the principal white bases; it ends with "to be continued."
Considerations Relative to the Nature of Wool, Silk, and Cotton, as Objects of the Art of Dying, Part 3
Considerations Relative to the Nature of Wool, Silk, and Cotton, as Objects of the Art of Dying, Part 3
Article · 16 pages
Third installment of Thomas Henry's essay on wool, silk and cotton as materials for dyeing. It discusses mordant bases: alum, tin, copper, lead and iron salts, and how each is used for wool, silk and cotton, including the calico printer's aluminous liquor made from alum and sugar of lead. It then begins a detailed, step-by-step account of the Adrianople (Turkey) red process on cotton, covering barilla leys, oil and sheep's dung liquors, and galling, and breaks off after the ninth operation with the note that it will be concluded in the next issue.
4 documents found

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