The dyer's instructer |
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Common terms and phrases
15 Pieces according to shade add 1 lb add 1 quart add a little Alum Annotta Archil Blue Spirits Blue Vitriol Boil 1 hour Boil 40 minutes Boil half boiling heat Brown Tartar Camwood Chrome clean vessel clear Liquor Copperas Vat COTTON & WORSTED Cotton Dye CRIMSON dark darker shades Dry Cochineal dyed by adding Finish with 20 gill of Liquid give 10 turns GREEN half an hour Liquid Extract Logwood Madder mode of dyeing Muriate of Tin Nitrate of Iron Nitrate of Tin noggin Oil of Vitriol Old Fustic OLIVE Paste Cochineal Paste Cudbear Peachwood Pearlash pints of Nitrate pints of Spirits Prussiate of Potash PURPLE quart of Oil quarts of Nitrate quarts of Spirits Red Argol sadden Safflower SCARLET shade is required spoonfuls of Liquid Sumac Super Argol tub of cold Turmeric Twaddell vessel with 20 warm water WARP wash White Argol WORSTED DAMASKS Worsted Dye Yellow Young Fustic
Popular passages
Page 285 - Colours, and how they are mixed. It is difficult, however, to convey to any person not acquainted with matching, the nicety of bringing up the particular hue required. It can be obtained only by practice. NB— Though there are many different colours or tints in the works of nature, and also in objects produced by art, yet all the colours that we see, or can imagine, are formed of only three colours, called the primary colours, viz.‎
Page 285 - JBy adding more blue to the mixture, we make violet. Brown, lilac, drab, grey, and other colours or tints, are in the same manner formed by mixing the primary colours. White is perfect lightness, or the absence of all colour, and black is perfect darkness. Properly speaking, white and black are not colours, but they are seen both in nature and art. Snow gives us one of the best examples of whiteness ; and pure linen and cotton cloth and paper are likewise very white. White is sometimes called blank,...‎