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REESE LIBRARY

OF THE

UNIVERSITY OF CALIFORNIA,
Class

MAR 15 190?

PRACTICAL LITHOGRAPHY

S/TY

PRACTICAL LITHOGRAPHY.

ALOIS SENEFELDER.
The Iiiveutor of Lithography. Born 1781— Died 1834.

Frontispiece.]

PRACTICAL
LITHOGRAPHY

ALFRED SEYMOUR

AUTHOR OF "MODKRN PRINTING INKS AND COLOUR PRINTING" "RULE OF THUMB IN THE.
WORKSHOP" "SOME WORK-A-DAY NOTIONS" ETC. ETC.

WITH FRONTISPIECE AND THIRTY-THREE ILLUSTRATIONS

LONDON

SCOTT, GKEENWOOD & CO.
19 LUDGATE HILL, E.G.

NEW YORK

D. VAN NOSTKAND COMPANY

23 MURRAY STREET

1903

[All Rights remain with Scott, Greenwood <t- Co.]

REESE

INTRODUCTION

" ALOIS SENEFELDER never benefited much by his discovery
of the elementary principles of lithography, but none of those
to whom it has given profitable occupation will remember
without some feeling the patient and persistent efforts of the
struggling actor and dramatist who, only after the greatest
sacrifices and hardships, laid the germ of this splendid de-
velopment, and watched and guarded its growth." There is
one characteristic feature of the discovery of lithography for
which Senefelder ought to receive the fullest credit. Unlike
other discoveries of industrial and scientific value, there can
be no doubt whatever as to its origin. Senefelder's claim has
never been disputed, yet " the payment of a debt of gratitude
to the fact is easily overlooked when the wheel of history
has made another turn."

It has been again and again suggested that the blighting
influences of Commercialism have robbed lithography of many
of its traditional features and a few, at least, of its best and
most artistic qualities as a reproductive art. This same
commercial spirit, however, has inspired and encouraged a
charming variety of effect both in colour and design, and
lithography of to-day, in almost every form of its manifesta-
tion, is infinitely more attractive and capable of considerably
more expressive power than could ever have been hoped for
before commercial utility and value demanded a full recog-
nition. Pleasing and harmonious effects, which are almost

^21

vi INTRODUCTION

invariably sought after in lithography, need not be inartistic,
and it is quite possible for the technique of the lithographic
draughtsman to translate original work without a serious de-
preciation of its pictorial and artistic value.

While expressing a sincere hope that this volume may
be of considerable assistance to his fellow-craftsmen, the
writer wishes to emphasise the fact that resourcefulness and
intelligent application are faculties which may be encouraged
and amplified but cannot be imparted even by volumes of
text.

A mere formal acknowledgment of assistance cordially
rendered by the editors of the British Printer and The Caxton
Magazine and Press, Messrs. Penrose & Co., and other firms
whose blocks are primd facie evidences of their interest, does
not adequately express the appreciation with which it has
been accepted and made use of.

A. S.

LONDON, December 1903.

CONTENTS

PAGE

INTRODUCTION . . . . . . ' . . T

LIST OF ILLUSTRATIONS . . . .... xi

CHAPTER I
ELEMENTARY DETAILS

Concerning Stones — Character and Texture — Some Simple Elements —
Preparation of Stones — Planing and Levelling — Grinding Grained
Stones — Descriptive Treatment — American Method . . . 1-7

CHAPTER II

LITHOGRAPHIC TRANSFER INKS

Various Forms — Distinguishing Features — Formulae — "Writing Transfer
Ink — Stone-to-stone Transfer Ink — Copperplate Transfer Ink —
A Modification . •-.,; . ' . . . . 8-11

CHAPTER III
LITHOGRAPHIC TRANSFER PAPERS

Essential Features — Varnish Transfer Paper — Damp-stone Transfer
Paper — French Transparent Transfer Paper — Copperplate Transfer
Paper— An Alternative Recipe— Granulated Papers— Photo-litho
Transfer Paper . . . . . . . 12-16

CHAPTER IV

COPPERPLATE TRANSFER PRINTING

The Copperplate Press— The Operation — Charging the Engraved Plate—

Cleaning-otf and Polishing — Making the Impression — Useful Notions 17-19

CHAPTER V
THE LITHOGRAPHIC PRESS

Mechanical Principles — Constructive Details — Scraper — Tympan —

Practical Suggestions — Elastic Bedding . . . 20-23

vii

viii CONTENTS

CHAPTER VI
LITHOGRAPHIC PRESS WORK

PAGE

Preparing the Design— Treatment of an Ink Drawing — Chalk Drawings
— Alterations— Value of Impressions— Offsets— The Lithographic
Hand-roller — Proving — Registration — General Features — Transfer-
ring— A Commercial Necessity — Arrangement — Choice of Paper —
Transference to Stone— Preparing the Forme . . . 24-33

CHAPTER VII
MACHINE PRINTING

The Printing Machine — The Halligan — Some Mechanical Phases —
Speed — Pressure— Levelling the Stones — Cylinder Brake — Inking
Rollers — Damping ...... 34-40

CHAPTER VIII

MACHINE PRINTING— continued

Register — Atmospheric Conditions — The Key — The Gripper — Starting
the Machine — Fixing the Stone — Strength of Colour — Grit — Making
Ready —Regulation of Speed ..... 41-46

CHAPTER IX
LITHOGRAPHIC COLOUR PRINTING

A Commercial Value— Peculiar Features— Colour Sequence — Controlling

Elements— A Question of Register — Suitable Paper . . 47-51

CHAPTER X
LITHOGRAPHIC COLOUR PRINTING— continued

Printing Inks — Varnish — Reducing Medium — Relative Values — Some
Useful Hints — Bronze Blue — Vermilion— Ink Mixing — Ceramic
Transfers — Colour Transparencies .... 52-56

CHAPTER XI
SUBSTITUTES FOR LITHOGRAPHIC STONES

Metal Plates— Preparation— Manipulation — Descriptive Details — Machine

Printing— The Printing Bed— Rotary Printing Machine ' . 57-66

CONTENTS ix

CHAPTER XII
TIN-PLATE 'PRINTING

PAGE

Its Evolution— Transfer and Direct Transfer Printing — The Coated Paper
— Reversed Designs — Sequence of Printing — Printing Inks — Purity
of Tone — Drying . . * . . . '. 67-71

CHAPTER XIII
TIN-PLATE PRINTING — continued

Direct Tin Printing — The Machine — Peculiarities of Impression-
Cylinder Covering— Colour Sequence— Printing Inks— Drying Racks
— Air-drying versus Stoving . . . -- . 72-79

CHAPTER XIV
TIN-PLATE DECORATION

Suitable Designs— A Variety of Effects— Gold Lacquer— Super-position of

Colours — Embossed Effects— Embossing Plates— Lacquers . 80-83

CHAPTER XV
PHOTO-LITHOGRAPHY

Early Experiments— An Analysis— The Direct Process — Transfer Process
— Line and Half-tone— Some Difficulties — A Natural Grain— Ink
Photo-screen Effects — Essential Features . . . 84-88

CHAPTER XVI

PHOTO-LITHOGRAPHY — continued

The Copy— Gradations of Tone — "Scraper Boards" — Description and

Effect— Shading Mediums— Crayon Drawings — Half-tone Copy 89-95

CHAPTER XVII
PHOTO-LITHOGRAPHY— continued

A Copying Table — Exposure — Illumination — Photo-litho Transfers —

The Paper— Printing— Developing— A Direct Process . 96-101

'INDEX 102-104

ILLUSTRATIONS

I'AGK

ALOIS SENEFELDEK ...... Frontispiece

STONE-PLANING MACHINE . . . . . . .4

STONE-POLISHING MACHINE ...... 5

COPPERPLATE PRESS . . . . . . .17

HOT PLATE ........ 18

LITHOGRAPHIC PRESS . . . . - . .21

DETAILS OF LITHOGRAPHIC PRESS . . . . .22

LITHOGRAPHIC HAND PRESS . . . . . . 23

LITHOGRAPHIC HAND ROLLER . . . . . .28

ARRANGEMENT OF TRANSFERS . . . . . .32

TRANSFERRING BOARD . . . . ' .. . . .32

LITHOGRAPHIC PRINTING MACHINE . . . . .35

HALLIGAN MACHINE . . , . . .36

PRESSURE MECHANISM . . . . . .38

INKING ROLLERS ........ 39

DAMPING ROLLERS. ....... -10

GRIPPER ......... 42

TRIMMED EDGES ........ 43

COUNTER SHAFTING ....... 44

MOTOR DRIVING ........ 45

PLATE-GRAINING MACHINE . . . . . 59, 60

PLATE BED ... . . . . . .62

ALUMINIUM ROTARY MACHINE . . . . . .63

ALUMINIUM ROTARY SECTION . . . . . .66

TIN-PLATE PRINTING MACHINE ...... 73

TIN-PLATE RACKS . . . . . . . 78, 79

METHOD OF STACKING PLATES . . . . . .79

SCRAPER BOARD WORK ....... 91

SCRAPER BOARD TEXTURES . . . . . .93

PHOTOGRAPHIC COPYING BOARD . 97

PRACTICAL LITHOGRAPHY

CHAPTER I

ELEMENTARY DETAILS

Concerning Stones — Character and Texture — Some Simple Elements —
Preparation of Stones— Planing and Levelling — Grinding Grained
Stones — Descriptive Treatment — American Method.

THERE are a vast number of details in connection with
lithography and lithographic printing which are indisputably
elementary in their character. It- would be impossible,
however, to regard them as non - essential, and a just
appreciation of their value and influence must of necessity
enter into any comprehensive exposition of the craft.

Stone as a printing medium. — The value of the Bavarian
limestone was one of those fortunate discoveries which
tended to materialise lithography as a graphic art, and
may even be regarded as a fundamental principle, the
practical value of which is only equalled by its far-reaching
effects.

Other printing surfaces have been discovered and
developed, with more or less substantial results, yet with-
out depreciating their merits, it will be but a fair recogni-
tion to concede the premier position to the Solenhofen
and other limestones of a like nature.

2 PRACTICAL LITHOGRAPHY

The homogeneity and porosity of these stones render
them peculiarly suitable for lithographic purposes, and it
undoubtedly reflects a vast amount of credit upon Sene-
felder that even at the outset he should select a medium
so well adapted and in every way so eminently suitable
for graphic reproduction.

I have already, and almost inadvertently, indicated the
peculiar value of the Bavarian stone, for homogeneity and
porosity of texture are absolutely essential properties, and
upon these is based almost every theory which has assisted
in the development of this craft. These properties, in con-
junction with a suitable greasy pigment, provide the requisite
materials for that cause and effect which require and compel
consideration.

The simple elements of lithography may be very briefly
described, and in this direction at least we must follow
certain well-defined lines which may be regarded as well-
worn ruts, the consideration of which offers little that
is new.

A brief review of - the theories of chemical and mech-
anical affinities is best calculated to impress upon the mind
the elementary principles of the lithographer's art.

The penetrative power of a greasy pigment, together with
the porous nature of the litho-stone, may be regarded as the
cause by which the lithographer produces as an effect a
design or impression which, to some extent, enters into the
texture of the stone — the homogeneity of which checks any
tendency to spread. This fatty matter may be applied in one
or two ways, either t as a transfer from some other printing
surface, or as a direct drawing with pen, brush, or crayon.

The first question for consideration will be the initial
preparation of the litho-stones. These preparatory opera-
tions— which have for their object the levelling, polishing,
and cleaning of the stones — were at one time entirely per-

ELEMENTARY DETAILS 3

formed by hand labour, but are now accomplished with
much greater facility and in a more effective manner by
machinery. The importance of each individual operation
will be more readily appreciated when once its purpose
is clearly understood. A litho-stone having a perfectly level
surface is necessary in order to enable the printer to secure
a firm and uniform pressure over the whole design when
printing therefrom. A smooth, polished surface will readily
receive the finest designs, and retain all their original
characteristics. A clean surface is an absolute necessity, i.e.
a chemically clean surface free from grease or any foreign
matter which would be likely to enter into the texture of
the stone and by so doing injure any greasy drawing or
transfer which might be made thereon.

These are simple, elementary principles, and as such
are probably familiar to every reader, but the frequent
result of familiarity is a dangerous tendency to under-
estimate the importance of everyday causes and effects.
If, therefore, such a reference as the above to common
details serves to convey some intelligent idea of their place
and true value, then no apology whatever will be necessary
for their insertion in this volume. It has already been
stated that, in the preparation of litho-stones, the supersed-
ing of hand labour by machinery has effected considerable
and important changes.

Several machines, all of more or less practical value,
have been introduced to the trade. One of the more
recent developments, a stone -planing machine, possesses
many features of real merit (Fig. 1).

The stone is securely fixed on a perfectly true bed and
passes slowly to and fro beneath the blades of powerful
cutting knives. These blades are arranged in an inverted
V-shape and locked in an oscillating framework. By an
automatic action they are almost imperceptibly lowered at

4 PRACTICAL LITHOGRAPHY

each traverse of the machine, when they lightly cut away
the surface of the stone until the old work is completely
removed and a smooth level face is assured. The chief
objection to this type of machine is that in course of time
the knives become worn and slightly irregular, and it is
but reasonable to suppose that when a number of small
stones have been operated upon and immediately afterwards
a full-sized stone is planed, such irregularities will be very
pronounced and detrimental.

Many machines have been designed on the simple grind-

FIG. l.

ing principle, but one type differs from its contemporaries
and offers several distinct advantages over them (Fig. 2).

This machine is constructed on]' hand -polishing lines,
i.e. the movements are to some extent mechanical arrange-
ments of hand - polishing principles. The size of stone
makes no difference whatever, and the results are in the
main uniform and satisfactory. The inconveniently sharp
edges, such as are produced by the planing machine, are
unknown, — the wear and tear on the' stone is perceptibly
lessened, and the power required to drive such a machine
is not by any means a serious matter.

When a planing machine does not enter into the opera-
tion, and grinding by hand is therefore necessary, sharp,

ELEMENTARY DETAILS 5

clean sand should be used as a grinding medium. To
secure some degree of uniformity in the grain, and at the
same time remove all the larger particles of grit, pass the
sand first through a fine sieve. The harder qualities of
sand have, of course, the greatest cutting power, and
therefore are the most suitable for this purpose.

FIG. 2.

When hand-grinding is resorted to, a continuous elliptical
motion of one stone over the other with a slight twist from
the wrist will prove most effective.

To finish the grinding, and as far as possible remove
the deeper sand scratches, work off the sand in the form
of a sludge. Unless this operation is carefully and patiently
performed, scratches of considerable depth may appear on

6 PRACTICAL LITHOGRAPHY

various parts of the stone's surface. These, in the sub-
sequent polishing, may offer a strong temptation to the
operator to work over one part of the stone more than
another, so as to effect the removal of such scratches with
greater rapidity. The almost certain result of this would
be an uneven surface, which would in many ways prove
troublesome to the printer.

The graining of stones. — This is a matter concerning the
preparation of stones which must not be overlooked. The
introduction of shading mediums and other contrivances of
a similar character has considerably minimised the importance
of the grained stone, inasmuch as it cannot now be regarded
as an indispensable feature of lithography. It is, however,
still of inestimable value, and will probably always find a
place and purpose in the practice of lithography, despite
its depreciation owing to present-day limitations.

Kecognising, then, the possibility of its retention, at least
for some time to come, as a suitable printing surface upon
which the lithographic draughtsman can work with un-
doubted facility of execution and effect, we must perforce
include a brief description of its preparation in this chapter.
First of all, level the stone and to some extent polish
it, after which the graining may be proceeded with. A
glass muller about 6 or 7 inches in diameter makes an
excellent " grainer." Failing this, a handy substitute will
be found in the form of a small litho-stone, hard in texture,
and with a smooth, level surface. Use as a graining medium
sharp, clean silver sand only, passing it carefully through a
sieve according to the size or depth of the grain required.
Sprinkle a little of this sand uniformly over the stone under
treatment, together with a few drops of clean water. With
a continuous circular movement pass the graining muller
from end to end of the stone, exerting a firm and uniform
pressure. Eepeat this operation again and again, adding

ELEMENTARY DETAILS 7

sand and water as required. Considerable time coupled
with intelligent application will be necessary to carry out
this work successfully. Should the sand become too much
worn before its renewal the grain will in proportion lose
its "tooth" or sharpness. On the other hand lies the
danger of producing a grain which is too harsh or pro-
nounced. Therefore much depends upon the skill and
judgment of the operator. A safe plan is to ascertain the
progress at any time when a satisfactory result might be
reasonably expected. The best way to accomplish this is
by washing from the face of the stone any accumulation of
sand, and drying it, so that a test can be made with the
actual grade of crayon to be used in the subsequent
drawing. A powerful current of clean, cold water affords
the best means for removing every trace of sand from
the finished stone, and will leave it in a condition of almost
complete readiness for the draughtsman ; a good drying is then
all that is necessary. Good results have been claimed for a
method of graining which was introduced by the Americans
a few years ago. In this process the grain is produced by
sprinkling the surface of the stone with sand and rolling
it with small glass balls. These balls having a limited
area in which to work exert a continuous cutting power with-
out any tendency to produce scratches. Some mechanical
arrangement is necessary to impart this continuous rolling
movement to the glass balls and to maintain a uniform
speed. It is quite easy to understand that with such a
process, carried out under favourable conditions, very fine
results might be produced with great rapidity.

CHAPTER II

LITHOGRAPHIC TRANSFER INKS

Various Forms — Distinguishing Features— Formulae — Writing Transfer
Ink — Stone-to-stone Transfer Ink — Copperplate Transfer Ink —
A Modification.

GIVEN a perfectly clean and smooth polished stone as
described in the previous chapter, the next important point
is the composition of the fatty matter wherewith a design
or drawing is applied.

As already stated, the active principle in any suitable
transfer medium of this character is invariably the same,
no matter what form its composition takes. For applying
with pen or brush it must possess soluble properties, and of
necessity be reduced to a liquid form. Such soluble pro-
perties, however, must not interfere with its fatty properties,
these latter being essential features.

In crayon or chalk drawing the composition must be
employed in a concrete form, as a crayon, the hardness and
texture of which will be controlled (1) by the character of
the work to be carried out ; (2) by the character of surface
to be operated upon.

Transfers from other printing surfaces can only be made
when the composition used is in the form of a pigment, and
reduced to a convenient working consistency.

These, then, comprise the varieties of transfer mediums
which are likely to be required in most phases of commercial
lithography. Others are, of course, employed for specific

LITHOGRAPHIC TRANSFER INKS 9

purposes and under peculiar conditions ; but these, again, are
more or less modifications of existing formulae, prepared to
meet particular requirements.

The ink used for transferring impressions from one print-
ing surface to another, e.g., the re- transferring of work from
stone to stone, may with a very slight alteration serve for
type to stone transfer ; but a considerable departure must
be effected to produce a satisfactory photo-litho transfer ink,
while a composition of a peculiarly distinctive character will
be requisite for the successful production of transfers from
copperplate engravings, as well as for a transfer ink for
writing and drawing on stone or transfer paper. This
writing transfer ink must be soluble in water, yet without
becoming slimy ; otherwise it will not work freely with the
pen or brush. It must also dry quickly, and without any
tendency to smear.

A plate transfer ink must neither rnelt nor drag when
applied to the hot plate. It must, of course, soften suffi-
ciently to fill in the lines of the engraving, and. should so
harden as it cools that it cannot easily be dragged away
during the cleaning and polishing operations. See Chap. IV.
page 19.

Each and all of the above inks must be excessively
greasy and penetrative, but without having the slightest
tendency to spread superficially. The ingredients and
methods of preparation specified in the succeeding paragraphs
are not given as standard formulae, but in corroboration of
statements made, and as practical illustrations of the character
and purpose of transfer inks and compositions generally.

Transfer ink. — Writing transfer ink, for writing or
drawing on stone or transfer paper, may consist of equal
quantities of : —

Castile soap, Tallow,

Wax, Shellac.

io PRACTICAL LITHOGRAPHY

with the addition of carbon black or black printing ink as a
colouring matter. Another reliable formula is :—

Soap . . . . .4 parts

Tallow . . . . 3 „

Wax . . . . 6 „

Shellac . . . . 4 „

Carbon black . . . 1 „

Whichever formula is adopted the method of preparation
is the same combination.

Free the soap from all moisture by drying, and thus
facilitate its combining with the other ingredients.

Melt the tallow and wax over a hot fire until they are
thoroughly well mixed. Add the dried soap a little at a
time, so that it may become thoroughly incorporated with
the wax and tallow. Bring the mixture to boiling-point,
then remove it from the fire or stove and ignite the fumes
which will then be rising freely. Continue the burning
process for about fifteen minutes, then extinguish the flames
by replacing the lid of the pan. The shellac and black
may be added while the composition is cooling.

Stone-to-stone re-transfer ink. — The ingredients of this
ink consist of : —

4 oz. Transfer ink. 4 oz. Medium varnish.

4 „ Litho black ink. 1 „ Canada balsam.

Melt the transfer ink over a slow fire and add the other
ingredients separately.

Canada balsam will not only add to the effectiveness of
this ink, but it will also improve its working qualities.

Copperplate transfer ink. — Ingredients consist of : —

1 oz. Tallow. 4 oz. Bitumen.

3 ,, Bee's wax. 1 „ Canada balsam.

4 „ Shellac. 1 „, Carbon black.

The method in this case differs somewhat from the

LITHOGRAPHIC TRANSFER INKS u

preceding. First melt the bitumen and then add the wax
and soap in small pieces as before. Burn this for fifteen
minutes, and add the shellac, balsam, and black, boiling
the whole gently for forty minutes. Mould into squares
or sticks, and for convenience in handling cover these with
tinfoil.

Should an extra powerful ink be required for shading
or stippling films, the stone-to-stone re-transfer ink can be
reduced to a working consistency with castor oil instead
of varnish, and thus rendered suitable for this purpose.

CHAPTER III

LITHOGRAPHIC TRANSFER PAPERS

Essential Features — Varnish Transfer Paper — Damp-stone Transfer
Paper — French Transparent Transfer Paper — Copperplate Transfer
Paper — An Alternative Recipe — Granulated Papers — Photo-litho
Transfer Paper.

TRANSFER papers are even more used than the transfer
compositions already described, and in greater variety, in
consequence of which there is a wide difference of opinion
concerning their merits.

To a certain extent the specific value of any transfer
paper must depend upon local conditions. That which might
be of the utmost value to one printer would in all probability
fail to meet the requirements of another. With these also,
as with the transfer inks, the main point is to grasp the
general principles involved. Adhering to these principles
enables any intelligent workman to adapt the transfers to his
own peculiar necessity. It is most important that lithographic
transfer paper should be absolutely impervious to the transfer
composition or ink, so that an impression of full strength can
be conveyed to the stone, leaving its greasy properties unim-
paired. The paper therefore must undergo special prepara-
tion, and here again the character of the work and the con-
ditions under which it is carried out are the chief controlling
elements. So much is this the case that many lithographic
printers prefer to make their own transfer paper, and find
such a procedure eminently satisfactory.

LITHOGRAPHIC TRANSFER PAPERS 13

A good bank post double foolscap paper, about 26
lb., first thinly coated with a solution of concentrated
size and afterwards varnished with a heavy coach body
varnish, gives excellent results. When transferring large
work in which a number of printings are involved, and
where accuracy of register is a sine qud non, the following
mixture may, if desired, be substituted for the coach body
varnish : —

Best oak varnish . . .1 quart.

Turpentine . . . '. J pint.

Boiled linseed oil . . . J „

Paper thus prepared rarely stretches or becomes distorted to
any appreciable extent, and can be used writh equally good
results on either cold or warm stones.

Its keeping qualities are, however, limited ; it is therefore
advisable to utilise the transfer impressions with as little
delay as possible.

This may be criticised as a somewhat primitive and
old-fashioned transfer paper ; but of the many transfer
papers now in use, none can claim to be exactly new.

Another stone- to-stone transfer paper of the simplest
possible character can be made by coating a good writing
paper with the following composition. Soak 3 oz. of glue
in 6 oz. of water for about 8 hours. Eeduce 1 lb. of
starch to a thick, creamy paste by rubbing it down in a
little cold water and then adding boiling water until the
required consistency is obtained. Mix the starch and
glue together, and add a little gamboge or cochineal
as colouring matter, so as to enable the printer to
see at a glance which is the coated side of the paper.
Spread this composition on the paper while it is still
warm.

A transparent transfer paper with a soluble coating is
frequently desirable, and for certain purposes may be strongly

14 PRACTICAL LITHOGRAPHY

recommended. A French transfer paper meets such a re-
quirement, and at the same time possesses many other
excellent qualities. It picks up a firm, clean impression, and
transfers every particle of it to the stone. It is also trans-
parent, and sufficiently adhesive to stick to a very slightly
damped stone under a light pressure.

A transfer paper which may be used as a base upon
which to write or draw a design for subsequent trans-
ference to stone, as well as for stone-to-stone transferring,
should be coated with a composition of a gelatinous
character, which will not be readily soluble in water.
Writing transfer ink is of course dissolved in water, and
its effect on a soft, soluble composition would be dis-
astrous.

The following formula is suggestive as well as prac-
tical : —

Gelatine . . . . 4 oz.

Isinglass . . . . 6 „

Flake white . . . 3 Ib.

Gamboge . . . . 2 oz.

Make a strong size of the above by boiling the gelatine
and isinglass with a little water. Mix the gamboge and
flake white with a little warm water, and add the mixture to
the gelatine solution. This composition must be applied to
the paper while still quite warm, as it forms into a com-
paratively stiff jelly while cooling. This paper should be
transferred to warm stones.

Copperplate transfer paper is to some extent a develop-
ment of the variety just described ; that is, if the
conditions under which such transfers are made will bear
comparison with operations of an essentially different
character.

The composition used for coating copperplate transfer
paper must possess a somewhat heavy body, and for this

LITHOGRAPHIC TRANSFER PAPERS 15

reason plaster of paris enters into its composition, which is
as follows : —

Plaster of paris ... . . .. * 2 Ib.

Flake white . . . 1 „

Flour . v .' . " . ' 2 „
Fish glue . ± „

Alum . . . . . . 1 oz.

Soak the alum and glue from 8 to 10 hours, and then boil
them until they are dissolved. Make the flour into a smooth
paste by the addition of a little water, and mix it with the
flake white. Mix the plaster of paris with water, and stir
continuously until it becomes incapable of setting. Add the
other ingredients, already mixed, and see that they become
thoroughly incorporated with the plaster of paris, after which
coat the paper twice with the mixture.

The following may be substituted for the above : —

Plaster of paris . ... . . 2tlb.

Flour . .... •••.," . ;.' , 2 „

Gelatine v. .^ .^ ;. . 4 oz.

A transfer paper with its surface granulated to represent a
mechanical stipple, or the texture of a grained stone, may be
prepared in the following manner. Take of

Starch . . . . .9 oz.

Parchment chippings . . 12 „

Flake white . . . 14 „

Prepare the starch as previously described, and dissolve the
isinglass by boiling. Mix the flake white into a thin paste
by the addition of water. Warm the three ingredients, and
mix the whole thoroughly. Coat a fairly heavy printing
paper twice with this composition, and when it is thoroughly
dry give it the required granulation by means of grained
stones or engraved plates. The grain thus imparted breaks
up the drawing into a series of minute dots. Paper of this
description is most suitable for pencil or crayon work. Its

16 PRACTICAL LITHOGRAPHY

usefulness is obvious. It enables the artist to use his chalks
in the usual manner, without the inconvenience of handling
large stones. No graining of the stone is necessary, and the
grained effect can be confined to any portion of the design.

Photo-litho transfer paper is in every respect a specific
article, the coating of which consists of a gelatinous emulsion,
which can be readily sensitised, and upon which a photo-
graphic image can be developed. Special preparation and
manipulation are therefore necessary in connection with its
production, and these points will be fully dealt with in a
subsequent chapter.

One more variety of transfer paper should be mentioned,
namely, the diaphanic, which possesses excellent qualities for
certain classes of work. It is very transparent, and ex-
tremely useful in the tracing of key formes, or for making
facsimile drawings for immediate transference to stone.

CHAPTER IV

COPPERPLATE TRANSFER PRINTING

The Copperplate Press — The Operation — Charging the Engraved Plate
— Cleaning-off and Polishing — Making the Impression — Useful
Notions.

ALTHOUGH copperplate printing may not now be so extensively
practised as in years gone by, it is not, so far as we can
judge, very likely to be
superseded in the near
future. It is still regarded
as a necessary adjunct
to lithography, especially
where the amount of com-
mercial work produced is
of any moment.

From a purely mech-
anical point of view the
construction of the cop-
perplate press (Fig. 3) is
of an exceedingly simple
character. Its primary
purpose is to produce a
heavy and uniform pres-
sure on the plate during
operation.

After being charged with a special pigment and cleaned as
hereafter described, the plate is laid, face upwards, on the iron

i8 PRACTICAL LITHOGRAPHY

bed or table of tbe press and in contact with the paper, and
passed through between two iron cylinders. These cylinders
are so adjusted as to produce an exceptionally heavy pres-
sure. Such are the simple elements of a process which,
however, requires much closer investigation.

In its application to lithography the following are the
only requisites for copperplate transfer printing.

A stick of prepared transfer ink — whiting, free from
grit — transfer paper, and a plentiful supply of soft rags.
Likewise, an iron plate with a gas jet underneath (Fig. 4),
a square of printer's blanket, and a damp book consisting
of twenty or thirty sheets of blotting or other absorbent

paper slightly and uni-
formly damped.

A good copperplate
transfer paper can be
made according to the
recipe given in Chap. III.,
but unless a fairly large
quantity is used the com-
mercial qualities will be
.found most economical.

Copperplate printing, in its application to lithography,
is a simple operation, but it requires extraordinary care
for its successful execution. The conditions under which
lithographic transfers are made from a copperplate engrav-
ing are vastly different from those which control copper-
plate printing, for ordinary purposes of reproduction.

The engraved plate is first well heated by means of the
hot plate already mentioned. The transfer ink is then
forced into the engraved parts until every line is fully
charged, the ink having been previously enclosed in a
double fold of soft rag.

During this part of the operation great care must be

COPPERPLATE TRANSFER PRINTING 19

taken that the transfer ink does not burn through over-
heating, as this would partially destroy its greasy nature
and leave it hard and brittle. The transfer impression
would suffer in consequence, and, though to all appearance
perfect on the paper, it would be weak and ineffective when
applied to the lithographic stone. Such an error of judg-
ment is not at all unusual, and should therefore be the
more carefully guarded against. It frequently occurs without
the knowledge of the operator, owing, it may be, to his over-
anxiety to complete his work in as short a time as possible.

The plate must now be cleaned, i.e. the surplus ink and
scum must all be removed. This may be done before the
plate is quite cool, and after a little experience it will be pos*-
sible to accomplish the cleansing process without in any way
disturbing the ink in the lines of the engraving. The rag
used for cleaning must be tightly folded into the form of a
pad and kept free from creases. After final cleansing and
polishing with whiting the plate is ready for an impression.
The transfer paper requires damping until it is quite limp,
when it is brought into contact with the inked plate and
subjected to a very heavy pressure. The backing is a
woollen blanket, preferably of fine texture ; this ensures
perfect contact between the plate and the paper. The plate
is now very slightly warmed to dry the transfer paper, which
is allowed to peel off; this it does very readily if, after
a little while, the corners and edges are but slightly eased.

Oil of tar will effectually remove any accretions of copper-
plate transfer ink which may have hardened in the lines of
the engraving.

It may be useful also to know that it is possible to use
a small lithographic press in place of a copperplate press,
assuming, of course, that a sufficiently heavy and uniform
pressure can be guaranteed. This is not altogether an
innovation, yet it is not a familiar notion.

CHAPTEE V

THE LITHOGRAPHIC PRESS

Mechanical Principles — Constructive Details — Scraper — Tympan —
Practical Suggestions — Elastic Bedding.

IT is not a little surprising to find that the mechanical
principle of the lithographic press in general use to-day is
almost identical with that which the pioneers of the craft
employed so successfully. This is an interesting fact which
either reflects much credit upon the ingenuity of the early
lithographic printers or points to an unreasonable conservatism
on the part of the present-day craftsmen. A discussion of
this phase of the question would be of doubtful interest, for
the practical printer has long been accustomed to regard it
simply as a convenient appliance for the production of a
heavy and readily adjustable pressure-.

A brief examination will prove to what extent these
requirements are fulfilled by the modern lithographic press
(Fig. 5).

The simplicity of its construction suggests a first point
for favourable criticism. In fact, its general mechanical
arrangements are so exceedingly simple that the merest
tyro might readily understand their principles and
purpose.

The adjustability of the pressure by means of the screw D
(Fig. 8) is both effective and necessary, owing to the constantly
varying thickness of the lithographic stones.

The pressure of the boxwood scraper B on the surface of

THE LITHOGRAPHIC PRESS

the stone is perfectly rigid, and yet, owing to the intervention
of the tympan C, is sufficiently elastic to ensure the closest
possible contact. Figs. 6 and 7 show one or two con-
structive details by which the hand lever A and the cam
motion E bring up the cylinder F to the bottom of the
carriage or bed of the press, Fig. 8.

It is in this position that the movement of the carriage

gives the necessary pressure required to pull an impression.
The shaft H runs across the press and operates a similar cam
to E on the opposite side. These two cams raise the brass
block G and give the requisite support to the cylinder- F
when the pressure is applied.

These are the chief characteristics of the lithographic
press, and as such they require not a little attention and
intelligent manipulation. It is practically impossible to

PRACTICAL LITHOGRAPHY

secure a steady and uniform pressure unless the scraper
and tympan are carefully adjusted.

The former must be perfectly true with its V-shaped edge
nicely rounded, and the latter tightly stretched on the frame
C so that it will not sag or bulge when pressure is applied
and the scraper passes over it. To reduce the enormous
friction caused by this pressure the back of the tympan is
usually dressed with a mixture of tallow and plumbago, a
dressing which requires frequent renewal. The plumbago
possesses but little body, and its salutary effect soon passes
away. To prevent this and to increase its adhesiveness it

is sometimes mixed with a little
gum. A mineral black which is
found in large quantities in the
west of England is even more
effective than plumbago for this
purpose. It forms a strong and
iiexible dressing for the leather,
is peculiarly adhesive and pro-
vides an efficient lubricant.

It is a decided advantage to
have two tympans in use, one for
small stones and another for the
larger sizes. It is obviously
unwise to pull a number of impressions from small
stones with a large tympan, for if this practice is persisted
in the tympan leather not only loses its shape, but becomes
perceptibly thinner on such parts as may have been most
subjected to pressure.

For similar reasons it is advisable to have a number of
boxwood scrapers of different sizes. The " dents " produced
by a small stone on a large scraper can only be removed by
planing.

In lithographic press work some form of elastic bedding

FIGS. 6 and 7.

THE LITHOGRAPHIC PRESS 23

placed underneath the stone will not only materially assist
the pressure, but will also minimise the risk of breakages. In
fact, the pressure is frequently so keen and of such a direct
character as to render this arrangement little short of a
necessity. Extra thick linoleum will serve this purpose

FIG. 8.

admirably, and a zinc covering for this bedding will complete
the equipment of the lithographic press.

The operations directly associated with lithographic press
work are of sufficient importance to warrant a full description
of each, and will form the nucleus of the following chapter.

CHAPTER VI

LITHOGRAPHIC PRESS WORK

Preparing the Design — Treatment of an Ink Drawing — Chalk Drawings
— Alterations — Value of Impressions — Offsets — The Lithographic
Hand-roller — Proving — Registration — General Features — Trans-
ferring— A Commercial Necessity — Arrangement — Choice of Paper
— Transference to Stone — Preparing the Forme.

THE operations directly associated with lithographic press
work are more or less of a preparatory character. The
preparation of a design, in its progressive stages, from the
lithographic draughtsman to the printing machine, is usually
carried out in conjunction with the press. Only under
exceptional conditions or for some particular class of work
is the lithographic press actually employed for printing
purposes. Its ready adaptability to the ever-varying thick-
ness of lithographic stones, and the . manner in which pres-
sure can be applied at will, as well as the intense sharpness
of such pressure, render it peculiarly suitable for the work
now under discussion. Such operations will be better under-
stood and probably more easily remembered if they are
described in a sequence such as might be presented under
average commercial conditions. Taking a design as it leaves
the lithographic draughtsman, i.e. in the form of a greasy
drawing on stone, the first object of the printer is to so
prepare it as to preserve the conditions described in Chap. I.
page 2. This he may accomplish in the following manner.

Cover the whole stone with fresh strong gum and allow
it to dry. Then if it be an ink drawing, wash off the

LITHOGRAPHIC PRESS WORK 25

gum with water, and remove the drawing ink from the
surface of the design with a few drops of turpentine
and a piece of clean rag. Proceed to roll up with a
lithographic hand-roller charged with good black printing
ink. The consistency of this printing ink can only be
determined by the character of the work under treatment.
It is therefore a matter of experience rather than rule.
Heavy designs covering large areas can be worked up with
moderately thin ink, while work of a finer description will
most probably require a stronger ink for its successful
treatment. Between these two extremes there is a
variety of conditions and effects which will require a
ready recognition and an intelligent adaptation or modifica-
tion of any operation which may be described. It may even
be advisable to rub up the work with a piece of soft rag and
printing ink, but the clearness and crispness of the drawing
can best be preserved by a complete removal of the greasy
ink with which the drawing was originally made. More
particularly is this desirable when heavy, solid work is in
close contact with work of a finer description, for the ex-
cessively greasy character of the artist's drawing ink has
a dangerous tendency to smear or spread and to thicken
the design, unless a reasonable amount of care is exercised.
After rolling up the work as well as possible, and having
decided that it is firm and strong and is fully charged
with ink, dry the stone perfectly and dust over the
design with finely powdered resin or French chalk. With
a piece of water of Ayr stone polish away any scum or
dirt which may surround the work, and etch it quickly
with a weak solution of nitric acid. Cover up with strong
gum and dry it. The design is now ready either for proving
or transferring.

The treatment of chalk drawings, grained stones, or
transfers from grained paper needs a slight variation • of the

26 PRACTICAL LITHOGRAPHY

operations already described. The preliminary etching is
generally carried out by the draughtsman by flooding the
stone with a mixture of gum and acid, after which the
gum solution is allowed to dry. The chemical change which
takes place during this etching is often described as one in
which the soap present in lithographic chalks is changed
to an insoluble compound. This chemical change is per-
haps a somewhat contentious matter, but the effect and
not the principle involved is to us the matter of primary
importance, and this effect is such as to actually prevent any
spreading of the design on the stone beyond the lines of
the original drawing.

Eeturning once more to the operation, wash off the gum,
and, having removed the excess of water in the usual way,
roll up firmly with a strong black ink. Instead of washing
out the drawing with turpentine immediately, work off the
original chalk by rolling up with a good nap roller and taking
frequent impressions. In this way the grain of the draw-
ing will be gradually developed and rendered fit for further
operations. The stone can then be passed to the prover
or transferrer.

A French writer, in referring to the importance of really
good chalk drawing and printing, as well as to its artistic
and technical value, once said : " The printer requires a fair
appreciation of that subtle suggestiveness which gradations
of tone can impart to a chalk drawing before he can hope
to successfully reproduce the artist's original conception. A
good printer handles his roller over a chalk drawing with
the same feeling as that with which a violin player handles
his bow. By movements rapid or slow, and by greater or
less pressure over certain parts, he charges the drawing to
the proper tone."

If at any time the original work requires alterations,
they may be executed in the following manner. Eoll up

LITHOGRAPHIC PRESS WORK 27

the design firmly in strong, black ink, and, after fanning
the surface dry, dust it over with French chalk. Make
the necessary erasures with water of Ayr stone and etch
with fairly strong nitric acid. Polish slightly, and wash
well with a plentiful supply of clean water. Pour over
the stone a very weak solution of alum, and again wash
thoroughly with hot water, so that its rapid evaporation
may leave the work ready for immediate manipulation.
Alterations may be made by transferring or drawing. In
either case it is advisable to gum up the work with strong
gum and allow it to stand until dry. The subsequent
treatment of any alteration will, of course, depend upon
their character and extent. As new work, they should
be carefully handled.

It is most important that a very weak solution of alum
should be used. Being an alkali, a strong solution would
have a tendency to dissolve the greasy particles of the
drawing and cause them to spread and thicken.

It is always advisable to take an impression from each
design, whether it be in ink or crayon, before it is laid aside
for subsequent manipulation. These impressions will not
only reveal any inaccuracies or weaknesses which might other-
wise pass unnoticed, but also serve as a useful record and
for comparison with other transfers or impressions which
may be required.

There are other phases of preparatory work which come
within the scope of the lithographic pressman, and as they
frequently constitute an intermediary stage between the first
drawing of the draughtsman on stone and the making of
transfer impressions to facilitate reproduction, a description
at this point will be appropriate.

It may be that a key forme only has been prepared, or
perhaps an outline forme with sufficient detail. In either
case a number of offsets equivalent to the number of colours

28 PRACTICAL LITHOGRAPHY

necessary for the completion of the design will be required.
These are made by taking good, solid impressions in stiff
black ink from the key or outline forme. Dust these over
with a mixture of three parts Venetian red and one part
lamp-black. Lay them in convenient positions on a well-
polished dry stone, and run them through the lithographic
press with a light yet firm pressure. The result will be faint
yet sufficiently clear offsets of an outline which will enable
the lithographic draughtsman to prepare any number of
formes, and these will register or fit each other and the original
drawing with perfect accuracy. Such outlines will in no way
affect the work of the draughtsman, and will disappear at the
first application of the gum sponge or moisture in any form.
A lithographic wop-roller (Fig. 9) facilitates the work of

the pressman in the
preparation and de-
velopment of original
drawings on stone,
and becomes an ab-
solute necessity when crayon drawings on grained stones are
operated upon. The preparation and preservation of a roller
of this description requires a more than average amount of
care and attention. The best rollers are covered with
French calf-skin with a soft, velvet-like nap, and may be
prepared as follows. Run the roller in crude castor oil for
a short time until the leather becomes soft and pliable, then
work out the superfluous oil by repeated rolling in medium
varnish, occasionally scraping off the varnish with a broad
blunt knife. Continue this for a day or two, then gradually
work into the skin some good non-drying black printing
ink. The roller thus prepared may be somewhat harsh, but
a few days' use will bring it into condition. An occasional
application of tallow or lard, say about once a week, will
keep the roller skin soft and pliable, and counteract the

LITHOGRAPHIC PRESS WORK 29

hardening effect of constant contact with the damp surface of
the lithographic stone and the oxidisation of the printing ink.
* Proving the work of the lithographic artist, though not
always an absolute necessity, is a helpful and most important
function. In its progressive stage it enables both designer
and lithographer to observe the realisation of their colour
schemes, and to amplify or minimise if necessary the effects
they desire to produce. Errors of judgment or of detail can
be rectified before the work reaches a more advanced stage.
Again, a finished proof offers something of a tangible character
for an« expression of approval or disapproval, and serves as
a useful and helpful guide to the printer throughout the
subsequent operations.

This will show clearly the importance of the prover's
work, and though it is not by any means an unusual
proceeding to prove up even the most elaborate designs in
the lithographic printing machines, it is, for obvious reasons,
more convenient to confine such work to the press. It may
therefore be regarded as an intermediate operation, distinctly
apart from the preparation of the original drawing which
precedes it, and the arrangement for machine printing which
follows. The distinctive and pre-eminently the most im-
portant feature of proving is the manner in which one colour
is registered with another ; and although the methods usually
adopted are of the simplest possible character, the most
scrupulous care is requisite for their successful application.
It appears to be an almost ridiculous plan, so simple is it, to
cut away the angles formed by the register lines after the
first printing (Fig. 1 0 A), and then to place them to correspond-
ing lines on each colour forme, or to pierce the register lines as
in Fig. 10B, passing a fine needle through each puncture into
corresponding holes drilled in the stones and allowing the
sheets to fall into position, — yet these operations demand
constant care and attention.

PRACTICAL LITHOGRAPHY

The mixing of colours for proving, and the general
principle of their application, are matters which are almost
entirely under the control of the printer. Their selection
and the manner in which they are employed are both deter-
mined by the individual character of the work. It is
impossible to indicate any " rule of thumb " guide for their
application or manipulation. The individual fancy of the
artist, or the wish of a customer, are the only probable
complications which may have to be considered. Then
again, many phases of the work are more or less experimental,

when the resourcefulness of the
printer may be tested, and the
mechanical features of his work
be relieved by the exercise of
intelligent application, if not of
artistic perception. Very rarely
is it possible to print from the
litho-draughtsman's original draw-
ing, and even when it may be
convenient to do so, it is, in the
majority of cases, unadvisable on
account of the element of risk

involved. There is an ever-present danger of the stone
breaking, — a catastrophe which would necessitate an entire
reproduction of the design, and even under the most
favourable conditions the constant attrition produced by
the rollers, etc.. would have an appreciable effect on the
work, and in course of time destroy its value for graphic
reproduction.

Many other equally cogent reasons why duplicates of the
original should be made for printing purposes present them-
selves. The chief of these is an essentially commercial one.
To reproduce half a million impressions from a single small
drawing would obviously depreciate the commercial value of

FIG. 10A.

FIG. 10B.

LITHOGRAPHIC PRESS WORK 31

lithographic printing very considerably, and although there is
no record of the circumstances under which the duplicating
of original work by means of transfers was first evolved, it is
only reasonable to suppose that it was the direct outcome of
a necessity which was as peremptory in its demands as it has
been far-reaching in its effects. The method is one by which
any number of impressions can be made on a suitably pre-
pared paper, and with a sufficiently greasy pigment. These
can be re-transferred to a lithographic stone, and in this way
facsimiles of the original may be secured and arranged in
the manner most convenient for machine printing. Great
care is necessary in making these transfer impressions.
They must be perfectly solid, yet not overcharged with
ink, i.e. they must be clean and sharp, and as nearly an
exact replica of the original work as it is possible to make
them.

That the further description of these operations may be
as lucid and practical as possible, we will apply it to
ordinary work-a-day conditions, and suppose that a design in
three workings has been lithographed and prepared for trans-
ferring as already described. The size of the work is.7J in.
by 4J in., then the paper on which it is to be printed ought
to be double crown, 20 in. by 30 in. This will allow 1| in.
for the gripper and J in. margin at the back and sides.
Sixteen transfers can be pulled from each colour forme on a
thin, transparent transfer paper. Mark out a sheet of stout
paper as in Fig. 1 1 , and arrange the transfers in the position
indicated by the dotted lines. The gripper margins A A
are determined by the construction of the machines, and may
be varied accordingly.

Varnished transfer papers may be laid down on a slightly
warmed dry stone, and if French transfer paper be used the
stone must be slightly damped. If the sheet of transfers is
laid down to a board — Fig. 1 2 — uniformity of gripper margin

PRACTICAL LITHOGRAPHY

will be assured throughout the series, and the work of the
machine printer facilitated.

Pull it through the lithographic press with a gradually
increasing pressure in the usual way. The varnish transfer

FIG. 11.

paper will be sufficiently tacky to adhere slightly to the sur-
face of the stone, so that the pressure may be repeated again
and again with perfect safety. It may not be possible to
remove the base upon which they were arranged, as it is
usual to secure them in position with
paste. At this point the manipulation of
the two varieties of paper differs slightly.
The thin, . transparent variety is usually
fastened down to its paper base with
syrup, glucose, or some sticky composition
of a similar character. This paper back-
ing can be removed immediately after
sufficient pressure has been applied to
fix the transfers to the stone. As this transfer paper is
adhesive it is necessary to damp the surface of the litho-
stone before it is laid down, when, of course, it will readily
adhere, even under a moderately light pressure.

FIG. 12.

LITHOGRAPHIC PRESS WORK 33

The further preparation of work, after being transferred
in this manner, is in many respects similar to the treatment
of new work, but with this important difference. A new
transfer should almost invariably be worked up with a soft
rag and black ink, the latter being thinned down with turpen-
tine and varnish. Gum up the work, and allow the gum to
dry. Eoll a piece of soft rag into a pad, and charge it with
printing ink which has been thinned down. Wipe off' the
gum on the surface of the stone, leaving only a thin film over
the work. Rub up the transfers with the rag already pre-
pared, and when fully charged with ink cover them with
fresh gum. If possible they should stand for one or two
hours, when the rolling up and etching may be proceeded
with.

Accuracy of register can be ensured by the second and
third sets of transfers being patched up to the first forme in
the following manner.

Make two fairly strong black impressions of this forme on
a stout unstretchable paper. Fix these up on a glass frame
in such a position as to allow the light to pass through them,
and carefully place each transfer in its exact position. They
can then be laid down on separate stones in the same way as
the first set. These are the simple outlines of the trans-
ferring process. In detail they may, of course, be modified to
meet the exigencies of peculiar conditions, which in litho-
graphy are frequently the controlling powers, and at all times
are matters of vital importance.

CHAPTER VII

MACHINE FEINTING

The Printing Machine — The Halligan — Some Mechanical Phases — Speed
— Pressure — Levelling the Stones— Cylinder Brake — Inking Kollers
— Damping.

CONCERNING the structural qualities of the various types of
lithographic printing machines now in use, much might be
written and divers opinions expressed. In this respect,
however, it would be invidious to suggest that one maker's
machines were better than another's, and such would be the
natural trend of a discussion on these lines. The machines
all have, it is true, many points in common where com-
parisons would be legitimate and easy. Yet, on the other
hand, they each possess distinct advantages which will no
doubt appeal to the printer individually, in proportion to
their suitability or otherwise for his particular work. Con-
viction will follow experience in these matters, and any
decision arrived at after this fashion may be regarded as a
useful and valuable acquisition.

The illustration on page 35 (Fig. 13) gives a fair general
idea of the modern lithographic machine.

Fig. 14 illustrates a somewhat novel type of lithographic
printing machine, in which the gripper is entirely dispensed
with, the sheet being held to gauges by the operator until
caught between the small cylinder and the stone, when
pressure is immediately applied. The stone is simply blocked
up in the bed of the machine and the position of the print

MACHINE PRINTING

on the paper assured by moving the gauges. This useful
little jobbing machine is a decided innovation, and the
simplicity of its construction is only equalled by the precision
of its movements.

Lithographic machine printing presents many peculiar
features, each one of which requires careful and constant
attention for their successful operation. Some of its purely
mechanical aspects — the care of the machine and its accessories,

FIG. 13.

together with their various functions and applications — offer
a wide scope for resourcefulness and ability of a high order.
The primary purpose of the machine itself was undoubtedly
to accelerate the reproductive power of lithography from a
commercial point of view ; and throughout the entire course
of its development the aim of the engineer has been to
produce a printing machine with an ever-increasing capacity

36 PRACTICAL LITHOGRAPHY

for reproduction. It does not follow, however, that the
printer's responsibility has been proportionately increased.
Mechanical appliances have now so far superseded hand
labour that, apart from a thorough knowledge of the principles
of lithography, which is in itself essential, successful litho-
graphic machine printing is largely due to resourcefulness,
alert perception, and a skilful blending of mechanical and
technical knowledge.

Passing over the vast amount of detail which is usually
and almost invariably associated with machine printing, but

FIG. 14.

which offers little that is new to the practical worker, it
might be advantageous to discuss a few points which are too
often overlooked.

Speed, as has already been pointed out, is a very important
factor in lithographic machine printing. It has become quite
a necessity, and everything which conduces to it should
receive the most careful consideration. Economy of power is
too seldom regarded as a standard of efficiency in the printer.
At any rate, as far as this is concerned it is doubtful if he

MACHINE PRINTING 37

fully realises the effect of what may appear to him as
insignificant matters. A little pressure more or less on the
stone may be in itself a mere trifle, so also would be a careless
arrangement of the inking rollers or indiscriminate damping
of the stones, yet, when taken together, what a considerable
waste of power they might cause ; — a waste which is
altogether unnecessary and could easily be obviated by care
and forethought. Excessive pressure is frequently resorted to
in order to " bring up " an impression which is defective owing
to some error of judgment in its preparation. It undoubtedly
secures the desired effect, but at what a cost ! There is a
proportionately heavier drag on the machine and a greater
strain on its most vital parts. The following view of this
matter may be regarded as somewhat exaggerated, but it is by
no means an uncommon state of affairs, and will at least serve
to emphasise the importance of this point. It is a popular
fallacy to suppose that in adjusting the litho-stone to the
bed of the printing machine it should be made perfectly level.
As a matter of fact a much easier and more satisfactory
impression can be made from a stone which is worked just a
little higher at the front or gripper edge than at the back,
and for this reason. The drag on the cylinder as it makes
the impression is appreciably greater at the back than at the
front, and when the pressure is heavy it has a tendency to
leave the back edge with a very decided jerk. The remedy
is obvious and simple. As already suggested, the stone
should be set in the machine with the least possible inclination
towards the front. This adjustment is easily effected by a
judicious arrangement of a few layers of brown paper. Just
think for a moment of the effect likely to be produced by such
a jerk or jar, which would under ordinary working conditions
occur from twelve to fourteen times per minute whilst the
machine was in motion ! Abnormal pressure would of course
intensify the strain, and sooner or later produce results of a

38 PRACTICAL LITHOGRAPHY

decidedly disastrous character. Under the most favourable
conditions this continual springing would tend to move the
stone out of position, and thus affect the register of one forme
with another.

Another certain result of this condition of things is,
that the sharp pressure on the back edge of the stone
would almost certainly cause an appreciable indentation in
the cylinder covering. This would eventually cut through,
or at least interfere with the working of a larger sheet at
some future time.

The mechanism for raising or lowering the lithographic
stone in the machine for the adjustment of pressure is com-
paratively simple (Fig. 15).

There are two screws similar to A which pass right

D through the feet of the stone
carriage B B. A movement
of the screws will therefore

G C cause a corresponding move-

FIG. 15. '

ment of the stone carriage

on the blocks or inclines C C. The lock-nut D holds the
screw securely once the pressure is adjusted.

So few printers really understand the proper adjustment
of a cylinder brake that some information concerning it will
no doubt prove acceptable. In the first place, a continuous
action brake which can be released at certain intervals is most
suitable. It holds the cylinders perfectly rigid whilst the
machine is running free, and applies a sufficient check at
the points required. The intermittent movement referred to
is obviated in various ways. Fig. 13 shows an example of
one which is both simple and effective. It might be well
also to explain the principle and purpose of the cylinder
brake. It is almost impossible to cut mechanical gearing
which will run easily and yet be entirely free from dogger.
Consequently the revolution of a printing machine cylinder

MACHINE PRINTING

would be more or less jerky unless steadied in some way.
This is especially the case when it reaches the stone, and,
owing to the pressure applied, lifts a little in the gearing.
A recognition of this simple matter will enable an intelligent
workman to arrange the brake action with judgment and effect.

FIG. 16A.

A comparison of the old arrangement of inking rollers
(Fig. 16A) with the new (Fig. 16s) is in itself an object
lesson in this question of power and its economical applica-
tion. It is but reasonable to suppose that the power re-
quired to move a set of rollers arranged in the old-fashioned
manner (Fig. 16 A) will be infinitely greater than that

FIG. 16B.

which would be needed for such an arrangement as shown
in Fig. 16s.

Pursuing this matter still further, the question of in-
discriminate damping presents itself. Granted that the
influence here is an indirect one, yet it is a cause which

40 PRACTICAL LITHOGRAPHY

frequently leads to an undesirable finish. Every printer
knows something of the effect produced by excess of water
upon printing inks. It hardens and stiffens them by
accelerating oxidisation. In course of time their free working
on the rollers is interfered with, and loss of power is by no
means the worst result. Weak and impoverished impres-
sions, abnormal wear and tear of the printing forme, and
excessive saturation of the paper may follow.

In lithography generally, and in lithographic machine
printing particularly, the damping of the stone is a matter
which requires constant and careful attention ; any arrange-
ments for this purpose should therefore be as effective as

FIG.- 17.

possible. The damping rollers should be thoroughly cleaned
each day, in order to remove any scum or grease which
may have been collected from the printing forme.

The arrangement of damping rollers shown in Fig. 17 is
a decidedly practical one. The upper roller consists of metal,
usually brass or zinc. It collects any accumulation of ink
or scum from the actual dampers, and can be cleaned at any
time without serious interference with the progress of the
work. Its adoption, however, has not been very general,
although it would be difficult to ascribe any good reasons
for such a fact.

CHAPTER VIII

MACHINE PRINTING — continued

Register — Atmospheric Conditions — The Key — The Gripper — Starting
the Machine— Fixing the Stone— Strength of Colour— Grit— Making
Ready — Regulation of Speed.

IT is almost impossible to overestimate the importance of
register in lithographic machine printing, and any suggestions
which are likely to be of assistance to the printer in this
matter will no doubt be welcomed.

Variable atmospheric conditions, insufficiently matured
paper, or constitutional defects in the machine, are frequent
sources of inaccurate register. These may be to some extent
unavoidable and therefore beyond the printer's control, but
there are numerous other points which have an important
bearing upon the accurate fitting of one colour or forme with
another, and therefore require care and attention. The
following method of procedure is well worth consideration,
as it has decided advantages over many others.

The key, or outline forme, to which the colour formes have
been set up, is put into the machine at the beginning of the
printing operations. The exact position of the design on
the sheet is arranged, and twenty or thirty impressions taken
on a reliable paper. With these impressions as a guide it
is a comparatively easy matter to register each colour accur-
ately. This effects a saving both in time and material, and
rarely fails to produce satisfactory results. During the early
stages of the printing, when it is difficult to detect any

42 PRACTICAL LITHOGRAPHY

slight movement of the stone in the machine, a sheet
bearing an impression of the key may be printed in the
usual way, when any variation in register will be re-
vealed at a glance. The relative positions of the side lay
and gripper seldom receive the consideration they ought to
have. The gripper and side lay should be exactly at right
angles to each other, and any divergence whatever from this
rule simply courts disaster. If they form an acute angle
there is a danger of the sheet moving forward a little as the
gripper closes. If, on the other hand, they are fixed at an
obtuse angle, there is a proportionate risk of the sheet

FIG. 18.'

falling back as the gripper closes. If any degree of uniform-
ity could be guaranteed in these movements, then all would
still be well, but unfortunately no such guarantee can be
given, owing to a possible variation in the cutting of different
batches of paper.

Another matter of a similar character and quite as
important in its issues is more directly connected with the
gripper.

The type of gripper shown in Fig. 18 is probably the
best for general use. It enables the printer to use two or
more pins upon which to rest his sheet, according to the
particular requirements of his work. Two pins are usually

MACHINE PRINTING

sufficient and answer best, for the following reasons. It
is by no means unusual to find that the paper, trimmed
though it may be, has slightly convex or concave edges,
owing either to insufficient damping or an inaccurate setting
of the knife in the guillotine cutting machine. This can,
of course, be avoided, but the point at present under con-
sideration is one of possible effects. This contingency and
its effect are considerably exaggerated in Figs. 19A and
19B, but for purposes of illustration the suggestiveness
of the two sketches is not at all too emphatic.

Start the machine with a light pressure, for once the
stone is locked up a certain amount of danger will always
exist if at any time it
is necessary to reduce the
pressure. The stone may
still be held by the blocks,
even after the bed of the
machine has been lowered,
only to come down with
a snap when pressure is
applied. Such a danger
might, of course, be averted
by slackening the screws and blocks ; but then the stone
would almost certainly move out of position and the regis-
tration of the forme be altered.

Narrow slips of paper folded two or three times, and
inserted between the block and the stone, will often check
any tendency the latter may have to lift when the screws
are tightened.

Of the many annoyances associated with the lithographic
machine printer's work, grit is probably the most troublesome,
inasmuch as its presence is almost imperceptible, while its
effect is extensive and often disastrous. Its sharp grains
become embedded in the inking-roller skins, and plough tiny

FIG. 19.

PRACTICAL LITHOGRAPHY

furrows across the printing forme, doing much damage before
the printer realises the presence of any foreign matter on the

r* T

FIG. 20A. — Patent conical counter shafting.

inking-rollers. Prevention is a simple matter enough, but a
cure is rarely, if ever, accomplished. Dust the rollers and
examine them carefully before commencing operations, and in

FIG. 20B. — Patent conical counter shafting.

this way ensure perfect cleanliness. It may seem a trifle,
but it is none the less an important one, and perhaps the

MACHING PRINTING

reader has already realised that "trifles make perfection,
and perfection is no trifle."

In making ready on a lithographic printing machine, as
in almost every phase of industrial life, method is the great
secret of success. Method conquers the most stubborn diffi-

46 PRACTICAL LITHOGRAPHY

culties, and, though it is not at all times profoundly interest-
ing in its application, yet it more than repays any monotony
it may involve. In the matter of lithographic printing, at
any rate, a few methods of an essentially simple character
might be cultivated with advantage. This chapter is not
intended as a complete record of such methods, but a number
of items are discussed therein which, though simple, are
intensely practical, and likely to suggest more to the reader
than is found described in the text.

The question of speed may sometimes seriously handicap
progress. It is a self-evident fact that the solid impression
of a heavy poster cannot be made at the same speed as
a light tint in chromo work. Speed cones are usually fixed
to a counter-shaft to regulate the speed of the machine as
required. Figs. 20A and 20s show an improved arrange-
ment of this character, in which tapering drums A A are
substituted for cones, the belt being moved and held in any
position by the screw and forks B and C. D is the driving
pulley which transmits the power to the machine.

Electricity as a motive power for printing machinery is
quietly yet irresistibly winning its way into general favour,
and for very cogent reasons. It is. the most convenient form
of motive power, and can be transmitted for long distances
without any appreciable loss. It takes up little space, and
almost entirely dispenses with belts and shafting. It is also
essentially economical, because it can be applied to the
smallest press just as easily as to a 60' by 40' poster
machine (Fig. 21).

CHAPTER IX

LITHOGRAPHIC COLOUR PRINTING

A Commercial Value — Peculiar Features — Colour Sequence — Controlling
Elements — A Question of Kegister — Suitable Paper.

As a commercial phase of lithographic printing, colour
printing offers a vast and ever-widening field of usefulness.
Nor is it altogether deficient in these artistic qualities which
are pre-eminently suggestive, as well as attractive and artistic.
Colour printing, in its application to lithography, is in many
respects peculiar. It is not what might be described as a
self-contained process ; for its successful realisation depends
as much upon the harmonious and skilful combination of
colours in the design as upon the manipulation of the printing
inks, the sequence of the colour formes, and their accurate fit
or register during the actual printing. The most excellent
printing would produce barely passable results unless the
design was effectively arranged, and prepared with some con-
sideration for the conditions under which it might be printed.
Nor is it at all unlikely that a design, however smart and
artistic it might appear in its original form, would be irre-
trievably spoiled by clumsy handling or careless printing.
The subject for immediate consideration is the practical em-
ployment of printing inks for the reproduction of coloured
designs, their qualities, peculiarities, and relative values, as
well as the means employed to make them amenable to
commercial conditions. An intelligent appreciation of these
points will not only extend the possibilities of printing inks,

48 PRACTICAL LITHOGRAPHY

but will also enable the machineman to accentuate their
attractive and suggestive power.

" Colour is to design what salt is to food," and successful
colour printing has been very aptly described as the adapta-
tion of printing ink to the ever-varying character of work
and conditions of employment. This very practical definition
will form the keynote of a chapter which, by the very
nature of things, must be to some extent authoritative and
comprehensive. The colour sequence, i.e. the order in which
the colours must be employed to secure the best and most
economical results, is of primary importance in colour print-
ing. On broad lines, the principle usually followed is one in
which the opaque colours are printed first, and upon these
all secondary effects are built up. This building up of
colours plays also a most important part. Its relation to
colour sequence is a necessary and influential one. For
example, it might not be absolutely essential that even a
yellow should be printed first, if it did not form the base for
the building up of a green by the superposition of blues, of
an orange effect in conjunction with red, or as a secondary
flesh tone under the buff.

The difference between printing a blue over a red or vice
versd is also very striking. One produces a purplish-black
brown, and the other a rich chocolate-brown. Other com-
plications of a similar character are common, but these will
indicate with sufficient clearness the possible modifications of
colour sequence.

Another feature upon which colour sequence in printing
largely depends is the point at which the outline forme can
be most effectively introduced. It is advisable to print the
outline forme at as early a stage as possible for obvious
reasons. Perfect registration is far from easy to secure.
Eed in the lips, blues in the eyes, and isolated touches of
colour in various parts of the design must fit the browns, and

LITHOGRAPHIC COLOUR PRINTING 49

therefore fit each other, and yet they may have no direct
relation to each other in the printing. A remedy has been
already suggested, but once an outline forme is printed the
cause of bad registration is to some extent removed, and a
remedy quite unnecessary. When worked on reasonable
lines it is frequently an advantage to make the outline one of
the earlier printings, so that any harshness of contour, etc.,
may be toned down by the succeeding greys. It is often
a matter of personal opinion, or perhaps of circumstance,
which decides the final printings. The pink may be reserved
to impart brilliancy and warmth to the prints, or it may be
equally suitable to hold back a grey, and, by regulating its
tone and strength, soften down any tendency to hardness,
pick out the darker prints, and emphasise the shadows.
Even these suggestions, although usually regarded as standard
ideas, must be subjected to modifications under certain
conditions.

Here is a practical instance. Unless paper is unusually
well seasoned and of first-rate quality, the temperature of the
workroom equable, and the printing machine in good order — a
combination of excellences which is unfortunately rarely met
with — the colour sequence must be of a fairly elastic nature.
To print a gold first is quite usual, because the bronze powder
will persistently adhere to any preceding printings. From
that standpoint alone such a procedure would be eminently
practical and convenient, but suppose for a moment that the
gold must fit a later printing with absolute accuracy, e.g. an
outline forme, or as forming the base for some ornamental
scheme, then the difficulties which arise are somewhat trying,
and for this reason. The paper being new, the most serious
distortion of any kind is likely to occur during the first
printings, and so long ae yellows, fleshes, or other colours of
a similar character are printed first, no serious difficulty
is likely to arise ; but with the gold printing it may -be
4

50 PRACTICAL LITHOGRAPHY

altogether different. It is quite possible to make both
yellow and flesh dry dead, i.e. without even sufficient tack to
catch the almost impalpable bronze powder. At the same
time, care must be exercised that the colouring matter is not
left dry on the surface of the paper owing to its separation
from the reducing medium. This plan has been adopted
under actual commercial conditions and with conspicuous
success, and it is therefore offered as a preventive measure
which is free from many drawbacks which are the frequent
accompaniment of novel ideas and operations. Here then is a
simple practical summary of the idea. The yellow and flesh, or
equivalent colours, are printed first, so that they will dry free
from gloss or tack. The fit required between such colours
and subsequent printings is generally a matter of minor im-
portance, and at this stage distortion of the paper, whether
it be by stretching or contracting, will not seriously depreciate
the value of the print when completed. Eegister between
the gold and an outline is frequently of an entirely different
character, and in many cases the slightest variation will be
readily discernible, and have a decidedly bad effect on the
finished work. Apart from this, the questions which decide
or control the colour sequence have been clearly indicated
previously.

This matter may be one of convenience also, for unless
otherwise predetermined it would be unwise and far from
economical to print a blue before a yellow, or a black before a
red, etc. The amount of cleaning up thereby involved would
become a serious and distinctly disagreeable item, and purity
of tone in the lighter colours would be conspicuous by its
absence.

The matter of well seasoned printing paper has been
already referred to. For effective colour printing the paper
must also possess several other essential qualities. It should
be firm in substance, sufficiently absorbent to carry the

LITHOGRAPHIC COLOUR PRINTING 51

successive layers of printing ink, as far as possible unstretch-
able, and should present a smooth surface though not a
glazed one. The chalky, dull, enamelled papers offer many
recognised features of value to the colour printer. They
assist in the absorption of the ink as well as afford a suitable
surface for their impression. Friction-glazed and other
prepared papers are also excellent for colour printing by
lithographic methods.

f WNfV^s/TV

CHAPTER X

LITHOGRAPHIC COLOUR PRINTING — continued

Printing Inks — Varnish — Reducing Medium — Relative Values — Some
useful Hints— Bronze Blue — Vermilion — Ink Mixing — Ceramic
Transfers — Colour Transparencies.

FOR the successful manipulation of printing inks of any
description it will be necessary to know something of their
composition, or at any rate of such features as render them
peculiarly suitable for printing purposes. From a printer's
point of view the most important of these features is what
may be described as the reducing medium, i.e. the medium
which holds together the various colours so as to produce
pigments of suitable working consistency. The most useful
and the commonest form of reducing medium is a linseed oil
product, known in its prepared state as a lithographic varnish,
with a supplementary title indicating its specific character.
Its value to the lithographic printer lies mainly in the fact
that when it is fully matured it possesses a good full body
along with fair drying properties and freedom from any
excess of greasy matter. This varnish is used in three or
four consistencies between which any degree of strength may
be arranged by mixing. A brief outline of the manner in
which they are prepared may still further emphasise their
usefulness in lithographic printing.

Eaw linseed oil is matured and oxidised until its con-
sistency is considerably reduced. It is still further reduced

by being boiled at a high temperature, and is known com-

LITHOGRAPHIC COLOUR PRINTING 53

mercially as " boiled linseed oil." As this boiling is continued
the fumes which quickly rise can be ignited, and the liquid
soon assumes a syrupy or stringy character, according to the
length of time during which it is subjected to the action
of fire. By extending or discontinuing the burning the
varnish is produced in three grades — thin, medium, or
strong.

Lithographic varnish is a good servant but a bad master,
and it is a generally recognised fact that, beyond a certain
point, lithographic varnishes as a reducing medium will
depreciate the value of colour.

The chief requisite in colour printing is the production of
a solid flat impression, and for this purpose almost all printing
inks must be reduced to a suitable working consistency. To
accomplish this, and at the same time retain the full colour
strength of printing ink, a soft, free-working composition will
be useful and desirable.

There are several commercial varieties of solid oil from
which the excess of grease has been extracted. These
form excellent reducing mediums. They break down the tack
of stiff pigments and enable them to work freely during the
printing operations. The drying of inks thus prepared is not
seriously retarded ; they lift readily and usually produce
brilliant impressions. There is a reasonable and logical
explanation of these peculiarities which is both interesting
and suggestive. Whatever the character of a reducing
medium may be, its effect on the strength of colour will
of course be in proportion to the quantity used. In all
probability 1 oz. of a solid oil composition, otherwise known as
lithographic reducing medium, would soften down a quantity
of printing ink for which at least three times its bulk of
varnish would be required. Consequently, the depth of
colour and covering power of an ink reduced with " litho
medium " would be proportionately greater than that reduced

54 PRACTICAL LITHOGRAPHY

with varnish. Vaseline in some of its commercial forms is
frequently used by American printers, and even in this
country its use is being tardily, though none the less surely,
recognised.

A few remarks anent the intelligent application of a soft-
ening medium may not be inopportune. Considerable care and
judgment must always be exercised or there will be a loss of
cohesion in the colour pigments which cannot fail to prove
disastrous. The tendency of lithographic varnish is to bind
the colour pigments together, and this should not be entirely
counteracted by the addition of fatty compositions, lest the
printing inks run " scummy " during printing operations,
and in drying leave the colouring matter, from which they
have been detached, on the surface of the paper in the form of
a dry powder.

Such lack of cohesion may, however, be an inherent
feature of the ink itself, and not be produced in the manner
just indicated. Bronze blue affords a striking example of a
printing ink of this character. It is, in fact, a " constitutional
weakness " which cannot apparently be prevented, but which
is fortunately not incurable. The addition of a little Canada
balsam to bronze-blue ink will add considerably to its
working qualities. The loose particles of the pigment appear
to be held together without becoming harsh or stringy, as
might easily happen if varnish of sufficient strength was
added to produce the same effect.

Other colours, again, such as vermilion and yellow, owing
to their weight and texture, will always require a fair
percentage of varnish in their composition. At the same
time, a little reducing medium might also prove beneficial.
Eef erring once more to the fact that vermilion, as distinguished
from its imitation, is unusually heavy, etc., it may be useful
to know that for " blocking out " work it has no equal in all
the range of printing inks. It possesses unrivalled opacity,

LITHOGRAPHIC COLOUR PRINTING 55

and as a " blocking-out " agent frequently plays an important
part in colour printing.

Of the other printing inks, few possess characteristics of
a sufficiently striking character to require special mention.
Their working qualities present no exceptional difficulties, and
their employment either under primary or secondary condi-
tions is almost invariably determined either by the character
of the work or some such conditions as have been already
indicated.

When the strength of a colour is problematical, or its
effect more or less a question of experiment, it is a safe plan
to mix it a little lighter than will be required. For obvious
reasons it is much easier to alter the line or tone of a light
colour than that of a darker one.

The arrangements for extensive and economical ink
mixing need not be of a very elaborate character. Standard
colours might with advantage be mixed in large quantities
and kept as stock shades. Fleshes, pink, blues, greys, etc.,
are all useful colours which are in constant use. A warm or
cold tone could be imparted to a stock grey as required, and
a similar method adopted with regard to the other colours.
Other peculiar conditions could be met in a similar manner,
and many economies thereby effected.

Although the foregoing remarks refer mainly to litho-
graphic colour printing generally, they may with equal effect
be applied to many of its more specific branches.

Colour printing for tin-plate decoration will be fully dis-
cussed in a subsequent chapter.

Transfer printing for ceramic decoration presents many
features in common with transfer printing for metal decora-
tion. Printing colour transparencies is a commercial phase of
colour work which is productive of many curious and attractive
effects. Unlike the ordinary colour prints, the transparency
is intended for exhibition both by reflected and transmitted

$6 PRACTICAL LITHOGRAPHY

light. The paper is of a thin, tough quality, and the first
printing is usually a white of good covering power and
exceptional opacity. It is not necessary to print a solid
white groundwork for the coloured design. If an intense
brilliant colour is required by transmitted light the omission
of part of the white printing will add considerably to the
effective character of . the design. A brilliancy secured in
such a manner may be still further intensified by printing the
colour or colours in register on both sides of the paper. This
can be easily accomplished by first allowing the cylinder
covering to take an impression from the stone, and then, with
the sheet laid in the gripper, make a second impression in the
usual way immediately after.

The first print, which might be termed the transfer, will
then be made in accurate register on the back of the sheet.

Semi-transparent, or even transparent, effects can be
obtained with any of the colours by an omission of the white
printing from the parts affected. Complete opacity may be
secured by its introduction.

This print is afterwards rendered more or less transparent
by coating it with a suitable varnish.

CHAPTER XI

SUBSTITUTES FOR LITHOGRAPHIC STONES

Metal Plates — Preparation — Manipulation — Descriptive Details —
Machine Printing — The Printing Bed — Rotary Printing Machine.

METAL plate, as a substitute for stone, is now such an im-
portant factor in lithography that the printer who wishes to
consider himself thoroughly efficient must possess a fairly
comprehensive and practical knowledge of its manipulation
and possibilities.

The prejudice which has hitherto checked the progress of
this branch of lithography was not altogether of an unreason-
able character. The plates themselves were far from reliable,
and the difficulties resulting therefrom were a fruitful source
of trouble and expense.

Metal, as a printing surface, is even yet a comparatively
new factor in lithography, and the majority of printers have
been working with lithographic stones from their apprentice-
ship till the present time. It is not surprising, therefore,
that in relation to the use of stones almost every possible
contingency has been provided for, but with metal plates a
little fresh knowledge must necessarily be acquired before the
workman can claim the same familiarity of manipulation
which he may feel towards the parent process. This is, in
fact, the point upon which the whole question usually turns.
Good work can be produced from zinc and aluminium plates,
— of that there is not the slightest doubt, — and it is equally
certain that the advantages offered by their use are of a sub-

58 PRACTICAL LITHOGRAPHY

stantially practical character. They can be handled with
ease and with absolutely no fear of breaking. They are much
less costly than stone, and require less storage room.

A grain of a finer and sharper texture can be imparted to
metal than is the case with stone, and what is even of greater
importance, the character of such a grain remains unaffected
for a considerable time. Surface inequalities are rarely met
with in metal printing surfaces, and consequently uniform
pressure is to a certain extent guaranteed. In photo-litho-
graphy it is possible to make a print from a negative direct
on to the plate (Chap. XVII. page 100). This ensures an
original of exceptional clearness and strength, especially in
half-tone subjects.

Although an ordinary zinc plate, which has been carefully
polished to free it from every trace of grease, can be used for
lithographic printing, the best results are obtained from plates
which have been specially prepared. A slight de-polishing
with pumice sand and a piece of felt may impart the requisite
" tooth " to the face of the plate, or the following method may
be adopted : — Clean the plate with pumice sand and felt, and
immediately immerse it in a hot bath containing —

18 oz. Water. .
J oz. Alum.
1 dram Nitric acid.

Keep this liquid in constant motion over the face of the
plate until it assumes an even, silvery -grey appearance, and
then wash it thoroughly with a plentiful supply of clean
water. Dry at once, and quickly.

These plates can also be sand-grained by specially con-
structed machinery, or a variety of grains and stipple can
be imparted to their surface by etching or sand blast.

A novel yet practical idea, which has met with consider-
able success, is to electrolytically prepare the surface of the
plates. The value of this preparation has been amply demon-

SUBSTITUTES FOR LITHOGRAPHIC STONES 59

strated by its extensive adoption and successful use. Another
distinctly progressive feature is a deposit of alumina on the
zinc, which for printing purposes gives it all the advantages
of an aluminium plate.

Transfers can be made on metal plates in much the
same manner as on lithographic stones. For press work

Plate-graining machine, showing oscillating motion.

mount the plate on a piece of cardboard its own size, then,
having gummed a sheet of brown paper on the face of the
litho-stone, place the mounted plate near the centre and
fasten it with paste or gum. This will prevent it moving
about, and also raise it sufficiently from the stone to enable
the printer to use his damping-cloth and roller freely.

PRACTICAL LITHOGRAPHY

Before mounting, the back of the plate should be carefully
dusted to free it from grit and dirt.

After the drawing or transfer has been made cover the
surface of the plate with strong gum, and while this is still
wet add to it a solution of bichromate of potash. Leave a
slight film only of the gum bichromate, and then dry it
quickly and thoroughly. Wash out the work with turpen-

Plate-graining machine, showing interior of trough.

tine, not with water. The gum, being insoluble in turpentine,
remains unaffected.

Eoll the plate up solid in black ink, sponge it over with
water, damp it with a cloth, and then roll it up in the usual
way. When the work becomes fully charged with ink. dust
it over with a mixture of resin and French chalk, and etch
it with the acid etching solution.

SUBSTITUTES FOR LITHOGRAPHIC STONES 61

Every maker of zinc and aluminium plates supplies this
special etching solution, prepared for a certain quality and
character of metal. It is advisable, therefore, to use the
preparation recommended, and thus avoid the many pitfalls
which beset the path of the experimentalist.

" The plate is now well washed over with clean water, and
thinly gummed up. When the gum is dry wash out the
work on the top of the gum with dry flannel or felt till all
the work is removed, sprinkle a few drops of water on the
plate, and with a rubbing-up rag and a little ink and turps
rub up the work till it is gently charged with ink, then roll
up till work or transfer looks strong and sharp, when the
plate is ready for printing."

For etching and rolling up chalk drawings on grained
plates : " Pour in a saucer some of the etching solution, and
add about the same quantity of fresh, strong gum. This
solution is evenly distributed all over the plate with a camel-
hair brush, and left to dry. Then the etching is removed
with water, and the plate very thinly gummed up and left to
dry. Now the work is washed out with turps and a piece
of dry, soft felt or flannel, without water, till all the work
disappears, and the plate rolled up solid black. Then sponge
over with water-sponge, damp over and roll up till work
appears nice and sharp. Now dust over with resin and
French chalk, and etch again with the etching solution, full
strength. After the etching has dried remove the same
with water, and gum up again.

" When drawings are to be washed out for proofing or
printing, the plate should first be thinly gummed up. This
gum layer is left to dry thoroughly, and is not removed
when the work is washed out (without water) with turps
and a dry piece of flannel or felt. Nextrwipe away all the
black ink and turps, still using no water for this operation.
Should any black work be left, use some more turps on

62 PRACTICAL LITHOGRAPHY

the clean dry rag till all the work has been removed, then
sprinkle a few drops of water on the plate, and use a clean
rag to remove the gum layer and loose black ink left on the
plate, then damp over as usual and roll up.

" Plates treated in this way retain the grease contained in
the drawing, and the work rolls up easier and quicker, and
none of the finer work gets weakened or lost ; also, the plate
keeps cleaner and free from scum.

"When alterations are necessary the work should be
rolled up with a strong black ink, and dusted over with
French chalk (powdered talc). Eemove the part which
requires altering with a mixture of equal parts etching

FIG. 22.

solution and turpentine on a small piece of felt or flannel,
and rinse well with water. Pour some special re-preparing
solution in a saucer, and apply this solution with a camel-
hair brush to the parts where the work has been removed ;
after the solution has remained for a few seconds rinse
well with water. This operation is to be repeated several
times till the surface looks clean, no work being visible ;
and after the plate is dried with clean white blotting
paper it is ready to receive the additional work. When the
alteration has been made, the rolling up should be done with
the bichromate solution, as per general directions.

" Where the alterations involve additional work only
without erasures roll up the design first with a good,

SUBSTITUTES FOR LITHOGRAPHIC STONES 65

strong ink, and dust over with French chalk. The special
re-preparing solution is used in the same manner as acetic
or citric acid is employed on a litho-stone. For this purpose
we recommend that the special solution should be diluted
with an equal quantity of clean water, and the solution
applied with a camel-hair brush. It should remain on for a
few seconds, and then be quickly rinsed with clean water.
This operation may with advantage be repeated two or three
times for securing a clean surface for the additional work.
When the plate has been thoroughly dried with clean
blotting paper it is ready to receive the additional work.
The rolling up should be done with the bichromate solution,
as per general directions."

Machine printing from zinc or aluminium plates requires
but a slight modification of well-known methods ; and al-
though it may in some respects present entirely new features,
the making ready of work in which several printings are
employed is simplified, and consequently much time is saved.
In the ordinary type of litho-printing machine the printing
bed (Fig. 22) is levelled in the machine for the first printing,
and, if this is carefully arranged, no alteration will be re-
quired throughout the whole 9 series ; for, in changing from
one colour to another, the printing plate can be slipped from
the bed and another substituted in a very few minutes. The
most scrupulous care should be exercised at all times to pre-
vent dirt or grit of any kind insinuating itself between the
surface of the printing bed and the back of the plate.

It is not in connection with the flat-bed printing machine,
however, that the most decided progress is likely to be made
in surface printing from metal plates. " The change which
is already foreshadowed in the printing mechanism of
to-day is shown by the growing demand for the rotary in
place of the slow and tedious movements of the flat-bed
press."
5

PRACTICAL LITHOGRAPHY

The mechanical principle of the rotary machine (Fig. 23)
at once suggests an absolute precision of movement which it
is scarcely possible to guarantee in the flat-bed press. There
is no appreciable lift in the gearing of the cylinders when the
impression is made, and practically no risk whatever of
slogger, such as that described in Chap. VII. page 38. The
uniform velocity of the cylinders, which is to a great extent

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M <f-4Z

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FIG. 24.

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due to the points already indicated, considerably reduces
friction, produces perfect registration, and enables the machine
to be worked at a high rate of speed. The machine shown
on page 63 presents many novel and essentially practical
features. The side elevation (Fig. 24) gives a fairly accurate
idea of its general mechanical principles.

CHAPTER XII

TIN-PLATE PRINTING

Its Evolution — Transfer and Direct Transfer Printing — The Coated
Paper — Reversed Designs — Sequence of Printing — Printing Inks —
Purity of Tone — Drying.

TIN-PLATE printing or decoration is probably the most re-
markable development of modern lithography. From a most
unpretentious and unpromising beginning its evolution has
been an unbroken record of phenomenal progress. Owing to
its intrinsic merits and peculiarly assertive character it has
created an enormous demand for its own productions.

Difficulties innumerable were encountered and surmounted,
whilst a whole host of trade prejudices had to be removed
before anything approaching a commercial success could be
claimed. The original idea was to transfer a printed design
from a suitably prepared paper to the metal plates in much
the same manner as the children of to-day use transfer prints
for decorative and other purposes. Though this method is
now to some extent superseded, it is by no means obsolete.
It is extensively used for certain classes of work, and so long
as the present type of direct tin-printing machine is used this
transfer method of metal decoration will more or less be
retained.

It is difficult, and in some cases impossible, to print
unusually large or exceptionally thick metal plates by the
direct process. Hence the value of Transfer Printing as a
useful auxiliary process which can be resorted to without

68 PRACTICAL LITHOGRAPHY

the expense of special machinery. The ordinary lithographic
paper-printing machine, without any modification whatever,
will fulfil every requirement.

Almost any paper which has been coated with a starchy
composition will be suitable for Transfer Printing. Though
not absolutely essential, it is decidedly an advantage to use
a paper which is somewhat porous, not too hard. A brief
description of the principles involved will probably lead to a
clearer understanding of the points already indicated.

The print is made on the starchy composition with which
the paper is coated, and never actually penetrates to the
paper itself. This composition, being readily soluble in
water, can be transferred from its paper base to any other
surface, and will carry with it any print or impression
previously made thereupon. In theory, then, this process is
exceedingly simple, nor is it likely to present any insuper-
able difficulties in practice.

One of the most important features of Transfer Printing,
which affects not only the colour sequence but the draughts-
manship, is the inversion of the design when printed. To
the printer who is accustomed to chromo work on paper,
this matter will probably offer many awkward situations.
The control over colour effects is somewhat restricted, and
consequently not only care and skill, but a certain amount
of special training and actual experience, will be necessary
for the production of really successful work. In theory the
outline forme should be printed first, but in practice it is
frequently advantageous to introduce some of the trans-
parent tints as first printings. In the first place, such
prints rarely affect the design to any great extent as far as
register or fit is concerned. Consequently, any distortion of
the paper from atmospheric or other causes has no very
serious consequences, and such distortion, i.e. expansion or con-
traction, would be most likely to occur during the initial

TIN-PLATE PRINTING 69

printings. There is yet another and equally important
reason for this suggested modification of the colour sequence.
The light, tacky tints considerably improve the printing
surface offered by the mucilaginous coating of the paper,
and the stronger inks can be printed on it with a full body
of colour yet without any tendency to smash and smear. The
lighter tints, then, are printed first, and these are followed
by the opaque colours, reds and yellows being last. The
peculiar feature of such an arrangement is that, after the
first few printings, the design becomes partly obscured, and
the relative value of different colours, together with the effect
of their super-position, are frequently questions of skilful
calculation rather than visual appreciation. Thus success-
ful manipulation is therefore more or less the result of
careful observation and wide experience. In certain classes
of work it may, of course, be absolutely essential to ascertain
the effects of colours as they are printed. This can be done
by transferring a progressive print to a sheet of dull enamel
surface paper, using gum water as a transferring medium.
In all work where specific colour effects are required it will
be advisable to make such test transfers again and again at
different stages of the work.

Concerning the printing inks themselves but little need
be said. They must be of good quality, varnishable, and of
intense colouring power. Purity of tone is requisite, not
only under ordinary circumstances, but under what- may be
regarded as exceptional conditions. The print, when subse-
quently transferred to the metal plate, will be placed in a stove
having a temperature of 140° Fahr. Few colours remain
quite unaffected by this stoving, but with carefully selected
printing inks the effect is scarcely perceptible. It can,
moreover, usually be anticipated, and to some extent mini-
mised, either by judicious super-position or skilful preparation
of the colours themselves before printing. The following

70 PRACTICAL LITHOGRAPHY

example will suggest a number of expedients for the preser-
vation of tone of colour in tin-plate decoration.

Pale blues will frequently become of a decidedly greenish
hue when varnished or stoved, and this may be modified by
an exaggerated intensity of colour, even to hardness, when
printing. At same time, it must be remembered that
" blues " are seldom, if ever, affected in tone. Pinks of the
lighter shades, on the other hand, may suffer both in hue
and tone. " Eeds " may be mixed with a more liberal
amount of " lake " than they apparently need, and then
backed up with solid masses of " yellow " and " flesh."
These will restore the bright vermilion hue, and likewise give
a greater amount of density or covering power to the colour.
Black, in the same manner, may be intensified by an under-
lay of blue. As far as purity and density are concerned,
the " white " printing is by far the most important. The
primary function of this printing in tin-plate decoration is the
formation of an opaque ground on the metal plate — equivalent
to the white paper. Without it the colours of a design would
lose their brilliancy and effect, for their purity and density would
be affected by the lustrous sheen of the bright metal plate.

It is a printing, then, of some, importance, and the most
scrupulous care should be exercised during its manipulation.
In consequence of the exceptional density required it is
usual to repeat the " white " printing either two or three
times. The first printing especially should be made with a
smooth, well-mixed ink, which should be worked with the
intention of securing a perfectly flat and solid impression
rather than a heavy body of colour. The requisite amount
of density can be obtained by the second or third impressions.

A slight tinge of " Oriental blue " given to the " white "
will improve its appearance and counteract the discoloration
produced by the varnishing and stoving.

Another point with which the average printer is not

TIN-PLATE PRINTING 71

familiar is the unusually rapid drying of each colour. The
printing inks must dry on the surface, and not even in the
slightest degree be allowed to permeate the paper. This is,
in fact, the crux of the whole matter ; and, assuming that
the coating of the paper is suitable and perfect, the drying
cannot be otherwise than on the surface. Dryers, pre-
ferably liquid, must be mixed with the printing inks in
liberal quantities. Here, again, experience alone can be
relied upon for guidance. Printing inks have their peculiar
characteristics, and atmospheric conditions are ever varying.
It would therefore be unwise to indicate any hard-and-fast
lines upon which to work. There is at least one danger
accompanying the use of dryers in any form which must
not be overlooked. Colours may dry too hard and present
for the succeeding printings a surface similar to a varnished
sheet, which will offer no grip to the printing ink, and upon
which it will probably run, and, consequently, produce a
defective impression. This is by no means an infrequent
occurrence. Experience alone can prevent it, but the
remedy is as simple as it is effective. Briskly rub each
printed sheet with a pad of soft rag and a little magnesia
or French chalk. Magnesia is best. It is an almost im-
palpable powder, and has no ill effect even upon the most
delicate tints. This rubbing will produce a slightly matt
surface on the hard glossy ink, and on this a good solid
impression may be made without further trouble.

The printed sheets should be exposed to the air for a
few hours to accelerate drying. This may be done in any
convenient manner, either by laying them out in frames or
hanging them up. A " set off " in Transfer Printing should
be sedulously avoided ; not that the soiling of the back of
a sheet is of any moment, but because the matter set off
on the back of one sheet must be pulled off the face of
another, and that very often in liberal proportions.

CHAPTER XIII

TIN-PLATE PRINTING — continued

Direct Tin Printing — The Machine — Peculiarities of Impression —
Cylinder Covering — Colour Sequence — Printing Inks — Drying
Racks — Air Drying and Stoving.

" DIRECT tin printing " is not, as the term might suggest, a
direct impression of the printing forme on the metal plate.
It is in reality a transfer printing process in which the
transferring medium is a cylinder with an elastic covering.
This additional cylinder is one of the chief characteristics of
a direct tin-printing machine, and, apart from a few accessory
movements, it is in this respect alone that it differs from an
ordinary lithographic printing machine. Fig. 25 gives a
sufficiently clear idea of this distinguishing feature. A
detailed description of its mechanical principles is unnecessary,
but the following points will prove helpful.

The impression is made from the printing forme upon
the lower cylinder during the first half of its revolution, and
transferred to the metal plate, which is carried by the upper
cylinder as the revolution is completed. The reciprocal
movement of these two cylinders is therefore a matter which
demands the keenest possible attention. Their pitch must
be absolutely accurate, the pressure of one against the other
nicely adjusted, and the brake arrangement on both such as
to ensure a perfectly steady revolution.

The lower cylinder is covered with a three-ply rubber
blanket, which provides a sufficiently elastic impression surface.

TIN-PLATE PRINTING 75

This rubber covering is a most important feature, and
requires both careful adjustment and intelligent use. Careful
adjustment is requisite to ensure the tension being perfectly
uniform over the whole surface, when the material is drawn
taut by means of a tooth-and-ratchet arrangement. Were it
not so, the printing surface presented would naturally vary in
thickness and resilience, in consequence of which the pressure
would be variable and the impression distorted.

A most remarkable peculiarity of this rubber covering is
that it has a very decided influence upon the size of the
impression. If, for example, its pressure upon the printing
forme is increased, the impression will be slightly less
than the work on the stone, whilst a lighter pressure will
of course produce the opposite effect. It is advisable, there-
fore, when making a first impression, to measure it from back
to front and compare it with the printing forme. This
method will ensure a print of the exact size, and avoid any
risk of complications in the subsequent printings. Such dis-
tortion— for a distortion it really is — may frequently be turned
to good account, and under certain conditions it may prove to
be a help rather than a hindrance. Some slight inaccuracy
in the fitting of any part of the design may occasionally be
corrected by inserting patches of thin paper under the
cylinder covering, so as to almost imperceptibly increase the
pressure over the required area. This idea in its application
to "making ready" at a tin-printing machine will suggest
many possibilities to the resourceful printer, and if intelligently
treated will rarely prove troublesome. In a lesser degree the
same system of packing may be applied to the upper cylinder,
and the size of the impression to some extent controlled
during its transference to the metal plate. The speed of the
machine also affects the impression, and in a somewhat
peculiar manner. Several theories have been set forth to
prove why an increase in speed should produce a slight

76 PRACTICAL LITHOGRAPHY

enlargement of the impression, and vice versd ; but it is
doubtful if any of them are altogether satisfactory. Most
probably it is due to a momentary change in the resilience of
the rubber. The character of the pressure, which is certainly
influenced by increasing or diminishing the speed, would of
course effect such a change. The effect, as just indicated, is,
however, only perceptible when a very pronounced variation
in the speed takes place. A rubber blanket is also affected in
a somewhat similar manner by atmospheric changes, though
not appreciably by moisture.

One other point in connection with the cylinder covering
is worth noting. Whenever it is necessary to remove the
impression from the blanket, — and the necessity may arise
many times during the course of a day's run, — let it be
done with turpentine or benzole, and as rapidly as possible.
After the superfluous turpentine or other cleanser has been
wiped off, dust over the blanket with French chalk. This
will completely absorb- any of the cleanser which may have
permeated the rubber, and thus minimise any injurious effect.

Unlike the Transfer Process in Direct Printing, the colour
sequence is practically the same as for paper printing.
There are, of course, essential points, of difference, and these
may fitly mark the next stage of progress in the discussion of
this subject. In the first place, a bright metal plate does not
present an altogether suitable printing surface, and for several
reasons. The sheen of such a plate will show through many
of the printed colours with a dull metallic lustre. The
surface, again, is hard and excessively smooth, or, as it
is sometimes expressively described, without tooth. As can
easily be seen, this is far from an ideal printing surface.

White also plays a prominent and effective part in many
designs, and is frequently indispensable. Its presence,
when necessary in Direct Tin Printing, must therefore be
arranged for in some form or other. One white printing is

TIN-PLATE PRINTING 77

seldom sufficient to produce a perfectly clean and solid
ground. Two printings, or even three, may be necessary.
Purity of tone is a most important point, and therefore
a pigment should be chosen which will, not only remain
unchanged by its contact with the metal, but which will be
unaffected by the heat applied during stoving. The appear-
ance of this white may be improved by the addition of blue,
as in Transfer Printing (p. 70), and here also the smallest
possible quantity will be sufficient.

Gold Lacquer Printing is peculiar to Tin-plate Decoration,
and its advent indicated a vast progress in artistic display
and effect.

Printing lacquer is a transparent pigment of about the
same consistency and character as printing ink. It is usually
prepared in three shades of colour — red, citron or orange,
and pale gold. A combination of these in suitable propor-
tions will produce almost any strength or shade of gold
which may be required. Except as regards their unusually
brilliant transparency, these lacquers much resemble yellow
lakes, and in paper printing might even be used as economical
substitutes for the more expensive pigments. This, however,
is only a suggestion, and has little if any practical bearing
upon their application to Tin-plate Printing, where they
completely transform the bright sheen of the highly polished
metal plate into a brilliant and most effective gold. Gold
lacquer is an exceptional pigment in many respects. It
works exceedingly well, and gives a sharp, flat impression
where most other pigments would fail. It also has the
power of conveying many of its own good qualities to any
printing ink with which it may be incorporated.

In Transfer Printing the question of rapid drying is very
important, and in Direct Tin Printing it is even more so.
Arrangements of a somewhat extensive character must be
made for the reception of metal plates immediately after

PRACTICAL LITHOGRAPHY

printing, so that the air may freely circulate about them, and
thus assist in the drying. The room in which the printing

sheets are thus stored

must be free from dust,

for it will readily adhere
to the tacky printing
ink, and afterwards
prove a source of end-
less trouble.

Drying racks of
_^^ various descriptions are
used for the storage of
printed metal plates.
One of the best is con-

FIG. 26. structed on the lines

shown in Fig. 26. The

shelves A A are adjustable so as to carry plates of different
sizes. The printed sheets are set up on end in the grooves
B B, and by arranging
them back to back in
pairs a large number can
be accommodated with-
out hindering the drying.
Other types of drying
racks are shown in the
sectional drawings (Figs.
27A and 27s).

The question of air-
drying versus stoving has
ever been a contentious
one, and admits of con-
siderable diversity of
opinion. Air-drying is preferable where convenient.

FIG. 27A.

It is

much more economical than stoving, of course ; but, on the

TIN-PLATE PRINTING

FIG. 27B.

other hand, it might be a better plan to stove a printing than

to wait, perhaps for some hours, until it dried naturally. With

some printing inks and under certain

climatic conditions both may be necessary,

so it is almost impossible to lay down any

hard-and-fast rules as to the adoption of

either plan.

Some knowledge of their respective

disadvantage should be acquired, however,

in order to avoid, or at least minimise,

them.

Take, for instance, a course of eight

printings, each one absolutely necessary

to the design, and each one to be dried

by stoving. It is only reasonable to

suppose that the first and second printings

will be seriously affected by the subsequent stovings. They

will undoubtedly harden to such an extent as to render the

super -position of other colours a difficult matter, and their

purity of tone will most probably
be affected. According to the
same line of reasoning, some sheets
would be more affected by the heat
than others, owing to their position
in the racks, the heat of stoves
being greatest near the top.

FIG. 28.-Convenient method of Air-drying can only be accom-
stacking decorated metal plished by adding to the printing

plates to distribute their ink ft proportion of some guitable
weights and prevent injury.

drier. (See Transfer Printing, p. 71.)

Naturally, it requires a much longer time, but it is equally
effective, much less troublesome, and generally more satis-
factory.

CHAPTER XIV

TIN-PLATE DECORATION

Suitable Designs — A Variety of Effects — Gold Lacquer — Super-
position of Colours — Embossed Effects — Embossing Plates —
Lacquers.

IT is usually and rightly supposed that the most effective
results in Tin-plate Decoration are produced from designs
which are lithographed for that specific purpose.

Designs which are specially arranged for Paper Printing
can be used so long as the effect produced by the trans-
position from right to left does not affect its application, or
render the same impossible. This, of course, applies more
particularly to designs in which lettering appears, but at the
same time it may affect designs of an essentially pictorial
character in an equally important manner ; for it must be
remembered that a drawing for Tin-plate Printing must appear
on the lithographic stone exactly as it is impressed on the
metal, and not, as in Paper Printing, reversed from right to
left. This naturally simplifies the drawing on stone, and to
some extent enables the draughtsman to dispense with the
reversing mirror when copying.

The primary object of this short chapter will be to point
out some of the characteristic features of Tin-plate Decora-
tion, so that such methods as are usually adopted by the
artist and the printer may be modified or amplified to meet
any peculiar requirements of work in hand.

A greater variety of effects can be attained on the

TIN-PLATE DECORATION 81

polished metal plate than it is at all possible to produce
on paper.

A gold effect, the result of lacquer printing, is especially
striking. In a similar manner an excellent translucent lustre"
can be imparted to almost any colour by taking away the
white opaque ground, and thereby producing a peculiar semi-
transparency which is both pleasing and effective. Lacquer
printed over white produces a luff colour, which can be used
as a second yellow or to form the base of a flesh. The colour
of the lacquer is softer and less obtrusive when printed under
instead of above the white. The super-position of colour
generally, as described in Chap. XII. page 70, is peculiar to
tin-plate printing, and suggests the advisability, if not the
necessity, of a special design. The advantages of such super-
position are obvious and substantial. Under ordinary com-
mercial conditions it is almost impossible in tin printing to
obtain the same intensity of tones in the printed colours as in
paper printing. Some such strengthener as the super-position
of suitable colours is therefore necessary. The work of the
lithographic draughtsman is in this respect of a somewhat
unusual character ; but a little intelligent consideration will
render its execution on these lines comparatively easy and
satisfactory.

As already stated, yellows can be accentuated by a
super-position of lacquer, and in the same manner blues and
greys add intensity to black. Eed can be strengthened by a
foundation of lacquer, also flesh and yellow, either singly or
in combination. The drawing of lacquer and white formes
should receive the most careful attention. They should fit
each other accurately, even to the most minute details ; for
the slightest overlapping will be revealed by the presence of
a very assertive buff colour, while any deficiency in combina-
tion will leave a not less striking margin of bright tin
exposed.
6

82 PRACTICAL LITHOGRAPHY

In some instances it might be an advantage to transfer
one forme from Hack to white to produce the opposite colour,
and thus ensure perfect register.

In decorative designs particularly, tin-plate printing
suggests almost unlimited possibilities for brilliant effects,
and in this respect it offers fair latitude for individual origin-
ality and manipulative skill. In the production of show
tablets especially, considerable attention has been given to
embossing, in order to suggest and represent relief. Though
not actually produced by the artist, this is in effect part of
the scheme or plan of his design, and will consequently in-
fluence his work to some extent. For simple ornamentation
only, metal embossing presents little that is new or novel ;
but for the production of relief effects in the pictorial
elements of a design its application becomes a more important
and influential matter. By its aid a flat and otherwise
uninteresting subject can be made attractive and vigorous,
and for general purposes of effective display its value will be
considerably enhanced and its assertive character emphasised.

Without entering too minutely into matters which affect
the lithographic printer in an indirect fashion only, it will
yet be useful to him to know how an embossing die is
produced which registers accurately with the design to be
operated on. A black impression of the outline forme of the
design is made on transfer paper similar to that described
in Chap. XII. page 68, and re-transferred, by pressure only, to
another sheet of the same paper. The re-transfer is to be
the impression required, and this in its turn is re-transferred
again to a prepared brass plate. The only preparation
necessary is the levelling and planing of the plate, and, if
desired, it can be coated with a thin layer of white paint
or enamel. This white ground makes the work easier, by
rendering the impression more distinct. With such a guide as
this the cutting or engraving is a comparatively simple matter.

TIN-PLATE DECORATION 83

The engraved plate is placed in a casting box, and a
stereo-metal casting is made from it. A little trimming may
be necessary for the completion of these two tools, and they
will require to be suitably mounted, so that they may be
accurately adjusted in the embossing press.

Metal embossing has certain limitations which must be
recognised as an essential condition of its effective application.

The plates vary considerably in texture and temper,
and the depth and character of relief will, to some extent
at least, be controlled by the quality of the metal. Sharp
lines and abrupt terminations impose a strain under which
many plates split, therefore such features ought to be
avoided. Easy, rounded lines, rather than those of the
straight furrow description, produce the best results and give
least trouble during operations. Where abrupt terminations
are quite unavoidable the design should, if possible, be so
arranged as to evade the super-position of colour over these
parts.

Lacquer, if properly mixed and applied, is probably the
toughest pigment used by the tin printer, and is generally
suitable for embossed work. It prints an exceedingly thin
layer or film on the face of the metal, which under average
conditions rarely interferes with the working of the embossing
tool.

CHAPTER XV

PHOTO-LITHOGRAPHY

Early Experiments — An Analysis — The Direct Process — Transfer Process
— Line and Half-tone — Some Difficulties — A Natural Grain — Ink
Photo-screen Effects — Essential Features.

ONE of the most promising features of lithography is its
co-partnership with photography as a rapid and accurate
method of reproduction. The resources offered by this com-
bination are very extensive. For facsimile copying and
proportionate enlargement or reduction photography stands
unrivalled, and, although in certain phases it may be
somewhat mechanical in its effects, its relation to litho-
graphy as a reproductive art is nevertheless of an intensely
practical nature, and far from inartistic in character.

The first idea of inking up a photographic print so that
it might be transferred to the lithographic stone was suggested
in the simplest possible manner. A brief account of its
inception will be instructive as well as interesting, inasmuch
as it will lead to a clearer conception of the elementary
principles involved.

During the early experiments in carbon printing it was
discovered that a gelatinous film sensitised with certain
bichromates could be charged with a coloured pigment, and a
picture developed thereon. At first it was not realised that
images produced by the action of the light on such a surface
could be inked up with a greasy composition and afterwards
transferred to the lithographic stone, but it was not long

PHOTO-LITHOGRAPHY 85

before this important point became apparent. It was found
that after exposure under the negative the transfer ink would
only adhere to such portions of the gelatinous surface as had
been acted upon by the light.

Photo-lithography will best be considered under two
sections, namely—

1. The direct process, in which the actual printing surface
is prepared and exposed under the negative.

2. The transfer process, in which a gelatine- coated paper
is sensitised in a solution of bichromate of potassium and the
photographic print made upon it.

The direct process in its application to the lithographic
stone is uncertain in its results. It is impossible to secure
sufficiently close contact between the negative and the stone,
particularly when large surfaces are under operation, and
consequently the print is rarely if ever an unqualified success.
The erasure of defective wTork is also a serious matter, and can
only be effected by polishing and preparing the stone again.

In the transfer process absolutely close contact can be
assured by the use of the transfer paper ; and should the
print from any cause whatever prove defective, another can be
made immediately without any serious loss of time or material.

The successful application of the direct process to zinc and
aluminium plates is, however, an accomplished fact. The metal
plate is sufficiently elastic to adapt itself to any inequalities
on the surface of the negative. Under such conditions as
these this process offers at least one very important advantage.
There is not the slightest possibility of distortion such as
might occur in the development of a transfer. The metal
plate also lends itself to easy manipulation.

Photo-lithography in line is simply the reproduction of
line drawings or prints in which the design is represented
in black and white with only such gradations as may be
suggested by lines or dots.

86 PRACTICAL LITHOGRAPHY

Half-tone photo - lithography is the reproduction of a
design or copy which has in its composition gradations of
tone in the form of flat tints.

It is sometimes described as the translation of the
graduated light and shade of the original copy into a surface
which can be printed from by mechanical means, for which
purpose the ink-bearing surface is broken up into the most
minute sections, and thus forming an almost imperceptible grain.
The first attempts to reproduce the half-tones of a copy, in
the form of a grain consisting of minute dots of varying size
and contiguity according to the gradation of tone required,
were made with a screen of open textile fabric. This screen
was placed between the lens and the sensitive plate, but the
results were crude and unsatisfactory.

The invention of cross-lined screens, in which the lines
were cut on glass and filled with black or other suitable
colouring matter, was a decided advancement in the half-tone
photo processes.

The " screeny " effect produced by the " unvarying uni-
formity of grain" in half-tone work is undoubtedly the chief
drawback to its more extensive adoption for photo-lithography.
Fine etching cannot be resorted to as in photo-engraving,
neither is it possible to emphasise effects by skilful overlay
and underlay ; consequently half-tone impressions from a
lithographic stone are frequently disappointing. There are
no insurmountable obstacles to hinder the production of
excellent transfers, nor is it a difficult matter to transfer
them to stone. The trouble is, as already pointed out, the
unvarying uniformity of the grain.

This effect, or rather this lack of effect, has been to some
extent overcome by the use of a " four-line " screen in lieu of
the usual " crossed " screen, but even this is merely a remedy
and not a cure.

It has been confidently asserted that the highest degree

<^r THE

•

PHOTO-LITHOGRAPHY

of excellence in photo-process work will be attained by the
adoption of what may be termed a natural grain. Several
processes have been introduced which are undoubtedly based
upon collotype methods in which a reticulated grain is
produced more or less suitable for lithographic printing.
Unlike the mechanical screen grain the texture of these
processes reproduces the original copy with but little, if
any, loss of expressive power. This is indeed a feature
of considerable importance, and suggests many possibilities
in the way of artistic reproduction.

To reproduce an old chalk drawing so that it might
be successfully transferred to stone and printed in the
usual way, would be practically impossible by any other
process. In copying through a ruled screen many of the
delicate contrasts of light and shade would be so reduced
as to become almost valueless, consequently the print loses
both in artistic and expressive power. In contradistinction
to this a natural grain exhibits no harshness or indistinctness
in the gradations of tone, and retains its clearness and sharp-
ness throughout the printing operation.

Eeverting again to the half-tone ruled screens, it may be
well to state that small prints, being usually subjected to a
closer inspection than large ones, must be reproduced with great
attention to the finer details to ensure a certain amount of
fidelity, and for this reason a screen with fine rulings must
be employed. Naturally, stronger and more vigorous repro-
duction can be secured with the coarser rulings, but the screen
effect will be too pronounced for close scrutiny.

There is still much to achieve in photo-lithography, and
it is probably owing to a full recognition of this fact that the
progressive character of the process is maintained. Its com-
mercial value is undoubted, and its successful application is
chiefly a question of how and where it can be most effectively
introduced.

88 PRACTICAL LITHOGRAPHY

The essential features of photo-lithography are : —

1. A copy or original in which the modelling is well
defined, and the light and shade well emphasised, even to a
point of slight exaggeration.

2. A negative in which the whites of the original appear
opaque, with clear glass to represent the lines and solids.

3. A print which can be developed or inked up with a
pigment sufficiently greasy in nature to transfer to the litho-
graphic stone.

CHAPTEE XVT

PHOTO -LITHOGRAPHY — continued

The Copy— Gradations of Tone — Scraper Boards — Description and
Effect — Shading Mediums — Crayon Drawings — Half-tone Copy.

IT has already been pointed out that well-defined modelling is
most desirable in the original copy. To secure this a con-
siderable degree of artistic perception and discretion, as well
as manipulative skill, is requisite. In photo-process work
it is almost impossible to produce artistic effects from an
indifferent or unsuitable copy.

Pen-and-ink sketches and wash drawings are entirely
under the control of the artist, and characteristic effects
are chiefly due to bold and vigorous conception and skilful
drawing. Few photographs are suitable for photo-mechanical
reproduction without some previous preparation. Accentu-
ation or modulation of . the high lights and shadows will in
all probability be necessary to secure a sufficient contrast of
light and shade. The middle tints may require but little
attention, unless it be to work down any tendency to abrupt-
ness in the gradations of tone. A bold and well-defined
silver print usually copies well when clamped between two
pieces of glass to take out the grain, and photographed by
artificial light.

Scraper boards offer most remarkable possibilities for
black and white and half-tone sketches. A careful examina-
tion of Fig. 2 9 will serve to demonstrate their peculiar fitness
for process drawing. A light wood pulp board forms a con-

go PRACTICAL LITHOGRAPHY

venient base upon which a thick coating of white composition
is laid. Black ruled lines are printed on this surface, and
lines of a similar texture are embossed at right angles to
them. Some of the characteristic effects which can be pro-
duced on this board by the use of the crayon and scraper are
suggested by Nos. 6 and 7, Fig. 30. No. 8 gives a stipple
which is both printed and embossed. No. 9 is a plain board
upon which pen-and-scraper effects alone are produced.
Drawings in pen and ink, on Nos. 1 0 and 1 1 patterns, may
be effectively handled by a free and skilful use of the scraper.
Embossed lines only are the peculiar features of these boards,
but variety of texture can be obtained by scraping these lines
into dots.

Scraper board sketches almost invariably represent a
maximum of effect with a minimum of work, and for this
reason alone such an adaptable and simple medium should
soon win its way into general favour.

Their merit, however, is not confined to this one point.
They provide almost unrivalled copy for photo reproduction,
and can therefore be applied to a variety of purposes. Even
a cursory glance at the scraper board sketch on page 91 will
reveal many points of interest and value which a more careful
scrutiny can scarcely fail to emphasise.

Small patches of scraper boards can be introduced into
process drawings of any description, and brilliant results be
secured thereby. In such a manner clouds, waves, foliage,
and a variety of other effects can be introduced.

Shading mediums are already well known to lithographers,
yet it is doubtful if their usefulness for the amplification
of sketches or process drawings is fully appreciated. They
offer almost endless combinations of texture and tint, and are
therefore most useful and valuable accessories in the hands of
a resourceful artist.

Many artists favour crayon work on a grained paper, adopt-

fefl

•

VERSIT

PHOTO-LITHOGRAPHY 95

ing a broad sketchy treatment in liberal proportions, so that in
the subsequent reduction the freedom of the original will be
toned down just sufficiently to enhance the picturesque and
artistic value. Drawings made on scraper boards, grained
papers, or by the aid of shading mediums, are photo-
graphed and reproduced by the ordinary line method. In
making sketches for " half-tone " photo-mechanical reproduc-
tion it must be remembered that, as far as photo-lithography
is concerned, it is impossible to accentuate effects by what is
known as " fine etching " when applied to photo-engraving.
A negative for photo-process work of any description should
be absolutely perfect in every respect. The whites of the
copy in the negative should be of an absolutely opaque black,
showing clean, sharp edges, with clear glass representing the
lines, dots, etc. These are all-important factors, and their
influence upon the reproduction of the original can scarcely
be over-estimated.

CHAPTEE XVII

PHOTO-LITHOGRAPHY — continued

A Copying Table — Exposure — Illumination — -Photo-lithe Transfers —
The Paper — Printing — Developing — A Direct Process.

To discuss the respective merits of the " wet " collodion,
collodion emulsion, and dry-plate processes lies beyond the
province of this work, as does also a detailed description of
the operations involved.

The processes are purely photographic, and have already
been presented to the craft in various forms. It is, moreover,
almost impossible to bring within the limits of a single
chapter anything approaching to a comprehensive record of
the multitudinous details upon which process photography is
based. All that can be attempted is to take one or two out-
standing features which suggest a few useful hints.

The original or copy for reproduction must be on the
same optical plane as the sensitive plate in the camera, i.e.
they must be absolutely parallel with each other. There
are several ways of ensuring this. The most convenient
method is to use a copying table and board similar to Fig. 31.
With such an arrangement as this direct copying can be
attained through the lens, or the camera can be turned half-
way round, and the image reversed by means of a mirror
or prism attachment. The chief advantage of such an
arrangement is, that the position of the camera can be
altered at will without affecting the relative positions of the
plate and copy.

PHOTO-LITHOGRAPHY 99

Correct exposure and sufficient illumination of the
copy are important factors in photographic reproductions of
any kind, but they are of infinitely greater importance when
applied to photo-process reproduction. One is, to a certain
extent, dependent upon the other. The former must of
necessity be controlled by the latter ; yet no amount of
exposure will compensate for defective illumination. Where
artificial light is employed the advantage of using two lights
is obviously great. Apart from the greater brilliancy and
intensity of the light, the illumination of the copy is more
evenly distributed. In scraper-board copies no shadows are
thrown from the embossed dots or lines, arid the granular
texture of grained papers is almost entirely eliminated.

A bichromated, gelatine paper can be obtained by coating
a hard writing paper of medium thickness with a gelatinous
solution consisting of 1 oz. of gelatine and 1 oz. of water,
and afterwards sensitising it with bichromate of potassium.
It is advisable, however, to use the commercial varieties of
coated paper, and to sensitise it as it is required.

The sensitising solution can be prepared by dissolving
1 oz. of bichromate of potassium in 20 fluid oz. of water.
Add to this sufficient ammonia to give it a bright orange
tinge. Keep this solution at a temperature of 60° Fahr.,
and float the paper on it for about one minute. Pin or
clip the paper to a board or squeeze it to glass, and dry in
a dark room.

Print this paper under the negative in a diffused light
until the design appears in a rich golden-brown colour,
when the exposure may be regarded as sufficient. The time
allowed for such an exposure will, of course, vary according
to the quality of the negative and the intensity of the light.

A development of the print may now be proceeded with
in the following manner.

Thin down a little transfer ink with turpentine and

TOO PRACTICAL LITHOGRAPHY

distribute it evenly on a composition roller. Koll up the
print until it is completely covered with an exceedingly
fine film of ink, after which allow the turpentine to
evaporate. Immerse the transfer in tepid water for about
10 minutes, and then rub it gently with a piece of cotton
lint previously soaked in water, until the superfluous ink is
removed and the design stands out clean and sharp.

The transference of the print to stone can be accom-
plished in the usual lithographic manner. The chief points
to be observed are, to allow sufficient time for printing, and
to ink up the transfer with the thinnest possible film of ink.

A photo print can be made direct on the zinc or
aluminium plate, and by a slight modification of the photo-
engraving process it can be developed according to litho-
graphic methods.

It is impossible to introduce an intermediate process
without, in some manner at least, depreciating the quality of
the work. In a direct photo print on zinc, or, in fact, on any
suitable printing surface, the finer qualities of the work are
much more likely to be retained than when a transfer print
is made under the negative and afterwards transferred in
the usual manner.

Coat a finely grained zinc plate with sensitised asphalt
solution and expose it under a negative for about 4J minutes
in direct sunlight, and from 12 to 15 minutes in a diffused
light. The action of light on the asphalt solution is to
render it insoluble in turpentine, so that if a sufficiently
exposed plate is immersed in pure turpentine the lines, etc.,
of the design, being of course represented by clear lines
in the negative, will remain intact, while the surrounding
portions will be dissolved and washed away. After develop-
ment wash the plate freely in water, and dry it by fanning
or with a pair of bellows. Let it stand for about 10 minutes
and then slightly etch it with a very weak solution of nitric

PHOTO-LITHOGRAPHY 101

acid. Cover the work with strong, fresh gum, and dry it
thoroughly and quickly. Eemove the gum and " rub up "
the design with black ink in the usual way. Wash, dry,
and dust over with French chalk. The plate can then be
prepared in the manner described in Chap. XI. page 61.

THE END

INDEX

PAGE

ADJUSTING pressure in machine

Colours, standard

Adjusting stones in machine
Air drying — tin printing .

. 37

78, 79

Copperplate press
Printing

17
17-19

Alum ....

. 27

Stove ....

. 18

Aluminium plates

. 57

Copy, photo-litho

. 87

Aluminium plates —

Copying table .

. 96

Alterations

. 62

Crayon or chalk drawing .

Direct photo . . .58,

85, 99

Crayon work

88, 90

Etching ....

Cylinder press .

Machining

. 65

Printing bed .
Rolling up

. 65
60

Damping rollers

. 40
24

Sensitising
Transferring .
Aluminium rotary machine
American printers
Asphalt solution

. 97
. 59
65, 66
. 53
. 99

Design, inverted
Design, suitable
Development, photo print .
Direct impression, A .
Discoloration

. 68
. 80
99
. 72
. 70

Distortion .... 49,

68, 75

Bavarian limestone .

. 12

Dryers

Blocking out
Blue tinge ....
Boxwood scraper
Brake cylinder .
Bronze printing .

54, 55
70, 77
. 20
38
. 49

Drying colours .
Drying metal plates .
Drying racks
Duplication of design

50, 71
77, 78
78. 79
30, 31

Cam motion

Effect of pinks and greys .

Canada balsam .

Effects in tin-plate printing

Castor oil ....

Elastic bedding .

22, 23

Cause and effect

Electricity

Ceramic decoration

. 55

Elements of lithography .

Chalk drawings .

25, 26

Embossed lines .

Chemical affinity
Clean stones

2
3

Plates ....
Embossing discs

82
82, 83

Cohesion in printing ink .
Colour and design
Changes

54
. 48
70

Enamelled paper
Etching ....
Evolution of tin-plate printing

51
25, 26
. 67

Mixing ....

Exposure ....

. 98

Printing

. 47

Registration .

. 48

Fine etching

. 95

Sequence . . .48,

50, 76

French chalk

71, 76

Super-position

48, 81

Skins ....

. 28

Transparencies

Friction glazed paper

102

INDEX

103

Glass muller

PAGE

Oiiginal stones . ,7

PAGE

. 30

Gold lacquer . • . -77,

82, 83

Outline forme .

. 48

Gold printing . . . •

Grain, natural .

. 87

Packing cylinder

. 22

Graining stones . .. , .

. 5, 6

Paper, enamelled .c!y .

Grinding stones . ,

. 4-G

Well seasoned

49-51

Pen and ink sketches ., '

Gripper margins " . '*. •

Pen and scraper effects

. 9Q

Grit . . . . - .

. 43

Photo litho —

Copy .

Half-tone, plioto-litho

. 84

Development ' . • .

98, 100

Halligan machine .

34-36

Direct • .

. 85

Hand labour and machine .

Half-tone : .

. "* 86

Inception of . • .

Roller . . .' • . _

Line

. 85

High lights

. 89

Printing

. 99

Homogeneity of stones .. "

Transfer

. 85

Transfer papei

. 98

Illumination of copy . .

. 98

Plumbago . . ...

. 22

Impression

. 27

Porosity of stones

Impression, size of

. 75

Preparation of stones .

. 2-7

Impression, solid
Inking rollers . . .

. 46
. 39

Preparing designs . .
Pressure alterations .

24, 25
. 43

Inks, printing .

52-56

Excessive ...

. 37

Tin -plate printing .

69-71

Litho press . . «

. 20

Transfer . - ._

. 8-11

Peculiarities .

75, 76

Inverted design . .

. 68

Printing inks --«-..

. 52

Cohesion of .

Key formes

27, 41

Printing medium

Proving '.

29, 30

Lacquer, peculiar feature of

. 83

Lacquer, tin-plate

. 77

Recipes, transfer inks

. 9-11

Lamp-black

. 28

Transfer papers

13-15

Leather dressing^X r

Reciprocal movement

. 72

Level surfaces

Reducing medium

53, 54

Levelling stones -. . .

. 37

29, 30

Line, photo-litho

Registration

29, 41

Linoleum ....

. 23

Registration of colour

. 48

Linseed oil ...

52, 53

Remedy, A ...

Litho press for Copperplate . 19
Litho press, mechanical principles

Re-transfening .
Rotary machine, printing .

. 31

65, 66

20, 21

Rubber blanket .

72-75

Litho press, pressure .

. 20

Resilience of .

. 76

Litho varnish

52, 53

Scraper . . .

20-22

Magnesia .

. 71

Scraper boards . .

89, 90

Mechanical affinity . ~ "7

Scratches ....

Metal plates . . W .

. 57

Screen effect

Method . . . ,

Screen photo

Modification of colour sequence

Senefelder ....

Motor driving .

7 46

Sensitising solution .

Sequence of colour

Nap roller ....

. 28

Set off . . . .

Natural grain . .

. 87

Shading mediums

Negative . . •.../.

Shadow i

Sheen of metal plate .

Offsets . .'.-.'-.

27, 28

Side lay . .

Oriental blue tinge

70, 77

Silver print ...

104

INDEX

Slogger
Sludge

PAGE

. 38
5

Transfer paper (contd.} —
Stone to stone

PAGE
13

Solid oil .

. 53

Transparent .

13, 14

Speed

. 36, 37, 46

Varnished

Speed cones

Transfer printing

. 55

Standard colours

. . 55

Transferring

. 32, 33, 99

Stone-planing machine

. 3, 4

Transparencies .

Stone- polishing machine

. 4, 5

Trimming paper

. 43

Stoving tin-plates

. 78

Tympan

21, 22

Transferred prints .

Substitutes for stone .

. 57

V-shaped edge .

Suggestion, A .

Varnish, litho .

52, 53

Super-position of colours

Venetian red

. 28

Tooth of grained stones

•7

Of metal plates

. 58

Water of Ayr stone .

. 25

Transfer inks —

White printing .

. 70, 76, 77

Active principle of .

. 8, 9

Copperplate .

10, 11

Zinc plates

. 57

Extra powerful

Zinc plates —

Plate .

Alterations

Stone to stone

Depolishing .

. 58

Writing .

. 9, 10

Etching .

. 61

Transfer paper —
Autographic .

Graining
Machining

. 58
. 65

Copperplate .

14, 15

Photo, direct .

. 58, 83, 97

Diaphanic

Printing bed .

. 65

Grained .

15, 16

Rolling up

. 60

Photo-litho ..

16, 99

Sensitising

Specific value of

Transferring to

. 59

Printed by MORRISON & GIBB LIMITED, Edinburgh

JANUARY, 1905.

Catalogue

Special G)eef)nieal LUorks

FOR

MANUFACTURERS, STUDENTS, AND TECHNICAL
SCHOOLS

BY EXPERT WRITERS

INDEX TO SUBJECTS.

PAGE

Agricultural Chemistry ... 10
Air, Industrial Use of ... 11

Dyers' Materials 21
Dye-stuffs 22

Petroleum ... 6
Pigments, Chemistry of ... 2

Alum and its Sulphates ... 9

Enamelling Metal 18

Plumbers' Work 27

Ammonia 9

Enamels 18

Porcelain Painting 18

Aniline Colours 3

Engraving 31

Pottery Clays 16

Animal Fats 6

Essential Oils 7

Pottery Manufacture ... 14

Anti-corrosive Paints ... 4

Evaporating Apparatus ... 26

Power-loom Weaving ... 19

Architecture, Terms in ... 30

External Plumbing 27

Preserved Foods 30

Architectural Pottery ... 16

Fats 5, 6

Printers' Ready Reckoner 31

Artificial Perfumes 7

Faults in Woollen Goods... 20

Printing Inks 3

Balsams 10

Gas Firing 26

Recipes for Oilmen, etc. ... 3

Bibliography 32
Bleaching 23
Bone Products 8

Glass-making Recipes ... 17
Glass Painting 17
Glue Making and Testing... 8

Resins .. .. 10

Risks of Occupations ... 11
Rivetting China, etc. ... 16

Bookbinding 31

Greases 5

Sanitary Plumbing . . 28

Brick-making ... 15, 16

History of Staffs Potteries 16

Scheele's Essays ..

. . 9

Burnishing Brass ... ... 28

Hops 28

Sealing Waxes

. . 11

Carpet Yarn Printing ... 21
Ceramic Books ... 14, 15

Hot-water Supply 28
How to make a Woollen Mill

Silk Dyeing
Silk Throwing

.. 22
. . 19

Charcoal 8

Pay

Smoke Prevention ..

.. 26

Chemical Essays .. ... 9

India-rubber .,.

.13

Soaps ...

... 7

Chemistry of Pottery ... 17

Inks ... 3

Spinning

... 20

Chemistry of Dye-stuffs ... 23

Iron-corrosion

Staining Marble, an<

1 Bone 31

Clay Analysis 16

Iron, Science of

Steam Drying

... 11

Coal-dust Firing 26

Japanning

Sugar Refining

... 32

Colour Matching 21

Lacquering ...

Steel Hardening ..

... 26

Colliery Recovery Work ... 25
Colour-mixing for Dyers ... 21

Lake Pigments
Lead and its Compounds ..

2
11

Sweetmeats
Terra-cotta

... 30
... 16

Colour Theory 22
Combing Machines... ... 24
Compounding Oils ... .. 6

Leather Industry
Leather-working Material
Lithography

13
14
31

Testing Paint Mater
Testing Yarns
Textile Fabrics

als ... 4
... 20
... 20

Condensing Apparatus .. 26

Lubricants

5,6

Textile Materials ..

19,20

Cosmetics 8

Manures 1

Timber

... 29

Cotton Dyeing 23
Cotton Spinning 24

Mineral Pigments
Mine Ventilation

3
25

Varnishes
Vegetable Fats

... 4
... 7

Damask Weaving 20

Mine Haulage

Waste Utilisation ..

... 10

Dampness in Buildings .. 30

Oil and Colour Recipes ..

Water, Industrial Use ... 12

Decorators' Books 28

Oil Boiling

Waterproofing Fabrics ... 21

Decorative Textiles ... 20

Oil Merchants' Manual ... 7

Weaving Calculations ... 20

Dental Metallurgy ... ... 25

Oils 5

Wood Waste Utilisation ... 29

Dictionaryof Paint Materials 2
Drying Oils 5

Ozone, Industrial Use of.. 12
Paint Manufacture 2

Wood Dyeing ... 31
Wool Dyeing 22, 23

Drying with Air 12

Paint Materials 3

Writing Inks ... 11

Dyeing Marble 31

Paint-material Testing ... 4

X-Ray Work ... 13

Dyeing Woollen Fabrics ... 23

Paper-pulp Dyeing 18

Yarn Testing ... 20

PUBLISHED BY

SCOTT, GREENWOOD & CO.,

19 LUDGATE HILL, LONDON, E.G.

Tel. Address: "PBINTERIES, LONDON". Tel. No. 5403. Bank.

Paints, Colours and Printing
Inks.

THE CHEMISTRY OP PIGMENTS. By ERNEST J. PARRY,
B.Sc. (Lond.), F.I.C., F.C.S., and J. H. COSTE, F.I.C., F.C.S. Demy
8vo. Five Illustrations. 285 pp. 1902. Price 10s. 6d. ; India and
Colonies, 11s.; Other Countries, 12s.; strictly net.
Contents.

r (Introductory. Light— White Light— The Spectrum— The Invisible Spectrum— Normal
Spectrum — Simple Nature of Pure Spectral Colour — The Recomposition of White Light —
Primary and Complementary Colours— Coloured Bodies— Absorption Spectra— The Appli=
cation of Pigments. Uses of Pigments : Artistic, Decorative, Protective— Methods of
Application of Pigments : Pastels and Crayons, Water Colour, Tempera Painting, Fresco,
Encaustic Painting, Oil-colour Painting, Keramic Art, Enamel, Stained and Painted Glass,
Mosaic — Inorganic Pigments. White Lead — Zinc White — Enamel White — Whitening —
Red Lead— Litharge— Vermilion— Royal Scarlet— The Chromium Greens— Chromates of Lead,
Zinc, Silver and Mercury — Brunswick Green — The Ochres — Indian Red — Venetian Red —
Siennas and Umbers— Light Red— Cappagh Brown— Red Oxides— Mars Colours— Terre Verte
— Prussian Brown — Cobalt Colours — Coeruleum — Smalt — Copper Pigments — Malachite —
Bremen Green — Scheele's Green — Emerald Green — Verdigris — Brunswick Green — Non-
arsenical Greens — Copper Blues — Ultramarine — Carbon Pigments — Ivory Black — Lamp' Black
^-Bistre — Naples Yellow — Arsenic Sulphides : Orpiment, Realgar — Cadmium Yellow —
Vandyck Brown— Organic Pigments. Prussian Blue— Natural Lakes— Cochineal— Carmine
— Crimson — Lac Dye — Scarlet — Madder — Alizarin — Campeachy — Quercitron — Rhamnus —
Brazil Wood— Alkanet— Santal Wood— Archil— Coal-tar Lakes— Red Lakes— Alizarin Com-
pounds— Orange and Yellow Lakes — Green and Blue Lakes — Indigo — Dragon's Blood —
Gamboge — Sepia — Indian Yellow, Puree — Bitumen. Asphaltum, Mummy — Index.

THE MANUFACTURE OP PAINT. A Practical Handbook
for Paint Manufacturers, Merchants and Painters. By J. CRUICKSHANK
SMITH, B.Sc. Demy 8vo. 1901. 200pp. Sixty Illustrations and One
Large Diagram. Price 7s. 6d. ; India and Colonies, 8s. ; Other
Countries, 8s. 6d. ; strictly net.

Contents.

Preparation of Raw Material — Storing of Raw Material — Testing and Valuation of Raw
Material — Paint Plant and Machinery — The Grinding of White Lead — Grinding of White
Zinc — Grinding of other White Pigments — Grinding of Oxide Paints — Grinding of Staining
Colours— Grinding of Black Paints — Grinding of Chemical Colours — Yellows — Grinding of
Chemical Colours — Blues — Grinding Greens — Grinding Reds — Grinding Lakes— Grinding
Colours in Water — Grinding Colours in Turpentine— The Uses of Paint — Testing and Matching
Paints— Economic Considerations — Index.

DICTIONARY : OF CHEMICALS AND RAW PRO-
DUCTS USED IN THE MANUFACTURE OF
PAINTS, COLOURS, VARNISHES AND ALLIED
PREPARATIONS. By GEORGE H. HURST, F.C.S. Demy
8vo. 380 pp. 1901. Price 7s. 6d.; India and Colonies, 8s.; Other
Countries, 8s. 6d. ; strictly net.

THE MANUFACTURE OF LAKE PIGMENTS FROM
ARTIFICIAL COLOURS. By FRANCIS H. JENNISON,
F.I.C., F.C.S. Sixteen Coloured Plates, showing Specimens of
Eighty-nine Colours, specially prepared from the Recipes given
in the Book. 136 pp. Demy 8vo. 1900. Price 7s. 6d. ; India and
Colonies, 8s. ; Other Countries, 8s. 6d. ; strictly net.
Contents.

The Groups of the Artificial Colouring Matters — The Nature and Manipulation of Artificial
Colours — Lake-forming Bodies for Acid Colours — Lake-forming Bodies' Basic Colours — Lake
Bases — The Principles of Lake Formation — Red Lakes — Orange, Yellow, Green, Blue, Violet
and Black Lakes — The Production of Insoluble Azo Colours in the Form of Pigments — The
General Properties of Lakes Produced from Artificial Co'lours— Washing, Filtering and Fin-
ishing— Matching and Testing Lake Pigments — Index.

THE MANUFACTURE OF MINERAL AND LAKE
PIGMENTS. Containing Directions for the Manufacture
of all Artificial, Artists and Painters' Colours, Enamel, Soot and Me-
tallic Pigments. A Text-book for Manufacturers, Merchants, Artists
and Painters. By Dr. JOSEF BERSCH. Translated by A. C. WRIGHT,
M.A. (Oxon.), B.Sc. (Lond.). Forty-three Illustrations. 476 pp., demy
8vo. 1901. Price 12s. 6d. ; India and Colonies 13s. 6d. ; Other
Countries, 15s. ; strictly net.

Contents.

Introduction — Physico-chemical Behaviour of Pigments — Raw Materials Employed in
the Manufacture of Pigments— Assistant Materials— Metallic Compounds— The Manufacture
of Mineral Pigments— The Manufacture of White Lead— Enamel White— Washing Apparatus
— Zinc White — Yellow Mineral Pigments — Chrome Yellow — Lead Oxide Pigments —
Other Yellow Pigments— Mosaic Gold— Red Mineral Pigments— The Manufacture of Ver-
milion—Antimony Vermilion— Ferric Oxide Pigments— Other Red Mineral Pigments— Purple
of Cassius — Blue Mineral Pigments — Ultramarine — Manufacture of Ultramarine — Blue
Copper Pigments— Blue Cobalt Pigments— Smalts— Green Mineral Pigments— Emerald
Green — Verdigris — Chromium Oxide — Other Green Chromium Pigments — Green Cobalt Pig-
ments— Green Manganese Pigments — Compounded Green Pigments — Violet Mineral Pig-
ments— Brown Mineral Pigments — Brown Decomposition Products — Black Pigments— Manu-
facture of Soot Pigments— Manufacture of Lamp Black— The Manufacture of Soot Black
without Chambers— Indian Ink— Enamel Colours— Metallic Pigments— Bronze Pigments-
Vegetable Bronze Pigments.

PIGMENTS OF ORGANIC ORIGIN— Lakes— Yellow Lakes— Red Lakes— Manufacture of
Carmine — The Colouring Matter of Lac — Safflower or Carthamine Red — Madder and
its Colouring Matters— Madder Lakes— Manjit (Indian Madder)— Lichen Colouring Matters-
Red Wood Lakes— The Colouring Matters of Sandal Wood and Other Dye Woods— Blue
Lakes— Indigo Carmine — The Colouring Matter of Log Wood — Green Lakes — Brown Organic
Pigments— Sap Colours— Water Colours— Crayons— Confectionery Colours— The Preparation
of Pigments for Painting — The Examination of Pigments — Examination of Lakes — The
Testing of Dye-Woods— The Design of a Colour Works— Commercial Names of Pigments-
Appendix : Conversion of Metric to English Weights and Measures— Centigrade and Fahrenheit
Thermometer Scales — Index.

RECIPES FOR THE COLOUR, PAINT, VARNISH, OIL,
SOAP AND DRYSALTERY TRADES. Compiled by
AN ANALYTICAL CHEMIST. 350 pp. 1902. Demy 8vo. Price 7s. 6d. ;
India and British Colonies, 8s. ; Other Countries, 8s. 6d. ; strictly net.

Contents.

Pigments or Colours for Paints, Lithographic and Letterpress Printing Inks, etc. —
Mixed Paints and Preparations for Paint-making, Painting, Lime-washing, Paperhanging,
etc. — Varnishes for Coach-builders, Cabinetmakers, Wood-workers, Metal-workers, Photo-
graphers, .etc. — Soaps for Toilet, Cleansing, Polishing, etc. — Perfumes — Lubricating Greases,
Oils, etc. — Cements, Pastes, Glues and Other Adhesive Preparations — Writing, Marking,
Endorsing and Other Inks — Sealing-wax and Office Requisites — Preparations for the Laundry,
Kitchen, Stable and General Household^ Uses — Disinfectant Preparations — Miscellaneous
Preparations — Index.

OIL COLOURS AND PRINTING INKS. By Louis
EDGAR ANDES. Translated from the German. 215 pp. Crown 8vo.
56 Illustrations. 1903. Price 5s. ; India and British Colonies, 5s. 6d. ;
Other Countries, 6s. ; strictly Net.

Contents.

Linseed Oil — Poppy Oil — Mechanical Purification of Linseed Oil — Chemical Purification of
Linseed Oil — Bleaching Linseed Oil — Oxidizing Agents for Boiling Linseed Oil — Theory of
Oil Boiling— Manufacture of Boiled Oil— Adulterations of Boiled Oil— Chinese Drying Oil and
Other Specialities — Pigments for House and Artistic Painting and Inks — Pigment for
Printers' Black Inks — Substitutes for Lampblack — Machinery for Colour Grinding and
Rubbing — Machines for mixing Pigments with the Vehicle — Paint Mills — Manufacture of
House Oil Paints — Ship Paints — Luminous Paint — Artists' Colours — Printers' Inks: —
VEHICLES— Printers' Inks:— PIGMENTS and MANUFACTURE— Index.
(See also Writing Inks, p. n.)

SIMPLE METHODS FOR TESTING PAINTERS'
MATERIALS. By A. C. WRIGHT, M.A. (Oxon.), B.Sc,
(Lond.). Crown 8vo. 160 pp. 1903. Price 5s. ; India and British
Colonies, 5s. 6d. ; Other Countries, 6s. ; strictly Net.
Contents.

Necessity for Testing — Standards — Arrangement — The Apparatus — The Reagents —
Practical Tests— Dry Colours— Stiff Paints — Liquid and Enamel Paints — Oil Varnishes —
Spirit Varnishes— Driers— Putty— Linseed Oil— Turpentine— Water Stains— The Chemical
Examination — Dry Colours and Paints — White Pigments and Paints — Yellow Pigments and
Paints — Blue Pigments and Paints — Green Pigments and Paints — Red Pigments and Paints —
Brown Pigments and Paints — Black Pigments and Paints— Oil Varnishes — linseed Oil —
Turpentine.

IRON - CORROSION, ANTI - FOULING AND ANTI-
CORROSIVE PAINTS. Translated from the German of
Louis EDGAR ANDES. Sixty-two Illustrations. 275 pp. Demy 8vo.
1900. Price 10s. 6d. ; India and Colonies, 11s.; Other Countries, 12s.;
strictly net.

Contents.

Iron-rust and its Formation — Protection from Rusting by Paint — Grounding the Iron with
Linseed Oil, etc. — Testing Paints — Use of Tar for Painting on Iron — Anti-corrosive Paints —
Linseed Varnish — Chinese Wood Oil — Lead Pigments — Iron Pigments — Artificial Iron Oxides
— Carbon — Preparation of Anti-corrosive Paints — Results of Examination of Several Anti-
corrosive Paints — Paints for Ship's Bottoms — Anti-fouling Compositions — Various Anti-cor-
.rosive and Ship's Paints — Official Standard Specifications for Ironwork Paints — Index.

THE TESTING AND VALUATION OF RAW MATE-
RIALS USED IN PAINT AND COLOUR MANU-
FACTURE. By M. W. JONES, F.C.S. A Book for the
Laboratories of Colour Works. 88 pp. Crown 8vo. 1900. Price 5s. ;
India and Colonies, 5s. 6d. ; Other Countries, 6s. ; strictly net.
Contents.

Aluminium Compounds — China Clay — Iron Compounds — -Potassium Compounds — Sodium
Compounds — Ammonium Hydrate — Acids — Chromium Compounds — Tin Compounds — Copper
Compounds — Lead Compounds — Zinc Compounds — Manganese Compounds — Arsenic
Compounds — Antimony Compounds — Calcium Compounds — Barium Compounds — Cadmium
Compounds — Mercury Compounds — Ultramarine — Cobalt and Carbon Compounds — Oils
—Index.

STUDENTS' MANUAL OF PAINTS, COLOURS, OILS
AND VARNISHES. By JOHN FURNELL. Crown 8vo. 12
Illustrations. 96 pp. 1903. Price 2s. 6d. ; Abroad, 3s. ; strictly net.
Contents.

Plant — Chromes — Blues — Greens — Earth Colours — Blacks — Reds — Lakes — Whites — •
Painters' Oils — Turpentine — Oil Varnishes — Spirit Varnishes — Liquid Paints — Enamel Paints.

Varnishes and Drying Oils.

THE MANUFACTURE OF VARNISHES, OIL RE-
FINING AND BOILING, AND KINDRED INDUS-
TRIES. Translated from the French of ACH. LIVACHE,
Ingenieur Civil des Mines. Greatly Extended and Adapted to
English Practice, with numerous Original Recipes by JOHN
GEDDES MC!NTOSH. 27 Illustrations. 400 pp. Demy 8vo. 1899.
Price 12s. 6d. ; India and Colonies, i3s. 6d. ; Other Countries, 15s.;
strictly net.

Contents.

Resins — Solvents : Natural, Artificial, Manufacture, Storage, Special Use — Colouring:
Principles, Vegetable, Coal Tar, Coloured Resinates, Coloured Oleates and Linoleates —
Gum Running : Melting Pots, Mixing Pans — Spirit Varnish Manufacture: Cold Solution Plant,
Mechanical Agitators, Storage Plant — Manufacture, Characteristics and Uses of the Spirit
Varnishes — -Manufacture of Varnish Stains — Manufacture of Lacquers — Manufacture of
Spirit Enamels — Analysis of Spirit Varnishes — Physical and Chemical Constants of Resins —
Table of Solubility of Resins in different Menstrua — Systematic qualitative Analysis of
Resins, Hirschop's tables— Drying Oils— Oil Refining: Processes— Oil Boiling— Driers-
Liquid Driers — Solidified Boiled Oil — Manufacture of Linoleum — Manufacture of
India Rubber Substitutes — Printing Ink Manufacture— Lithographic Ink Manufacture —
Manufacture of Oil Varnishes — Running and Special Treatment of Amber, Copal, Kauri,
Manilla — Addition of Oil to Resin — Addition of Resin to Oil — Mixed Processes — Solution in
Cold of previously Fused Resin — Dissolving Resins in Oil, etc., under pressure — Filtration
— Clarification — Storage — Ageing — Coachmakers* Varnishes and Japans — Oak Varnishes —
Japanners' Stoving Varnishes — Japanners' Gold Size — Brunswick Black — Various Oil Var-
nishes— Oil-Varnish Stains — Varnishes for " Enamels " — India Rubber Varnishes — Varnishes
Analysis : Processes, Matching — Faults in Varnishes : Cause, Prevention — Experiments and
Exercises.

DRYING OILS, BOILED OIL AND SOLID AND
LIQUID DRIERS. By L. E. ANDES. Expressly Written
for this Series of Special Technical Books, and the Publishers hold
the Copyright for English and Foreign Editions. Forty-two Illustra-
tions. 342pp. 1901. Demy 8vo. Price 12s. 6d. ; India and Colonies,
13s. 6d. ; Other Countries, 15s. ; strictly net.

Contents.

Properties of the Drying Oils ; Cause of the Drying Property ; Absorption of Oxygen ;
Behaviour towards Metallic Oxides, etc. — The Properties of and Methods for obtaining the
Drying Oils — Production of the Drying Oils by Expression and Extraction ; Refining and
Bleaching; Oil Cakes and Meal; The Refining and Bleaching of the Drying Oils; The
Bleaching of Linseed Oil— The Manufacture of Boiled Oil; The Preparation of Drying Oils
for Use in the Grinding of Paints and Artists' Colours and in the Manufacture of Varnishes
by Heating over a Fire or by Steam, by the Cold Process, by the Action of Air, and by Means
of the Electric Current; The Driers used in Boiling Linseed Oil; The Manufacture of Boiled
Oil and the Apparatus therefor ; Livache's Process for Preparing a Good Drying Oil and its
Practical Application — The Preparation of Varnishes for Letterpress, Lithographic and Copper-
plate Printing, for Oilcloth and Waterproof Fabrics ; The Manufacture of Thickened Linseed
Oil, Burnt Oil, Stand Oil by Fire Heat, Superheated Steam, and by a Current of Air— Behaviour
of the Drying Oils and Boiled Oils towards Atmospheric Influences, Water, Acids and Alkalies
—Boiled Oil Substitutes— The Manufacture of Solid and Liquid Driers from Linseed Oil and
Rosin ; Linolic Acid Compounds of the Driers — The Adulteration and Examination of the
Drying Oils and Boiled Oil.

Oils, Fats, Soaps and Perfumes.

LUBRICATING OILS, FATS AND GREASES: Their

Origin, Preparation, Properties, Uses and Analyses. A Handbook for
Oil Manufacturers, Refiners and Merchants, and the Oil and Fat
Industry in General. By GEORGE H. HURST, F.C.S. Second Revised
and Enlarged Edition. Sixty-five Illustrations. 317 pp. Demy 8vo.
1902. Price 10s. 6d. ; India and Colonies, 11s. ; Other Countries. 12s
strictly net.

Contents.

Introductory— Hydrocarbon Oils— Scotch Shale Oils— Petroleum— Vegetable and
Animal Oils— Testing- and Adulteration of Oils— Lubricating: Greases— Lubrication-
Appendices— Index.

TECHNOLOGY OF PETROLEUM : Oil Fields of the
World — Their History, Geography and Geology — Annual Production
and Development — Oil-well Drilling — Transport. By HENRY NEU-
BERGER and HENRY NOALHAT. Translated from the French by J. G.
MclNTOSH. 550pp. 153 Illustrations. 26 Plates. Super Royal 8 vo. 1901.
Price 21s. ; India and Colonies, 22s. ; Other Countries, 23s. 6d. ;
strictly net.

Contents.

Study of the Petroliferous Strata — Petroleum — Definition — The Genesis or Origin of
Petroleum — The Oil Fields of Galicia, their History — Physical Geography and Geology of
the Galician Oil Fields — Practical Notes on Galician Land Law — Economic Hints on Working,
etc.— Roumania— History, Geography, Geology— Petroleum in Russia— History— Russian
Petroleum (continued) — Geography and Geology of the Caucasian Oil Fields — Russian Petro-
leum (continued) — The Secondary Oil Fields of Europe, Northern Germany, Alsace, Italy, etc. —
Petroleum in France— Petroleum in Asia— Transcaspian and Turkestan Territory— Turkestan
— Persia — British India and Burmah — British Burmah or Lower Burmah — China — Chinese
Thibet — Japan, Formosa and Saghalien — Petroleum in Oceania — Sumatra, Java, Borneo —
Isle of Timor— Philippine Isles— New Zealand— The United States of America— History-
Physical Geology and Geography of the United States Oil Fields — Canadian and other North
American Oil Fields— Economic Data of Work in North America— Petroleum in the West
Indies and South America — Petroleum in the French Colonies.

Excavations — Hand Excavation or Hand Digging of Oil Wells.

Methods of Boring.

Accidents — Boring Accidents — Methods of preventing them — Methods of remedying them
—Explosives and the use of the " Torpedo " Levigation— Storing and Transport of Petroleum
— General Advice — Prospecting, Management and carrying on of Petroleum Boring Operations.

General Data— Customary Formulae— Memento. Practical Part. General Data
bearing on Petroleum— Glossary of Technical Terms used in the Petroleum Industry— Copious
Index.

THE PRACTICAL COMPOUNDING OP OILS, TAL-
LOW AND GREASE FOR LUBRICATION, ETC.

By AN EXPERT OIL REFINER. 100 pp. 1898. Demy 8vo. Price 7s. 6d. ;
India and Colonies, 8s. ; Other Countries, 8s. 6d. ; strictly net.

Contents.

Introductory Remarks on the General Nomenclature of Oils, Tallow and Greases
suitable for Lubrication — Hydrocarbon Oils — Animal and Fish Oils — Compound
Oils— Vegetable Oils— Lamp Oils— Engine Tallow, Solidified Oils and Petroleum
Jelly — Machinery Greases: Loco and Anti=friction— Clarifying and Utilisation
of Waste Fats, Oils, Tank Bottoms, Drainings of Barrels and Drums, Pickings
Up, Dregs, etc.— The Fixing and Cleaning of Oil Tanks, etc.— Appendix and
General Information.

ANIMAL FATS AND OILS: Their Practical Production,
Purification and Uses for a great Variety of Purposes. Their Pro-
perties, Falsification and Examination. Translated from the German
of Louis EDGAR. ANDES. Sixty-two Illustrations. 240 pp. 1898.
Demy 8vo. Price 10s. 6d. ; India and Colonies, 11s. ; Other Countries,.
12s. ; strictly net.

IContents.

Introduction— Occurrence, Origin, Properties and Chemical Constitution of Animal Fats-
Preparation -of Animal Fats and Oils — Machinery — Tallow-melting Plant — Extraction Plant
— Presses — Filtering Apparatus — Butter: Raw Material and Preparation, Properties, Adul-
terations, Beef Lard or Remelted Butter; Testing— Candle-fish Oil— Mutton-Tallow— Hare
Fat—Goose Fat— Neatsfpot Oil— Bone Fat: Bone Boiling, Steaming Bones, Extraction,
Refining — Bone Oil — Artificial Butter: Oleomargarine, Margarine Manufacture in France,
Grasso's Process, " Kaiser's Butter," Jahr & Miinzberg's Method, Filbert's Process, Winter's
Method— Human Fat— Horse Fat— Beef Marrow— Turtle Oil— Hog's Lard: Raw Material-
Preparation, Properties, Adulterations, Examination— Lard Oil— Fish Oils — Liver Oils-
Artificial Train Oil— Wool Fat: Properties, Purified Wool Fat— Spermaceti : Examination,
of Fats and Oils in General.

THE OIL MERCHANTS' MANUAL AND OIL TRADE
READY RECKONER. Compiled by FRANK P. SHERRIFF.
Second Edition Revised and Enlarged. Demy 8vo. 214 pp. 1904.
With Two Sheets of Tables. Price 7s. 6d. ; India and Colonies, 8s. ;
Other Countries, 8s. 6d. ; strictly net.
Contents.

Trade Terms and Customs — Tables to Ascertain Value of Oil sold per cwt. or ton — Specific
Gravity Tables — Percentage Tare Tables — Petroleum Tables — Paraffine and Benzoline Calcu-
lations— Customary Drafts — Tables for Calculating Allowance for Dirt, Water, etc. — Capacity
of Circular Tanks Tables, etc., etc.

THE CHEMISTRY OP ESSENTIAL OILS AND ARTI-
FICIAL PERFUMES. By ERNEST J. PARRY, B.Sc.
(Lond.), F.I.C., F.C.S. 411 pp. 20 Illustrations. 1899. Demy 8vo.
Price 12s. 6d. ; India and Colonies, 13s. 6d. ; Other Countries, 15s.;
strictly net.

Contents.
The General Properties of Essential Oils— Compounds occurring in Essential Oils

—The Preparation of Essential Oils— The Analysis of Essential Oils— Systematic

Study of the Essential Oils— Terpeneless Oils— The Chemistry of Artificial Perfumes

—Appendix : Table of Constants— Index.

VEGETABLE FATS AND OILS : Their Practical Prepara-
tion, Purification and Employment for Various Purposes, their Proper-
ties, Adulteration and Examination. Translated from the German of
Louis EDGAR ANDES. Ninety-four Illustrations. 340 pp. Second
Edition. 1902. Demy 8vo. Price 10s. 6d. ; India and Colonies,
11s.; Other Countries, 12s.; strictly net.

Contents.

General Properties— Estimation of the Amount of Oil in Seeds— The Preparation
of, Vegetable Fats and Oils— Apparatus for Grinding Oil Seeds and Fruits— Installation
of Oil and Fat Works— Extraction Method of Obtaining Oils and Fats— Oil Extraction
Installations— Press Moulds— Non-drying Vegetable Oils— Vegetable drying Oils-
Solid Vegetable Fats— Fruits Yielding Oils and Fats— Wool-softening Oils— Soluble Oils-
Treatment of the Oil after Leaving the Press — Improved Methods of Refining — Bleaching
Fats and Oils— Practical Experiments on the Treatment of Oils with regard to Refining and
Bleaching— Testing Oils and Fats.

SOAPS. A Practical Manual of the Manufacture of Domestic,
Toilet and other Soaps. By GEORGE H. HURST, F.C.S. 390 pp.
66 Illustrations. 1898. Price 12s. 6d. ; India and Colonies, 13s. 6d. ;
Other Countries, 15s. ; strictly net.

Contents.

Introductory— Soap-maker's Alkalies— Soap Fats and Oils— Perfumes— Water as
a Soap Material — Soap Machinery — Technology of Soap-making — Glycerine in Soap
Lyes— Laying out a Soap Factory— Soap Analysis— Appendices.

Textile Soaps.

TEXTILE SOAPS AND OILS. Handbook on the Prepara-
tion, Properties and Analysis of the Soaps and Oils used in Textile
Manufacturing, Dyeing and Printing. By GEORGE H. HURST, F.C.S.
Crown 8vo. 195 pp. 1904. Price 5s. ; India and Colonies, 5s. 6d. ;
Other Countries, 6s. ; strictly net.

Contents.

Methods of Making Soaps— Hard Soap— Soft Soap. Special Textile Soaps— Wool
Soaps— Calico Printers' Soaps— Dyers' Soaps. Relation of Soap to Water for Industrial
Purposes — Treating Waste Soap Liquors — Boiled Off Liquor — Calico Printers and Dyers'
Soap Liquors — Soap Analysis— Fat in Soap.

ANIMAL AND VEGETABLE OILS AND FATS— Tallow— Lard— Bone Grease-
Tallow Oil. Vegetable Soap, Oils and Fats— Palm Oil— Coco-nut Oil— Olive Oil— Cotton-
seed Oil— Linseed Oil— Castor Oil— Corn Oil— Whale Oil or Train Oil— Repe Oil.
GLYCERINE.

TEXTILE OILS— Oleic Acid— Blended Wool Oils— Oils for Cotton Dyeing, Printing and
Finishing— Turkey Red Oil— Alizarine Oil— Oleine— Oxy Turkey Red Oils— Soluble Oil-
Analysis of Turkey Red Oil — Finisher's Soluble Oil — Finisher's Soap Softening — Testing and
.Adulteration of Oils— Index.

Cosmetical Preparations.

COSMETICS : MANUFACTURE, EMPLOYMENT
AND TESTING OP ALL COSMETIC MATERIALS
AND COSMETIC SPECIALITIES. Translated
from the German of Dr. THEODOR ROLLER. Crown 8vo. 262 pp.
1902. Price 5s.; India and Colonies, 5s. 6d. ; Other Countries,
6s. net.

Contents.

Purposes and Uses of, and Ingredients used in the^Preparation of Cosmetics — Preparation of
Perfumes by Pressure, Distillation, Maceration, Absorption or Enfleurage, and Extraction
Methods — Chemical and Animal Products used in the Preparation of Cosmetics — Oils and Fats
used 'in the Preparation of Cosmetics — General Cosmetic Preparations — Mouth Washes and
Tooth Pastes — Hair Dyes, Hair Restorers and Depilatories — Cosmetic Adjuncts and
Specialities — Colouring Cosmetic Preparations — Antiseptic Washes and Soaps— Toilet and
Hygienic Soaps — Secret Preparations for Skin, Complexion, Teeth, Mouth, etc. — Testing and
Examining the Materials Employed in the Manufacture of Cosmetics — Index.

Glue, Bone Products and
Manures.

GLUE AND GLUE TESTING. By SAMUEL RIDEAL, D.Sc.
(Lond.), F.I.C. Fourteen Engravings. 144pp. DemySvo. 1900. Price
10s. 6d. ; India and Colonies, 11s.; Other Countries, 12s.; strictly net.
Contents.

Constitution and Properties: Definitions and Sources, Gelatine, Chondrin and Allied
Bodies, Physical and Chemical Properties, Classification, Grades and Commercial Varieties
—Raw Materials and Manufacture : Glue Stock, Lining, Extraction, Washing and Clari-
fying, Filter Presses, Water Supply, Use of Alkalies, Action of Bacteria and of Antiseptics,
Various Processes, Cleansing, Forming, Drying, Crushing, etc., Secondary Products — Uses
of Glue : Selection and Preparation for Use, Carpentry, Veneering, Paper-Making, Book-
binding, Printing Rollers, Hectographs, Match Manufacture, Sandpaper, etc., Substitutes for
other Materials, Artificial Leather and Caoutchouc — Gelatine : General Characters, Liquid
Gelatine, Photographic Uses, Size, Tanno-, Chrome and Formo-Gelatine, Artificial Silk,
Cements, Pneumatic Tyres, Culinary, Meat Extracts, Isinglass, Medicinal and other Uses,
Bacteriology— Glue Testing: Review of Processes, Chemical Examination, Adulteration,
Physical Tests, Valuation of Raw Materials — Commercial Aspects.

BONE PRODUCTS AND MANURES : An Account of the
most recent Improvements in the Manufacture of Fat, Glue, Animal
Charcoal, Size, Gelatine and Manures. By THOMAS LAMBERT, Techni-
cal and Consulting Chemist. Illustrated by Twenty-one Plans and
Diagrams. 162 pp. Demy 8vo. 1901. Price 7s. 6d. ; India and
Colonies, 8s. ; Other Countries, 8s. 6d. ; strictly net.

Contents.

Chemical Composition of Bones — Arrangement of Factory — Properties of Glue — Glutin
and Chondrin — Skin Glue — Liming of Skins — Washing — Boiling of Skins — Clarification of Glue
Liquors — Glue-Boiling and Clarifying-House — Specification of a Glue — Size — Uses and Pre-
paration and Composition of Size — Concentrated Size — Properties of Gelatine — Preparation
of Skin Gelatine — Drying — Bone Gelatine — Selecting Bones — Crushing — Dissolving — Bleaching
— Boiling — Properties of Glutin and Chondrin — Testing of Glues and Gelatines — The Uses of
Glue, Gelatine and Size in Various Trades — Soluble and Liquid Glues — Steam and Waterproof
Glues — Manures — Importation of Food Stuffs — Soils — Germination — Plant Life — Natural
Manures — Water and Nitrogen in Farmyard Manure — Full Analysis of Farmyard Manure
—Action on Crops— Water-Closet System— Sewage Manure— Green Manures— Artificial
Manures — Mineral Manures — Nitrogenous Matters — Shoddy — Hoofs and Horns — Leather
Waste — Dried Meat — Dried Blood — Superphosphates — Composition — Manufacture — Common
Raw Bones — Degreased Bones — Crude Fat — Refined Fat — Degelatinised Bones — Animal
Charcoal — Bone Superphosphates — Guanos — Dried Animal Products — Potash Compounds —
Sulphate of Ammonia — Extraction in Vacuo — French and British Gelatines compared — Index.

Chemicals, Waste Products and
Agricultural Chemistry.

REISSUE OF CHEMICAL ESSAYS OP C. W.
SCHEELE. First Published in English in 1786. Trans-
lated from the Academy of Sciences at Stockholm, with Additions. 300
pp. Demy 8vo. 1901. Price 5s. ; India and Colonies, 5s. 6d. ; Other
Countries, 6s. ; strictly net.

Contents.

Memoir : C. W. Scheele and his work (written for this edition by J. G. Mclntosh) — On
Fluor Mineral and its' Acid — On Fluor Mineral — Chemical Investigation of Fluor Acid,
with a View to the Earth which it Yields, by Mr. Wiegler — Additional Information
Concerning Fluor Minerals — On Manganese, Magnesium, or Magnesia Vitrariorum — On
Arsenic and its Acid — Remarks upon Salts of Benzoin — On Silex, Clay and Alum — Analysis
of the Calculus Vesical — Method of Preparing Mercurius Dulcis Via Humida — Cheaper and
more Convenient Method of Preparing Pulvis Algarothi — Experiments upon Molybdsena
— Experiments on Plumbago — Method of Preparing a New Green Colour — Of the De-
composition of Neutral Salts by Unslaked Lime and Iron — On the Quantity of Pure Air which
is Daily Present in our Atmosphere — On Milk and its Acid — On the Acid of Saccharum Lactis
— On the Constituent Parts of Lapis Ponderosus or Tungsten — Experiments and Observations
on Ether — Index.

THE MANUFACTURE OF ALUM AND THE SUL-
PHATES AND OTHER SALTS OF ALUMINA AND
IRON. Their Uses and Applications as Mordants in Dyeing
and Calico Printing, and their other Applications in the Arts, Manufac-
tures, Sanitary Engineering, Agriculture and Horticulture. Translated
from the French of LUCIEN GESCHWIND. 195 Illustrations. 400 pp.
Royal 8vo. 1901. Price 12s. 6d. ; India and Colonies, 13s. 6d. ; Other
Countries, 15s. ; strictly net.

Contents.

Theoretical Study of Aluminium, Iron, and Compounds of these Metals-
Aluminium and its Compounds — Iron and Iron Compounds.

Manufacture of Aluminium Sulphates and Sulphates of Iron— Manufacture of
Aluminium Sulphate and the Alums — Manufacture of Sulphates of Iron.

Uses of the Sulphates of Aluminium and Iron — Uses of Aluminium Sulphate and
Alums — Application to Wool and Silk — Preparing and using Aluminium Acetates — Employment
of Aluminium Sulphate in Carbonising Wool — The Manufacture of Lake Pigments — Manu-
facture of Prussian Blue — Hide and Leather Industry — Paper Making — Hardening Plaster —
Lime Washes — Preparation of Non-inflammable Wood, etc. — Purification of Waste Waters
—Uses and Applications of Ferrous Sulphate and Ferric Sulphates— Dyeing— Manu-
facture of Pigments — Writing Inks — Purification of Lighting Gas — Agriculture — Cotton Dyeing
— Disinfectant — Purifying Waste Liquors — Manufacture of Nordhausen Sulphuric Acid —
Fertilising.

Chemical Characteristics of Iron and Aluminium — Analysis of Various Aluminous
or Ferruginous Products — Aluminium — Analysing Aluminium Products — Alunite
Alumina — Sodium Aluminate — Aluminium Sulphate — Iron — Analytical Characteristics of Iron
Salts — Analysis of Pyritic Lignite — Ferrous and Ferric Sulphates — Rouil Mordant — Index.

AMMONIA AND ITS COMPOUNDS : Their Manufacture
and Uses. By CAMILLE VINCENT, Professor at the Central School of
Arts and Manufactures, Paris. Translated from the French by M. J.
SALTER. Royal 8vo. 114pp. 1901. Thirty-two Illustrations. Price
5s. ; India and Colonies, 5s. 6d. ; Other Countries, 6s. ; strictly net.
Contents.

General Considerations: Various Sources of Ammoniacal Products; Human Urine
as a Source of Ammonia— Extraction of Ammoniacal Products from Sewage-
Extraction of Ammonia from Gas Liquor — Manufacture of Ammoniacal Com-
pounds from Bones, Nitrogenous Waste, Beetroot Wash and Peat— Manufacture of
Caustic Ammonia, and Ammonium Chloride, Phosphate and Carbonate— Recovery
of:Ammonia from the Ammonia-Soda Mother Liquors— Index.

ANALYSIS OP RESINS AND BALSAMS. Translated
from the German of Dr. KARL DIETERICH. Demy 8vo. 340 pp. 1901.
Price 7s. 6d. ; India and Colonies, 8s. ; Other Countries, 8s. 6d. ;
strictly net.

Contents.

Definition of Resins in General— Definition of Balsams, and especially the Gum Resins-
External and Superficial Characteristics of Resinous Bodies — Distinction between Resinous
Bodies and Fats and Oils — Origin, Occurrence and Collection of Resinous Substances —
Classification — Chemical Constituents of Resinous Substances — Resinols — Resinot Annols —
Behaviour of Resin Constituents towards the Cholesterine Reactions — Uses and Identi-
fication of Resins— Melting-point— Solvents— Acid Value— Saponification Value— Resin Value
— Ester and Ether Values— Acetyl and Corbonyl Value — Methyl Value — Resin Acid— Syste-
matic Resume of the Performance of the Acid and Saponification Value Tests.

Balsams — Introduction — Definitions — Canada Balsam — Copaiba Balsam — Angostura
Copaiba Balsam — Babia Copaiba Balsam — Carthagena Copaiba Balsam — Maracaiba
Copaiba Balsam — Maturin Copaiba Balsam — Gurjum Copaiba Balsam — Para Copaiba Balsam
— Surinam Copaiba Balsam — West African Copaiba Balsam — Mecca Balsam — Peruvian
Balsam— Tolu Balsam— Acaroid Resin— Amine— Amber— African and West Indian Kino-
Bengal Kino — Labdanum — Mastic — Pine Resin — Sandarach — Scammonium — Shellac — Storax
—Adulteration of Styrax Liquidus Crudus— Purified Storax— Styrax Crudus Colatus— Taca-
mahac — Thapsia Resin — Turpentine — Chios Turpentine — Strassburg Turpentine — Turpeth
Turpentine. Gum Resins — Ammoniacum — Bdellium — Euphorbium — Galbanum — Gamboge
— Lactucarium — Myrrh — Opopanax — Sagapenum — Olibanum or Incense — Acaroid Resin —
Amber — Thapsia Resin — Index.

MANUAL OF AGRICULTURAL CHEMISTRY. By

HERBERT INGLE, F.I.C., Lecturer on Agricultural Chemistry, the
Yorkshire College; Lecturer in the Victoria University. 388 pp. 11
Illustrations. 1902. Demy 8vo. Price 7s. 6d. ; India and Colonies, 8s. ;
Other Countries, 8s. 6d. net.

Contents.

Introduction — The Atmosphere — The Soil — The Reactions occurring in Soils — The
Analysis of Soils — Manures, Natural — Manures (continued) — The Analysis of Manures — The
Constituents of Plants— The Plant— Crops -The Animal— Foods and Feeding— Milk and Milk
Products — The Analysis of Milk and Milk Products — Miscellaneous Products used in Agri-
culture— Appendix — Index.

THE UTILISATION OF WASTE PRODUCTS. A Treatise

on the Rational Utilisation, Recovery and Treatment of Waste Pro-
ducts of all kinds. By Dr. THEODOR HOLLER. Translated from the
Second Revised German Edition. Twenty-two Illustrations. Demy
8vo. 280 pp. 1902. Price 7s. 6d. ; India and Colonies, 8s. ; Other
Countries, 8s. 6d. ; strictly net.

Contents.

The Waste of Towns — Ammonia and Sal-Ammoniac — Rational Processes for Obtaining
these Substances by Treating Residues and Waste — Residues in the Manufacture of Aniline
Dyes — Amber Waste — Brewers' Waste — Blood and Slaughter-House Refuse — Manufactured
Fuels — Waste Paper and Bookbinders' Waste — Iron Slags — Excrement — Colouring Matters
from Waste — Dyers' Waste Waters — Fat from Waste — Fish Waste — Calamine Sludge —
Tannery Waste — Gold and Silver Waste — India-rubber and Caoutchouc Waste — Residues in
the Manufacture of Rosin Oil — Wood Waste— Horn Waste — Infusorial Earth — Iridium from
Goldsmiths' Sweepings— Jute Waste— Cork Waste— Leather Waste— Glue Makers' Waste
— Illuminating Gas from Waste and the By-Products of the Manufacture of Coal Gas —
Meerschum — Molasses — Metal Waste — By-Products in the Manufacture of Mineral Waters
—Fruit— The By-Products of Paper and Paper Pulp Works— By-Products in the Treatment
of Coal Tar Oils — Fur Waste — The Waste Matter in the Manufacture of Parchment Paper
— Mother of Pearl Waste — Petroleum Residues — Platinum Residues — Broken Porcelain.
Earthenware and Glass— Salt Waste— Slate Waste— Sulphur— Burnt Pyrites— Silk Waste-
Soap Makers' Waste — Alkali Waste and the Recovery of Soda — Waste Produced in Grinding
Mirrors— Waste Products in the Manufacture of Starch— Stearic Acid— Vegetable Ivory
Waste— Turf— Waste Waters of Cloth Factories— Wine Residues— Tinplate Waste— Wool
Waste — Wool Sweat — The Waste Liquids from Sugar Works — Index.

11
Writing Inks and Sealing Waxes.

INK MANUFACTURE : Including Writing, Copying, Litho-
graphic, Marking, Stamping, and Laundry Inks. By SIGMUND LEHNER.
Three Illustrations. Crown 8vo. 162 pp. 1902. Translated from the
German of the Fifth Edition. Price 5s. ; India and Colonies, 5s. 6d. ;
Other Countries, 6s. ; net.

Contents.

Varieties of Ink— Writing Inks— Raw Materials of Tannin Inks— The Chemical Constitution
of the Tannin Inks — Recipes for Tannin Inks — Logwood Tannin Inks — Ferric Inks — Alizarine
Inks— Extract Inks— Logwood Inks— Copying Inks— Hektographs— Hektograph Inks— Safety
Inks — Ink Extracts and Powders — Preserving Inks — Changes in Ink and the Restoration of
Faded Writing— Coloured Inks— Red Inks— Blue Inks— Violet Inks— Yellow Inks— Green
Inks— Metallic Inks— Indian Ink— Lithographic Inks and Pencils— Ink Pencils— Marking Inks
— Ink Specialities — Sympathetic Inks — Stamping Inks — Laundry or Washing Blue — Index

SEALING-WAXES, WAFERS AND OTHER ADHES-
IVES FOR THE HOUSEHOLD, OFFICE, WORK-
SHOP AND FACTORY. By H. C. STANDAGE. Crown
8vo. 96 pp. 1902. Price 5s. ; India and Colonies, 5s. 6d. ; Other
Countries, 6s. ; strictly net.

Contents.

Materials Used for Making Sealing- Waxes— The Manufacture of Sealing-Waxes—
Wafers— Notes on the Nature of the Materials Used in Making Adhesive Compounds— Cements
for Use in the Household — Office Gums, Pastes and Mucilages — Adhesive Compounds for
Factory and Workshop Use.

Lead Ores and Compounds.

LEAD AND ITS COMPOUNDS. By THOS. LAMBERT,
Technical' and Consulting Chemist. Demy 8vo. 226pp. Forty Illus-
trations. 1902. Price 7s. 6d. ; India and Colonies, 8s. ; Other Countries,
8s. 6d. ; net. Plans and Diagrams.

Contents.

History — Ores of Lead — Geographical Distribution of the Lead Industry — Chemical and
Physical Properties of Lead— Alloys of Lead— Compounds of Lead— Dressing of Lead Ores
— Smelting of Lead Ores — Smelting in the Scotch or American Ore-hearth — Smelting in the
Shaft or Blast Furnace — Condensation of Lead Fume — Desilverisation, or the Separation
of Silver from Argentiferous Lead — Cupellation — The Manufacture of Lead Pipes and
Sheets — Protoxide of Lead — Litharge and Massicot — Red Lead or Minium — Lead Poisoning
— Lead Substitutes — Zinc and its Compounds — Pumice Stone — Drying Oils and Siccatives
— Oil of Turpentine Resin — Classification of Mineral Pigments — Analysis of Raw and Finished
Products— Tables— Index.

NOTES ON LEAD ORES : Their Distribution and Properties.
By JAS. FAIRIE, F.G.S. Crown 8vo. 1901. 64 pages. Price 2s. 6d. ;
Abroad, 3s. ; strictly net.

Industrial Hygiene.

THE RISKS AND DANGERS TO HEALTH OF VARI-
OUS OCCUPATIONS AND THEIR PREVENTION.

By LEONARD A. PARRY, M.D., B.S. (Lond.). 196 pp. Demy 8vo. 1900.
Price 7s. 6d. ; India and Colonies, 8s. ; Other Countries, 8s. 6d. ; strictly
net.

Contents.

Occupations which are Accompanied by the Generation and Scattering of Abnormal
•Quantities of Dust — Trades in which there is Danger of Metallic Poisoning— Certain Chemi-
cal Trades — Some Miscellaneous Occupations — Trades in which Various Poisonous Vapours
are Inhaled — General Hygienic Considerations — Index.

Industrial Uses of Air, Steam and

Water.

DRYING BY MEANS OF AIR AND STEAM. Explana-
tions, Formulae, and Tables for Use in Practice. Translated from the
German of E. HAUSBRAND. Two folding Diagrams and Thirteen Tables.
Crown 8vo. 1901. 72 pp. Price 5s. ; India and Colonies, 5s. 6d. ;
Other Countries, 6s. ; strictly net.

Contents.

British and Metric Systems Compared — Centigrade and Fahr. Thermometers — Estimation
of the Maximum Weight of Saturated Aqueous Vapour which can be contained in 1 kilo,
of Air at Different Pressure and Temperatures — Calculation of the Necessary Weight and
Volume of Air, and of the Least Expenditure of Heat, per Drying Apparatus with Heated
Air, at the Atmospheric Pressure : A , With the Assumption that the Air is Completely Satur-
ated with Vapour both before Entry and after Exit from the Apparatus — B, When the
Atmospheric Air is Completely Saturated before entry, but at its exit is only f , J or \ Saturated
— C, When the Atmospheric Air is not Saturated with Moisture before Entering the Drying
Apparatus— Drying Apparatus, in which, in the Drying Chamber, a Pressure is Artificially
Created, Higher or Lower than that of the Atmosphere — Drying by Means of Superheated
Steam, without Air— Heating Surface, Velocity of the Air Current, Dimensions of the Drying
Room, Surface of the Drying Material, Losses of Heat — Index.

(See also " Evaporating, Condensing and Cooling Apparatus," p. 27.)

PURE AIR, OZONE AND WATER. A Practical Treatise
of their Utilisation and Value in Oil, Grease, Soap, Paint, Glue and
other Industries. By W. B. COWELL. Twelve Illustrations. Crown
8vo. 85 pp. 1900. Price 5s.; India and Colonies, 5s. 6d. ;; Other
Countries, 6s. ; strictly net.

Contents.

Atmospheric Air ; Lifting of Liquids ; Suction Process ; Preparing Blown Oils ; Preparing
Siccative Drying Oils — Compressed Air; Whitewash — Liquid Air; Retrocession — Purification
of Water; Water Hardness— Fleshings and Bones— Ozonised Air in the Bleaching and De-
odorising of Fats, Glues, etc. ; Bleaching Textile Fibres — Appendix: Air and Gases; Pressure
of Air at Various Temperatures ; Fuel ; Table of Combustibles ; Saving of Fuel by Heating
Feed Water; Table of Solubilities of Scale Making Minerals; British Thermal Units Tables ;
Volume of the Flow of Steam into the Atmosphere; Temperature of Steam — Index.

THE INDUSTRIAL USES OP WATER. COMPOSI-
TION — EFFECTS— TROUBLES — REMEDIES— RE-
SIDUARY WATERS— PURIFICATION— ANALYSIS.

By H. DE LA Coux. Royal 8vo. Translated from the French and
Revised by ARTHUR MORRIS. 364 pp. 135 Illustrations. 1903. Price
10s. 6d. ; Colonies, 11s. ; Other Countries, 12s. ; strictly net.

Contents.

Chemical Action of Water in Nature and in Industrial Use — Composition of Waters —
Solubility of Certain Salts in Water Considered from the Industrial Point of View— Effects on
the Boiling of Water— Effects of Water in the Industries— Difficulties with Water— Feed
Water for Boilers— Water in Dyeworks, Print Works, and Bleach Works— Water in the
Textile Industries and in Conditioning — Water in Soap Works — Water in Laundries and
Washhouses — Water in Tanning — Water in Preparing Tannin and Dyewood Extracts — Water
in Papermaking — Water in Photography — Water in Sugar Refining — Water in Making Ices
and Beverages— Water in Cider Making— Water in Brewing— Water in Distilling— Preliminary
Treatment and Apparatus — Substances Used for Preliminary Chemical Purification — Com-
mercial Specialities and their Employment — Precipitation of Matters in Suspension in Water
— Apparatus for the Preliminary Chemical Purification of Water — Industrial Filters — Indus-
trial Sterilisation of Water — Residuary Waters and their Purification — Soil Filtration —
Purification by Chemical Processes— Analyses— Index.

(See Books on Smoke Prevention, Engineering and Metallurgy, p. 26, etc.]

X Rays.

PRACTICAL X RAY WORK. By FRANK T. ADDYMAN,
B.Sc. (Lond.), F.I.C., Member of the Roentgen Society of London ;
Radiographer to St. George's Hospital ; Demonstrator of Physics and
Chemistry, and Teacher of Radiography in St. George's Hospital
Medical School. Demy 8vo. Twelve Plates from Photographs of X Ray
Work. Fifty-two Illustrations. 200pp. 1901. Price 10s. 6d. ; India
and Colonies, 11s. ; Other Countries, 12s. ; strictly net.
Contents.

Historical— Work leading up to the Discovery of the X Rays— The Discovery— Appara=
tus and its Management — Electrical Terms — Sources of Electricity — Induction Coils —
Electrostatic Machines— Tubes— Air Pumps— Tube Holders and Stereoscopic Apparatus-
Fluorescent Screens— Practical X Ray Work— Installations— Radioscopy— Radiography—
X Rays in Dentistry— X Rays in Chemistry— X Rays in War— Index.

List of Plates.

Frontispiece— Congenital Dislocation of Hip- Joint.— I., Needle in Finger.— II., Needle in
Foot.— III., Revolver Bullet in Calf and Leg.— IV., A Method of Localisation.— V., Stellate
Fracture of Patella showing shadow of " Strapping ".—VI., Sarcoma.— VII., Six-weeks-old
Injury to Elbow showing new Growth of Bone.— VIII., Old Fracture of Tibia and Fibula
badly set. — IX., Heart Shadow. — X., Fractured Femur showing Grain of Splint. — XL, Bar-
rell's Method of Localisation.

India- Rubber and Gutta Percha.

INDIA-RUBBER AND GUTTA PERCHA. Translated
from the French of T. SEELIGMANN, G. LAMY TORVILHON and H.
FALCONNET by JOHN GEDDES MC!NTOSH. Royal 8vo. Eighty-six
Illustrations. Three Plates. 412 pages. 1903. Price 12s. 6d. ;
India and Colonies, 13s. 6d. ; Other Countries, 15s. ; strictly net.
Contents.

India- Rubber — Botanical Origin — Climatology — Soil — Rational Culture and Acclimation
of the Different Species of India-Rubber Plants— Methods of Obtaining the Latex— Methods
of Preparing Raw or Crude India-Rubber — Classification of the Commercial Species of
Raw Rubber— Physical and Chemical Properties of the Latex and of India-Rubber—
Mechanical Transformation of Natural Caoutchouc into Washed or Normal Caoutchouc
(Purification) and Normal Rubber into Masticated Rubber— Softening, Cutting, Washing,
Drying— Preliminary Observations— Vulcanisation of Normal Rubber— Chemical and Physical
Properties of Vulcanised Rubber — General Considerations — Hardened Rubber or Ebonite-
Considerations on Mineralisation and other Mixtures— Coloration and Dyeing— Analysis
of Natural or Normal Rubber and Vulcanised Rubber — Rubber Substitutes — Imitation Rubber,

Gutta Percha — Botanical Origin — Climatology — Soil — Rational Culture — Methods of
Collection— Classification of the Different Species of Commercial Gutta Percha— Physical
and Chemical Properties — Mechanical Transformation — Methods of Analysing — Gutta Percha
Substitutes — Index.

Leather Trades.

PRACTICAL TREATISE ON THE LEATHER IN-
DUSTRY. By A. M. VILLON. Translated by FRANK T.
ADDYMAN, B.Sc. (Lond.), F.I.C., F.C.S. ; and Corrected by an Emi-
nent Member of the Trade. 500 pp., royal 8vo. 1901. 123 Illustra-
tions. Price 21s. ; India and Colonies, 22s. ; Other Countries, 23s. 6d. ;
strictly net.

Contents.

Preface — Translator's Preface — List of Illustrations.

Part I., Materials used in Tanning— Skins : Skin and its Structure; Skins used in
Tanning; Various Skins and their Uses — Tannin and Tanning Substances: Tannin; Barks
(Oak); Barks other than Oak; Tanning Woods; Tannin-bearing Leaves; Excrescences;
Tan-bearing Fruits; Tan-bearing Roots and Bulbs; Tanning Juices; Tanning Substances
used in Various Countries ; Tannin Extracts ; Estimation of Tannin and Tannin Principles.

Part II., Tanning; — The Installation of a Tannery: Tan Furnaces; Chimneys, Boilers,
etc. ; Steam Engines — Grinding and Trituration of Tanning Substances : Cutting up Bark ;
Grinding Bark; The Grinding of Tan Woods; Powdering Fruit, Galls and Grains; Notes on

the Grinding of Bark — Manufacture of Sole Leather : Soaking ; Sweating and Unhairing ;
Plumping and Colouring; Handling; Tanning; Tanning Elephants' Hides; Drying;
Striking or Pinning — Manufacture of Dressing Leather: Soaking; Depilation ; New Pro-
cesses for the Depilation of Skins; Tanning; Cow Hides; Horse Hides; Goat Skins; Manu-
facture of Split Hides — On Various Methods of Tanning : Mechanical Methods; Physical
Methods; Chemical Methods; Tanning with Extracts — Quantity and Quality; Quantity;
Net Cost; Quality of Leather — Various Manipulations of Tanned Leather: Second Tanning;
Grease Stains; Bleaching Leather; Waterproofing Leather; Weighting Tanned Leather;
Preservation of Leather — Tanning Various Skins.

Part III., Currying — Waxed Calf: Preparation; Shaving; Stretching or Slicking;
Oiling the Grain ; Oiling the Flesh Side ; Whitening and Graining ; Waxing ; Finishing ; Dry
Finishing; Finishing in Colour; Cost— White Calf: Finishing in White— Cow Hide for
Upper Leathers: Black Cow Hide; White Cow Hide; Coloured Cow Hide— Smooth Cow
Hide — Black Leather — Miscellaneous Hides: Horse; Goat; Waxed Goat Skin; Matt Goat
Skin — Russia Leather: Russia Leather; Artificial Russia Leather.

Part IV., Enamelled, Hungary and Chamoy Leather, Morocco, Parchment, Furs
and Artificial Leather— Enamelled Leather: Varnish Manufacture; Application of the
Enamel; Enamelling in Colour — Hungary Leather: Preliminary; Wet Work or Prepara-
tion; Aluming; Dressing or Loft Work; Tallowing; Hungary Leather from Various Hides

— Tawing: Preparatory Operations; Dressing; Dyeing Tawed Skins; Rugs — Chamoy Leather

— Morocco: Preliminary Operations, Morocco Tanning: Mordants used in Morocco Manu-

g ;

and Silvering: Gilding; Silvering; Nickel and Cobalt — Parchment — Furs and Furriery:
Preliminary Remarks; Indigenous Furs; Foreign Furs from Hot Countries; Foreign Furs
from Cold Countries ; Furs from Birds' Skins ; Preparation of Furs ; Dressing ; Colouring ;
Preparation of Birds' Skins; Preservation of Furs — Artificial Leather: Leather made from
Scraps ; Compressed Leather ; American Cloth ; Papier Mache ; Linoleum ; Artificial Leather.

Part V., Leather Testing and the Theory of Tanning— Testing and Analysis of Leather :
Physical Testing of Tanned Leather; Chemical Analysis — The Theory of Tanning and the
other Operations of the Leather and Skin Industry: Theory of Soaking; Theory of Un-
hairing; Theory of Swelling; Theory of Handling; Theory of Tanning; Theory of the
Action of Tannin on the Skin; Theory of Hungary Leather Making; Theory of Tawing;
Theory of Chamoy Leather Making; Theory of Mineral Tanning.

Part VI., Uses of Leather— Machine Belts: Manufacture of Belting; Leather Chain
Belts; Various Belts, Use of Belts— Boot and Shoe-making: Boots and Shoes; Laces-
Saddlery : Composition of a Saddle ; Construction of a Saddle — Harness : The Pack Saddle ;
Harness — Military Equipment — Glove Making — Carriage Building — Mechanical Uses.

Appendix, The World's Commerce in Leather— Europe ; America; Asia; Africa;
Australasia — Index.

THE LEATHER WORKER'S MANUAL. Being a Com-
pendium of Practical Recipes and Working Formulae for Curriers,
Bootmakers, Leather Dressers, Blacking Manufacturers, Saddlers,
Fancy Leather Workers. By H. C. STANDAGE. 165pp. 1900. Price
7s. 6d. ; India and Colonies, 8s. ; Other* Countries, 8s. 6d. ; strictly
net.

Contents.

Blackings, Polishes, Glosses, Dressings, Renovators, etc., for Boot and Shoe Leather —
Harness Blackings, Dressings, Greases, Compositions, Soaps, and Boot-top Powders and
Liquids, etc., etc. — Leather Grinders' Sundries — Currier's Seasonings, Blacking Compounds,
Dressings, Finishes, Glosses, etc. — Dyes and Stains for Leather — Miscellaneous Information
— Chrome Tannage — Index.

Books on Pottery, Bricks,
Tiles, Glass, etc.

THE MANUAL OF PRACTICAL POTTING. Compiled

by Experts, and Edited by CHAS. F. BINNS. Revised Third Edition
and Enlarged. 200 pp. 1901. Price 17s. 6d. ; India and Colonies,
18s. 6d. ; Other Countries, 20s. ; strictly net.

15
Contents.

Introduction. The Rise and Progress of the Potter's Art— Bodies. China and Porcelain
Bodies, Parian Bodies, Semi-porcelain and Vitreous Bodies, Mortar Bodies, Earthenwares
Granite and C.C. Bodies, Miscellaneous Bodies, Sagger and Crucible Clays, Coloured
Bodies, Jasper Bodies, Coloured Bodies for Mosaic Painting, Encaustic Tile Bodies, Body
Stains, Coloured Dips — Glazes. China Glazes, Ironstone Glazes, Earthenware Glazes,
Glazes without Lead, Miscellaneous Glazes, Coloured Glazes, Majolica Colours— Gold and
Gold Colours. Gold, Purple of Cassius, Marone and Ruby, Enamel Coloured Bases,
Enamel Colour Fluxes, Enamel Colours, Mixed Enamel Colours, Antique and Vellum
Enamel Colours, Underglaze Colours, Underglaze Colour Fluxes, Mixed Underglaze Colours,
Flow Powders, Oils and Varnishes— Means and Methods. Reclamation of Waste Gold,
The Use of Cobalt, Notes on Enamel Colours, Liquid or Bright Gold— Classification and
Analysis. Classification of Clay Ware, Lord Playfair's Analysis of Clays, The Markets of
the World, Time and Scale of Firing, Weights of Potter's Material, Decorated Goods
Count— Comparative Loss of Weight of Clays— Ground Felspar Calculations— The Conver-
sion of Slop Body Recipes into Dry Weight— The Cost of Prepared Earthenware Clay—
Forms and Tables. Articles of Apprenticeship, Manufacturer's Guide to Stocktaking,
Table of Relative Values of Potter's Materials, Hourly Wages Table, Workman's Settling
Table, Comparative Guide for Earthenware and China Manufacturers in the use of Slop Flint
and Slop Stone, Foreign Terms applied to Earthenware and China Goods, Table for the
Conversion of Metrical Weights and Measures on the Continent and South America— Index.

CERAMIC TECHNOLOGY : Being some Aspects of Tech-
nical Science as Applied to Pottery Manufacture. Edited by CHARLES
F. BINNS. 100 pp. Demy 8vo. 1897. Price 12s. 6d. ; India and
Colonies, 13s. 6d. ; Other Countries, 15s. ; strictly net.

Contents.

Preface— The Chemistry of Pottery — Analysis and Synthesis — Clays and their Com-
ponents— The Biscuit Oven — Pyrometry — Glazes and their Composition — Colours and
Colour-making — Index.

A TREATISE ON THE CERAMIC INDUSTRIES. A

Complete Manual for Pottery, Tile and Brick Works. By EMILE
BOURRY. Translated from the French by WILTON P. Rix, Examiner
in Pottery and Porcelain to the City and Guilds of London Technical
Institute, Pottery Instructor to the Hanley School Board. Royal
8vo. 1901. 760pp. 323 Illustrations. Price 21s. ; India and Colonies,
22s. ; Other Countries, 23s. 6d. ; strictly net.
Contents.

Part I., General Pottery Methods. Definition and History. Definitions and Classifi-
cation of Ceramic Products — Historic Summary of the Ceramic Art — Raw Materials of
Bodies. Clays : Pure Clay and Natural Clays — Various Raw Materials: Analogous to Clay —
Agglomerative and Agglutinative — Opening — Fusible — Refractory — Trials of Raw Materials
—Plastic Bodies. Properties and Composition — Preparation of Raw Materials: Disaggrega-
tion— Purification— Preparation of Bodies : By Plastic Method— By Dry Method— By Liquid
Method — Formation. Processes of Formation : Throwing — Expression — Moulding by Hand,
on the Jolley, by Compression, by Slip Casting — Slapping — Slipping — Drying. Drying of
Bodies — Processes of Drying : By Evaporation — By Aeration — By Heating — By Ventilation
—By Absorption — Glazes. Composition and Properties — Raw Materials — Manufacture
and Application — Firing. Properties of the Bodies and Glazes during Firing — Description
of the Kilns — Working of the Kilns — Decoration. Colouring Materials — Processes of
Decoration.

Part II., Special Pottery Methods. Terra Cottas. Classification: Plain Ordinary,
Hollow, Ornamental, Vitrified, and Light Bricks — Ordinary and Black Tiles — Paving Tiles —
Pipes — Architectural Terra Cottas — Vases, Statues and Decorative Objects — Common Pottery
— Pottery for Water and Filters — Tobacco Pipes — Lustre Ware — Properties and Tests for
Terra Cottas — Fireclay Goods. Classification : Argillaceous, Aluminous, Carboniferous,
Silicious and Basic Fireclay Goods — Fireclay Mortar (Pug) — Tests for Fireclay Goods —
Faiences. Varnished Faiences— Enamelled Faiences — Silicious Faiences — Pipeclay Faiences
— Pebble Work — Feldspathic Faiences — Composition, Processes of Manufacture and General
Arrangements of Faience Potteries — Stoneware. Stoneware Properly So-called : Paving
Tiles— Pipes — Sanitary Ware — Stoneware for Food Purposes and Chemical Productions —
Architectural Stoneware — Vases, Statues and other Decorative Objects — Fine Stoneware
— Porcelain. Hard Porcelain for Table Ware and Decoration, for the Fire, for Electrical
Conduits, for Mechanical Purposes; Architectural Porcelain, and Dull or Biscuit Porcelain —
Soft Phosphated or English Porcelain — Soft Vitreous Porcelain, French and New Sevres —
Argillaceous Soft or Seger's Porcelain— Dull Soft or Parian Porcelain— Dull Feldspathic
Soft Porcelain— Index.

ARCHITECTURAL POTTERY. Bricks, Tiles, Pipes, Ena-
melled Terra-cottas, Ordinary and Incrusted Quarries, Stoneware
Mosaics, Faiences and Architectural Stoneware. By LEON LEFEVRE.
With Five Plates. 950 Illustrations in the Text, and numerous estimates.
500 pp., royal 8vo. 1900. Translated from the French by K. H. BIRD,
M.A., and W. MOORE BINNS. Price 15s. ; India and Colonies, 16s. ;
Other Countries, 17s. 6d. ; strictly net.

Contents.

sry. — Clays,

Part II. Made = up or Decorated Pottery.

Part I. Plain Undecorated Pottery.— Clays, Bricks, Tiles, Pipes, Chimney Flues,
Terra =cotta.

THE ART OF RIVETING GLASS, CHINA AND
EARTHENWARE. By J, HOWARTH. Second Edition.
1900. Paper Cover. Price Is. net; by post, home or abroad, Is. Id.

HOW TO ANALYSE CLAY. Practical Methods for Prac-
tical Men. By HOLDEN M. ASHBY, Professor of Organic Chemistry,
Harvey Medical College, U.S.A. 74 pp. Twenty Illus. 1901. Price
2s. 6d. ; Abroad, 3s. ; strictly net.

NOTES ON POTTERY CLAYS. Their Distribution, Pro-
perties, Uses and Analyses of Ball Clays, China Clays and China
Stone. By JAS. FAIRIE, F.G.S. 1901. 132 pp. Crown 8vo. Price
3s. 6d. ; India and Colonies, 4s. ; Other Countries, 4s. 6d. ; strictly net.

A Reissue of

THE HISTORY OF THE STAFFORDSHIRE POTTER-
IES; AND THE RISE AND PROGRESS OF THE
MANUFACTURE OF POTTERY AND PORCELAIN.

With References to Genuine Specimens, and Notices of Eminent Pot-
ters. By SIMEON SHAW. (Originally Published in 1829.) 265 pp.
1900. Demy 8vo. Price 7s. 6d. ; India and Colonies, 8s. ; Other
Countries, 8s. 6d. ; strictly net.

Contents.

Introductory Chapter showing the position of the Pottery Trade at the present time
1899)— Preliminary Remarks— The Potteries, comprising Tunstall, Brownhills, Green-
field and New Field, Golden Hill, Latebrook, Green Lane, Burslem, Longport and Dale Hall,
Hot Lane and Cobridge, Hanley and Shelton, Etruria, Stoke, Penkhull, Fenton, Lane Delph,
Foley, Lane End — On the Origin of the Art, and its Practice among the early Nations —
Manufacture of Pottery, prior to 1700— The Introduction of Red Porcelain by Messrs
Elers, of Bradwell, 1690— Progress of the Manufacture from 1700 to Mr. Wedgwood's
commencement in 1760— Introduction of Fluid Glaze — Extension of the Manufacture of
Cream Colour — Mr. Wedgwood's Queen's Ware — Jasper, and Appointment of Potter to Her
Majesty— Black Printing— Introduction of Porcelain. Mr. W. Littler's Porcelain— Mr
Cookworthy's Discovery of Kaolin and Petuntse, and Patent — Sold to Mr. Champion — re-
sold to the New Hall Com.— Extension of Term— Blue Printed Pottery. Mr. Turner, Mr
Spode (1), Mr. Baddeley, Mr. Spode (2), Messrs. Turner, Mr. Wood, Mr. Wilson, Mr. Minton—
Great Change in Patterns of Blue Printed— Introduction of Lustre Pottery. Improve
tnents in Pottery and Porcelain subsequent to 1800.

A Reissue of

THE CHEMISTRY OP THE SEVERAL NATURAL
AND ARTIFICIAL HETEROGENEOUS COM-
POUNDS USED IN MANUFACTURING POR-
CELAIN, GLASS AND POTTERY. By SIMEON SHAW.
(Originally published in 1837.) 750pp. 1900. Royal 8vo. Price 14s. ;
India and Colonies, 15s. ; Other Countries, 16s. 6d. ; strictly net.

Contents.

PART I., ANALYSIS AND MATERIALS.— Introduction : Laboratory and Apparatus
Elements— Temperature— Acids and Alkalies— The Earths— Metals.

PART II., SYNTHESIS AND COMPOUNDS.— Science of Mixing— Bodies : Porcelain
—Hard, Porcelain— Fritted Bodies, Porcelain— Raw Bodies, Porcelain— Soft, Fritted Bodies,
Raw Bodies, Stone Bodies, Ironstone, Dry Bodies, Chemical Utensils, Fritted Jasper, Fritted
Pearl, Fritted Drab, Raw Chemical Utensils, Raw Stone, Raw Jasper, Raw Pearl, Raw Mortar,
Raw Drab, Raw Brown, Raw Fawn, Raw Cane, Raw Red Porous, Raw Egyptian, Earthenware,
Queen's Ware, Cream Colour, Blue and Fancy Printed, Dipped and Mocha, Chalky, Rings,
Stilts, etc.— Glazes: Porcelain— Hard Fritted Porcelain— Soft Fritted Porcelain — Soft
Raw, Cream Colour Porcelain, Blue Printed Porcelain, Fritted Glazes, Analysis of Fritt,
Analysis of Glaze, Coloured Glazes, Dips, Smears and Washes; Glasses: Flint Glass,
Coloured Glasses, Artificial Garnet, Artificial Emerald, Artificial Amethyst, Artificial Sap-
phire, Artificial Opal, Plate Glass, Crown Glass, Broad Glass, Bottle Glass, Phosphoric Glass,
British Steel Glass, Glass-Staining and Painting, Engraving on Glass, Dr. Faraday's Experi-
ments— Colours: Colour Making, Fluxes or Solvents, Components of the Colours; Reds,
etc., from Gold, Carmine or Rose Colour, Purple, Reds, etc., from Iron, Blues, Yellows,
Greens, Blacks, White, Silver for Burnishing, Gold for Burnishing, Printer's Oil, Lustres.

TABLES OF THE CHARACTERISTICS OF CHEMICAL SUBSTANCES.

Glassware, Glass Staining and
Painting.

HECIPES FOR FLINT GLASS MAKING. By a British
Glass Master and Mixer. Sixty Recipes. Being Leaves from the
Mixing Book of several experts in the Flint Glass Trade, containing
up-to-date recipes and valuable information as to Crystal, Demi-crystal
and Coloured Glass in its many varieties. It contains the recipes for
cheap metal suited to pressing, blowing, etc., as well as the most costly
crystal and ruby. Crown 8vo. 1900. Price for United Kingdom,
10s. 6d. ; Abroad, 15s.; United States, $4; strictly net.

Contents.

Ruby — Ruby from Copper — Flint for using with the Ruby for Coating — A German Metal —
•Cornelian, or Alabaster — Sapphire Blue — Crysophis — Opal — Turquoise Blue — Gold Colour —
Dark Green— Green (common)— Green for Malachite— Blue for Malachite— Black for Mela-
^hite — Black — Common Canary Batch — Canary — White Opaque Glass — Sealing-wax Red —
Flint— Flint Glass (Crystal and Demi)— Achromatic Glass— Paste Glass— White Enamel—
'Firestone— Dead White (for moons) — White Agate — Canary — Canary Enamel — Index.

A TREATISE ON THE ART OF GLASS PAINTING.

Prefaced with a Review of Ancient Glass. By ERNEST R. SUPPLING.
With One Coloured Plate and Thirty-seven Illustrations. Demy 8vo.
140 pp. 1902. Price 7s. 6d. ; India and Colonies, 8s. ; Other Countries,
8s. 6d. net.

Contents.

A Short History of Stained Glass— Designing Scale Drawings— Cartoons and the Cut Line
— Various Kinds of Glass Cutting for Windows — The Colours and Brushes used in Glass
Painting — Painting on Glass, Dispersed Patterns — Diapered Patterns — Aciding — Firing —
Fret Lead Glazing— Index.

PAINTING ON GLASS AND PORCELAIN AND*
ENAMEL PAINTING. A Complete Introduction to the
Preparation of all the Colours and Fluxes used for Painting on Porce-
lain, Enamel, Faience and Stoneware, the Coloured Pastes and Col-
oured Glasses, together with a Minute Description of the Firing of
Colours and Enamels. By FELIX HERMANN, Technical Chemist. With
Eighteen Illustrations. 300 pp. Translated from the German second
and enlarged Edition. 1897. Price 10s. 6d. ; India and Colonies,
11s.; Other Countries, 12s.; strictly net.
Contents.

History of Glass Painting— The Articles to be Painted : Glass, Porcelain, Enamel, Stone-
ware, Faience — Pigments: Metallic Pigments: Antimony Oxide, Naples Yellow, Barium
Chromate, Lead Chromate, Silver Chloride, Chromic Oxide — Fluxes : Fluxes, Felspar,
Quartz, Purifying Quartz, Sedimentation, Quenching, Borax, Boracic Acid, Potassium and
Sodium Carbonates, Rocaille Flux — Preparation of the Colours for Glass Painting — The
Colour Pastes — The Coloured Glasses — Composition of the Porcelain Colours — The' Enamel
Colours: Enamels for Artistic Work — Metallic Ornamentation: Porcelain Gilding, Glass
Gilding — Firing the Colours : Remarks on Firing : Firing Colours on Glass, Firing Colours on
Porcelain ; The Muffle — Accidents occasionally Supervening during the Process of Firing —
Remarks on the Different Methods of Painting on Glass, Porcelain, etc. — Appendix : Cleaning
Old Glass Paintings.

Paper Staining.

THE DYEING OF PAPER PULP. A Practical Treatise for
the use of Papermakers, Paperstainers, Students and others. By
JULIUS EKFURT, Manager of a Paper Mill. Translated into English
and Edited with Additions by JULIUS HUBNER, F.C.S., Lecturer on
Papermaking at the Manchester Municipal Technical School. With
Illustrations and 157 patterns of paper dyed in the pulp. Royal
8vo, 180 pp. 1901. Price 15s. ; India and Colonies. 16s. ; Other
Countries, 20s. ; strictly net. Limited edition.

Contents.

Behaviour of the Paper Fibres during the Process of Dyeing, Theory of the
Mordant— Colour Fixing Mediums (Mordants)— Influence of the Quality oi the Water
Used — Inorganic Colours — Organic Colours — Practical Application of the Coal Tar
Colours according to their Properties and their Behaviour towards the Different
Paper Fibres — Dyed Patterns on Various Pulp Mixtures — Dyeing to Shade — Index.

Enamelling on Metal.

ENAMELS AND ENAMELLING. For Enamel Makers,.
Workers in Gold and Silver, and Manufacturers of Objects of Art.
By PAUL RANDAU. Translated from the German. With Sixteen Illus-
trations. Demy 8vo. 180 pp. 1900. Price 10s. 6d. ; India and"
Colonies, 11s.; Other Countries, 12s. ; strictly net.
Contents.

Composition and Properties of Glass — Raw Materials for the Manufacture of Enamels —
Substances Added to Produce Opacity — Fluxes — Pigments — Decolorising Agents — Testing
the Raw Materials with the Blow-pipe Flame — Subsidiary Materials — Preparing the
Materials for Enamel Making — Mixing the Materials — The Preparation of Technical Enamels,,
The Enamel Mass — Appliances for Smelting the Enamel Mass — Smelting the Charge —
Composition of Enamel Masses — Composition of Masses for Ground Enamels — Composition
of Cover Enamels — Preparing the Articles for Enamelling — Applying the Enamel — Firing,
the Ground Enamel — Applying and Firing the Cover Enamel or Glaze — Repairing Defects
in Enamelled Ware — Enamelling Articles of Sheet Metal — Decorating Enamelled Ware —
Specialities in Enamelling — Dial-plate Enamelling — Enamels for Artistic Purposes, Recipes
for Enamels of Various Colours — Index.

THE ART OP ENAMELLING ON METAL. By W.

NORMAN BROWN. Twenty-eight Illustrations. Crown 8vo. 60 pp~
1900. Price 2s. 6d. ; Abroad, 3s. ; strictly net.

Silk Manufacture.

SILK THROWING AND WASTE SILK SPINNING.

By HOLLINS RAYNER. Demy 8vo. 170 pp. 117 Illus. 1903. Price
5s. ; Colonies, 5s. 6d. ; Other Countries, 6s. ; strictly net.

The Silkworm— Cocoon Reeling and Qualities of Silk— Silk Throwing— Silk Wastes— The
Preparation of Silk Waste for Degumming— Silk Waste Degumming, Schapping and Dis-
charging—The Opening and Dressing of Wastes— Silk Waste " Drawing " or " Preparing "
Machinery— Long Spinning— Short Spinning— Spinning and Finishing Processes— Utilisation
of Waste Products— Noil Spinning— Exhaust Noil Spinning.

Books on Textile and Dyeing
Subjects.

THE CHEMICAL TECHNOLOGY OF TEXTILE
FIBRES: Their Origin, Structure, Preparation, Washing,
Bleaching, Dyeing, Printing and Dressing. By Dr. GEORG VON
GEORGIEVICS. Translated from the German by CHARLES SALTER.
320 pp. Forty-seven Illustrations. Royal 8vo. 1902. Price 10s. 6d. ;
India and Colonies, lls. ; Other Countries, 12s. net.

Contents.

The Textile Fibres— Washing, Bleaching, Carbonising— Mordants and Mor-
danting—Dyeing—Printing—Dressing and Finishing.

POWER-LOOM WEAVING AND YARN NUMBERING,

According to Various Systems, with Conversion Tables. Translated
from the German of ANTHON GRUNER. With Twenty-Six Diagrams
in Colours. 150 pp. 1900. Crown 8vo. Price 7s. 6d. ; India and
Colonies, 8s. ; Other Countries, 8s. 6d. ; strictly net.

Contents.

Power=Loom Weaving in General. Various Systems of Looms— Mounting and
Starting the Power=Loom. English Looms— Tappet or Treadle Looms— Dobbies—
General Remarks on the Numbering, Reeling and Packing of Yarn— Appendix— Useful
Hints. Calculating Warps— Weft Calculations— Calculations of Cost Price in Hanks.

TEXTILE RAW MATERIALS AND THEIR CON-
VERSION INTO YARNS. (The Study of the Raw
Materials and the Technology of the Spinning Process.) By JULIUS
ZIPSER. Translated from German by CHARLES SALTER. 302 Illus-
trations. 500 pp. Demy 8vo. 1901. Price 10s. 6d. ; India and
Colonies, lls.; Other Countries, 12s.; strictly net.

Contents.
PART I.— The Raw Materials Used in the Textile Industry.

MINERAL RAW MATERIALS. VEGETABLE RAW MATERIALS. ANIMAL RAW MATERIALS.
PART II.— The Technology of Spinning or the Conversion of Textile Raw
Materials into Yarn.

SPINNING VEGETABLE RAW MATERIALS. Cotton Spinning — Installation of a Cotton
Mill— Spinning Waste Cotton and Waste Cotton Yarns— Flax Spinning— Fine Spinning— Tow
'Spinning — Hemp Spinning — Spinning Hemp Tow String — Jute Spinning — Spinning Jute Line
Yarn — Utilising Jute Waste.

PART III.— Spinning Animal Raw Materials.

Spinning Carded Woollen Yarn — Finishing Yarn — Worsted Spinning — Finishing Worsted
Yarn— Artificial Wool or Shoddy Spinning— Shoddy and Mungo Manufacture— Spinning
•Shoddy and other Wool Substitutes — Spinning Waste Silk — Chappe Silk — Fine Spinning —
Index.

THE TECHNICAL TESTING OP YARNS AND TEX-
TILE FABRICS. With Reference to Official Specifica-
tions. Translated from the German of Dr. J. HERZFELD. Second-
Edition. Sixty-nine Illustrations. 200 pp. Demy 8vo. 1902. Price
10s. 6d.; India and Colonies, 11s. ; Other Countries, 12s. ; strictly net.

Contents.

Yarn Testing. Determining the Yarn Number— Testing the Length of Yarns-
Examination of the External Appearance of Yarn— Determining the Twist of Yarn
and Twist — Determination of Tensile Strength and Elasticity — Estimating the
Percentage of Fat in Yarn — Determination of Moisture (Conditioning) — Appendix.

DECORATIVE AND FANCY TEXTILE FABRICS.

By R. T. LORD. Manufacturers and Designers of Carpets, Damask
Dress and all Textile Fabrics. 200pp. 1898. DemySvo. 132 Designs
and Illustrations. Price 7s. 6d. ; India and Colonies, 8s. ; Other
Countries, 8s. 6d. ; strictly net.

Contents.

A Few Hints on Designing Ornamental Textile Fabrics — A Few Hints on Designing Orna-
mental Textile Fabrics (continued) — A Few Hints on Designing Ornamental Textile Fabrics-
(continued) — A Few Hints on Designing Ornamental Textile Fabrics (continued) — Hints for-
Ruled-paper Draughtsmen — The Jacquard Machine — Brussels and Wilton Carpets — Tapestry
Carpets — Ingrain Carpets — Axminster Carpets — Damask and Tapestry Fabrics — Scarf Silks
and Ribbons— Silk Handkerchiefs— Dress Fabrics— Mantle Cloths— Figured Plush— Bed Quilts
— Calico Printing.

THEORY AND PRACTICE OF DAMASK WEAVING.

By H. KINZER and K. WALTER. Royal 8vo. Eighteen Folding Plates.
Six Illustrations. Translated from the German. 110pp. 1903. Price
8s. 6d. ; Colonies, 9s. ; Other Countries, 9s. 6d. ; strictly net.

Contents.

The Various Serts of Damask Fabrics— Drill (Ticking, Handloom-made)— Whole-
Damask for Tablecloths — Damask with Ground- and Connecting-warp Threads — Furniture
Damask— Lampas or Hangings— Church Damasks— The Manufacture of Whole Damask.
— Damask Arrangement with and without Cross-Shedding — The Altered Cone-arrangement —
The Principle of the Corner Lifting Cord — The Roller Principle — The Combination of the
Jacquard with the so-called Damask Machine — The Special Damask Machine — The Combina-
tion of Two Tyings.

FAULTS IN THE MANUFACTURE OF WOOLLEN
GOODS AND THEIR PREVENTION. By NICOLAS
REISER. Translated from the Second German Edition. Crown 8vo.
Sixty-three Illustrations. 170 pp. 1903. Price 5s. ; Colonies, 5s. 6d. -r
Other Countries, 6s. ; strictly net.

Contents.

Improperly Chosen Raw Material or Improper Mixtures — Wrong Treatment of the
Material in Washing, Carbonisation, Drying, Dyeing and Spinning — Improper Spacing of the-
Goods in the Loom — Wrong Placing of Colours — Wrong Weight or Width of the Goods-
—Breaking of Warp and Weft Threads— Presence of Doubles, Singles, Thick, Loose,
and too Hard Twisted Threads as well as Tangles, Thick Knots and the Like— Errors in
Cross-weaving — Inequalities, i.e., Bands and Stripes — Dirty Borders — Defective Selvedges —
Holes and Buttons — Rubbed Places — Creases — Spots — Loose and Bad Colours — Badly Dyed'
Selvedges — Hard Goods — Brittle Goods — Uneven Goods — Removal of Bands, Stripes,
Creases and Spots.

SPINNING AND WEAVING CALCULATIONS, especially
relating to Woollens. From the German of N. REISER. Thirty-four
Illustrations. Tables. 170 pp. Demy 8vo. 1904. Price 10s. 6d.
India and Colonies, lls. ; Other Countries, 12s. ; strictly net.
Contents.

Calculating the Raw Material— Proportion of Different Grades of Wool to Furnish a
Mixture at a Given Price — Quantity to Produce a Given Length — Yarn Calculations — Yam
Number — Working Calculations — Calculating the Reed Count — Cost of Weaving, etc.

WATERPROOFING OF FABRICS. By Dr. S. MIERZINSKU
Crown 8vo. 104 pp. 29 Illus. 1903. Price 5s. ; Colonies, 5s. 6d. ;
Other Countries, 6s. ; strictly net.

Contents.

Introduction — Preliminary Treatment of the Fabric — Waterproofing with Acetate of
Alumina — Impregnation of the Fabric — Drying — Waterproofing with Paraffin — Waterproofing
with Ammonium Cuprate — Waterproofing with Metallic Oxides — Coloured Waterproof
Fabrics — Waterproofing with Gelatine, Tannin, Caseinate of Lime and other Bodies — Manu-
facture of Tarpaulin — British Waterproofing Patents — Index.

HOW TO MAKE A WOOLLEN MILL PAY. By JOHN
MACKIE. Crown 8vo. 76 pp. 1904. Price 3s. 6d. ; Colonies, 4s. ;
Other Countries, 4s. 6d. ; net.

Contents.

Blends, Piles, or Mixtures of Clean Scoured Wools — Dyed Wool Book — The Order Book
— Pattern Duplicate Books — Management and Oversight — Constant Inspection of Mill De-
partments— Importance of Delivering Goods to Time, Shade, Strength, etc. — Plums.
(For "Textile Soaps" see p. 7.)

Dyeing, Colour Printing,
Matching and Dye-stuffs.

THE COLOUR PRINTING OF CARPET YARNS. Manual

for Colour Chemists and Textile Printers. By DAVID PATERSON,

F.C.S. Seventeen Illustrations. 136 pp. Demy 8vo. 1900. Price

7s. 6d. ; India and Colonies, 8s. ; Other Countries, 8s. 6d. ; strictly net.

Contents.

Structure and Constitution of Wool Fibre — Yarn Scouring — Scouring Materials — Water for
Scouring — Bleaching Carpet Yarns — Colour Making for Yarn Printing — Colour Printing
Pastes — Colour Recipes for Yarn Printing — Science of Colour Mixing — Matching of Colours
— "Hank" Printing — Printing Tapestry Carpet Yarns — Yarn Printing — Steaming Printed
Yarns — Washing of Steamed Yarns — Aniline Colours Suitable for Yarn Printing — Glossary of
Dyes and Dye-wares used in Wood Yarn Printing — Appendix.

THE SCIENCE OP COLOUR MIXING. A Manual in-
tended for the use of Dyers, Calico Printers and Colour Chemists. By
DAVID PATERSON, F.C.S. Forty-one Illustrations, Five Coloured Plates,
and Four Plates showing: Eleven Dyed Specimens of Fabrics. 132

pp. Demy 8vo. 1900. Price 7s. 6d. ; India and Colonies, 8s. ; Other
Countries, 8s. 6d. ; strictly net.

Contents.

Colour a Sensation ; Colours of Illuminated Bodies ; Colours of Opaque and Transparent
Bodies ; Surface Colour — Analysis of Light ; Spectrum ; Homogeneous Colours ; Ready
Method of Obtaining a Spectrum — Examination of Solar Spectrum; The Spectroscope and
Its Construction ; Colourists' Use of the Spectroscope — Colour by Absorption ; Solutions and
Dyed Fabrics; Dichroic Coloured Fabrics in Gaslight — Colour Primaries of the Scientist
versus the Dyer and Artist; Colour Mixing by Rotation and Lye Dyeing; Hue, Purity,
Brightness; Tints; Shades, Scales, Tones, Sad and Sombre Colours— Colour Mixing; Pure
and Impure Greens, Orange and Violets; Large Variety of Shades from few Colours; Con-
sideration of the Practical Primaries: Red, Yellow and Blue — Secondary Colours; Nomen-
clature of Violet and Purple Group ; Tints and Shades of Violet ; Changes in Artificial Light
— Tertiary Shades ; Broken Hues; Absorption Spectra of Tertiary Shades — Appendix : Four
Plates with Dyed Specimens Illustrating Text— Index.

DYERS' MATERIALS : An Introduction to the Examination,
Evaluation and Application of the most important Substances used in
Dyeing, Printing, Bleaching and Finishing. By PAUL HEERMAN, Ph.D.
Translated from the German by. A C. WRIGHT, M.A. (Oxon.), B.Sc.
(Lond.). Twenty-four Illustrations. Crown 8vo. 150pp. 1901. Price
5s. ; India and Colonies, 5s. 6d. ; Other Countries, 6s. ; strictly net.

COLOUR MATCHING ON TEXTILES. A Manual in-
tended for the use of Students of Colour Chemistry, Dyeing and
Textile Printing. By DAVID PATERSON, F.C.S. Coloured Frontis-
piece. Twenty-nine Illustrations and Fourteen Specimens Of Dyed
Fabrics. Demy 8vo. 132pp. 1901. Price 7s. 6d.; India and Colonies,
8s. ; Other Countries, 8s. 6d. ; strictly net.

Contents.

Colour Vision and Structure of the Eye — Perception of Colour— Primary and Comple-
.mentary Colour Sensations — Daylight for Colour Matching — Selection of a Good Pure Light
—Diffused Daylight, Direct Sunlight, Blue Skylight, Variability of Daylight, etc., etc.—
Matching of Hues — Purity and Luminosity of Colours — Matching Bright Hues— Aid of Tinted
Films — Matching Difficulties Arising from Contrast — Examination of Colours by Reflected
and Transmitted Lights — Effect of Lustre and Transparency of Fibres in Colour Matching
— Matching of Colours on Velvet Pile — Optical Properties of Dye stuffs Dichroism. Fluor-
escence— Use of Tinted Mediums — Orange Film — Defects of the Eye — Yellowing of the Lens
— Colour Blindness, etc. — Matching of Dyed Silk Trimmings and Linings and Bindings — Its
Difficulties — Behaviour of Shades in Artificial Light — Colour Matching of Old Fabrics, etc.—
Examination of Dyed Colours under the Artificial Lights — Electric Arc, Magnesium and Dufton,
Gardner Lights, Welsbach, Acetylene, etc. — Testing Qualities of an Illuminant — Influence
of the Absorption Spectrum in Changes of Hue under the Artificial Lights — Study of the
Causes of Abnormal Modifications of Hue, etc.

COLOUR: A HANDBOOK OP THE THEORY OF
COLOUR. By GEORGE H. HURST, F.C.S. With Ten
Coloured Plates and Seventy-two Illustrations. 160 pp. Demy 8vo.
1900. Price 7s. 6d. ; India and Colonies, 8s. ; Other Countries, 8s. 6d. ;
strictly net.

Contents.

Colour and Its Production— Cause of Colour in Coloured Bodies— Colour Pheno=
mena and Theories— The Physiology of Light— Contrast— Colour in Decoration and
Design— Measurement of Colour.

Reissue of
THE ART OF DYEING WOOL, SILK AND COTTON.

Translated from the French of M. HELLOT, M. MACQUER and M. LE
PILEUR D'APLIGNY. First Published in English in 1789. Six Plates.
Demy 8vo. 446 pp. 1901. Price 5s.; India and Colonies, 5s. 6d. ;
Other Countries, 6s. ; strictly net.

Contents.

Part I., The Art of Dyeing Wool and Woollen Cloth, Stuffs, Yarn, Worsted, etc.
Part II., The Art of Dyeing Silk. Part HI., The Art of Dyeing Cotton and Linen
Thread, together with the Method of Stamping Silks, Cottons, etc.

THE CHEMISTRY OF DYE-STUFFS. By Dr. GEORG VON
GEORGIEVICS. Translated from the Second German Edition. 412 pp.
Demy 8vo. 1903. Price 10s. 6d. ; India and Colonies, 11s.; Other
Countries, 12s. ; strictly net.

Contents.

Introduction — Coal Tar — Intermediate Products in the Manufacture of Dye-stuffs — The
-Artificial Dye-stuffs (Coal-tar Dyes) — Nitroso Dye-stuffs — Nitro Dye-stuffs — Azo Dye-stuffs —
Substantive Cotton Dye-stuffs — Azoxystilbene Dye-stuffs— Hydrazones — Ketoneimides —
Triphenylmethane Dye-stuffs — Rosolic Acid Dye-stuffs — Xanthene Dye-stuffs — Xanthone Dye-
stuffs — Flavones — Oxyketone Dye-stuffs — Quinoline and Acndine Dye-stuffs — Quinonimide
or Diphenylamine Dye-stuffs — The Azine Group: Eurhodines, Safranines and Indulines —
Eurhodines — Safranines — Quinoxalines — Indigo — Dye-stuffs of Unknown Constitution —
•Sulphur or Sulphine Dye stuffs— Development of the Artificial Dye-stuff Industry— The
.Natural Dye-stuffs — Mineral Colours — Index.

THE DYEING OF COTTON FABRICS: A Practical
Handbook for the Dyer and Student. By FRANKLIN BEECH, Practical
Colourist and Chemist. 272 pp. Forty-four Illustrations of Bleaching
and Dyeing Machinery. Demy 8vo. 1901. Price 7s. 6d. ; India
and Colonies, 8s. ; Other Countries, 8s. 6d. ; strictly net.

Contents.

Structure and Chemistry of the Cotton Fibre — Scouring and Bleaching of Cotton — Dyeing
Machinery and Dyeing Manipulations — Principles and Practice of Cotton Dyeing — Direct
Dyeing; Direct Dyeing followed by Fixation with Metallic Salts: Direct Dyeing followed by
Fixation with Developers; Direct Dyeing followed by Fixation with Couplers; Dyeing on
Tannic Mordant ; Dyeing on Metallic Mordant ; Production of Colour Direct upon Cotton
Fibres ; Dyeing Cotton by Impregnation with Dye-stuff Solution — Dyeing Union (Mixed Cotton
and Wool) Fabrics— Dyeing Half Silk (Cotton-Silk, Satin) Fabrics— Operations following
Dyeing — Washing, Soaping, Drying — Testing of the Colour of Dyed Fabrics — Experimental
Dyeing and Comparative Dye Testing— Index.

The book contains numerous recipes for the production on Cotton Fabrics of all kinds of a
great range of colours.

THE DYEING OF WOOLLEN FABRICS. By FRANKLIN
BEECH, Practical Colourist and Chemist. Thirty-three Illustrations.
Demy 8vo. 228 pp. 1902. Price 7s. 6d. ; India and Colonies, 8s. ;
Other Countries, 8s. 6d. net.

Contents.

The Wool Fibre — Structure, Composition and Properties — Processes Preparatory to Dyeing
— Scouring and Bleaching of Wool — Dyeing Machinery and Dyeing Manipulations — Loose
Wool Dyeing, Yarn Dyeing and Piece Dyeing Machinery — The Principles and Practice of
Wool Dyeing — Properties of Wool Dyeing — Methods of Wool Dyeing — Groups of Dyes —
Dyeing with the Direct Dyes — Dyeing with Basic Dyes — Dyeing with Acid Dyes — Dyeing
with Mordant Dyes— Level Dyeing— Blacks on Wool— Reds on Wool— Mordanting of Wool-
Orange Shades on Wool— Yellow Shades on Wool— Green Shades on Wool— Blue Shades on
Wool — Violet Shades on Wool — Brown Shades on Wool — Mode Colours on Wool — Dyeing;
Union (Mixed Cotton Wool) Fabrics — Dyeing of Gloria — Operations following Dyeing —
Washing, Soaping. Drying — Experimental Dyeing and Comparative Dye Testing — Testing of
the Colour of Dyed Fabrics— Index.

Bleaching and Washing.

A PRACTICAL TREATISE ON THE BLEACHING OF
LINEN AND COTTON YARN AND FABRICS. By

L. TAILFER, Chemical and Mechanical Engineer. Translated from the
French by JOHN GEDDES MC!NTOSH. Demy 8vo. 303 pp. Twenty
Illusts. 1901. Price 12s. 6d. ; India and Colonies, 13s. 6d. ; Other
Countries, 15s. ; strictly net.

Contents.

General Considerations on Bleaching — Steeping — Washing: Its End and Importance —
Roller Washing Machines— Wash Wheel (Dash Wheel)— Stocks or Wash Mill— Squeezing—
Lye Boiling — Lye Boiling with Milk of Lime — Lye Boiling with Soda Lyes — Description of
Lye Bojiing Keirs — Operations of Lye Boiling — Concentration of Lyes — Mather and Platt's.
Keir — Description of the Keir— Saturation of the Fabrics — Alkali used in Lye Boiling —
Examples of Processes — Soap — Action of Soap in Bleaching — Quality and Quantity of Soaps
to use in the Lye — Soap Lyes or Scalds — Soap Scouring Stocks — Bleaching on Grass or on
the Bleaching Green or Lawn — Chemicking — Remarks on Chlorides and their Decolour-
ising Action — Chemicking Cisterns — Chemicking — Strengths, etc. — Sours— Properties of the
Acids — Effects Produced by Acids — Souring Cisterns — Drying — Drying by Steam — Drying
by Hot Air — Drying by Air — Damages to Fabrics in Bleaching^-Yarn Mildew — Fermentation
— Iron Rust Spots — Spots from Contact with Wood — Spots incurred on the Bleaching Green
— Damages arising from the Machines — Examples of Methods used in Bleaching— Linen —
Cotton — The Valuation of Caustic and Carbonated Alkali (Soda) and General Information
Regarding these Bodies — Object of Alkalimetry — Titration of Carbonate of Soda — Com-
parative Table of Different Degrees of Alkalimetrical Strength — Five Problems relative to
Carbonate of Soda— Caustic Soda, its Properties and Uses — Mixtures of Carbonated and
Caustic Alkali — Note on a Process of Manufacturing Caustic Soda and Mixtures of Caustic

and Carbonated Alkali (Soda)— Chlorometry— Titration— Wagner s Chlorometric Method—.
Preparation of Standard Solutions — Apparatus for Chlorine Valuation — Alkali in Excess in
Decolourising Chlorides — Chlorine and Decolourising Chlorides — Synopsis — Chlorine —
Chloride of Lime — Hypochlorite of Soda — Brochoki's Chlorozone — Various Decolourising
Hypochlorites — Comparison of Chloride of Lime and Hypochlorite of Soda — Water —
Qualities of Water— Hardness— Dervaux's Purifier— Testing the Purified Water— Different
Plant for Purification — Filters — Bleaching of Yarn — Weight of Yarn — Lye Boiling —
Chemicking— Washing— Bleaching of Cotton Yarn— The Installation of a Bleach Works-
Water Supply — Steam Boilers — Steam Distribution Pipes — Engines — Keirs — Washing —
Machines — Stocks — Wash Wheels — Chemicking and Souring Cisterns — Various — Buildings —
Addenda — Energy of Decolourising Chlorides and Bleaching by Electricity and Ozone —
Energy of Decolourising Chlorides — Chlorides — Production of Chlorine and Hypochlorites
by Electrolysis — Lunge's Process for increasing the intensity of the Bleaching Power of
Chloride of Lime — Trilfer's Process for Removing the Excess of Lime or Soda from De-
colourising Chlorides — Bleaching by Ozone.

Cotton Spinning and Combing.

COTTON SPINNING (First Year). By THOMAS THORNLEY,
Spinning Master, Bolton Technical School. 160 pp. Eighty-four Illus-
trations. Crown 8vo. 1901. Price 3s.; Abroad, 3s. 6d. ; strictly net.

Contents.

Syllabus and Examination Papers of the City and Guilds of London Institute — Cultiva-
tion, Classification, Ginning, Baling and Mixing of the Raw Cotton — Bale-Breakers, Mixing
Lattices and Hopper Feeders — Opening and Scutching — Carding — Indexes.

COTTON SPINNING (Intermediate, or Second Year). By
THOMAS THORNLEY. 180pp. Seventy Illustrations. Crown Svo. 1901.
Price 5s. ; India and British Colonies, 5s. 6d. ; Other Countries, 6s. ;
strictly net.

Contents.

Syllabuses and Examination Papers of the City and Guilds of London Institute — The
Combing Process — The Drawing Frame — Bobbin and Fly Frames — Mule Spinning — Ring
Spinning — General Indexes.

COTTON SPINNING (Honours, or Third Year). By THOMAS
THORNLEY. 216 pp. Seventy-four Illustrations. Crown Svo. 1901.
Price 5s. ; India and British Colonies, 5s. 6d. ; Other Countries, 6s. ;
strictly net.

Contents.

Syllabuses and Examination Papers of the City and Guilds of London Institute — Cotton —
The Practical Manipulation of Cotton Spinning Machinery — Doubling and Winding — Reeling
— Warping — Production and Costs — Main Driving — Arrangement of Machinery and Mill
Planning — Waste and Waste Spinning — Indexes.

COTTON COMBING MACHINES. By THOS. THORNLEY,
Spinning Master, Technical School, Bolton. Demy Svo. 117 Illustra-
tions. 300 pp. 1902. Price 7s. 6d. ; India and Colonies, 8s. ; Other
Countries, 8s. 6d. net.

Contents.

The Sliver Lap Machine and the Ribbon Cap Machine — General Description of the Heilmann
Comber — The Cam Shaft — On the Detaching and Attaching Mechanism of the Comber —
Resetting of Combers— The Erection of a Heilmann Comber— Stop Motions : Various Calcu-
lations— Various Notes and Discussions— Cotton Combing Machines of Continental Make —
Index.

Collieries and Mines.

RECOVERY WORK AFTER PIT FIRES. By ROBERT
LAMPRECHT, Mining Engineer and Manager. Translated from the
German. Illustrated by Six large Plates, containing Seventy-six
Illustrations. 175 pp., demy 8vo. 1901. Price 10s. 6d. ; India and
Colonies, 11s.; Other Countries, 12s.; strictly net.

Contents.

Causes of Pit Fires— Preventive Regulations : (1) The Outbreak and Rapid Extension
of a Shaft Fire can be most reliably prevented by Employing little or no Combustible Material
in the Construction of the Shaft ; (2) Precautions for Rapidly Localising an Outbreak of Fire in
the Shaft ; (3) Precautions to be Adopted in case those under 1 and 2 Fail or Prove Inefficient.
Precautions against Spontaneous Ignition of Coal. Precautions for Preventing Explosions of
Fire-damp and Coal Dust. Employment of Electricity in Mining, particularly in Fiery Pits,
Experiments on the ignition of Fire-damp Mixtures and Clouds of Coal Dust by Electricity —
Indications of an Existing or Incipient Fire— Appliances for Working in Irrespirable
Gases: Respiratory Apparatus; Apparatus with Air Supply Pipes; Reservoir Apparatus;
Oxygen Apparatus— Extinguishing Pit Fires : (a) Chemical Means ; (b) Extinction with
Water. Dragging down the Burning Masses and Packing with Clay ; (c) Insulating the Seat
of the Fire by Dams. Dam Building. Analyses of Fire Gases. Isolating the Seat of a Fire
with Dams: Working in Irrespirable Gases ("Gas-diving"): Air-Lock Work. Complete
Isolation of the Pit. Flooding a Burning Section isolated by means of Dams. Wooden
Dams: Masonry Dams. Examples of Cylindrical and Dome-shaped Dams. Dam Doors:
Flooding the Whole Pit — Rescue Stations : (a) Stations above Ground ; (b) Underground
Rescue Stations— Spontaneous Ignition of Coal in Bulk— Index.;

VENTILATION IN MINES. By ROBERT WABNER, Mining
Engineer. Translated from the German. Royal 8vo. Thirty Plates
and Twenty-two Illustrations. 240 pp. 1903. Price 10s. 6d. ; India
and Colonies, 11s.; Other Countries, 12s.; strictly net.

Contents.

The Causes of the Contamination of Pit Air— The Means of Preventing the
Dangers resulting from the Contamination of Pit Air — Calculating the Volume
of Ventilating Current necessary to free Pit Air from Contamination— Determination
of the Resistance Opposed to the Passage of Air through the Pit— Laws of Re=
sistance and Formulae therefor— Fluctuations in the Temperament or Specific Re-
sistance of a Pit— Means for Providing a Ventilating Current in the Pit— Mechani-
cal Ventilation— Ventilators and Fans— Determining the Theoretical, Initial, and
True (Effective) Depression of the Centrifugal Fan— New Types of Centrifugal Fan
of Small Diameter and High Working Speed— Utilising the Ventilating Current to
the utmost Advantage and distributing the same through the Workings— Artifici-
ally retarding the Ventilating Current— Ventilating Preliminary Workings— Blind
Headings— Separate Ventilation— Supervision of Ventilation— INDEX.

HAULAGE AND WINDING APPLIANCES USED IN
MINES. By CARL VOLK. Translated from the German.
Royal 8vo. With Six Plates and 148 Illustrations. 150 pp. 1903.
Price 8s. 6d. ; Colonies, 9s. ; Other Countries, 9s. 6d. ; strictly net.
Contents.

Haulage Appliances — Ropes — Haulage Tubs and Tracks — Cages and Winding Appliances —
Winding Engines for Vertical Shafts — Winding without Ropes — Haulage in Levels and
Inclines— The Working of Underground Engines — Machinery for Downhill Haulage.

Dental Metallurgy.

DENTAL METALLURGY : MANUAL FOR STUDENTS
AND DENTISTS. By A. B. GRIFFITHS, Ph.D. Demy
8vo. Thirty-six Illustrations. 190^, 200 pp. Price 7s. 6d. ; India
and Colonies, 8s. ; Other Countries, 8s. 6d. ; strictly net.
Contents.

Introduction — Physical Properties of the Metals — Action of Certain Agents on Metals —
Alloys — Action of Oral Bacteria on Alloys — Theory and Varieties of Blowpipes — Fluxes —
Furnaces and Appliances — Heat and Temperature— Gold — Mercury — Silver — Iron — Copper —
Zinc — Magnesium — Cadmium — Tin — Lead — Aluminium — Antimony — Bismuth — Palladium —
Platinum— Iridium— Nickel— Practical Work— Weights and Measures.

Engineering, Smoke Prevention
and Metallurgy.

THE PREVENTION OF SMOKE. Combined with the
Economical Combustion of Fuel. By W. C. POPPLEWELL, M.Sc.,
A.M.Inst.,C E., Consulting Engineer. Forty-six Illustrations. 190pp.
1901. Demy 8vo. Price 7s. 6d. ; India and Colonies, 8s. ; Other
Countries, 8s. 6d. ; strictly net.

Contents.

Fuel and Combustion — Hand Firing in Boiler Furnaces — Stoking by Mechanical Means —
Powdered Fuel— Gaseous Fuel— Efficiency and Smoke Tests of Boilers— Some Standard
Smoke Trials — The Legal Aspect of the Smoke Question — The Best Means to be adopted for
the Prevention of Smoke — Index.

GAS AND COAL DUST FIRING. A Critical Review of
the Various Appliances Patented in Germany for this purpose since
1885. By ALBERT PUTSCH. 130 pp. Demy 8vo. 1901. Translated
from the German. With 103 Illustrations. Price 7s. 6d. ; India and
Colonies, 8s. ; Other Countries, 8s. 6d. ; strictly net.

Contents.

Generators — Generators Employing Steam — Stirring and Feed Regulating Appliances —
Direct Generators — Burners — Regenerators and Recuperators — Glass Smelting Furnaces —
Metallurgical Furnaces — Pottery Furnace — Coal Dust Firing — Index.

THE HARDENING AND TEMPERING OP STEEL
IN THEORY AND PRACTICE. By FRIDOLIN REISER.
Translated from the German of the Third Edition. Crown 8vo.
120 pp. 1903. Price 5s. ; India and British Colonies, 5s. 6d. ; Other
Countries, 6s. ; strictly net.

Contents.

Steel— Chemical and Physical Properties of Steel, and their Casual Connection-
Classification of Steel according to Use— Testing- the Quality of Steel — Steel»
Hardening— Investigation of the Causes of Failure in Hardening— Regeneration of
Steel Spoilt in the Furnace— Welding Steel— Index.

SIDEROLOGY: THE SCIENCE OP IRON (The Con-
stitution of Iron Alloys and Slags). Translated from German of
HANNS FREIHERR v. JUPTNER. 350 pp. Demy 8vo. Eleven Plates
and Ten Illustrations. 1902. Price 10s. 6d. ; India and Colonies, 11s. ;
Other Countries, 12s. ; net.

Contents.

The Theory of Solution. — Solutions — Molten Alloys — Varieties of Solutions — Osmotic
Pressure — Relation between Osmotic Pressure and other Properties of Solutions — Osmotic
Pressure and Molecular Weight of the Dissolved Substance — Solutions of Gases — Solid Solu-
tions— Solubility — Diffusion — Electrical Conductivity — Constitution of Electrolytes and Metals
— Thermal Expansion. Micrography. — Microstructure — The Micrographic Constituents of
Iron— Relation between Micrographical Composition, Carbon-Content, and Thermal Treat-
ment of Iron Alloys — The Microstructure of Slags. Chemical Composition of the Alloys
of Iron. — Constituents of Iron Alloys — Carbon — Constituents of the Iron Alloys, Carbon —
Opinions and Researches on Combined Carbon — Opinions and Researches on Combined
Carbon — Applying the Curves of Solution deduced from the Curves of Recalescence to the De-
termination of the Chemical Composition of the Carbon present in Iron Alloys — The Constitu-
ents of Iron — Iron — The Constituents of Iron Alloys — Manganese — Remaining Constituents of
Iron Alloys— A Silicon— Gases. The Chemical Composition of Slag.— Silicate Slags-
Calculating the Composition of Silicate Slags— Phosphate Slags— Oxide Slags— Appendix-
Index.

EVAPORATING, CONDENSING AND COOLING AP-
PARATUS. Explanations, Formulas and Tables for Use
in Practice. By E. HAUSBRAND, Engineer. Translated by A. C.
WRIGHT, M.A. (Oxon.), B.Sc. (Lond.). With Twenty-one Illustra-
tions and Seventy-six Tables. 400 pp. Demy 8vo. 1903. Price
10s. 6d. ; India and Colonies, 11s.; Other Countries, 12s.; net.
Contents.

^Coefficient of Transmission of Heat, k/, and the Mean Temperature Difference, 0/m —
Parallel and Opposite Currents — Apparatus~or Heating with Direct Fire — The Injection of
Saturated Steam — Superheated Steam — Evaporation by Means of Hot Liquids — The Trans-
ference of Heat in General, and Transference by means of Saturated Steam in Particular
—The Transference of Heat from Saturated Steam in Pipes (Coils) and Double Bottoms
— Evaporation in a Vacuum — The Multiple-effect Evaporator — Multiple-effect Evaporators
from which Extra Steam is Taken — The Weight of Water which must be Evaporated from
100 Kilos, of Liquor in order its Original Percentage of Dry Materials from 1-25 per cent,
up to 20-70 per cent. — The Relative Proportion of the Heating Surfaces in the Elements
of the Multiple Evaporator and their Actual Dimensions — The Pressure Exerted by Currents
of Steam and Gas upon Floating Drops of Water — The Motion of Floating Drops of Water
upon which Press Currents of Steam — The Splashing of Evaporating Liquids — The Diameter
of Pipes for Steam, Alcohol, Vapour and Air — The Diameter of Water Pipes — The Loss
of Heat from Apparatus and Pipes to the Surrounding' Air, and Means for Preventing,
the Loss — Condensers — Heating Liquids by Means of Steam — The Cooling of Liquids—
The Volumes to be Exhausted from Condensers by the Air-pumps — A Few Remarks on Air-
pumps and the Vacua they Produce — The Volumetric Efficiency of Air-pumps — The Volumes
of Air which must be Exhausted from a Vessel in order to Reduce its Original Pressure to a
Certain Lower Pressure — Index.

Plumbing, Decorating, Metal
Work, etc., etc.

EXTERNAL PLUMBING WORK. A Treatise on Lead
Work for Roofs. By JOHN W. HART, R.P.C. 180 Illustrations. 272
pp. Demy 8vo. Second Edition Revised. 1902. Price 7s. 6d. ; India
and Colonies, 8s. ; Other Countries, 8s. 6d. ; strictly net.
Contents.

Cast Sheet Lead— Milled Sheet Lead— Roof Cesspools— Socket Pipes— Drips— Gutters-
Gutters (continued) — Breaks — Circular Breaks — Flats — Flats (continued) — Rolls on Flats —
Roll Ends — Roll Intersections — Seam Rolls — Seam Rolls (continued) — Tack Fixings— Step
Flashings — Step Flashings (continued) — Secret Gutters — Soakers — Hip and Valley Soakers-
— Dormer Windows — Dormer Windows (continued) — Dormer Tops — Internal Dormers —
Skylights — Hips and Ridging — Hips and Ridging (continued) — Fixings for Hips and Ridging
— Ornamental Ridging — Ornamental Curb Rolls — Curb Rolls — Cornices — Towers and Finials
— Towers and Finials (continued) — Towers and Finials (continued) — Domes — Domes (continued)
— Ornamental Lead Work — Rain Water Heads — Rain Water Heads (continued) — Rain Water
Heads (continued).

HINTS TO PLUMBERS ON JOINT WIPING, PIPE
BENDING AND LEAD BURNING. Third Edition,
Revised and Corrected. By JOHN W. HART, R.P.C. 184 Illustrations.
313 pp. Demy 8vo. 1901. Price 7s. 6d. ; India and Colonies, 8s.;
Other Countries, 8s. 6d. ; strictly net.
Contents.

Pipe Bending — Pipe Bending (continued) — Pipe Bending (continued) — Square Pipe
Bendings — Half-circular Elbows — Curved Bends on Square Pipe — Bossed Bends — Curved
Plinth Bends — Rain-water Shoes on Square Pipe — Curved and Angle Bends — Square Pipe
Fixings — Joint-wiping — Substitutes for Wiped Joints — Preparing Wiped Joints— Joint Fixings
— Plumbing Irons — Joint Fixings — Use of "Touch" in Soldering — Underhand Joints — Blown
and Copper Bit Joints — Branch Joints— Branch Joints (continued) — Block Joints — Block
Joints (continued)— Block Fixings— Astragal Joints— Pipe Fixings— Large Branch Joints-
Large Underhand Joints — Solders — Autogenous Soldering or Lead Burning — Index.

WORKSHOP WRINKLES for Decorators, Painters, Paper-
hangers and Others. By W. N. BROWN. Crown 8vo. 128 pp. 1901.
Price 2s. 6d. ; Abroad, 3s. ; strictly net.

SANITARY PLUMBING AND DRAINAGE. By JOHN.
W. HART. Demy 8vo. With 208 Illustrations. 250 pp. 1904. Price'
7s. 6d. ; India and Colonies, 8s. ; Other Countries, 8s. 6d. ; strictly net.
Contents.

Sanitary Surveys— Drain Testing— Drain Testing with Smoke— Testing Drains with Water
— Drain Plugs for Testing — Sanitary Defects — Closets — Baths and Lavatories — House Drains
— Manholes — Iron Soil Pipes — Lead Soil Pipes — Ventilating Pipes — Water-closets — Flushing
Cisterns — Baths — Bath Fittings — Lavatories — Lavatory Fittings — Sinks — Waste Pipes —
Water Supply — Ball Valves — Town House Sanitary Arrangements — Drainage — Jointing
Pipes — Accessible Drains — Iron Drains — Iron Junctions — Index.

THE PRINCIPLES AND PRACTICE OP DIPPING,
BURNISHING, LACQUERING AND BRONZING
BRASS WARE. By W. NORMAN BROWN. 35 pp. Crown
8vo. 1900. Price 2s. ; Abroad, 2s. 6d. ; strictly net.

HOUSE DECORATING AND PAINTING. By W.

NORMAN BROWN. Eighty-eight Illustrations. 150 pp. Crown 8vo.

1900. Price 3s. 6d. ; India and Colonies, 4s. ; Other Countries, 4s. 6d. ;
strictly net.

A HISTORY OF DECORATIVE ART. By W. NORMAN
BROWN. Thirty-nine Illustrations. 96 pp. Crown 8vo. 1900. Price
2s. 6d. ; Abroad, 3s. ; strictly net.

A HANDBOOK ON JAPANNING AND ENAMELLING
FOR CYCLES, BEDSTEADS, TINWARE, ETC. By

WILLIAM NORMAN BROWN. 52 pp. and Illustrations. Crown 8vo.

1901. Price 2s. ; Abroad, 2s. 6d. ; net.

THE PRINCIPLES OF HOT WATER SUPPLY. By

JOHN W. HART, R.P.C. With 129 Illustrations. 1900. 177 pp., demy
8vo. Price 7s. 6d. ; India and Colonies, 8s. ; Other Countries, 8s. 6d. ;
strictly net.

Contents.

Water Circulation— The Tank System— Pipes and Joints— The Cylinder System— Boilers
for the Cylinder System— The Cylinder System— The Combined Tank and Cylinder System
— Combined Independent and Kitchen Boiler — Combined Cylinder and Tank System with
Duplicate Boilers — Indirect Heating and Boiler Explosions — Pipe Boilers — Safety Valves —
Safety Valvep—The American System — Heating Water by Steam — Steam Kettles and Jets
— Heating Power of Steam — Covering for Hot Water Pipes — Index.

Brewing and Botanical.

HOPS IN THEIR BOTANICAL, AGRICULTURAL
AND TECHNICAL ASPECT, AND AS AN ARTICLE
OF COMMERCE. By EMMANUEL GROSS, Professor at
the Higher Agricultural College, Tetschen-Liebwerd. Translated
from the German. Seventy-eight Illustrations. 1900. 340 pp. Demy
8vo. Price 12s. 6d. ; India and Colonies, 13s, 6d. ; Other Countries,
15s. ; strictly net.

Contents.

HISTORY OF THE HOP— THE HOP PLANT— Introductory— The Roots-The Stem—
and Leaves — Inflorescence and Flower : Inflorescence and Flower of the Male Hop ; In-
florescence and Flower of the Female Hop — The Fruit and its Glandular Structure : The
Fruit and Seed— Propagation and Selection of the Hop— Varieties of the Hop: (a) Red Hops ;
(b) Green Hops ; (c) Pale Green Hops — Classification according to the Period of Ripening :
Early August Hops; Medium Early Hops; Late Hops— Injuries to Growth— Leaves Turning
Yellow, Summer or Sunbrand, Cones Dropping Off, Honey Dew, Damage from Wind, Hail

;and Rain ; Vegetable Enemies of the Hop: Animal Enemies of the Hop — Beneficial Insects on
Hops— CULTIVATION— The Requirements of the Hop in Respect of Climate, Soil and
Situation : Climate : Soil ; Situation — Selection of Variety and Cuttings — Planting a Hop
Garden: Drainage; Preparing the Ground; Marking-out for Planting ; Planting; Cultivation
and Cropping of the Hop Garden in the First Year — Work to be Performed Annually in the
Hop Garden : Working the Ground ; Cutting ; The Non-cutting System ; The Proper Per-
formance of the Operation of Cutting: Method of Cutting: Close Cutting, Ordinary Cutting,
The Long Cut, The Topping Cut; Proper Season for Cutting: Autumn Cutting, Spring
•Cutting; Manuring; Training the Hop Plant: Poled Gardens, Frame Training; Principal
Types of Frames ; Pruning, Cropping, Topping, and Leaf Stripping the Hop Plant ; Picking,
Drying and Bagging — Principal and Subsidiary Utilisation of Hops and Hop Gardens — Life
of a Hop Garden ; Subsequent Cropping — Cost of Production, Yield and Selling Prices.

Preservation and Storage — Physical and Chemical Structure of the Hop Cone — Judging
•Ahe Value of Hops.

Statistics of Production— The Hop Trade— Index.

Timber and Wood Waste.

TIMBER : A Comprehensive Study of Wood in all its Aspects
(Commercial and Botanical), showing the Different Applications and
Uses of Timber in Various Trades, etc. Translated from the French
of PAUL CHARPENTIER. Royal 8vo. 437 pp. 178 Illustrations. 1902.
Price 12s. 6d. ; India and Colonies, 13s. 6d. ; Other Countries, 15s.;
net.

Contents.

Physical and Chemical Properties of Timber— Composition of the Vegetable Bodies
— Chief Elements — M. Fremy's Researches — Elementary Organs of Plants and especially of
Forests — Different Parts of Wood Anatomically and Chemically Considered — General Pro-
perties of Wood— Description of the Different Kinds of Wood— Principal Essences with
Caducous Leaves— Coniferous Resinous Trees— Division of the Useful Varieties of Timber
in the Different Countries of the Globe— European Timber— African Timber— Asiatic
Timber — American Timber — Timber of Oceania — Forests — General Notes as to Forests ; their
Influence — Opinions as to Sylviculture — Improvement of Forests — Unwooding and Rewooding
— Preservation of Forests — Exploitation of Forests — Damage caused to Forests — Different
Alterations— The Preservation of Timber— Generalities— Causes and Progress of De-
terioration— History of Different Proposed Processes — Dessication — Superficial Carbonisation
•of Timber — Processes by Immersion — Generalities as to Antiseptics Employed — Injection
Processes in Closed Vessels—The Boucherie System, Based upon the Displacement of the
Sap— Processes for Making Timber Uninflammable— Applications of Timber— Generalities
—Working Timber— Paving— Timber for Mines— Railway Traverses— Accessory Products—
•Gums — Works of M. Fremy — Resins — Barks — Tan — Application of Cork — The Application of
Wood to Art and Dyeing— Different Applications of Wood— Hard Wood— Distillation of
Wood— Pyroligneous Acid— Oil of Wood— Distillation of Resins— Index.

THE UTILISATION OF WOOD WASTE. Translated from
the German of ERNST HUBBARD. Crown 8vo. 192 pp. 1902. Fifty
Illustrations. Price 5s. ; India and Colonies, 5s. 6d. ; Other Countries,
6s.; net.

Contents.

General Remarks on the Utilisation of Sawdust— Employment of Sawdust as Fuel,
-with and without Simultaneous Recovery of Charcoal and the Products of Distillation —
Manufacture of Oxalic Acid from Sawdust— Process with Soda Lye; Thorn's Process;
Bohlig's Process — Manufacture of Spirit (Ethyl Alcohol) from Wood Waste — Patent Dyes
(Organic Sulphides, Sulphur Dyes, or Mercapto Dyes)— Artificial Wood and Plastic Com-
positions from Sawdust — Production of Artificial Wood Compositions for Moulded De-
corations— Employment of Sawdust for Blasting Powders and Gunpowders — Employment
of Sawdust for Briquettes— Employment of Sawdust in the Ceramic Industry and as an
Addition to Mortar — Manufacture of Paper Pulp from Wood — Casks — Various Applications
of Sawdust and Wood Refuse — Calcium Carbide — Manure — Wood Mosaic Plaques — Bottle
Stoppers— Parquetry— Fire-lighters— Carborundum— The Production of Wood Wool— Bark-
Index.

Building and Architecture.

THE PREVENTION OF DAMPNESS IN BUILDINGS ;

with Remarks on the Causes, Nature and Effects of Saline, Efflores-
cences and Dry-rot, for Architects, Builders, Overseers, Plasterers,
Painters and House Owners. By ADOLF WILHELM KEIM. Translated
from the German of the second revised Edition by M. J. SALTER, F.I.C.,
F.C.S. Eight Coloured Plates and Thirteen Illustrations. Crown 8vo.
115 pp. 1902. Price 5s. ; India and Colonies, 5s. 6d. ; Other Countries,
6s.; net.

Contents.

The Various Causes of Dampness and Decay of the Masonry of Buildings, and the
Structural and Hygienic Evils of the Same — Precautionary Measures during Building against
Dampness and Efflorescence — Methods of Remedying Dampness and Efflorescences in the
Walls of Old Buildings— The Artificial Drying of New Houses, as well as Old Damp Dwellings,
and the Theory of the Hardening of Mortar — New, Certain and Permanently Efficient
Methods for Drying Old Damp Walls and Dwellings — The Cause and Origin of Dry-rot : its
Injurious Effect on Health, its Destructive Action on Buildings, and its Successful Repres-
sion— Methods of Preventing Dry-rot to be Adopted During Construction — Old Methods
of Preventing Dry-rot — Recent and More Efficient Remedies for Dry-rot — Index.

HANDBOOK OF TECHNICAL TERMS USED IN ARCHI-
TECTURE AND BUILDING, AND THEIR ALLIED
TRADES AND SUBJECTS. By AUGUSTINE C. PASSMORE.
Demy 8vo. 380 pp. 1904. Price 7s. 6d. ; India and Colonies, 8s. ;
Other Countries, 8s. 6d. ; strictly net.

Foods and Sweetmeats.

THE MANUFACTURE OF PRESERVED FOODS AND
SWEETMEATS. By A. HAUSNER. With Twenty-eight
Illustrations. Translated from the German of the third enlarged
Edition. Crown 8vo. 225 pp. 1902. Price 7s. 6d. ; India and
Colonies, 8s. ; Other Countries, 8s. 6d. ; net.

Contents.

The Manufacture of Conserves — Introduction — The Causes of,the Putrefaction of Food
— The Chemical Composition of Foods — The Products of Decomposition — The Causes of Fer-
mentation and Putrefaction — Preservative Bodies — The Various Methods of Preserving Food
— The Preservation of Animal Food — Preserving Meat by Means of Ice — The Preservation
of Meat by Charcoal — Preservation of Meat by Drying — The Preservation of Meat by the
Exclusion of Air — The Appert Method — Preserving Flesh by Smoking — Quick Smoking — Pre-
serving Meat with Salt — Quick Salting by Air Pressure — Quick Salting by Liquid Pressure —
Gamgee's Method of Preserving Meat — The Preservation of Eggs — Preservation of White
and Yolk of Egg — Milk Preservation — Condensed Milk — The Preservation of Fat — Manu-
facture of Soup Tablets— Meat Biscuits— Extract of Beef— The Preservation of Vegetable
Foods in General — Compressing Vegetables — Preservation of Vegetables by Appert's Method
•—The Preservation of Fruit — Preservation of Fruit by Storage — The Preservation of Fruit
by Drying— Drying Fruit by Artificial Heat— Roasting Fruit— The Preservation of Fruit with
Sugar — Boiled Preserved Fruit — The Preservation of Fruit in Spirit, Acetic Acid or Glycerine
>— Preservation of Fruit without Boiling — Jam Manufacture — The Manufacture of Fruit
Jellies — The Making of Gelatine Jellies — The Manufacture of " Sulzen " — The Preservation of
Fermented Beverages— The Manufacture of Candies— Introduction— The Manufacture of
Candied Fruit — The Manufacture of Boiled Sugar and Caramel — The Candying of Fruit —
Caramelised Fruit — The Manufacture of Sugar Sticks, or Barley Sugar — Bonbon Making —
Fruit- Drops — The Manufacture of Dragees — The Machinery and Appliances used in Candy
Manufacture — Dyeing Candies and Bonbons — Essential Oils used in Candy Making — Fruit
Essences — The Manufacture of Filled Bonbons, Liqueur Bonbons and Stamped Lozenges —
Recipes for Jams and Jellies — Recipes for Bonbon Making — Drageea — Appendix — Index.

Dyeing Fancy Goods.

THE ART OF DYEING AND STAINING MARBLE,
ARTIFICIAL STONE, BONE, HORN, IVORY AND
WOOD, AND OF IMITATING ALL SORTS OF
WOOD. A Practical Handbook for the Use of Joiners,
Turners, Manufacturers of Fancy Goods, Stick and Umbrella Makers,
Comb Makers, etc. Translated from the German of D. H. SOXHLET,
Technical Chemist. Crown 8vo. 168 pp. 1902. Price 5s. ; India and
Colonies, 5s. 6d. ; Other Countries, 6s. ; net.
Contents.

Mordants and Stains — Natural Dyes — Artificial Pigments — Coal Tar Dyes — Staining
Marble and Artificial Stone — Dyeing, Bleaching and Imitation of Bone, Horn and Ivory —
Imitation of Tortoiseshell for Combs : Yellows, Dyeing Nuts — Jvory — Wood Dyeing — Imitation
•of Mahogany : Dark Walnut, Oak, Birch-Bark, Elder-Marquetry, Walnut, Walnut-Marquetry,
Mahogany, Spanish Mahogany, Palisander and Rose Wood, Tortoiseshell, Oak, Ebony, Pear
Tree — Black Dyeing Processes with Penetrating Colours — Varnishes and Polishes: English
Furniture Polish, Vienna Furniture Polish, Amber Varnish, Copal Varnish, Composition for
Preserving Furniture — Index.

Lithography, Printing and
Engraving.

PRACTICAL LITHOGRAPHY. By ALFRED SEYMOUR.
Demy 8vo. With Frontispiece and 33 Illus. 120 pp. 1903. Price
5s. ; Colonies, 5s. 6d. ; Other Countries, 6s. ; net.
Contents.

Stones — Transfer Inks — Transfer Papers — Transfer Printing — Litho Press — Press Work —
Machine Printing — Colour Printing — Substitutes for Lithographic Stones — Tin Plate Printing
and Decoration — Photo-Lithography.

PRINTERS' AND STATIONERS' READY RECKONER
AND COMPENDIUM. Compiled by VICTOR GRAHAM.
Crown 8vo. 112 pp. 1904. Price 3s. 6d. ; India and Colonies, 4s.;
Other Countries, 4s. 6d. ; strictly net, post free.
Contents.

Price of Paper per Sheet, Quire, Ream and Lb.— Cost of 100 to 1000 Sheets at various
Sizes and Prices per Ream — Cost of Cards — Quantity Table — Sizes and Weights of Paper,
Cards, etc. — Notes on Account Books — Discount Tables — Sizes of spaces — Leads to a Ib. —
Dictionary — Measure for Bookwork — Correcting Proofs, etc.

ENGRAVING FOR ILLUSTRATION. HISTORICAL
AND PRACTICAL NOTES. By J. KIRKBRIDE. 72 pp.
Two Plates and 6 Illustrations. Crown 8vo. 1903. Price 2s. 6d. ;
Abroad, 3s. ; strictly net.

Contents.

Its Inception — Wood Engraving — Metal Engraving — Engraving in England — Etching —
Mezzotint — Photo-Process Engraving — The Engraver's Task — Appreciative Criticism —
fndex.

Bookbinding.

PRACTICAL BOOKBINDING. By PAUL ADAM. Translated
from the German. Crown 8vo. 180pp. 127 Illustrations. 1903. Price
5s. ; Colonies, 5s. 6d. ; Other Countries, 6s. ; net.
Contents.

Decc

Cutting, Rounding

Boarding— Preparing the Cover— Work with the Blocking Press— Treatment of Sewn Books,

Fastening in Covers, and Finishing Off — Handtooling and Other Decoration — Account Books

— School Books, Mounting Maps, Drawings, etc.— Index.

Sugar Refining.

THE TECHNOLOGY OF SUGAR: Practical Treatise on
the Modern Methods of Manufacture of Sugar from the Sugar Cane and
Sugar Beet. By JOHN GEDDES MC!NTOSH. Demy 8vo. 83 Illus-
trations. 420pp. Seventy-six Tables. 1903. Price 10s. 6d. ; Colonies,
11s. ; Other Countries, 12s. ; net.

(See " Evaporating, Condensing, etc., Apparatus," p. 27.)
Contents.

Chemistry of Sucrose, Lactose, Maltose, Glucose, Invert Sugar, etc. — Purchase and
Analysis of Beets — Treatment of Beets — Diffusion — Filtration — Concentration — Evaporation —
Sugar Cane : Cultivation — Milling — Diffusion — Sugar Refining — Analysis of Raw Sugars —
Chemistry of Molasses, etc.

Bibliography.

CLASSIFIED GUIDE TO TECHNICAL AND COM-
MERCIAL BOOKS. Compiled by EDGAR GREENWOOD.
Demy 8vo. 224 pp. 1904. Being a Subject-list of the Principal
British and American Books in print ; giving Title, Author, Size, Date,
Publisher and Price. Price 7s. 6d. ; India and Colonies, 8s. ; Other
Countries, 8s. 6d. ; strictly net, post free.
Contents.

1. Agriculture and Farming— Agricultural Chemistry— Bee-keeping— Cattle, Pigs, Sheep-
— Dairy and Dairy Work — Feeding Animals — Forestry — Fruit Growing — Irrigation — Manures
—Poultry Farming. 2. Air, Aerial Navigation. 3. Architecture and Building. 4. Art
— Lettering — Modelling — Ornament — Painting — Perspective. 5. Arts and Crafts, Amateur
Work. 6. Auction Sales. 7. Banking. 8. Book and Newspaper Production, Paper-
making, Printing — Bookbinding — Bookselling — Copyright — Journalism — Lithography —
Paper-making— Printing, Typography— Process Work— Stationery. 9. Brewing and Dis-
tilling. 10. Cabinet-making. 11. Calculators, Ready Reckoners, Discount Tables.
12. Carpentry and Joinery. 13. Chemicals, Chemistry. 14. Coachbuilding. 15.
Commerce, Business. 16. Dams, Docks, Harbours. 17. Dogs. 18. Domestic Eco-
nomy— Cookery — Dressmaking — Laundry— Millinery. 19. Electricity — Alternating Currents
—Dynamos— Electric Heating— Electric Lighting— Electric Traction— Telegraphy— Tele-
phones— Wireless Telegraphy. 20. Elocution, Voice Production. 21. Engineering and
Metal Work— Architectural Engineering— Blacksmithing— Boilers— Bridges— Civil Engineer-
ing—Fuel, Smoke— Galvanising, Tinning — Gas, Oil and Air Engines — Hardware — Hydraulic
Engineering— Indicators— Injectors — Iron and Steel — Ironfounding— Lathes, Tools— Loco-
motives— Machine Construction and Design -Marine Engineering— Mechanical Engineering —
Metal Work-^Pattern Making — Pipes — Power Transmission— Pumps — Refrigeration — Saw
Filing— Screw Cutting— Steam Engine— Strains and Stresses— Turbines. 22. Factories and
Workshops. 23. Financial — Investments — Stockbroking. 24. Foods and Beverages —
Adulteration and Analysis — Bread — Cakes — Fish — Flour, Grain— Food and Drug Acts— Tea.
25. Foreign Exchange Tables, Metric System. 26. Foreign Languages. 27. Gardening,
Flowers. 28. Gas— Acetylene— Gas Fitting— Gas Lighting and Supply. 29. Glass. 30.
Glues, Inks, Pastes. 31. Horses. 32. Hospitals, Nursing. 33. House Decoration.
34. Hygiene, Public Health— Bacteriology— Hygiene— Public Health— Sanitary Inspection
—Sewage and Sewerage. 35. India-Rubber. 36. Insurance. 37. Jewellery, Silver and
Goldsmith's Work. 38. Land, Property. 39. Leather Trades. 40. Legal— Arbitration
— Bankruptcy Law— Commercial Law — Contract Law — Solicitors — Stamp Duties — Trustee
Law— Wills. 41. Metallurgy. 42. Military. 43. Mining, Quarrying. 44. Motor Cars
and Cycles. 45. Music. 16. Nautical, Navigation. 46a. Navy. 47. Oils, Fats. 48.
Optical, Microscopy, Instruments. 49. Paints, Colours, Varnishes. 50. Patents,
Trade Marks. 51. Photography. 52. Physics. 53. Physical Training. 54. Plumbing,
Heating, Ventilation. 55. Pottery, China, Bricks. 56. Public Meetings, Elections,
Taxes. 57. Railways and Tramways— Construction of Railways— Carriage and Wagon
Building— Law of Railways— Light Railways— Management. 58. Rivers, Canals. £9. Roads,
Highways. 60. Shopkeeping, Ticket Writing. 61. Shorthand, Typewriting. 62.
Soaps, Candles. 63. Building, Co-operative and Friendly Societies. 64. Surveying.
65. Teaching, Education. 66. Telegraph Codes. 67. Textile Trades. 68. Timber.
69. Veterinary. 70. Watches, Clocks. 71. Water. Subject Index.

SCOTT, GREENWOOD & Co. will forward these Books, post free, upon
receipt of remittance at the published price, or they can be obtained through
all Booksellers.

Full List of Contents of any of the books will be sent on application.

SCOTT, GREENWOOD & CO.,

ZTecbnical Boofe publisbers,

19 LUDGATE HILL, LONDON, E.G.

UNIVERSITY OF CALIFORNIA LIBRARY
BERKELEY

Return to desk from which borrowed.
This book is DUE on the last date stamped below.

FEB

APR1 6 195f

REC'D L.D

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APRS 1977

57
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