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A 

MANUAL 

FOR 

MANAGERS,  DESIGNERS,  WEHYERS, 

AND 

ALL  OTHERS  CONNECTED  WITH  THE  MANUFACTURE 
OF  TEXTILE  FABRICS, 

CONTAINING  , 

DEFINITIONS,  DERIVATIONS  I  EXFLUNJITIONS 

OF  TECHNICAL  TERMS, 

THE  USE  MADE  OF-MMY  SUBSTANCES  ; 

Rules,  Tables,  and  some  Elementary  Instructions 
for  Beginners. 

by 
ALFRED    SPITZLI. 


WEST  TROY,  N.  Y.,  U.  S.  A.  : 

A.   &   A.   F.   SPITZLI,   PUBLISHERS. 


/ 

,0)     <\ 


AJso 


Entered  according  to  Act  of  Congress,  in  the  year  1881,  by 

ALFRED     and     ADOLPHUS     FERDINAND     SPITZLI, 

In  the  Office  of  the  Librarian  of  Congress,  Washington,  D.  C. 


Wm.  H.  Young, 

STATIONER,   TROY,    N.  Y. 


/    I  u  -> 


ERRATA. 

Second  word,  fourth  line,  page  fourteen,  read  "weaving"  instead 
of  ''  wearing." 

Second  line,  page  166,  read — 

9,  *  and  ©  for  raisers,  □  and  O  for  sinkers. 


NOTE 


The  plan  of  this  work  necessarily  involves  the  mention  of 
many  business  names,  but  its  whole  value  obviously  depends  upon 
the  entirely  disinterested  character  of  that  mention.  The  publish- 
ers therefore  wish  it  to  be  distinctly  understood  that  no  considera- 
tion of  any  kind  has  governed  the  description  or  notice  of  places 
of  business  of  manufacturers  in  this  work,  except  the  single  purpose 
of  giving  the  reader  trustworthy  information.  Advertisements  ap- 
pear in  their  proper  place  as  advertisements,  but  nothing  in  the 
body  of  the  work  has  been  influenced  by  these  advertisements,  nor 
is  a  mention  in  any  instance  an  advertisement  in  disguise. 


PREFACE. 


One  of  the  greatest  needs  of  the  Textile  Interest  in  the  line  of 
books  is  that  of  a  thorough  and  exhaustive  Lexicon,  which  is  not 
encumbered  with  details  of  other  manufactures.  The  preparation 
of  such  a  work  is  a  stupendous  undertaking,  one  for  which  a  life- 
time is  too  short,  unless  it  can  be  accomplished  by  aid  of  many 
works  which  have  gone  before. 

To  supply  a  work  which  will  render  some  such  aid,  and  in  the 
meantime  furnish  information  needed  by  all  connected  with  the 
interest,  in  a  form  so  convenient  that  it  may  be  resorted  to  whenever 
the  memory  fails  to  supply  a  fact  with  sufficient  promptness,  is  the 
object  of  the  author. 

There  has  been  no  effort  to  introduce  new  theories;  on  the  con- 
trary, the  aim  has  rather  been  to  furnish  the  best  authenticated  facts. 
While  the  result  is  in  many  parts  so  unsatisfactory  that  the  author 
hopes  to  be  able  at  some  time  in  the  near  future  to  revise  and 
enlarge  the  work,  it  will  be  found  that  space  has  been  made  for  a 
more  full  discussion  of  the  important  subjects,  by  confining  others  to 
a  simple  definition,  or  at  most  a  few  additional  suggestions.  Time 
being  of  great  value,  the  space  taken  for  rules  and  tables  will  be 
appreciated.  The  rules  given  are  all  such  as  can  be  easily  analyzed, 
since  shorter  ways  may  be  adopted  more  understandingly  when 
these  are  well  comprehended  and  committed  to  memory. 

The  tables  will  save  many  computations  and  prove  invaluable  for 
comparisons  of  measures,  weights  and  values,  which  are  continually 
arising  in  a  factory. 

Finally,  feeling  that  he  has  not  been  at  liberty  to  devote  to  this 
work  the  time  which  it  really  requires,  the  author  respectfully  sub- 
mits the  result  of  his  labors  to  the  most  charitable  consideration  of 
his  fellow-craftsmen,  with  the  firm  belief  that  it  will  be  of  much 
service  to  them,  notwithstanding  that  it  might  be  more  complete. 

ALFRED  SPITZLI. 


INTRODUCTION 


In  publishing  another  book  for  the  benefit  of  the  textile  interest, 
the  object  is  not  based  upon  the  vain  hope  to  displace  others,  or  to 
produce  one  which  will  in  any  way  injure  any  work  which  has  gone 
before.  Quite  the  contrary  is  the  case  with  this  work,  intended  as 
it  is  to  show  the  use  of  every  book  mentioned  in  it,  rather  than  to 
deter  any  one  from  the  purchase  of  any  or  all  of  them.  Three 
principles  have  governed  the  compilation  of  this  work  : 

First.  Every  book  written  with  a  good  intent  and  purpose  will 
do  some  good. 

Second.  In  this  age  of  progress  it  is  no  longer  possible  to  keep 
apace  with  the  world  without  much  reading  for  the  purpose  of  acquir- 
ing the  benefit  of  other's  experience,  theories  and  opinions.  There- 
fore, while  it  is  folly  to  place  sole  dependence  upon  book  know- 
ledge, it  is  ridiculous  to  claim  ability  to  do  as  well  without  books 
as  with  them.  The  interchange  of  knowledge  through  books, 
periodicals  and  newspapers  being  a  necessity,  the  more  that  can  be 
supported  the  better. 

Third.  A  book  of  this  kind,  to  be  really  useful  to  beginners  and 
experts,  should  be  brief,  filled  with  authenticated  facts,  convenient 
in  size  and  arrangement,  and  of  such  a  character  that  it  will  injure 
no  one's  standing  to  claim  or  acknowledge  constant  use  of  it  as  a 
reference. 

The  first  and  second  principles  require  no  comment ;  in  behalf 
of  the  third,  it  is  quite  proper  to  call  attention  to  the  facts  that  a 
book  written  for  the  beginner  and  expert  must  contain  much  which 
for  a  time  will  be  beyond  the  beginner,  and  more  which  is  so  familiar 
to  the  more  advanced  that  they  can  hardly  comprehend  why  such 
"  stuff "  should  be  published.  To  the  former  we  can  recommend 
nothing  better  than  patience,  perseverance  and  a  determination  to 
surmount  every  obstacle  ;  to  the  latter,  patience  and  charity  ;  with 
the  gentle  hint  that  every  man  has  in  his  time  been  brought  up 
solid  by  snags  that  afterwards  proved  but  a  trivial  affair ;  that  what 
is  easy  to  one  is  difficult  for  another;  to  serve  many,  the  one  who 
serves,  must  depend  upon  the  served,  to  bear  shortcomings  for 
each  other.  As  regards  the  convenience  of  this  work,  the  size  and 
alphabetical  arrangement  of  the  subject  matter  is   such  as  to  com- 


IO  SPITZLI'S  MANUAL. 

mend  itself.  The  character  of  the  book,  while  it  gives  elementary 
instructions,  is  not  that  of  a  primer,  but  rather  of  a  compilation. 

The  principal  contributors  to  the  work  are  practical  men,  and  the 
author  would  have  been  better  pleased  had  each  consented  to  the 
publication  of  his  name,  instead  of  honoring  him  with  the  result  of 
their  labors.  The  authors  quoted  and  consulted  are  those  of  the 
best  and  deserved  reputation.  The  books  from  which  abstracts  have 
been  taken  are  "  Ashenhurst's  Arithmetic,"  Ashenhurst,  Ashton, 
Baldwin,  Barlow,  Burns,  Gesner,  Johnson,  Langewald,  Murphy  and 
others  on  Designing  and  Weaving  ;  Chevreul  on  Colors  ;  Crooks, 
Dick,  Napier,  Gibson,  Smith  and  others  on  Dyes  and  Dyeing  ;  Baird, 
Leigh  and  Webb  on  Cotton  Yarn  Warping,  &c,  &c. ;  Holdsworth, 
Leroux  and  others  on  Worsted,  Silk,  &c,  &c. ;  Ure's  Dictionary, 
several  Standard  Encyclopedias  and  general  Lexicons  have  been 
depended  upon  for  much  more  general  matter  pertaining  to  textile 
manufactures. 

The  book  which  has  been  thus  briefly  introduced  to  the  reader  is 
not  a  single  man's  opinion  but  a  collection  of  facts  which  should  be 
of  some  service  to  any  and  all.  Confidently  believing  such  to  be  the 
case  it  is  respectfully  submitted,  with  grateful  acknowledgement  of 
the  great  and  unexpected  encouragement  already  received  by  the 

PUBLISHERS.  ' 


THE  MANUFACTURE  OF  TEXTILE  FABRICS. 


Whenever  or  however  the  conception  of  a  fabric  may  have 
originated,  a  definite  idea  of  kind,  character  and  appearance  is  the 
first  formal  stage  in  the  progress  of  manufacture,  which  will  serve 
as  a  starting  point  for  a  general  discussion  of  this  subject.  From 
here  out  the  next  step  is  like  that  of  the  origination  of  an  architec- 
tural piece  of  work,  viz.:  to  produce  working  plans  which  shall  in- 
clude all  the  specifications  of  materials  required,  the  preparations 
thereof,  their  construction,  and  finally  the  finishing  process.  Such 
plans  are  called  designs,  and  one  who  is  competent  to  produce 
them,  and  only  such  an  one,  can  rightly  be  called  a  designer. 

No  man  can  claim  a  full  and  comprehensive  knowledge  of  all 
branches  of  textile  manufactures ;  consequently  the  best  work  is 
produced  by  those  who  devote  their  energies  to  one  branch  only  ; 
these  receive  the  additional  appellation  of  their  respective  branches, 
as  carpet,  tapestry,  silk,  woolen,  worsted,  cotton,  print,  or  emboss- 
ing designers.  Whether  the  designer  of  a  fabric  is  entrusted  with 
other  duties,  or  not,  he  should  be  able  to  produce  the  designs  of 
fabrics  in  his  special  line  perfect  and  entire.  This  is  not  always 
called  for.  There  may  be  certain  particulars  or  specifications  in 
the  nature  of  the  goods,  or  capacity  of  the  factories,  with  which  the 
design  must  comply ;  but  the  ability  to  proceed  from  the  beginning 
should,  nevertheless,  be  possessed  before  a  position  is  ventured 
upon.  As  an  instance  of  limits  within  which  a  designer  must  work, 
we  will  cite  a  factory  where  only  certain  kinds  of  yarn  can  be  pro- 
duced ;  the  stock  and  yarn  in  this  case  are  points  already  settled, 
and  will  appear  as  such  in  a  design.  The  ability  to  make  a  design 
which  comprehends  all  the  necessities  of  a  fabric  from  first  to  last 
can  only  exist  when  a  thorough  knowledge  of  the  many  branches 
involved  is  possessed.  To  supply  such  knowledge  for  each  branch 
in  print  is  a  task  so  utterly  without  limit  that  every  single  effort  to 
furnish  a  share  will  be  but  a  meagre  tithe.  Indeed,  could  all  the 
necessary  knowledge  be  written — an  utter  impossibility — there  would 
even  then  remain  a  necessity  for  practice  in  the  application,  which 
can  be  obtained  only  by  practical  contact  with  the  work  and  detail 
of  every  branch.  Having  shown  how  imperative  and  extensive  the 
requirements  to  fit  any  one   for  the  duties  of  preparing  the  designs 


12  SPITZLI'S  MANOAL. 

of  textile  fabrics  are,  it  may  encourage  many  to  furnish  them  with  a 
few  suggestions.  While  preparing  a  design,  one  must  bear  in  mind 
that  the  pecuniary  object  of  a  deviation  from  plain  goods  is  to 
make  a  fabric  conform  to  the  customs  and  tastes  of  the  consumers 
for  whom  it  is  intended.  To  this  feature  must  be  added  special 
attractiveness,  which  pleases  the  senses  of  sight  and  feeling,  and 
sometimes  even  those  of  smelling  and  hearing. 

As  important  as  any,  if  not  more  so,  is  the  consideration  of  the 
cost  of  materials  and  labor  required.  If  these  exceed  the  probable 
value  of  the  fabrics  complete,  what  object  can  there  be  in  produc- 
ing them  ?  To  exhibit  a  design,  or  to  run  the  risk  of  losing  the 
money  ?  In  estimating  the  probable  cost  of  a  piece  of  goods,  the 
designs  for  which  are  about  to  be  made,  the  necessity  of  favoring  a 
large  production  should  never  be  lost  sight  of;  it  is  a  very  import- 
ant feature  of  manufacturing  in  this  country,  and  can  only  be  neg- 
lected when  some  other  object  than  profits  is  in  view.  To  favor 
production  the  essential  points  are  :  stock  that  will  produce  yarn 
readily,  and  of  sufficient  strength  to  endure  the  subsequent  opera- 
tions. Stock  and  yarn  which  will  best  produce  the  desired  effects, 
thus  avoiding  the  manufacture  of  false  effects  in  finishing,  which  cost 
money  and  are  never  satisfactory.  The  matter  of  conforming  the 
texture  to  the  yarn  is  of  no  little  importance,  especially  where  the 
designer's  duties  are  curtailed  by  specified  yarns.  A  very  important 
requirement  of  the  designer  is  that  he  produce  designs  which  can 
be  successfully  manufactured  by  the  factory  for  which  the  design  is 
intended.  This  at  first  seems  a  needless  statement,  but  a  contempla- 
tion of  the  many  kinds  of  goods  attempted  by  the  greater  proportion 
of  factories  in  this  country,  will  convince  the  most  incredulous  that 
there  is  a  serious  defect  in  the  management  of  styles  and  patterns  in 
American  mills.  The  fact  must  be  admitted,  however,  that  de- 
signers cause  but  little  of  this  trouble,  that  they  are  but  a  passive 
factor,  controlled  by  those  who  ought  to  have  a  knowledge  of  tex- 
tures and  factories,  and  often  lack  them  altogether. 

As  an  illustration  we  have  in  mind  a  factory  overfilled  with 
machinery  purchased  for  the  manufacture  of  a  peculiar  kind  of 
goods,  but  this  particular  kind  having  been  unfashionable  for  several 
years,  an  entirely  different  class  of  goods  was  introduced.  The  first 
class  required  a  firm  thread,  elasticity  was  of  no  great  importance, 
consequently  the  machinery  purchased  was  such  as  would  produce 
the  yarn  in  the  most  rapid  manner  possible.  The  yarn  now 
required  for  the  goods  in  hand  should  be  more  perfect,  and  elasticity 
is  an  imperative  requisite  to  make  the  goods  right,  and  for  display- 


SPITZLI'S  MANUAL. 


13 


ing  the  stock  used  to  the  best  advantage.  In  the  same  factory 
three-fourths  of  the  looms  are  so  light  that  all  heavy  goods  are,  and 
must  be,  woven  with  the  warp  very  tight — a  serious  defect — as  the 
contrary  should  be  the  case  with  the  above-mentioned  fault  in  the 
yarn.  To  show  how  utterly  helpless  the  designer  is  here,  it  becomes 
necessary  to  state  that  the  employers  have  never  been  able  to  realize 
much  profit  from  this  mill,  consequently,  whether  they  appreciate 
the  impossibility  of  making  the  goods  right,  and  to  the  best  advan- 
tage or  not,  they  do  not  feel  disposed  to  spend  twenty-five  to  fifty 
thousand  dollars  in  applying  a  remedy.  The  main  source  of  trouble, 
however,  is  in  the  manager  of  the  goods  in  the  market.  A  man  who 
seems  to  be  utterly  regardless  or  incapable  of  comprehending  the  fact 
that  no  mill  can  make  everything;  that  for  some  reason  every  mill 
sooner  or  later  gets  into  a  sort  of  rut  even  with  the  best  conveniences, 
and  once  in  it,  can  never  be  gotten  out ;  in  other  words  each  mill 
seems  to  be  successful  with  some  particular  kinds  of  goods,  while 
others  at  best  prove  but  an  indifferent  success.  Now,  if  this  particu- 
lar market  man  had  some  knowledge  of  factories  and  textures,  he 
would  aid  the  designer  in  keeping  the  mill  on  the  styles  which  are 
least  effected  by  the  consequences  of  the  factory  defects.  He  would 
long  ago  have  discovered  that  several  very  staple  styles  have  been 
more  than  satisfactory  from  this  mill,  and  that  $25,000  per  annum 
profit  every  year  from  these  is  better  than  $50,000  one  year  and 
$75,000  loss  the  next.  In  other  words,  he  would  keep  the  mill  on 
the  fabrics  which  would  build  up  its  reputation  and  yield  a  steady 
though  smaller  profit,  instead  of  trying  to  make  this  factory,  too 
small  for  fancies,  over-crowded,  improperly  fitted  up,  supply  him 
with  the  full  assortment  he  wishes  to  show,  which  assortment  should 
be  made  up  by  five  or  six  factories  instead  of  one.  Carpets  are 
carpets ;  shawls,  shawls ;  but  all  silk  goods,  carpets,  shawls,  cassi- 
meres,  or  worsted  goods  are  not  alike,  nor  can  all  kinds  of  either  be 
made  successful  by  any  one  concern. 

If  then  the  designs  are  a  want  for  the  conveniences  of  the  factory 
as  much  as  the  factory  is  needed  to  carry  out  the  designs,  the  pro- 
cesses involved  should  be  considered  and  understood  by  all  who 
have  any  authority  in  relation  to  the  designs  and  styles  used. 

The  order  of  processes  is  something  as  follows  :  The  selection 
of  the  raw  material ;  the  separation  of  the  material  from  matter 
which  must  not  enter  into  the  goods,  and  would  injure  the  ma- 
chinery, yarn  and  fabric ;  the  color  of  the  stock,  if  not  right,  must 
be  made  so  by  dyeing,  but  this  process  is  in  some  goods  deferred 
until  the  yarn  or  cloth  can   be  dyed.     Next  comes  the  preparation 


14  SPITZLI'S  MANUAL. 

of  the  stock  for  spinning,  which  includes  all  the  processes  of  card- 
ing and  combing ;  also  various  others  of  lesser  note,  but  of  great 
importance,  which  go  before  spinning;  preparing  the  yarn  for 
weaving,  wearing,  and  finally  the  finishing  of  the  goods.  The  last 
usually  includes  the  cleansing  of  fabrics,  as  well  as  all  the  subse- 
quent processes. 

Silk  and  cotton  are  obtainable  in  such  assortments  that  the  stock 
goes  direct  from  the  market  to  the  machinery.  Not  so  with  wool 
and  many  other  animal  fibers,  which  can  be  procured  in  market 
classified  or  graded  only.  These  grades  must  be  assorted  accord- 
ing to  their  fineness,  length  and  strength,  into  sorts  or  qualities, 
which  are  usually  numbered ;  they  were  formerly,  and  are  yet  by 
some,  named.  This  assorting  is  a  branch  which  requires  some 
months  of  practice  before  any  one  can  be  entrusted  with  the  work. 
(See  Assorting.) 

The  stock  of  the  proper  kind  being  ready,  the  washing  and  dye- 
ing come  next,  when  necessary,  as  with  wool,  hair,  etc.  Cotton  is 
not  washed  in  the  loose  state.  Silk  is  treated  entirely  different  from 
staples  in  the  preparation  processes.  Before  washing  or  scouring 
wool,  it  is  by  some  run  through  a  machine  called  willow  or  duster 
to  .free  it  of  all  dust,  sand  and  short  rubbish  which  can  be  shaken 
out.  This  makes  the  scouring  liquors  do  more  service,  and  pre- 
pares the  wool  in  a  measure  by  opening  it  for  a  more  ready  absorp- 
tion of  the  liquors  and  final  rinsing.  The  methods  of  scouring  and 
washing  are  briefly  considered  under  the  respective  headings. 

Some  staples  are  subjected  to  machinery  for  opening  and  clearing 
of  burrs,  seeds,  etc.,  etc.,  in  the  raw  state;  others,  later  in  their 
progress,  to  the  carding  department.  Several  of  these  methods,  as 
well  as  the  important  processes  of  carding,  spinning,  weaving  and 
finishing  are  separately  considered  elsewhere.  The  only  further 
reference  to  them  called  for  here  is  a  special  exhortation  to  give 
each  and  all  due  consideration.  No  part  of  them  can  be  slighted 
or  dispensed  with  if  a  thorough  review  and  study  is  undertaken. 

Having  thus  briefly  drawn  attention  to  the  extent  of  the  field  of 
research  to  be  canvassed  by  those  who  wish  to  be  prepared  for  the 
duties  of  the  designer,  we  must  leave  the  matter  with  these  sug- 
gestions. The  more  thoroughly  and  practically  that  this  prepara- 
tion is  attended  to,  the  easier  and  better  will  the  subsequent  labors 
prove.  It  will  not  do  to  fear  a  little  grease  upon  the  hands  or  sweat 
upon  the  brow,  nor  yet  some  pain  in  the  back,  for  some  things  can 
be  learned  only  when  done,  and  done  only  at  the  cost  of  some 
discomfort. 


A  SHORT  CHAPTER 

OF 

SUGGESTIONS  TO  BEGINNERS. 


As  in  every  other  art  or  science,  all  preliminaries  in  preparing 
any  one  for  the  duties  of  a  designer  or  general  manager  of  a  manu- 
facturing establishment  should  have  but  one  aim — to  train  and 
discipline  the  mind,  senses  and  abilities  in  the  proper  direction. 
The  powers  of  concentration  and  continued  application  must  be 
acquired  by  most  men,  and  not  a  few  find  it  a  hopeless  battle ;  yet 
without  such  powers  some  other  business  would  probably  answer 
better.  The  next  important  step  is  to  become  familiar  with  a  large 
variety  of  fabrics  already  in  existence.  In  pursuing  this  requisite 
study,  the  first  suggestions  are  easily  applied.  The  best  method  is 
to  obtain  samples  from  every  available  source,  dissect  them  with 
care,  and  use  each  sample  as  a  base  of  operations,  until  all  the  par- 
ticulars are  obtained.  First,  by  studying  out  as  many  as  possible  ; 
next,  by  inquiring  for  the  balance.  This  mefhod  will  aid  the 
student  in  asking  direct  questions,  a  feature  in  questioning  which 
is  a  great  help  to  one  who  asks  and  the  one  who  is  to  answer. 
Nothing  is  more  discouraging  to  a  tutor  than  many  questions  which 
show  a  lack  of  thought  on  the  part  of  the  questioner.  Few  men 
can  refrain  from  answering  questions  which  show  deep  and  intent 
thought,  and  few  care  to  be  bothered  with  anything  trivial.  A  little 
further  digression  will  be  pardonable  here.  Young  people  often 
flatter  themselves  with  the  idea  that  they  are  thinking,  when  in 
reality  they  are  only  dreaming.  The  difference  is  so  great  that  the 
one  almost  always  bears  fruit,  the  other  seldom.  To  obtain 
samples  is  a  matter  so  easy  that  they  can  at  times  be  collected 
much  faster  than  properly  dissected  and  studied.  Such  surplus  is 
not  worthless  because  plenty.  Discard  worthless  samples  from  the 
first,  and  preserve  good  ones  with  care. 

As  each  sample  is  dissected  let  it  be  neatly  trimmed  and  fastened 
in  a  durable  book,  all  the  drafts  recorded  in  another,  and  all  the 
general  information  in  regard  thereto  which  has  been  gleaned  from 
any  and  every  source,  briefly  and  correctly  recorded  in  a  third,  care 
being   taken   to   keep  up  a  system  of  numbers  and  page  references 


I  6  SPITZLI'S  MANUAL. 

which  will  make  search  for  particulars  of  any  pattern  easy.  If  any 
beginner  would  realize  the  importance  of  this  suggestion,  let  him 
imagine  if  he  can,  what  he  would  give  for  such  a  collection  of  books 
compiled  by  some  man  of  large  experience. 

These  suggestions  are  written  with  the  supposition  that  no  one 
will  venture  to  begin  designing  without  some  adequate  knowledge  of 
looms.  Should  this  for  any  reason  have  been  neglected  or  post- 
poned, it  must  be  delayed  no  longer  after  the  decision  is  fully  con- 
cluded to  continue  the  study. 

Good  instruments  are  not  only  a  great  aid  but  much  cheer  to  a 
beginner;  better  have  a  few  pieces  only,  and  have  such  as  will 
warrant  a  commendable  pride.  Having  good  instruments,  the  next 
point  is  to  learn  their  use  and  application  thoroughly.  Some  have 
the  impression  that  once  in  possession  of  the  proper  instruments  all 
will  be  easy,  but  like  everything  else,  designers'  instruments  require 
much  practice  before  their  advantages  can  be  known  or  shown. 

Furthermore,  designing  being  a  calling  which  demands  cultivation 
of  good  taste,  this  cultivation  should  show  itself  in  everything;  the 
person,  books,  instruments  and  surroundings. 

From  the  earliest  beginning  the  habit  of  keeping  close  vigil  over 
all  processes  by  constant  examination  of  goods  ready  for  market  is 
an  advantage  that  should  never  be  missed  if  available.  So  com- 
plete is  the  general  supervision,  that  managers  have  been  known  to 
direct  the  operations  of  the  factory  almost  entirely  from  this  point 
of  observation  with  tolerable  success.  Designing,  dissecting,  weav- 
ing, etc.,  etc.,  are  treated  very  minutely  in  another  part ;  to  those 
parts  reference  may  be  made  for  special  points  of  information. 

Far  the  most  common  fault  in  manner  and  method  of  beginners 
is  the  impatience  they  exhibit  in  everything  ;  especially  is  this  true 
in  younger  persons.  The  necessary  time  to  do  anything  methodi- 
cally is  seldom  taken,  but  the  worst  phase  of  this  fault  is  that  which 
shows  itself  when  anyone  imagines  that  rapid  work  is  sure  evidence 
of  familiarity  with,  and  special  ability  for,  the  work  in  hand. 
Such  people  have  more  or  less  deceit  in  them  to  commence  with, 
they  would  appear  smarter  than  their  own  consciousness  allows. 
The  result  of  such  labor  is  almost  invariably  faulty,  and  the  whole 
principle  of  the  method  or  habit  is  demoralizing  in  every  sense  of 
the  word. 

Particularly  in  designing,  or  any  kindred  work,  is  the  old  saying 
applicable,  "  Anything  that  is  worth  doing  at  all,  is  worth  doing 
well."  Few  things  in  the  designing  room  can  be  done  well  without 
the  most  thorough  preparation.     The  outside  duties,  if  any,  which 


SPITZLI'S  MANUAL.  I  7 

compel  a  designer  to  slight  his  work  are  an  injury  to  him  and  his 
employers,  hence  we  contend  that  manufacturers  do  not  save  so 
much  as  they  imagine  when  they  make  one  man  hold  several  such 
positions.  The  wages  of  one  man  for  a  year  is  sometimes  lost  by 
one  neglect,  one  hurried  piece  of  work,  one  error.  Such  losses  are 
attributed  to  other  causes,  even  by  the  one  who  knows  better,  for 
fear  of  consequences  ;  thus "  manufacturers  go  on  losing  money 
faster  than  they  can  save  it,  at  the  same  time  making  liars  out  of 
young  men  per  force. 

To  the  beginner  we  would  give  this  advice  :  Take  your  time,  do 
your  work  right,  never  mind  what  people  say  or  think,  lose  twenty 
positions  because  too  slow,  rather  than  one  for  errors  or  bad  work, 
and  rather  than  be  one  of  the  many  who  falsely  deny  a  fault,  failing, 
error  or  even  inability,  stay  in  the  humblest  position;  there  is  more 
honor  and  satisfaction  in  it.  Large  salaries,  easy  positions  and 
great  reputations  afford  no  comfort  to  him  who  holds  his  position  by 
trick  or  deceit.  And  to  employers  we  would  say,  treat  the  young 
men  accordingly,  so  that  they  can  be  upright. 


Definition,  Explanations  m  Instructions. 


A. 

Aba. — A  woolen  stuff  or  fabric  manufactured  in  Turkey. 

Abaca. — Commonly  known  as  Manila  hemp.  "  A  species  of 
fiber  obtained  in  the  Philippine  Islands  in  abundance.  Some 
authorities  refer  those  fibers  to  the  palm  tree  known  as  the  Abaca, 
or  Anisa  textiles.  There  seem,  indeed,  several  well  known  varieties 
of  fiber  under  this  name,  some  so  fine  that  they  are  used  in  the 
most  delicate  and  costly  textures,  mixed  with  fibers  of  the  pine- 
apple, forming  Pina  muslins  and  textures  equal  to  the  best  muslins 
of  Bengal.  Of  the  coarser  fibers,  mats,  cordage  and  sail-cloth  are 
made.  M.  Duchesne  states  that  the  well  known  fibrous  manufac- 
tures of  Manila  have  led  to  the  manufacture  of  the  fibres  at  Paris 
into  many  articles  of  furniture  and  dress.  Their  brilliancy  and 
strength  give  remarkable  fitness  for  bonnets,  tapestry,  carpets,  net- 
work, hammocks,  etc."     (Ure's-  Dictionary.) 

Abb. — An  old  English  term  for  warp  yarn. 

Abol'la. — A  military  robe  of  thick  woolen  stuff  in  use  among 
the  ancient  Greeks  and  Romans. 

Acescent. — Substances  which  have  a  tendency  to  pass  into  the 
acid  state. 

Acids. — Acids  are  a  class  of  chemicals  which  have  the  property 
of  combining  with  and  neutralizing  the  alkaline  bases,  thereby  form- 
ing salts.  The  acids  of  special  interest  here  are  :  Acetic,  Arseni- 
ous,  Carbonic,  Chromic,  Citric,  Hydrocyanic,  Malic,  Muriatic, 
Nitric,  Oxalic,  Phosphoric,  Sulphuric,  Tartaric.  These  are  here 
mentioned  because  important  factors  in  tests,  dyeing  and  printing. 

Acetic  Acid,  in  briefest  terms,  is  Vinegar  Acid.  Acetimeter, 
Acidimeter,  Acetimetry  and  Acedimetry  are  terms  easily  con- 
founded ;  alluded  to  in  this  connection,  their  relations  are  easily 
understood.  Acetimeter  being  an  instrument  for  ascertaining  the 
strength  of  Acetic  Acid,  an  Acidimeter  an  instrument  for  determin- 
ing the  quantity  of  acid  contained  in  a  free  state  in  liquids.  Aceti- 
metry being  the  art  or  method  of  testing  acetic  acid,  Acidimetry 
that  of  testing  and  estimating  acids  in  general. 


SPITZLI'S  MANUAL.  1 9 

Acidulous  Salts — All  salts  containing  acids — any  saline  compound 
— of  which  the  acetic  is  the  acid  constituent,  is  said  to  be  Acetate. 
Acetate  of  Copper  is  Verdigris,  Acetate  of  Lead  and  Blue  Vitrol. 

Arsenious  Acid — Arsenic. — The  principal  use  made  of  it  by  the 
manufacturer  of  textile  fabrics  is  best  expressed  in  the  words  of  Mr. 
Alfred  E.  Fletcher  in  a  letter  on,  the  uses  and  advantages  of  aceto 
arsenite  of  copper,  commercially  known  as  Emerald  Green.  In 
reference  to  the  dangers  from  evaporations  from  articles  colored 
with  it,  he  says  : 

"  Were  it  true  that  such  evaporation  or  dissemination  went  on,  it 
would  indeed  afford  just  cause  for  alarm,  when  we  reflect  that  on  the 
walls  of  houses  in  this  country  (England)  are  displayed  some  hun- 
dred millions  of  square  yards  of  paper,  most  of  which  carries  on  its 
surface  a  portion  of  arsenical  coloring  matter  ;  our  books  are  bound 
with  paper  and  cloth  so  colored,  cottons  and  silks,  woolen  fabrics 
and  leather  are  alike  loaded  with  it." 

Carbolic  and  Carbonic  Acids  are  easily  confounded  by  those  who 
know  nothing  of  their  chemical  nature.  The  former  is  an  oily 
liquid,  colorless,  a  burning  taste,  resembles  creosote  and  is  obtained 
from  coal  tar.  Carbonic  acid  is  composed  of  one  part  carbon  and 
two  of  oxygen.  In  its  ordinary  condition  it  is  a  gas,  but  may  be 
reduced  to  a  liquid  or  solid  state  by  cold  and  pressure.  It  is  given 
out  by  animals  in  breathing,  by  liquors  while  fermenting,  by  the 
decomposition  of  all  substances,  and  by  the  combustion  of  wood, 
coal,  etc.  Water  will  absorb  its  own  weight  of  it,  and  more  under 
pressure ;  combined  with  lime  it  constitutes  limestone,  or  common 
marble  and  chalk. 

Chromic  Acid  may  be  obtained  nearly  pure  by  adding  to  a  boiling 
saturated  solution  of  bichromate  of  potash  as  much  oil  of  vitriol  as 
will  convert  the  potash  into  a  bisulphate.  Let  the  whole  cool,  then 
wash  with  a  little  water,  stir  well  and  decant. 

Citric  Acid  in  crude  crystals  is  used  in  calico  printing  ;  is  manu- 
factured similarly  to  tartaric  acid. 

Hydrocyanic  Acid  is  more  commonly  known  as  prussic  acid. 

Hydrochloric  Acid. — Chemical  name  for  muriatic  acid. 

Malic  Acid. — The  word  malic  pertains  to  apples,  consequently 
malic  acid  is  understood  to  be  acid  made  from  the  juice  of  apples. 
Sometimes  recommended  by  dyer,s  in  connection  with  certain  states 
of  fermentation,  but  not  in  common  use. 

Muriatic  Acid  consists  of  one  equivalent  of  hydrogen  and  one  of 
clorine ;  hydrochloric  acid,  formerly  called  "  marine  acid "  or 
"  spirit  of  salt  "  because  made  of  sea  salt.     Much  used  in  dyeing. 


20  SPITZLI'S  MAMUAL. 

Nitric  Acid. — Corrosive,  contains  five  equivalents  of  oxygen  and 
one  of  nitrogen. 

Oxalic  Acid  may  be  obtained  by  the  action  of  nitric  acid  on  vege- 
table substances.  Well  washed  sawdust,  starch,  gum,  sugar  or  any 
others  containing  no  nitrogen,  yield  the  most.  Sugar  has  been  com- 
monly used.     This  is  an  important  acid  for  dyeing. 

Phosphoric  Acid  is  recommended  by  some  authors  for  many  wants 
of  dyers  and  printers,  but  is  not  yet  used  extensively  by  the  former. 
Finely  ground  bone  ash,  digested  with  oxalic  acid  and  water,  yield 
phosphoric  acid. 

Sulphuric  Acid,  or  Oil  of  VitroL  was  formerly  procured  by  the 
distillation  of  dried  sulphate  of  iron  called  green  vitriol.  This 
method  is  now  superseded  by  the  combustion  of  sulphur  with  niter. 

The  affinity  of  sulphuric  acid  for  water  is  very  strong.  An  in- 
teresting illustration  is  the  fact  that,  when  exposed  to  the  atmos- 
phere in  an  open  saucer,  it  will  imbibe  one-third  its  own  weight 
in  twenty-four  hours.  This  acid  is  used  in  great  quantities  by 
dyers. 

Tartaric  Acid  is  obtained  from  tartar.  The  method  would  be 
very  simple  but  for  the  great  variation  in  tartar  or  argols. 

Adulteration. — The  debasing  any  product  of  manufacture, 
especially  chemical,  by  the  introduction  of  cheap  materials. 

Affinity. — The  chemical  term  denoting  the  peculiar  attractive 
force  which  produces  the  combination  of  dissimilar  substances.  It 
is  often  called  elective  attraction,  to  distinguish  it  from  corpuscular 
or  cohesive  attraction,  by  which  particles  of  like  kinds  of  matter  are 
combined;  and  because  it  displays  the  power  of  selecting  its  prefer- 
able associates. 

Ageing. — The  fixing  of  mordants  by  age.  Instructions  may  be 
found  in  Crook's  "  Handbook  of  Dyeing  and  Calico  Printing,"  pp. 
280. 

Albumen. — Animal  and  vegetable.  Used  in  printing  establish- 
ments, sometimes  in  sizing  and  cements.  No  satisfactory  substitute 
has  yet  been  found  for  all  purposes. 

Alcohol. — Alcohol  is  produced  by  distillation  of  vegetable 
juices  and  infusions  of  a  saccharine  nature.  Its  principal  use  in 
factories  is  that  of  a  solvent.  As  the  amount  of  water  purchased  in 
the  lower  grades  is  out  of  proportion  with  the  range  of  prices,  it  is 
economy  to  buy  the  best  and  add  water  to  suit.  The  spirits  com- 
mercially known  as  wood  alcohol  serve  well  for  many  purposes,  and 
such  is  the  odor  and  taste  that  workmen   are  not  so  sorely  tempted 


SPITZLI'S  MANUAL.  21 

to  imbibe  it.  Some  recommend  the  addition  of  methyl  to  alcohol 
to  prevent  its  use  as  a  beverage  either  in  full  strength  or  dilluted- 
This  is  no  injury  to  the  required  properties  of  the  spirits.  For 
many  colors  the  addition  of  a  little  orange  shellac  is  an  advantage. 

Alder  (Anne.  Fr.  Erie.  Germ.  Aluns  Glutinose,  Lin.) — A  tree, 
different  species  of  which  are  indigenous  to  Europe,  Asia  and 
America.  The  wood  of  this  tree,  when  properly  seasoned,  makes 
the  best  "  Top  Rolls "  for  spinning  and  drawing  frames.  The 
American  Elder  is  another  wood — a  certain  newspaper  article  to  the 
contrary  notwithstanding. 

Alkali. — Potash  and  soda  were  for  some  time  confounded 
together,  and  were  hence  called  alkalis.  Ammonia  was  subse- 
quently distinguished  as  the  volatile  alkali,  potash  and  soda  being 
fixed  alkalis. 

Alkalimeter. — An  instrument  for  measuring  the  alkaline  force  or 
purity  of  any  of  the  alkalis  of  commerce. 

Alkalimetry. — The  object  of  alkalimetry  is  to  determine  the 
quantity  of  caustic  alkali  or  of  carbonate  of  alkali  contained  in 
the  potash  or  soda  of  commerce. 

Alizarin  or  Alizarine  (or  lizaric  acid)  is  the  most  important 
and  the  most  valuable  coloring  matter  contained  in  madder.  It  is 
the  only  one  which  yields  fast  dyes  capable  of  resisting  the  operation 
of  cleansing.  By  a  series  of  experiments  made  by  Schutzenberger 
with  variously-mordanted  cloths,  submitted  afterwards  to  dye-becks, 
containing  madder  and  its  commercial  preparations,  it  has  been  fully 
proved  that  in  these  dyed  shades — Turkey-red  included — alizerin 
alone  is  present.  Hence,  it  is  inferred  that  alizerin  pre-exists  in  the 
madder-root,  and  is  not  a  product  of  any  subsequent  decomposition. 
(Ure's  Dictionary.) 

Alloy. — Alloy  is  the  proportion  of  a  baser  metal  mixed  with  a 
finer  or  purer. 

Aloe  {Alois,  Fr.;  Glauindes  aloe,  Ger.) — In  botany  a  genus  of 
the  class  Hexandria  monogynia.  There  are  many  species,  all  natives 
of  warm  climates,  some  furnishing  useful  fibers,  others  a  dye. 

Alpaca  (Alpaga,  Fr.) — An  animal  of  Peru,  of  the  Llama  species  ; 
also  the  name  given  to  a  woolen  fabric  woven  from  the  wool  of  this 
animal.  This  fabric  is  now  very  successfully  made  in  this  country, 
but  the  highest  lusters  are  still  imported.  Fabrics  made  with  other 
fibers,  made  to  resemble  the  genuine,  are  sold  under  the  same 
name. 


2  2  SPITZLI'S  MANUAL. 

Alum  (Alun,  Fr.;  Alaun,  Ger.) — A  saline  body  or  salt,  consist- 
ing of  alumina,  or  the  peculiar  earth  of  clay  united  with  sulphuric 
acid,  and  these  again  united  with  sulphate  of  potash  or  ammonia. 
In  other  words,  it  is  a  double  salt  consisting  of  sulphate  of  alumina 
and  sulphate  of  ammonia.  The  common  alum  crystallizes  in  octa- 
hedrons, but  there  is  a  kind  which  takes  the  forms  of  cubes.  It 
has  a  sour  or  rather  subacid  taste,  and  is  peculiarly  astringent. 
(Ure's  Dictionary.) 

Alumina. — The  pure  earth  of  clay,  or  argillaceous  earth.  It  is 
the  oxide  of  the  metal  aluminum,  the  basis  of  the  aluminous  salts, 
and  the  principal  constituent  of  porcelain,  pottery,  bricks  and  tiles, 
and  not  "frequently  used  in  dye  houses,"  as  stated  in  a  recent  work 
on  dyeing. 

Alum,  Native. — This  term  includes  several  compounds  of  sul- 
phate of  alumina  with  the  sulphate  of  some  other  base,  as  magnesia, 
potash,  soda,  the  protoxides  of  iron,  manganese,  etc. 

Alum  Shale. — The  chief  natural  source  from  which  the  alum  of 
commerce  is  derived  in  some  countries.  It  occurs  in  a  remarkable 
manner  near  Whitby,  in  Yorkshire,  and  at  Hurlet  and  Campsie,  near 
Glasgow. 

Am  a. — Saxon  word  for  the  loom  beam. 

Amber. — The  substance  amber  is  of  little  account  to  textile 
manufacturers,  but  the  word  is  often  used  as  the  name  of  a  beauti- 
ful, delicate  shade  of  yellow. 

Amianthus. — A  mineral  in  silky  filaments,  more  commonly 
known  as  Asbestus. 

Ammonia. — A  chemical  compound,  called  also  volatile  alkali. 
This  substance,  in  its  purest  state,  is  a  highly  pungent  gas,  possessed 
of  all  the  mechanical  properties  of  the  air,  but  very  condensable  with 
water.  It  consists  of  three  volumes  of  hydrogen  and  one  of 
azote  condensed  into  two  volumes  ;  and  hence  its  density  is  0.591, 
atmospheric  air  being  1000.  By  strong  compression  and  refrigera- 
tion it  may  be  liquified  into  a  fluid,  whose  specific  gravity  is 
0.76,  compared  to  water,  1000.  Ammonia  is  generated  in  a  great 
many  operations,  and  especially  in  the  decomposition  of  many 
organic  substances,  by  fire  or  fermentation.  Urine  left  to  itself  for 
a  few  days  is  found  to  contain  much  carbonate  of  ammonia,  and 
hence  this  substance  was  at  one  time  collected  in  great  quantities 
for  the  manufacture  of  certain  salts  of  ammonia,  and  is  still  used  for 
its  alkaline  properties  in  making  alum,  scouring  wool,  etc.  When 
woolen  rags,  horns,  bones  and  other  animal  substances  are  decom- 


SPITZLI'S  MANUAL. 


23 


posed  in  close  vessels  by  fire,  they  evolve  a  large  quantity  of 
ammonia,  which  distils  over  in  the  form  of  a  carbonate.  The  main 
source  of  ammonia  now  in  this  country,  for  commercial  purposes,  is 
the  coal  gas  works.  A  large  quantity  of  watery  fluid  is  condensed 
in  their  tar  pits,  which  contains,  chiefly,  ammonia  combined  with 
sulphureted  hydrogen  and  carbonic  acid.  When  this  water  is 
saturated  with  muriatic  acid  and  evaporated  it  yields  muriate  of 
ammonia,  or  sal  ammoniac,  somewhat  impure,  which  is  afterwards 
purified  by  sublimation.     (Ure's  Dictionary.) 

Amorphous  {without  shape). — Said  of  mineral  and  other  sub- 
stances which  occur  in  forms  not  easy  to  be  defined. 

Analysis. — The  art  of  resolving  a  compound,  substance,  texture 
or  machine  into  its  constituent  parts.  "  Every  manufacturer  should 
so  study  this  art,  in  the  proper  treatises,  and  schools  of  chemistry 
or  mechanics,  as  to  enable  him  properly  to  understand  and  regulate 
his  business."  And  designers  have  especial  need  to  study  the 
analysis  of  the  many  textures  with  which  they  come  in  contact,  as 
this  soon  educates  the  mind  to  a  quick  perception  of  a  texture 
without  the  long  and  tedious  method  of  dissecting  every  pattern 
entirely.  The  analysis  of  colors  is  a  study  which  properly  belongs 
to  the  designer  as  well  as  the  dyer. 

Aniline. — An  organic  compound,  which  may  be  procured  in  sev- 
eral ways :  First,  when  isatine  is  fused  with  solid  hydrate  of 
potash  ;  second,  when  to  an  alcoholic  solution  of  benzine  a  little 
-zinc  and  muriatic  acid  is  added;  but  it  is  obtained  best  from  coal 
tar,  which  is  to  be  distilled  in  a  large  iron  retort,  and  the  successive 
products  to  be  separately  received,  especially  the  latter  and  denser 
ones.  This  heavy  tar  oil  is  to  be  strongly  agitated  along  with 
muriatic  acid  in  a  glass  globe.  The  acid  solution  contains  the 
aniline,  which,  being  of  an  alkaline  nature,  is  called  a  volatile,  base. 
It  must  be  subjected  to  an  operose  process  of  purification  with  milk 
of  lime,  etc.,  too  complex  to  be  detailed  here,  as  no  useful  applica- 
tion of  it  in  the  arts  has  hitherto  been  made.  Dr.  Hofmann  has 
written  many  elaborate  papers  upon  aniline  and  its  saline  combina- 
tions.— (Ure's  Dictionary).  Gibson,  in  his  remarks  on  "  Aniline 
and  Aniline  Colors,"  says  :  "Asa  general  thing,  we  find  that  most 
of  the  aniline  colors  are  not  soluble  in  water;  the  blues  are  the 
most  insoluble ;  the  violets  or  purples  come  next ;  the  reds  are 
sufficiently  soluble  for  dyeing  in  boiling  water.  The  solvents  for 
most  of  the  aniline  colors  are  alcohol,  acetic,  sulphuric  and  tartaric 
acids.     When  alcohol  is  used   as  the  solvent,  its   proportion  we  find 


24  SPITZLI'S  MANUAL. 

variable  with  the  kind  of  dye  or  substance  it  has  to  dissolve.  I 
find  that  thirty-five  parts  of  alcohol  to  one  of  blue,  and  twenty-five 
parts  of  alcohol  to  one  of  violet,  are  good  proportions.  The  iodine 
blues,  where  the  iodine  has  been  left  (in  the  colors)  will  require  a 
less  quantity  of  alcohol  to  dissolve  them,  and  the  same  may  be  said 
of  the  violets.  All  aniline  colors  will  precipitate  by  adding  a  solu- 
tion of  tannin  (sumach  or  nut  galls)  to  them,  but  can  be  dissolved 
again  in  alcohol,  acetic  acid,  or  diluted  oil  of  vitriol.  There  have 
been  several  methods  adopted  to  do  away  with  alcohol  as  a  solvent, 
such  as  decoctions  of  certain  roots,  but  these  methods  have  not 
been  very  successful.  Concentrated  sulphuric  acid,  with  or  with- 
out the  aid  of  heat,  will  dissolve  the  aniline  blues  or  violets,  and  by 
the  addition  of  a  large  amount  of  water  it  will  be  rendered  soluble 
in  hot  water ;  but  if  you  should  have  your  oil  of  vitriol  too  hot 
when  dissolving  the  blue  analine,  it  will  impair  their  fastness.  The 
soluble  blues  or  violets  are  colors  that  have  been  treated  with  sul- 
phuric acid  to  make  them  more  soluble,  and  I  warn  dyers  against 
them,  as  we  all  know  that  too  much  solubility  is  a  detriment  to 
dyeing  fast  colors,  but  for  yarns  and  flannels  it  is  not  so  objection- 
able. The  colors  obtained  from  phenic  acid  and  napthaline  are 
often  more  soluble  than  those  from  aniline.  The  impurities  in 
aniline  are,  as  a  general  thing,  sugar,  salt,  arsenic,  resinous  and 
tarry  substances.  Sugar  and  salt  you  will  find  in  the  reds  and 
violets  mostly.  To  detect  this  fraud  is  simple :  Put  a  small 
quantity  of  the  solid  dye  in  a  test  tube,  then  add  alcohol  and  shake 
it  well.  Let  it  stand  for  a  few  minutes,  then  pour  it  off  carefully, 
leaving  the  residuum.  Add  some  more  alcohol,  and  so  repeat  the 
operation  until  the  dye  is  all  dissolved,  when  the  sugar  or  salt  will 
be  found  at  the  bottom  of  the  test  tube ;  those  substances,  not  being 
soluble  in  alcohol,  will  of  course  settle  to  the  bottom." 

Annealing  or  Nealing  {Le  recuit,  Fr.;  das  an/assen,  Germ.) — A 
process  by  which  glass  is  rendered  less  frangible  ;  and  metals,  which 
have  become  brittle,  either  in  consequence  of  fusion  or  long- 
continued  hammering,  are  again  rendered  malleable. 

Annotto. — This  shrub  was  originally  a  native  plant  of  South 
America,  but  is  now  cultivated  in  St.  Domingo  and  the  East  Indies. 
It  is  called  by  botanists  bixa  orellana,  and  grows  to  the  height  of 
eight  or  ten  feet,  and  never  exceeds  twelve  feet.  The  leaves  are  a 
reddish  brown  color,  about  four  inches  long.  The  stems  of  the 
leaves  are  made  into  ropes  by  the  natives.  According  to  Dr.  John, 
the  following  ingredients  are  the  composition  of  annotto  : 


SPITZLFS  MANUAL.  25 

Coloring  and  resinous  matters 28.0 

Vegetable  gluten 26 . 5 

Lignine 20  o 

Extractive  coloring  matter 20.0 

Matter  resembling  gluten  and  extractive 4.0 

Aromatic  and  acidulous  matter 1.5 

100. o 

Muriatic  acid  has  no  action  upon  annotto.  Nitric  acid  will 
decompose  it  and  form  several  compounds.  Sulphuric  acid  gives  it 
a  blue  color,  resembling  indigo,  but  will  change  from  blue  to  a  dark 
purple.  Alkalies  give  it  a  clear  orange  color.  Chromic  acid  pre- 
cipitates a  deep  orange  tint.  Annotto  is  easily  dissolved  in  alkalies, 
in  which  solution  it  is  used  in  the  dyehouse.  The  alkalies  that  are 
most  used  to  dissolve  annotto  are  potash  or  soda-ash,  and,  if  light 
shades  are  wanted  some  dyers  use  soft  soap  in  the  solution.  Some 
keep  a  stock  of  liquor  on  hand,  but  I  have  found  it  to  be  better  if 
newly  made.  My  mode  of  preparing  annotto  is  this  :  To  a  barrel 
of  water  take  fifteen  pounds  of  annotto,  four  pounds  of  carbonate  of 
soda,  three  pounds  of  soft  soap ;  boil  it  until  the  annotto  is  all  in  solu- 
tion (dissolved).  The  colors  given  by  annotto  are  fugitive,  if 
exposed  to  the  light  and  air.  Acid  or  alkalies  cannot  completely 
destroy  the  colors  dyed  by  it.  Good  annotto  is  of  a  lively  red  color. 
(Gibson.)  1 

Anthracite. — A  variety  of  coal  containing  a  larger  proportion 
of  carbon  and  less  bituminous  matter  than  common  coal.  (De  la 
Beche.) 

Anti-Attrition  or  Anti-Friction  Composition. — Various 
preparations  have  been,  from  time  to  time,  introduced  for  the  pur- 
pose of  removing,  as  much  as  possible,  the  friction  of  machinery. 
Black  lead,  or  plumbago,  mixed  with  a  tenacious  grease,  has  been 
much  employed.  Peroxide  of  iron,  finely  divided  haematite,  etc., 
have  also  been  used.  The  manufactures  of  the  Dixon  Crucible  Co. 
of  Jersey  City,  N.  J.,  can  safely  be  recommended  for  this  purpose. 

Anti-Friction  Metal. — Tin  and  pewter  in  different  proportions 
are  much  used.  Babbett's  metal,  about  fifty  parts  tin,  five  antimony 
and  one  copper,  is  very  common  in  this  country.  Another  formula 
for  the  same  composition  is  :  Melt  four  pounds  of  copper,  add  by 
degrees  twelve  pounds  of  best  Banca  tin,  eight  pounds  of  regulus  of 
antimony  and  twelve  pounds  more  tin.  After  four  or  five  pounds 
of  tin  have  been  added,  reduce  the  heat  to  a  dull  red,  then  add  the 
remainder  of  the  metal  as  above.  This  produces  the  composition 
termed  hardening  ;  of  this  take  one  pound  and  melt  with  two  pounds 


26  SPITZLI'S  MANUAL. 

of  Banca  tin  to  produce  the  metal  for  use,  which  makes  the  complete 
proportions  one  part  copper  and  two  parts  of  regulus  antimony  and 
twenty-four  parts  tin.  Tin,  copper  and  spelter  are  used.  When 
compositions  are  too  soft  they  will  not  do  for  heavy  pressure. 

Aqueous  Tincture. — Solutions  of  solids  diluted  with  water. 

Archil. — This  comes  to  the  dyer  in  casks  containing  a  violet  or 
crimsoned  colored  liquor  and  a  large  quantity  of  weed.  This  weed 
is  called  Lichen  Roccella,  a  species  of  s<2a  weed  or  moss  ;  the  best 
sort  comes  from  the  Cape  de  Verde  Islands,  but  it  is  found  on  the 
coasts  of  Sweden,  Ireland  and  Wales.  The  coloring  matters  of  the 
lichens  are  known  in  commerce  as  the  following  :  First,  as  a  pasty 
matter  called  archil;  second,  as  a  red  powder  called  cudbear.  The 
mode  of  preparing  archil  is  by  grinding  them  to  a  pulp  with  water; 
they  are  then  thrown  into  liquor  containing  quick  lime  and  am- 
monia; after  standing  a  few  days  both  the  plant  and  liquor  are  put 
into  casks,  and  it  is  thus  received  by  the  dyer.  When  it  is  two 
years  old  its  coloring  properties  are  fully  developed ;  after  that  time 
it  begins  to  deteriorate.  It  gives  very  blooming  but  fugitive  colors* 
and  is  not  much  used  in  woolen  dyeing,  excepting  for  blooming 
mulberries,  dahlias,  etc.,  and  for  bottoming  for  reds,  safflowers  and 
cochineal  colors,  etc.,  it  gives  a  depth  and  beautiful  tint  to  the 
colors  so  dyed.  In  1857,  Mr.  Marnas  of  Lyons  discovered  a  pro- 
cess to  make  with  this  dyestuff  a  color  that  was  beautiful  and  fast 
and  called  the  color  French  Purple;  it  was  produced  in  the  follow- 
ing manner :  "  Powdered  lichens  are  macerated  with  lime  water, 
in  order  to  render  soluble  the  coloring  matter,  which  combines  with 
the  lime.  After  filtration,  muriatic  acid  is  added,  which  saturates 
the  lime  and  causes  the  coloring  substance  to  separate  in  a  gelatin- 
ous state,  which  is  washed  and  dissolved  in  hot  ammonia.  The 
solution  is  very  slow,  as  it  requires  from  twenty  to  twenty-five  days, 
and  a  temperature  of  153  °  Fahrenheit.  The  ammoniacal  liquid, 
which  has  become  violet,  is  then  precipitated  by  chloride  of  cal- 
cium ;  a  purple  lake  is  then  produced,  which  is  the  French  Purple. 

Acids  change  the  color  to  a . .    Bright  Red. 

Alkalies     "  "   Blue. 

Rock  Salt  gives  it  a Crimson  Tint. 

Sal  Ammoniac Ruby  Red  Tint. 

Crystals  of  Tin Red  Tint. 

Bi-Sulphate  of  Copper Cherry  Brown  color. 

Argols. — Crude  Tartar  ;  an  acidulous  salt  from  which  cream  of 
tartar  is  made.  It  exists  in  the  juice  of  certain  fruits,  notably  the 
grape;  is  deposited  from  wines  upon  the  sides  of  the  casks.     The 


SPITZLI'S  MANUAL. 


27 


Germans  call  it  Wein   Stein    (Wine  Stone).     It  is  very  commonly 
used    in  dyeing,  in  various  forms. 

Arras  Tapestry. — A  line  of  tapestry  fabrics  named  from  Arras 
in  France. 

Assorting  or  "  Sorting." — The  sorting  of  various  kinds  of  stock 
is  an  important  branch  of  manufacturing.  In  some  staples  it  is  done 
before  the  raw  material  is  offered  for  sale  to  the  manufacturers,  but 
particularly  in  wools  quite  the  contrary  is  the  case,  even  the  grading 
or  classifying  being  frequently  very  imperfectly  done  in  these.  The 
assorting  of  wool  is  also  the  most  intricate.  When  well  done  it  im- 
plies attention  to  the  fineness,  length,  strength,  state  or  condition, 
and  part  of  the  fleece  from  which  it  came.  For  fineness  alone  it  is 
customary  to  make  from  three  to  eight  sorts.  For  length  two  to  four 
— according  to  the  work  for  which  it  is  assorted,  or  there  may  be  a 
short,  medium  and  long  sort.  The  assorting  for  strength  is  carried 
on  very  differently  in  various  places  ;  the  most  common  practice  is  to 
throw  a  tender  lock  into  the  short  sorts  ;  in  some  mills  they  must 
also  be  thrown  to  one  grade  lower  in  fineness  than  if  they  were  full 
up  in  strength.  This  is  not  a  good  practice,  as  a  lot  which 
happens  to  have  much  tender  wool  will  vary  the  quality  of  the  sorts 
too  much.  When  such  a  lot  is  purchased  it  is  better  to  make  a 
strong  and  a  tender  sort,  to  ascertain  in  what  proportions  the  differ- 
ence exists,  giving  the  manager  an  opportunity  to  control  the  use  of 
it.  The  matter  of  "  State  or  Condition  "  refers  to  the  health  and 
cleanliness,  the  impurities  being  natural  grease,  burrs,  seeds  and 
sand.  The  part  of  the  fleece  from  which  it  came  is  also  considered 
first  in  relation  to  fineness,  and  then  as  to  condition,  for  the  wool 
from  different  parts  of  the  fleece  is  very  different  in  its  nature,  some 
of  it  being  little  better  than  hair.  Of  assorting  wool  the  fact  re- 
mains, efforts  to  the  contrary  notwithstanding,  that  it  is  too  import- 
ant to  be  slighted  by  carelessness  or  false  economy.  Even  work, 
good  work,  and  increased  product,  yield  a  return  to  which  a  few 
pennies  per  pound  are  not  a  comparison,  and  yet  many  mills  suffer 
throughout  from  this  evil  in  the  very  beginning.  Assorting  yarn 
is  another  important  branch  in  manufactures,  but  only  practical 
here  and  there.  An  experienced  hand  can  assort  all  the  yarn 
from  quite  a  large  factory,  detect  all  that  is  imperfect,  reject 
that  which  has  been  made,  and  give  proper  notice  that  the  defect 
may  be  corrected  and  so  save  thousands  of  dollars ;  yet  to  save 
$500  or  $600  per  year  this  duty  is  altogether  dropped,  given 
into  the  hands  of  heedless  youth,  infirm  or  blinded  age,  or 
perhaps  to  an  overseer  who  has  enough  else  to  do.     Assorting  waste 


6 

16 

6 

16 

ii 

16 

18 

5* 

I 

J32 

28  SPITZLI'S  MANUAL. 

should  not  be  neglected  in  any  factory.  The  wages  are  returned 
with  a  rich  increase  if  this  is  attended  and  done  judiciously.  As- 
sorting rags  is  a  department  of  some  woolen  mills  as  well  as  paper 
mills.  When  shoddy  is  made  this  is  the  first  essential  process. 
Dark  and  light,  all  wool  and  part  cotton,  thick  and  thin,  old  and 
new,  must  all  be  separated  to  attain  the  best  results.  Rags  contain- 
ing silk  threads  are  usually  thrown  with  those  containing  cotton. 

Astrakhan. — The  name  of  a  country,  but  sometimes  used  as  a 
name  for  yarn  made  of  Astrakhan  wool. 

Avoirdupois  Weight. — The  standard  avoirdupois  pound  of  the 
United   States   is   the  weight   of  27.7015   cubic   inches   of  distilled 
water,  at  39. 830  Fahr.,  the  barometer  being  at  30  inches. 
Avoirdupois  Weight — Equivalents  of  in   Troy   Weight. 

Avoirdupois.      Lbs.  Oz.       Dwt.       Grains. 

I  Ton  =  2922  2 
1  Cwt.  =  146  1 
1  Qt.  =  34  o 
1  Lb.    ==12 

I  Oz.    ;  = 
1  Dr.     = 

Avoirdupois  Weight — Equivalents  of  in  Apothecaries'    Weight. 

, Apothecaries , 

Avoirdupois.       Lbs.     Oz.         Dr.       Scr.         Gr. 

I  Lb.    =1242  O 

I  Oz.      =  7  0  17I 

I  Dr.     =  1  7?¥ 

Avoirdupois  Weight — Expressed  in  Grams  or  Metrical. 

Avoirdupois.  Grams. 

I  Ton  =  1,015,938.84  =  1,016  Milliers. 

1  Cwt.  =  50,796.94  =  5,080  Myriagrams. 

1  Qt.  =  12,699.23  =  1,270  Myriagrams. 

1  Lb.  =  453-54  =  4.535  Hectograms. 

1  Oz.  =  28.34  =  2,834  Dekagrams. 

1  Dr.  =  1.77 

Axminster  Carpet. — The  manufacture  of  Axminster  carpets  is  a 
mere  modification  of  the  Persian  method,  for  the  worsteds  are  only 
knotted  to  the  warp  threads.  They  derive  their  name  from  a  town 
in  Devonshire,  but  the  seat  of  manufacture  has  long  been  removed 
to  Wilton. 

Aylesham  Cloth. — The  linen  manufacture  became  well  estab- 
lished in  Norfolk,  and  Aylesham  became  noted  for  its  flaxen  fabrics. 
"The  Fine  Cloth  of  Aylesham,"  "The  Aylesham  Linens"  and  the 
"  Aylesham  Webs,"  are  frequently  mentioned  in  old  records.  Eng- 
lish weavers,  it  is  said,  knew  how  to  work  artificially  designed  and 
well  figured  webs. 


SPITZLI'S  MANUAL.  29 

B. 

Backing. — This  word  is  frequently  used  as  an  abbreviation  for 
Backing  Fabric,  Backing  Yarn,  etc.,  etc. 

Backing  Fabric. — Backing  Fabrics  are  rare,  except  on  woolen 
and  worsted  goods.  There  are  many  other  goods  having  several 
fabrics  one  upon  another,  not  for  the  purpose  of  backing,  but  to 
keep  certain  yarns  practically  out  of  sight  when  not  needed  to  com- 
plete the  face  fabric.  In  other  words,  parts  of  all  the  fabrics  are 
necessary  to  make  the  face  fabric  complete.  A  backing  fabric  is 
merely  an  addition  to  increase  the  weight  without  changing  the  face 
fabric.  The  elementery  principles  involved  in  adding  backing 
fabrics  are  illustrated  under  the  head  of  Textures.  A  few  common 
textures,  with  a  backing  filling  tacked  into  the  fabric  are  repre- 
sented below.  Warp  yarn  may  be  put  in,  in  a  similar  manner,  but 
as  the  yarn  is  hard,  and  the  number  of  threads  greatly  increased, 
the  result  is  not  satisfactory. 

Backing  Yarn. — Backing  yarn  is  usually  made  of  a  cheaper 
grade  of  stock,  but  it  will  not  pay  to  have  the  stock  so  poor  as  to 
go  bad,  whether  in  warp  or  filling  Neither  is  it  safe  to  be  careless 
about  evenness,  twist  or  color.  The  matter  of  uneven  backing  yarn 
is  serious,  because  the  effects  of  it  usually  show  through.  The 
trouble  may  not  be  so  serious  if  in  the  warp,  but  in  the  filling  it  is 
very  bad.  The  makeshift  commonly  resorted  to — more  shuttles — 
is  frequently  unavailable  if  the  face  calls  for  several  also.  The 
matter  of  twist  is  quite  as  important  for  backing  as  face.  On  most 
goods  it  should  be  as  soft  as  possible,  and  still  have  the  yarn  weave 
good.  The  color  of  backing  is  often  of  little  account  in  the  esti- 
mation of  manufacturers,  but  specky,  rusty  or  faded  backs  will  con- 
demn a  piece,  sometimes  even  before  a  customer  has  seen  the 
face. 

Balance  of  Cloth. — This  is  a  term  which  is  capable  of  wide 
interpretation.  The  general  interpretation  which  is  put  upon  it  is 
the  proportion  in  which  the  warp  and  weft  stand  to  each  other. 
But  if  definite  rules  were  laid  down  according  to  this  interpreta- 
tion, one  cloth  might  be  perfection,  and  another  cloth,  according  to 
the  same  rule,  might  be  anything  but  perfection.  Yet  to  all  appear- 
ance, and  for  the  different  purposes  to  which  they  were  to  be 
applied,  and  according  to  the  principles  upon  which  the  two  cloths 
were  constructed,  one  might  be  as  perfect  a  sample  of  a  cloth  as 
the  other.  Again,  the  interpretation  may  be  a  wider  one,  and  it 
may  be   said  that   a  properly  balanced   cloth   is  one    in   which  the 


30  SPITZLI'S  MANUAL. 

warp  threads  are  set  at  a  certain  distance  from  each  other,  accord- 
ing to  their  diameter  and  weight,  and  the  proportion  of  weft  to 
warp  which  existed  in  the  cloth.  This  interpretation  would  be  a 
perfectly  correct  one,  and  might  be  carried  out  in  its  entirety,  but 
the  particular  distance  of  the  threads  from  each  other,  or  the  pro- 
portion of  weft  and  warp,  which  might  be  taken  as  a  basis,  could 
only  be  taken  for  the  one  particular  class  of  fabric  to  which  it 
applied,  because  although  that  proportion  may  be  all  that  could  be 
desired  for  one  fabric,  experience  teaches  us  that  it  could  not  be  so 
for  all  fabrics,  therefore  no  fixed  rule  could  possibly  be  laid  down 
which  would  be  applicable  to  all  cases ;  but,  the  rule  being  found 
for  any  one  class  of  fabric,  it  would  be  applicable  to  all  fabrics  of 
that  class.  Suppose  we  are  dealing  with  a  plain  cloth,  in  which  the 
warp  and  weft  are  both  of  the  same  material,  and  that  the  warp  is 
so  set  in  the  reed  that  the  diameter  of  the  thread  and  the  space 
between  the  threads  are  equal,  the  weft  threads  are  equal  in  thick- 
ness or  counts  to  the  warp  threads,  and  there  are  the  same  number 
per  inch  both  ways.  Then  the  cloth  maybe  truly  said  to  be  equally 
balanced;  and  whether  the  material  be  woolen,  cotton  or  linen,  the 
cloth  will  be  perfect  in  its  construction  and  will  be  made  on  the 
truest  principle.  But  it  frequently  happens  that  to  produce  special 
efforts  this  principle  must  be  departed  from.  For  instance,  it  may 
be  desired  to  produce  a  corded  effect,  the  cord  to  run  either  length- 
wise or  across  the  piece,  a  different  method  must  necessarily  come 
into  operation.  We  will  wish  to  make  a  poplin,  in  which  it  is 
desired  to  have  a  decided  cordy  character,  the  cords  running  across 
the  piece  ;  instead  of  the  warp  threads  having  a  space  between  them 
equal  to  the  diameter  of  the  threads,  they  must  be  set  very  closely 
together,  and  the  weft  threads  must  be  some  distance  apart,  other- 
wise the  clear  cord  could  not  be  preserved.  But  although  it  is 
necessary  that  the  weft  threads  be  some  distance  apart,  that  dis- 
tance must  not  be  too  great  or  the  cord  will  again  be  destroyed. 
Then  from  this  it  must  be  concluded  that  the  warp  threads  must  be 
set  as  closely  as  possible  without  being  too  crowded,  and  the  weft 
threads  must  be  driven  as  close  together  as  the  crossing  of  the  weft 
threads  will  permit,  and  the  more  carefully  this  is  observed  the 
more  perfect  will  the  appearance  of  the  cord  be,  and  this  will  be 
materially  increased  if  the  weft  be  proportionately  thicker  than  the 
warp.  But  it  having  been  determined  what  sett  of  reed  for  a  given 
count  of  yarn  will  produce  the  best  lesult,  it  is  easy  to  determine 
what  reed  will  suit  any  other  count  of  yarn  to  produce  the  same 
results.     Then  suppose  that  the  cord,  instead  of  running  across  the 


SPITZLI'S  MANUAL,  3  I 

piece,  is  intended  to  run  the  length  of  the  piece,  the  procedure  will 
be  the  reverse  of  the  previous  one — that  is,  the  warp  threads  must 
be  further  apart,  and  the  weft  as  close  together  as  possible ;  and  if 
the  bulk  and  distance  apart  of  the  warp  threads  be  increased,  and 
the  bulk  and  distance  apart  of  the  weft  threads  diminished  in  a 
proportional  degree,  the  clearness  and  boldness  of  the  cord  will  be 
increased  accordingly,  so  that  in  both  cases  the  proposition  laid 
down  will  hold  good.  From  these  two  examples  another  conclusion 
must  be  drawn.  In  the  first  the  warp  preponderates  largely  on  the 
surface  of  the  fabric,  and  in  the  second  the  weft  preponderates  ;  and 
we  have  seen  that  as  the  warp  or  the  weft  preponderates  it  must 
be  increased  in  quantity,  and  that  which  is  least  seen  must  be  de- 
creased in  quantity — that  is,  in  the  number  of  threads  per  inch. 
This  rule  holds  good,  not  only  for  plain  cloths  but  also  for  any 
other  make  of  cloth.  If  we  turn,  for  example,  to  twilled  cloths,  in 
which  some  quantity  of  warp  and  weft  are  visible  on  the  face,  and 
in  which  the  warp  and  weft  are  of  the  same  material  and  thjckness, 
then  the  same  rule  applies  as  in  plain  cloths,  viz.,  that  there  should 
be  the  same  number  of  threads  one  way  as  the  other.  But  twilled 
cloths  differ  very  materially  from  plain  cloths  in  this  respect,  viz.: 
that  from  the  very  construction  of  the  cloth  the  threads  must 
be  closer  together  for  the  same  thickness  of  thread  than  for  plain 
cloth,  because  in  a  plain  cloth  the  warp  and  weft  threads  cross  each 
other,  and  are  interwoven  at  every  pick  ;  whereas  in  a  twill  cloth 
they  may  pass  over  a  number  of  threads  before  they  are  interwoven  ; 
therefore  the  greater  the  number  which  are  passed  over  before  the 
interweaving,  the  closer  or  thicker  the  threads  must  be  to  pro- 
duce an  approximate  firmness  of  texture.  Hence  it  is  that  twilled 
cloths  are  so  much  better  adapted  for  producing  heavy,  bulky 
fabrics.  In  making  twilled  cloths,  the  warp  or  the  weft  may  be 
made  to  preponderate  on  the  face  of  the  fabric  in  two  distinct  ways  : 

First — In  the  same  manner  as  in  plain  cloths,  by  bringing  the 
warp  threads  closer  together  and  putting  in  fewer  picks,  at  the  same 
time  decreasing  the  thickness  of  one  thread  and  increasing  the 
thickness  of  the  other,  or  by  increasing  the  distance  apart  of  the 
warp  threads,  and  putting  more  picks,  again  increasing  the  bulk  of 
one  and  decreasing  that  of  the  other. 

Second — By  bringing  one  or  the  other  more  to  the  surface  in  the 
order  of  working,  it  must  also  preponderate  in  a  like  degree  in  the 
number  of  threads  per  inch,  or  in  the  actual  quantity  of  the 
materia],  and  it  is  only  when  that  is  done  that  the  cloth  can  be 
properly  balanced.     We  can  have  no  better  illustration  of  this  rule 


32 


SPITZLI'S  MANUAL. 


than  in  some  of  the  best  examples  of  satin  cloths,  in  which  the  rule 
will  be  found  to  be  observed  to  the  last  degree.  In  any  cloth  in 
which  this  is  not  done,  not  only  will  the  cloth  have  an  unpleasant 
appearance,  but  the  effect  of  the  pattern  is  marred  considerably  also. 
These  observations  apply  more  especially  to  fabrics  in  which  the 
warp  and  weft  are  of  the  same  materials,  but  they  apply  also  to 
fabrics  in  which  the  warp  and  weft  are  of  different  materials ;  in  the 
latter  case,  however,  attention  must  be  paid  to  the  nature  of  the 
material,  their  density,  and  their  adaptability  to  blend  or  assimilate 
with  each  other,  because  the  relative  proportion  of  warp  and  weft, 
thickness,  ends  per  inch,  etc.,  in  one  material  may  be  quite  correct, 
if  both  warp  and  weft  are  the  same,  but  if  the  warp  be  of  one 
material  and  the  weft  of  another,  then  a  decided  change  may  take 
place  in  their  combination.  Not  only  will  this  be  so  if  one  of  the 
threads  be  vegetable  and  the  other  animal  substance,  but  it  may  be 
equally  so  if  they  are  both  either  animal  or  vegetable.  The  com- 
bination of  a  woolen  thread  with  a  cotton  thread  would  produce  a 
very  different  effect  from  the  combination  of  worsted  with  cotton, 
although  in  both  cases  it  is  a  combination  of  animal  and  vegetable." 
(Ashenhurst.) 

Bandanna. — A  style  of  calico,  in  which  white  or  brightly  colored 
spots  are  produced  upon  a  red  or  dark  ground.  It  seems  to  have 
been  practised  from  time  immemorial  in  India,  by  binding  up  firmly 
with  thread,  those  points  of  the  cloth  which  were  to  remain  white  or 
yellow,  while  the  rest  of  the  surface  was  freely  subjected  to  the  dyeing 
operations.  The  European  imitations  have  now  far  surpassed,  in 
the  beauty  and  precision  of  the  design,  the  oriental  pattern  ;  having 
called  into  action  the  refined  resources  of  mechanical  and  chemical 
science.     (Ure's  Dictionary.) 

Banding,  or  Bands. — The  cordage  used  to  drive  spindles.  All 
bands  on  a  machine  and  on  like  machines  in  the  same  factory 
should  be  made  of  the  same  yarn,  twisted  and  gauged  with  care. 
The  practice  of  using  all  kinds  of  old  odd  yarns  for  bands  has 
caused  much  uneven  work  that  could  not  otherwise  be  accounted 
for.  To  keep  the  tension  on  bands  throughout  the  machinery  per- 
fectly even,  and  alike,  requires  constant  watching,  not  by  children, 
but  by  competent  and  responsible  persons.  To  renew  bands  regu- 
larly is  another  necessity  if  even  work  is  wanted.  After  many 
bands  are  badly  worn  the  difference  of  new  ones  (which  never  draw 
the  same  as  the  old)  will  soon  make  bad  work.  It  is  better  to 
change  the  whole  set. 


SPITZLI'S  MANUAL. 


BACKING  FILLING  TACKED  INTO  FABRIC. 

(See  "  Backing  Fabric,"  page  29.) 


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34  SriTZLI'S  MANUAL. 

Bar  Loom. — The  looms  known  by  this  name  are  considered  the 
first  power  looms  that  proved  successful. 

Barwood. — A  hard  resinous  wood  brought  principally  from 
Sierra  Leone.  Is  of  similar  nature  for  use  in  dyeing  as  camwood 
and  sanders.  Is  used  in  a  ground  state,  gives  a  permanent  coloring 
matter,  with  or  without  mordants,  is  employed  for  deep  sombre 
colors  and  requires  much  boiling  to  extract  the  dye. 

Baudekin  or  Baldekin. — A  rich  cloth  used  in  Mediaeval  times, 
named  from  Baldak  or  Bagdad. 

Bayeux. — A  well  known  tapestry  which  was  said  to  have  been 
the  work  of  Matilda,  the  wife  of  the  Conqueror,  and  her  assistants. 
Some  fabrics  having  a  faint  resemblance  to  the  above  are  occasion- 
ally given  this  name. 

Bead  Lams  and  Standards. — Old  time  mounting  of  bead 
harnesses,  for  gauze  or  cross  weaving,  on  hand  looms. 

Bead  Loom. — A  loom  fitted  up  for  cross  weaving  by  means  of 
beads  in  the  harnesses. 

Beaming. — This  is  the  process  of  putting  the  warp  yarn  upon 
beams.  When  beaming  from  chains  it  is  necessary  to  pass  the  yarn 
through  a  set  of  reeds.  With  the  more  recent  machinery  for  warp- 
ing, chains  are  dispensed  with,  consequently  this  precaution  is  now 
seldom  necessary  except  for  certain  kinds  of  work.  Great  care 
must  be  taken  to  lay  out  the  warp  just  right  in  width,  to  fit  between 
the  heads  of  the  beams,  unless  the  latter  are  adjustable,  in  which 
case  the  adjustment  is  a  nice  point  often  neglected.  The  speed 
while  beaming  should  be  very  regular;  if  not,  some  fabrics  will 
show  the  unevenness.  Belt  slipping  is  the  most  common  cause  of 
such  unevenness  in  speed,  and  should  be  prevented. 

Beavers. — Beavers  are  a  class  of  heavy  woolen  goods,  fine  cloth 
face,  and  when  made  right  are  very  nice  and  durable.  The  color 
is  an  important  feature  in  the  attractions  of  a  beaver.  Thorough 
fulling,  cropping,  boiling  and  gigging  are  points-  in  the  finish  of 
first-class  beavers,  which  cannot  be  neglected  without  injury.  The 
warp  should  always  be  of  sound  stock,  not  necessarily  of  the  long- 
est staple,  but  such  as  will  make  a  strong  thread  without  twisting 
too  hard.  The  filling,  while  it  should  be  soft  and  short  stock,  must 
endure  much  work  on  the  face  ;  the  stock  used  should  be  selected 
accordingly. 

Bedford  Cord. — A  ribbed  cloth  of  great  strength,  commonly 
drab.     Used  very  extensively  for  working  garments  in  England. 


SPITZ-LI'S  MANUAL.  35 

Beesley's  Ribbon  Shuttle  Motion. — An  interesting  chapter  on 
Ribbon  Shuttles  will  be  found  in  Barlow's  "  History  of  Weaving," 
pp.  294,  which  also  describes  this  invention  thoroughly. 

Beir. — This  term,  when  applied  to  reeds,  represents  a  certain 
number  of  splits — most  commonly  twenty.  Its  application  to  yarn 
refers  to  this,  20  splits  per  inch,  and  2  threads  per  split  make  the 
40  threads  called  a  Beir.     (See  rules.) 

Blanket. — Thomas  Blanket  was  a  famous  clothier  connected 
with  the  introduction  of  woolens  into  England  about  1340.  From 
him  the  well  known  name  for  certain  woolen  goods  is  supposed  to 
have  been  taken.  Blanket  binding  is  a  term  sometimes  heard  from 
old  men,  but  they  disagree  as  to  the  exact  texture  meant. 

Belts. — That  the  arc  of  contact  has  more  to  do  with  the  driving 
power  of  belts  than  the  area,  is  shown  by  the  wire  rope,  where  the 
area  of  contact  is  so  small  as  to  be  neglected  in  calculation,  while  a 
large  arc  of  contact  is  absolutely  necessary.  Belts  have  a  tendency 
to  sag  edgewise  and  to  leave  their  proper  place  upon  their  pulleys. 
This  is  more  particularly  the  case  with  belts  transmitting  motion 
between  vertical  shafts.  When  two  shafts  are  not  in  parallel  align- 
ment, the  belt  from  one  to  the  other  will  tend  to  work  off  one  of  the 
two  pulleys.  There  are  four  ways  of  remedying  this  :  First,  by 
properly  aligning  the  shafts;  second,  by  placing  unyielding  guides 
at  the  edges  of  the  belts ;  third,  by  using  special  tighteners  ;  and 
fourth,  by  giving  excessive  crown  to  the  pulleys.  When  belts  are 
used  to  transmit  motion  between  vertical  shafts,  the  tendency  of  the 
belt  to  work  off  is  aggravated  by  its  own  weight,  and  this  tendency 
must  be  met  in  one  of  three  ways — by  throwing  the  shafts  out  of 
correct  line,  by  guiding  the  edge  of  the  belt,  or  by  the  use  of  special 
tighteners.  Between  horizontal  shafts  the  weight  of  the  belt  trans- 
mitting motion  tends  to  cause  or  increase  adhesion.  This  is  not 
the  case  between  vertical  shafts,  the  belts  of  which  require  to  be 
strained  by  tighteners.  The  tighteners  may  be  swinging  or  sliding, 
and  when  properly  designed  and  made,  the  former  should  be  pro- 
vided with  an  adjustment  by  which  the  pulley  can  be  moved  in  the 
plane  of  its  axis,  and  the  housing  piece  should  be  pivoted  so  that 
the  axis  may  be  given  an  oblique  position.  The  experiments  of 
J.  H.  Cooper  show  that  the  influence  of  air  upon  the  belt  is  simply 
nothing.  The  influence  of  surface  upon  the  adhesion  of  a  belt  may 
be  shown  by  a  very  simple  experiment  :  Placing  pulleys  of  different 
diameters  in  a  vice,  putting  a  piece  of  belting  over  them,  loading 
both  sides  alike,  and   then  adding  weights   on  one  side   till  slipping 


36  SPITZLI'S  MANUAL. 

just  commences.  It  will  be  seen  that  on  the  largest  pulley  the  slip 
will  be  least,  other  things  being  equal.  One  experiment  of  this  kind 
spoken  of  in  the  "American  Machinist,"  October  9,  1880,  gave  the 
following  results :  The  pulleys  used  were  cones,  and  the  table 
below  gives  the  distance  of  slips  in  one  minute : 

Pulley  Pulley  Pulley 

No.  1.  No.  2.  No.  3. 

Diameter,  inches 12^  9$  7^ 

Distance  slips  in  one  minute,  inches if  1$  4 

Belts  should  be  wide  and  long  enough  to  do  the  work  without 
being  run  too  tight.  Uneven  speed  from  slipping  belts  is  bad 
everywhere.  Belts  running  perpendicularly  have  to  be  kept  too 
tight  to  last  long,  unless  much  wider  than  when  running  horizon- 
tally. 

Belt  Grease. — That  a  leather  belt  should  be  kept  pliable  with 
grease  is  not  doubted,  but  the  kind  of  grease  and  manner  of  apply- 
ing it,  is  a  question  of  much  controversy.  The  result  desired  is  not 
always  obtained,  because  the  compounds  used  are  not  of  a  nature  to 
produce  it.  A  list  of  good  compounds  might  be  given,  but  only  one 
can  be  tested  properly  at  a  time,  and  such  compounds  are  brought 
to  the  notice  of  manufacturers  frequently  by  other  means.  Almost 
every  one  has  used  several  kinds,  observations  from  which  will  be 
useful  for  comparison.  A  compound  now  sold  by  the  Dixon  Cruci- 
ble Co.,  which  is  very  good,  indeed,  when  judiciously  used,  should 
be  tried  before  condemning  all  kinds  of  belt  grease. 

Belt  Lace. — For  fastening  the  ends  of  belts  together  when  they 
cannot  conveniently  be  lapped  and  cemented  there  is  as  yet  no 
better  way  than  to  lace  them  with  a  good  tough,  flexible  strip  of 
leather.  Rawhide  is  very  good,  excepting  in  places  where  there  is 
much  steam.  There  are  special  tannings  which  do  much  better  in 
such  places,  but  some  kinds  of  metallic  fastenings  are  preferred  by 
many.  To  use  lacing  economically  some  responsible  person  should 
be  entrusted  with  the  selection  of  the  sides,  also  with  the  cutting, 
which  is  done  best  by  machinery;  keeping  a  memorandum  of  every 
bunch  of  lacings  given  out  will  soon  show  by  whom  and  where  the 
most  lacings  are  used,  when  the  matter  can  be  sifted.  The  greatest 
waste  of  lacings  may  be  traced  to  operatives  who  will  not  use  them 
as  long,  or  as  many  times,  as  they  might.  Overseers  are  usually  to 
blame  for  slackness  in  this  particular ;  it  devolves  upon  them  to  see 
that  laces  are  drawn  instead  of  cut;  and  if  somewhat  worn,  or  too 
short,  that  they  are  used  in  his  or  another  department  on  lighter 
belts.     The  trouble   is,  that  few  men   can   mind  trifles,  when   they 


SPITZLI'S  MANUAL,  37 

belong  to  others.  Could  every  operative  in  a  mill  reduce  the  waste 
and  loss  he  causes  by  carelessness  to  the  lowest  minimum,  wages 
might  be  raised  many  per  cent,  and  profits  be  much  increased 
besides.  The  best  way  to  lace  a  broad  belt  is  by  lacing  a  lap  piece 
on  the  outside. 

Benzole. — Benzine,  benzene,-  benzal,  hydruret  of  phenyle,  (C18 
H2).  The  more  volatile  portion  of  coal  naptha  has  been  shown  by 
Monsfield  to  consist  chiefly  of  this  substance.  It  is  produced  in  a 
great  number  of  reactions  in  which  organic  bodies  are  exposed  to 
high  temperatures.  It  may  be  at  Once  obtained  in  a  state  of  purity 
by  distilling  benzoic  acid  with  excess  of  quick  lime.  (Ure's 
Dictionary.) 

Bichloride  of  Tin. — Double  Muriate  of  Tin. 

Bichromate  of  Potash. — Red  Chrome  of  Potash,  Chrome. 

Bi- Sulphate  of  Copper. — Blue  Vitriol,  Blue  Stone. 

Bi-Sulphuret  of  Iron. — Iron  pyrites. 

Binders. — Many  parts  of  machines  or  mechanisms  are  called 
binders,  because  they  unite  or  hold  in  place  certain  parts,  viz.: 
Box  binders  or  shuttle  binders  keep  the  shuttle  stationary  while 
in  the  box.  The  threads  in  fabrics  which  unite  textures  or  tie  them 
down  in  places  are  as  often  called  binders  as  binding  threads, 
which  see. 

Binding. — A  word  used  by  some  in  place  of  texture. 

Binding  Fabrics. — Intermediate  fabrics  used  for  the  purpose  of 
binding  others   together. 

Binding  Threads  or  Yarn.— Serving  the  same  purpose  as 
binding  fabrics,  but  in  a  manner  more  independent  of  each  other. 
Some  effects  on  face  fabrics  are  also  produced  by  what  are  termed 
binding  threads,  binding  yarn,  yarn  used  for  binding  threads ;  also 
for  tying  hanks  or  skeins.  The  yarn  left  in  the  harnesses  by  the 
weaver,  for  the  purpose  of  tying  or  twisting  to  it  the  next  warp,  to 
be  woven  with  said  harnesses. 

Binding  Plans. — Texture  designs  on  chain  and  drawing  in 
drafts. 

Bird  Eye  Patterns. — Formerly  applied  only  to  a  particular 
little  diamond  pattern,  made  with  four  harnesses,  but  now  applied 
to  any  similar  effect,  made  with  any  number  of  harnesses. 

Bleaching  is  the  process  by  which  the  textile  filaments — cotton, 
flax,  hemp,  wool,  silk,  and  the  cloths  made  of  them,  as  well  as 
various   vegetable    and    animal   substances — are    deprived    of  their 


38  SPITZLI'S  MANUAL. 

natural  color  and  rendered  nearly  or  altogether  white.  For  some 
materials  the  processes  are  very  simple,  but  others  are  in  themselves 
a  science.  The  subject  is  worthy  of  thorough  and  extensive  study, 
beginning  with  the  chemicals  and  their  applications. 

Bobbins. — Bobbins  are  of  many  shapes  and  kinds  for  the  many 
classes  of  work.  To  describe  shapes  would  require  too  much 
space  for  the  allowance  here.  Suffice  it  to  say  that  bobbins  should 
be  plenty  about  a  factory,  the  place  for  storing  them  convenient, 
dry,  and  large  enough  so  that  no  box  need  ever  be  heaped.  From 
heaping  boxes  some  bobbins  fall,  only  to  be  trodden  under  foot  or 
picked  up  and  thrown  in  the  wrong  box.  The  wood,  which  wears 
rough,  splits  easily,  warps,  or  is  too  soft,  is  not  cheap  at  any  price. 
The  best  are  the  cheapest.  Steaming  yarn  on  the  bobbin  may  be 
necessary,  but  it  is  destructive  to  the  latter  beyond  all  other  wear 
and  tear.  Bobbins  should  fit  all  the  spindles  upon  which  they  must 
be  used ;  if  not,  they  will  be  split  either  by  stuffing  if  too  large,  or 
abuse  if  too  small. 

Boilers. — Of  the  many  kinds  of  boilers  used  about  factories, 
those  which  generate  steam  for  power  and  heating  are  of  the  most 
importance.  Boilers  for  yarn  cloth  and  bleaching  are  known  by 
more  common  names. 

Boilers  (Land)  should  be  set  at  an  inclination  of  .5  inch  in  10 
feet. 

Grates  (Coal). — They  should  have  a  superficial  area  of  1  square  foot 
for  every  15  pounds  of  coal  required  to  be  consumed  per  hour,  at  a 
rapid  rate  of  combustion,  and  they  should  be  set  at  an  inclination 
toward  the  bridge  wall  of  1  inch  in  every  foot  of  length.  When, 
however,  the  rate  of  combustion  is  not  high,  in  consequence  of  the 
low  velocity  of  the  draught  of  the  furnace,  or  the  fuel  being  insuf- 
ficient, this  proportion  must  be  increased  to  1  square  foot  for  every 
12  pounds  of  fuel.  With  Wood  as  the  fuel,  their  area  should  be  1.25 
to  1.4  that  for  coal.  The  width  of  the  bars  should  be  the  least 
practicable,  and  the  spaces  between  them  from  .5  to  .75  of  an  inch, 
according  to  the  fuel  used. 

Ash-pit. — The  transverse  area  of  it,  for  a  like  combustion  of  15 
pounds  of  coal  per  hour,  should  be  .25  the  area  of  the  grate  surface 
for  bituminous  coal,  and  .$$  for  anthracite.  The  velocity  of  the 
current  of  air  entering  an  ash-pit  may  be  estimated  at  12  feet  per 
second. 

Furnace  or  Chamber  (Coal). — The  volume  of  it  should  be  from 
2-75    to  3  cubic  feet   for   every  square    foot    of  its    grate    surface. 


SPITZLI'S  MANUAL.  39 

(  Wood.)  The  volume  should  be  4.6  to  5  cubic  feet.  Combustion 
is'the  most  complete  with  firing  or  charges  at  intervals  of  from  15  to 
20  minutes.  The  volume  of  air  and  smoke  for  each  cubic  foot  of 
water  converted  into  steam  is  from  coal  1780  to  1950  cubic  feet,  and 
for  wood  3900. 

Bridge-wall  (Flue  boilers). — The  cross  section  of  the  flues  or 
tubes  should  have  an  area  of  1.7  to  2  square  inches  for  each  pound 
of  coal  consumed  per  hour,  or  from  22.5  to  26  square  inches  for 
each  square  foot  of  grate,  for  a  combustion  of  13  pounds  of  coal  per 
hour ;  the  difference  in  the  area  depending  upon  the  character  of 
the  conformation  of  the  section  of,  and  the  length  of  the  passage  of 
the  gases  ;  the  area  being  inversely  with  the  diameter,  and  directly 
as  the  length  of  the  flues,  tubes  or  spaces  between  them.  Thus,  in 
Horizontal  tubular  boilers,  the  area  should  be  increased  to  27.5  and 
31  square  inches  ;  in  Vertical  tubular,  to  32.5  and  36  square  inches  ; 
and  when  a  Blast  is  used,  the  area  may  be  decreased  to  15.5  and 
and  20.5  square  inches.  The  temperature  of  a  furnace  is  about 
10000,  and  the  volume  of  air  required  for  the  combustion  of  1 
pound  of  bituminous  coal,  together  with  the  products  of  combustion, 
is  154.81  cubic  feet,  which,  when  exposed  to  the  above  temperature, 
makes  the  volume  of  heated  air  at  the  bridge  wall  from  450  to  470 
cubic  feet  for  each  pound  of  coal  consumed  upon  the  grates. 
Hence,  at  a  velocity  of  the  draught  of  about  36  feet  per  second, 
the  area  over  a  bridge  wall,  required  to  admit  of  this  volume  being 
passed  off  in  an  hour,  would  be  .5  of  a  square  inch,  but  in  practice 
it  should  be  2  square  inches.  When  13  pounds  of  coal  per  hour  are 
consumed  upon  a  square  foot  of  grate,  13x2=26  square  inches  are 
required,  and  in  this  proportion  for  other  quantities.  The  tempera- 
ture of  the  heated  air  at  the  end  of  the  flues  should  be  about  5000, 
and  their  area,  and  that  of  the  base  of  the  chimney,  should  be  .75 
of  that  over  the  bridge  wall,  or  1.5  square  inches  for  each  pound  of 
coal  consumed  per  hour.  When  the  area  of  the  flues  is  determined 
upon,  and  the  area  over  the  bridge  wall  is  required,  it  should  be 
taken  at  from  .7  to  .8  the  area  of  the  lower  flues  for  a  natural 
draught,  and  from  .5  to  .6  for  a  blast. 

Flues. — Their  area  should  decrease  with  their  length,  but  not  in 
proportion  with  the  reduction  of  the  temperature  of  the  heated  air, 
their  area  at  their  termination  being  from  .7  to  .8  that  of  their 
calorimeter  or  area  immediately  at  the  bridge  wall.  Large  flues 
absorb  more  heat  than  small,  as  both  the  volume  and  intensity  of 
the  heat  is  greater  with  equal  surfaces.  The  temperature  of  the 
base  of  the  chimney,  or  the  termination  of  the  flues  or  tubes,  is  esti- 


4<D  SPITZLI'S  MANUAL. 

mated  at  5000  ;  and  the  base  of  the  chimney,  or  the  calorimeter, 
should  have  an  area  of  1.33  square  inches  for  every  pound  of  coal 
consumed  per  hour.  With  tubes  of  small  diameter,  compared  to 
their  length,  this  proportion  may  be  reduced  to  1  inch.  The 
admission  of  air  behind  a  bridge  wall  increases  the  temperature  of 
the  gases,  but  it  must  be  at  a  point  where  their  temperature  is  not 
below  8oo°. 

Evaporation. — One  square  foot  of  grate  surface,  at  a  combustion 
of  13  pounds  of  coal  per  hour,  will  evaporate  2  cubic  feet  of  salt 
water  per  hour.  A  square  foot  of  heating  surface,  at  the  above 
combustion  of  fuel,  will  evaporate  from  4.33  to  5.33  pounds  of  salt 
water  per  hour;  and  at  a  combustion  of  40  pounds  of  coal  per  hour 
(as  upon  the  Western  rivers  of  the  United  States),  from  10  to  11 
pounds  of  fresh  water,  exclusive  of  that  lost  by  blowing  out  from 
the  boilers.  Twelve  to  15  square  feet  of  surface  will  evaporate  1 
cubic  foot  of  salt  water  per  hour  at  a  combustion  of  13  pounds  of 
coal  per  hour  per  square  foot  of  grate. 

The  relative  evaporating  powers  of  iron,  brass  and  copper  are  as 
1,  1.25  and  1.56. 

Water  Surface. — At  low  evaporations,  3  square  feet  are  required 
for  each  square  foot  of  grate  surface,  and  at  high  evaporation  4  to  5 
square  feet. 

To  compute  the  heating  and  grate  surface  required  for  a  given 
evaporation,  or  volume  of  cylinder  and  revolutions  : 

Operation. — Reduce  the  evaporation  to  the  required  volume  of 
cylinder,  number  of  revolutions  of  engine,  pressure  of  steam  and 
point  of  cutting  off;  then  reduce  these  results  to  the  range  of  con- 
sumption of  fuel  per  square  foot  of  grate,  pressure  of  steam,  and 
number  of  revolutions  given  for  the  several  cases  at  pp.  593  and 
594,  in  Haswell's  Engineers'  and  Mechanics'  Handbook,  and  multi- 
ply them  by  the  units  given  for  the  surfaces  required.  {Note. — The 
work  just  referred  to  should  be  in  every  manager's  possession.) 

Illustration. — There  is  required  an  evaporation  of  492.24 
cubic  feet  of  salt  water  per  hour,  under  a  pressure  of  steam  of  17.3 
pounds  per  square  inch,  stroke  of  engine  10  feet,  cutting  off  at  \ 
stroke,  revolutions  15  per  minute,  and  consumption  of  fuel  (coal) 
13  pounds  yer  square  foot  of  grate  per  hour,  in  a  marine  boiler  hav- 
ing internal  furnaces  and  vertical  tubes. 


SlPITZLI'S  MANUAL. 


41 


Volume  of  steam  at  this  pressure  compared  with  water,  833. 

492.24  x  833-7-60=6833.93  cubic  feet  of  cylinder  per  minute. 
6833.93-J-15  X  2  =  227.79  cubic  feet  of  cylinder  at  half  stroke. 
227  79  x  17.3 

Then =197.04  cubic  feet  at  17.3   lbs.  pressure,  and 

20 
197.04  x  15  , 

=147.78,  which  x  66,  the  unit  for  heating  surface  for  a 

20 

vertical  tubular  boiler  at  20  lbs.  pressure  and  20  revolutions=9753. 
48  square  feet. 

And  147.78  X2=the  unit  for  grate  under  like  condition=295.56 
square  feet. 

To  compute  the  consumption  of  fuel  in  the  furnace  of  a  boiler. 
The  dimensions  of  the  cylinder,  the  pressure  of  the  steam,  the 
point  of  cutting  off,  the  revolutions,  and  the  evaporation  of  the 
boilers  per  pound  of  fuel  per  minute  being  given  : 

Rule. — Ascertain  the  volume  of  water  expended  in  steam,  and 
multiply  it  by  the  weight  of  a  cubic  foot  of  the  water  used  ;  divide 
the  product  by  the  evaporating  power  of  the  fuel  in  the  boiler  under 
computation  in  pounds  of  water,  and  add  thereto  the  loss  per  cent, 
by  blowing  off. 

Boiler  Plates  and  Bolts. — Tensile  strength  of  wrought  iron  plates 
and  bolts  ranges  from  45,500  to  62,500  pounds  per  square  inch  for 
plates,  59,000  for  English  bolts,  and  65,000  for  American,  being 
increased  when  subjected  to  a  moderate  temperature.  The  mean 
tensile  strength  of  steel  plates  and  bolts  ranges  from  80,000  to 
96,000  pounds.     Kirkaldy  gives  85,966  as  a  mean. 

Bursting  and  Collapsing  Pressures. — The  computation  for  plates 
and  bolts  should  be  based,  so  far  as  may  be  practicable,  upon  their 
exact  tensile  strength.  Whenever,  then,  the  strength  of  plates  is 
ascertained,  there  should  be  deducted  therefrom  one-half  for  single 
riveting  and  three-tenths  for  double  riveting,  and  the  remainder 
divided  by  a  factor  of  safety  of  three.  When  the  exact  strength  can 
not  be  ascertained,  a  factor  of  six  should  be  used  both  for  plates  and 
bolts.  The  resistance  to  collapse  of  a  flue  or  tube  is  much  less  than 
the  resistance  to  bursting;  the  ratio  can  not  well  be  determined,  as 
the  resistance  of  a  flue  decreases  with  its  length,  or  that  of  its 
courses.  With  an  ordinary  cylindrical  boiler,  4  feet  in  diameter, 
single  riveted,  20  feet  in  length,  with  flues  15-j  inches  in  diameter, 
shell  T\  thick,  flues  \  inch,  the  relative  strength  are  :  -Bursting,  350 
pounds;  collapsing,  152  pounds. — Haswell. 


42  SPITZLI'S  MANUAL. 

Heating  Feed-Water. — As  some  doubts  seem  to  exist  among 
steam  users  about  the  advantages  of  heating  the  feed  water,  it  might 
be  appropriate  to  give  a  few  figures  about  the  economy  to  be 
obtained  thereby.  To  heat  a  pound  of  water  from  zero  to  the  boil- 
ing point,  and  convert  it  into  steam  at  a  certain  pressure,  a  certain 
amount  of  heat  has  to  be  imparted  to  it.  A  "  unit  of  heat  "  is  the 
amount  necessary  to  raise  one  pound  of  water  one  degree  in  tem- 
perature.    Then 

At  15  pounds  above  atmosphere  1191  units  are  necessary. 


"  30 

1198 

"  45 

"        1203 

"  60 

"        1208 

"  75 

"        1212 

"  90 

"        1214 

Taking  1,200  as  an  average,  and  assuming  the  average  natural 
temperature  of  water  at  about  500,  we  have  to  impart  1150  units  of 
heat  to  every  pound  of  water  to  convert  it  into  steam.  A  feed- 
water  heater  will  thus,  for  every  ioo°  the  feed-water  is  raised  in 
temperature,  effect  a  saving  of 

IOO  X   IOO 

=  8.7  per  cent.; 

1150 

the  greatest  economy  would  be  attained  if  the  feed  could  be  heated 

to  the  boiling  point.     Taking  the  latter  at   212",  the   gain   would 

then  be 

(212  —  50)  X  IOO 

=  14  per  cent. 

1150 

In  condensing  engines  the  feed-water  is  taken  from  the  hot  well, 
which  generally  is  kept  at  120°  to  1300,  as  a  higher  temperature 
would  impair  the  vacuum,  and  thus  neutralize  what  is  gained  by  a 
higher  temperature  of  feed.  In  some  marine  engines  the  feed-water 
has  been  heated  to  a  higher  degree  by  taking  it  from  the  hot  well 
into  the  top  of  the  condenser,  or  around  and  through  the  exhaust 
pipe,  to  expose  it  to  the  steam  coming  out  of  the  cylinder,  before  it 
is  condensed.  Considerable  gain  has  been  claimed  by  inventors  of 
these  plans,  but  as  they  have  not  been  adopted  to  any  extent  it  may 
be  doubted  whether  their  advantage  is  universally  acknowledged. 
For  stationary  condensing  engines  the  so-called  economizers  have 
found  extensive  application;  they  consist  of  coils  or  rows  of  tubes, 
located  in  the  back  flue  of  the  boiler;  the  feed-water  is  forced 
through  them,  and  can  thus  be  heated  to  very  near  the  boiling 
point.     Some  of  these  were   shown   in   the   British   section,  in  the 


SPITZLI'S  MANUAL.  43 

southeast   corner  of  Machinery  Hall,  in  the  Centennial   Exhibition, 

and  very  elaborate  and  costly  structures   they  were.     Their  vertical 

tubes  had  a  slow-moving  set  of  scraping  rings  around  them,  to  keep 

them   from    any  soot    that    might    impair   their    conductive   power. 

Taking  the  temperature  of  the  hot  well  at   1200,  and  assuming  that 

the  feed  is  heated  to  200,  the  gain  would  be 

(200  —  120)  X  100 

=  7.4  per  cent. 

1200  —  120 

For  non-condensing  engines,  where   the  feed   would   have  to  be 

raised  from  50,  the  gain  would  be 

(200  —  50)  x  100 

=  13  per  cent. 

1200  —  so 

For  non-condensing  engines  the  simplest  way  to  heat  the  feed  is 
by  the  exhaust  from  the  cylinder,  either  passing  it  into  the  feed- 
water  tank,  which  is  done  in  locomotives  sometimes,  or  by  forcing 
the  feed-water  through  a  coil  of  pipes  surrounded  by  the  exhaust 
steam.  Or  the  feed,  in  its  way  to  the  boiler,  is  forced  through  a 
cylindrical  vessel,  and  the  exhaust  steam  conducted  through  it  in 
small  tubes,  after  the  manner  of  a  surface  condenser.  If  these 
arrangements  are  provided  with  sufficient  heating  surface,  the  feed 
may  be  heated  to  1800  or  2000,  but  care  should  be  taken  to  provide 
ample  and  unobstructed  passage  to  the  exhaust,  so  as  not  to  in- 
crease the  back  pressure,  for  if  the  latter  is  only  one  pound  per 
square  inch  higher,  the  loss,  especially  where  the  steam  is  greatly 
expanded,  may  come  very  near  the  gain  by  feed-heating.  In  a 
Corliss  engine,  working  with  sixty  pounds  pressure,  cutting  off  at 
Toth,  the  mean  pressure  is  about  14!  pounds  per  square  inch  ;  if 
the  back  pressure  is  raised  one  pound,  the  mean  pressure  would 
only  be  13^,  showing  a  loss  of 

,1   X   IOCk 

{ J  =  7  per  cent. 

^  14.5  ' 
The  cost  of  heating  the  feed  is  represented  by  the  interest  on 
the  first  cost  of  the  heater  and  its  cost  of  maintenance,  and  will 
vary  somewhat  according  to  construction,  etc.  On  an  average  the 
net  gain  by  heating  the  feed  may  be  assumed  as  about  five  per  cent, 
for  condensing,  and  ten  per  cent,  for  non-condensing  engines. — 
By  J.  Ifaug,  M.E.,  in  Polytechnic  Review. 

Boiling. — Boiling  goods  to  produce  lustre  is  a  common  necessity, 
but  it  is  not  always  best  to  boil ;  a  gentle  steeping  may  serve  the 
purpose  better  and  prove  less  injurious  to  the  material.     The  false 


44  SPITZLI'S  MANUAL. 

impression  that  the  liquor  is  not  doing  the  work  unless  greatly 
agitated,  prevails,  but  not  so  extensively  as  twenty  years  ago.  The 
secret  of  success  is  frequently  in  the  rolling,  the  exposure,  gradual 
cooling  or  in  the  nature  and  character  of  the  fabric.  When  woolen 
goods  have  been  excessively  boiled,  exposed  to  great  heat,  or  cooled 
too  suddenly,  they  are  invariably  made  harsh.  When  the  machine 
which  rolls  the  goods  is  not  powerful  enough  to  draw  the  goods 
quite  steadily,  with  the  utmost  strain  necessary,  look  out  for  water 
marks.  If  the  goods  are  not  clean  when  boiled,  clouds  and  dark 
edges  may  show  themselves.  If  the  colors  in  the  goods  are  not  fast 
they  will  sometimes  be  less  so  after  boiling  for  lustre. 

Bois  Rouge. — See  Camwood. 

Bombazine. — (Bombazet,  Bombazette,  Bombazine,  Bombasine?) — A 
sort  of  thin  woolen  cloth.  Bumbazeen.  n.  [Fr.,  bombasin  and 
basin;  Sp.,  bombasi ;  It.,  bambagno;  Lat.,  bombacinium,  bomba- 
cinium,  from  Lat.  bombycinus  of  silk  or  cotton.  Bombycinum,  a 
silk  or  cotton  texture  from  Bombyt.  Gr.,  Bou-By  silk,  cotton ; 
It.,  bombazio.]  A  twilled  fabric,  of  which  the  warp  is  silk  and  the 
weft  worsted ;  formerly  black,  for  mourning  garments,  but  now 
made  of  various  colors.    [Sometimes  spelled  bombasin.] — Tomlinson. 

Bombazine  was  first  made  at  Norwich,  England,  in  1875. 

Bonchon,  M. — M.  Bonchon,  in  1725,  (twenty-seven  years  before 
the  birth  of  Jacquard,)  employed  a  band  of  pierced  paper,  pressed 
by  a  hand-bar  against  a  row  of  horizontal  wires,  so  as  to  push  for- 
ward those  which  happened  to  be  opposite  the  blank  spaces,  thus 
bringing  the  loops  at  the  lower  extremity  of  vertical  wires  in  con- 
nection with  a  comb-like  rack  below,  etc.  It  will  thus  be  seen  that 
Jacquard  was  not  the  inventor  of  the  first  principles  of  the  kind  of 
looms  now  known  the  world  over  by  his  name. 

Books. — The  books  required  by  the  designer  are  few  and  simple ; 
but  large,  must  be  thoroughly  made,  and  are  therefore  expensive. 
The  principal  ones  are  design,  pattern  and  record  books.  Books  of 
instruction  should  perhaps  be  included,  as  no  designer  can  now 
afford  to  refrain  from  much  reading  on  subjects  kindred  to  his  call- 
ing. {For  description,  see  Design  Books,  Pattern  Books,  Record 
Books  and  Books  of  Instruction.)  The  different  kinds  of  books 
should  be  procured  uniform  in  size  if  possible  ;  this  is  a  saving  in 
shelf  room,  and  adds  much  to  the  appearance  of  a  library  of  this 
kind,  great  or  small.  Design  Books  should  be  gotten  up  to  suit  the 
designs  to  be  recorded,  the  paper  very  heavy  and  binding  first-class. 


SPITZ  LI'S  MANUAL.  45 

Pattern  books  can  be  got  very  cheap,  but  it  is  not  economy  to  buy 
such ;  they  have  to  be  replaced  too  often,  look  bad  and  are  gener- 
ally unsatisfactory.  The  records  are  simple,  and  may  be  like  the 
regular  account  books  known  by  that  name,  of  a  size  to  match  the 
others.  Books  of  Instruction  are  expensive,  but  a  necessity, 
acknowledged  more  and  more  every  day. 

Book  of  Ties. — To  be  able  to  apply  any  given  pattern  to  the 
looms  was  formerly  considered  as  being  one  of  the  "  mysteries"  of 
weaving,  for  the  weaver  was  expected  to  tie  up  or  arrange  his  loom 
to  produce  satins,  twills,  spots  and  small  figures.  He  was  accord- 
ingly provided  with  various  diagrams  or  plans,  showing  him  how  to 
do  so :  and  if  he.  was  a  careful  man,  he  would  have  a  number  of  the 
most  prevailing  patterns  drawn  in  his  "  Book  of  Ties,"  which  was 
the  name  given  to  the  memorandum  book  for  that  purpose.  A  cen- 
tury ago  there  were  in  this  country  no  printed  works  on  weaving; 
therefore,  it  may  be  interesting  to  describe  a  fair  specimen  of  a 
weaver's  pocketbook  of  that  period,  for  it  is  questionable  whether 
many  of  them  remain  in  existence  at  the  present  time.  A  book  of 
this  kind  is  now  before  us  ;  it  is  an  ordinary  long-shaped  pocket- 
book,  and  contains  about  eighty  different  "  ties  "  or  patterns  clearly 
drawn;  each  pattern  has  its  particular  naiie,  such  as  "  bird's  eye 
or  diamond  handkerchief,"  "twelve  lam  diaper,"  "Barcelona  twill," 
"  Florentine,"  "  Long  cut  velvet,"  "  shamrock  gauze,"  "  rocktabby," 
"velveret,"  "  wild-worm-warp-away,"  and  other  curious  names,  for 
weavers  centuries  ago  were  perfectly  aware  of  the  effect  of  a  new 
name. — Barlow. 

Books  of  Instruction. — There  is  no  question  more  frequently 
asked  by  beginners  than  "  Which  is  the  best  book  for  me  to  get  ?" 
The  fact  is  that  many  are  apt  to  expect  too  much  of  a  book.  In 
these  days  it  is  no  longer  possible  for  even  the  most  advanced  to 
hold  his  vantage  ground  without  much  reading;  but  he  who  thinks 
to  post  himself  entirely  from  books,  or  he  who  otherwise  places 
too  much  dependence  upon  rules  and  precepts  which  cannot  be 
otherwise  than  arbitrary,  must  fail.  A  beginner  should  get  some 
experienced  person  to  pick  out  a  plain,  simple  book  on  some  par- 
ticular branch  to  begin  with ;  this  will  prepare  him  for  more 
difficult  work;  finally  standard  works  treating  in  general  upon  sub- 
jects kindred  to  his  special  branch  will  afford  most  profitable  read- 
ing. We  advise  a  beginner  to  purchase  this  manual  first,  because 
the  price  is  reasonable  and  much  aid  may  be  derived  from  it ;  the 
selection   of  other  works  is  also   made   easy.     Ashton,  Langewald, 


46  SPITZLI'S  MANUAL. 

Aslienhurst,  Barlow,  Chevreul,  on  colors,  procured  in  the  order 
mentioned,  if  not  altogether,  is  money  well  spent.  Ashton  treats 
elementary  points  very  satisfactorily  to  the  beginner.  Langewald 
supplies  the  largest  collection  of  chain  drafts  and  tables  convenient 
in  a  woolen  mill.  Ashenhurst's  work  is  very  instructive  to  any  one 
who  has  had  a  little  start.  Barlow  is  very  interesting  and  important 
to  those  who  wish  general  knowledge  of  weaving  and  its  history. 

Borate  of  Soda. — Borax. 

Borax. — Biborate  of  soda;  a  salt  formed  by  a  combination  of 
boracic  acid  with  soda.  It  was  originally  obtained  from  a  lake  in 
Thibet,  and  was  sent  to  Europe  under  the  name  of  tincal.  It  is  of 
a  white  color  or  sometimes  grayish,  or  with  a  shade  of  blue  or 
green. 

Bord  or  Burda. — A  striped  cloth.  Burd  Alisaunder,  the  oldest 
known  design  for  any  textile  fabric. 

Bow. — A  device  on  the  point  of  a  shuttle  to  separate  the  shed. 
Used  when  the  warp  threads  are  inclined  to  stick  together.  It  is 
usually  made  of  horse  hair  or  very  fine  wire. 

Bowed  Gorgia  Cotton. — "  Bowed  Gorgia"  takes  its  name  from 
a  mode  of  cleaning  whj^h  has  long  been  in  disuse.  This  operation 
was  performed  by  means  of  a  bow-string,  which  being  raised  by  the 
hand,  and  suddenly  released,  struck  upon  the  cotton  with  consider- 
able force,  and  thereby  served  both  to  separate  the  gins  and  to  open 
the  cotton,  rendering  it  more  fit  for  the  processes  which  followed. 
"  It  has  long  since  been  abandoned  for  other  and  more  rapid 
methods  of  cleaning." — (Baird.)  What  is  now  called  "  Bowed 
Gorgia  "  has  been  cleaned  by  a  machine  called  a  saw-gin. 

Boxes. — Shuttle  boxes  on  looms  are  often  troublesome,  because 
supported  by  a  crooked  spindle.  The  position  in  relation  to  the 
race  board,  when  the  shuttle  is  to  pass  in  or  out,  is  of  great  import- 
ance, and  varies  on  looms  of  different  construction  sometimes  to  the 
extent  of  ^  inch.  Some  weavers  claim  that  a  box  should  never  be 
level,  but  aim  downwards  a  little  ;  the  advantages  claimed  for  this 
mode  of  setting  are  that  it  keeps  the  shuttle  from  flying  out,  and 
catches  the  shuttle  gradually  on  its  coming  in.  This  theory  is  not 
accepted  by  others  who  are  equally  successful.  Timing  the  motion 
of  the  boxes  is  a  nice  point,  but  carelessly  done  by  a  large  propor- 
tion of  loom  fixers.  The  cleanliness  of  boxes  should  be  scrupulously 
attended  to. 

Box  Motion. — The  mechanism  on  looms  for  raising  and  lowering 


SPTTZLI'S  MANUAL.  47 

the  shuttle  boxes  is  an  important  part  of  the  whole.  This  has  led 
to  many  inventions,  some  good,  others  almost  worthless,  and  many 
which  conflict  with  each  other  in  claims  of  inventors.  The  very 
motion  that  we  would  recommend  is  in  controversy. 

Bow  Cords. — The  term  used  to  designate  the  cords  between  the 
raising  lever  or  couper,  and  the  harness  or  leaf  of  certain  kinds  of 
hand  looms. 

Brazil  Woods. — There  are  several  varieties  of  this  wood,  which 
are  distinguished  from  each  other  by  the  name  of  the  place  where 
they  are  obtained — Pernambuco,  Japan,  Hypernic  wood,  Nicaragua, 
etc.,  and  they  all  give  a  handsome  red  ;  and  in  relation  to  dyeing, 
may  be  considered  as  only  different  names  for  dyestuffs  producing 
similar  coloring  effect,  and  only  differing  in  some  little  particulars. 
In  the  dyehouse  they  are  often  all  called  peachwood.  The  wood 
known  in  commerce  as  Pernambuco  is  most  esteemed,  and  has  the 
greatest  quantity  of  coloring  matter.  The  kind  termed  Hypernic 
or  Lima  wood  is  the  same  in  quality.  A  decoction  of  Lima  wood 
presents  a  rich  crimson  color,  which  acids  and  acidulous  salts  will 
change  to  orange,  and  alkalies  turn  to  purple.  The  salts  of  potash, 
soda  and  ammonia  change  the  solution  into  a  rose  color,  which  soon 
passes  away  by  standing.  Solutions  of  tin  throw  down  a  bright  red 
colored  lake,  and  alum  precipitates  slowly  a  bright  and  clear  red. 
Nicaragua  or  peachwood  (sometimes  called  Santa  Matha  wood)  is 
much  used  in  the  dyehouse,  and  for  many  shades  of  red  is  pre- 
ferred, although  the  coloring  matter  is  not  so  great.  It  gives  a 
bright  dye.  It  is  better  adapted  to  coloring  reds  than  Lima  wood, 
and  this  latter  is  better  for  garnets,  rubies,  maroons,  etc.,  on  ac- 
count of  its  deep  crimson-colored  solution.  But  all  the  colors 
obtained  from  any  of  these  woods  are  of  a  fugitive  nature,  losing 
their  brilliancy  by  exposure  to  the  air.  The  sun  has  a  very  pow- 
erful influence  upon  colors  dyed  by  these  woods.  By  a  short  ex- 
posure the  red  color  assumes  a  blackish  tint,  passes  into  a  brown, 
and  fades  away  into  a  light  dun  color.  The  best  preparations  for 
reds  from  these  woods  is  alum  and  tartar — the  tartar  about  one- 
eighth  the  weight  of  alum.  The  best  temperature  to  commence 
dyeing  these  colors  is  about  1800,  and  bring  up  to  a  boil  as  soon  as 
possible,  and  boil  no  longer  than  to  get  the  shade  required. 

Brushes. — The  brushes  needed  by  a  designer  are  two  in  num- 
ber— one  of  the  best  bristle  clothes  brushes  for  brushing  samples, 
not  too  large  or  stiff,  not  too  limber  ;  also,  a  small  brush  for  clear- 
ing the   projecting  threads  when   dissecting.     Factory  brushes  are 


48  SPITZLI'S  MANUAL. 

more  numerous  in  kinds,  for  brushing  cloth,  gigg  slats,  warps,  etc., 
etc.;  also  for  dabbing  the  stock  into  the  circles  on  combs  and  other 
like  work.     The  very  best  brush  bristles  are  cheapest. 

Brocade. — A  cloth  with  figures  woven  with  gold  or  silver 
threads. 

Brush  Wheels. — In  light  machinery,  wheels  are  sometimes  made 
to  turn  each  other  by  means  of  bristles  fixed  in  their  circumference  ; 
these  are  called  brush  wheels.  The  term  is  sometimes  applied  to 
wheels  which  move  by  their  friction  only. — (Ure's  Dictionary.) 

Bungoes. — A  peculiar  kind  of  shawls  first  made  at  Strathbungo 
near  Glasgow,  Scotland.  Sometimes  applied  to  other  fabrics  sup- 
posed to  resemble  the  texture  and  character  of  these  shawls. 

Brussels  Carpet. — Brussels  and  other  pile  carpets  are  made 
upon  the  same  principle  as  velvet,  but  generally  the  pile  is  not  cut, 
consequently  round  wires  are  used  instead  of  grooved  ones,  and 
they  are  drawn  out  from  the  sides  of  the  cloth.  There  are  two 
descriptions  of  Brussels,  one  in  which  the  pile  threads  have  the 
pattern  printed  upon  them  previous  to  weaving,  and  the  other  in 
which  the  threads  are  used  dyed  in  separate  colors.  The  first  kind 
is  known  as  tapestry  carpets,  patented  in  1832,  by  Mr.  Whytock  of 
Edinburgh,  and  forms  a  comparatively  simple  and  cheap  manufac- 
ture when  compared  to  Brussels  carpets. 

Buckram. — A  coarse  linen  cloth  stiffened  with  glue,  named  from 
buco,  a  hole,  or  from  Bokkara. 

Burel. — A  coarse  stuff  used  during  the  thirteenth  century. 


Calcium. — The  metallic  base  of  lime. 

Calculations. — Mathematical  calculations  are  numerous  in  and 
about  the  factory.  Those  which  fall  to  the  designers'  lot  frequently 
include  estimates  of  cost,  as  well  as  quantity  of  yarn  and  stock 
needed  for  separate  orders.  Many  of  the  more  important  calcula- 
tions are  treated  in  other  parts  for  the  sake  of  clear  connections. 
To  be  methodical  in  all  things  should  be  the  aim  of  all,  designers  in 
particular ;  it  is  a  useful  as  well  as  commendable  virtue.  To  give 
the  necessary  methods  for  all  factory  calculations  would  require  a 
large  volume,  and  the  best  would  be  incomplete.  The  better  way  is 
to  supply,  in  the  proper  places,  elementary  rules,  and  urge  every 


SPITZLI'S  MANUAL.  49 

one  to  reduce  all  their  calculations  to  a  systematic  method ;  to 
decide  on  some  good  way  to  proceed  for  the  various  kinds  of  mathe- 
matical problems  which  come  up  frequently,  and  make  use  of  such 
method  until  it  can  be  abandoned  for  a  better  one  in  earnest;  never 
employ  too  many  ways  to  solve  the  same  kind  of  problems.  It  is 
well  to  know  several  ways,  as  they  may  be  used  for  proving  work, 
but  an  unmethodical  use  of  such  knowledge  is  demoralizing.  Most 
of  the  examples  given  in  this  work  will  be  found  with  the  rules. 
The  impossibility  to  collect  even  in  small  districts  of  England 
statements  of  any  number  which  agree,  on  the  subject  of  mathemati- 
cal terms  and  methods  in  textile  calculations,  on  account  of  the  great 
diversity  of  methods  employed,  verifies  the  preceding  remarks. 
(See  Barlow  and  Ashenhurst.)  The  latter  is  quoted  as  good  author- 
ity, and  to  show  how  utterly  impossible  it  is  to  create  order  out  of 
the  chaos  existing  in  some  districts,  the  quotation  is  in  another  part 
in  connection  with  "Yarn  Counts  or  Numbers." 

Calico  Printing  is  the  art  of  producing  a  pattern  on  cotton 
cloth  by  printing  in  colors,  or  mordants,  which  become  colors  when 
subsequently  dyed.  Calico  derives  its  name  from  Calicut,  a  town 
in  India  formerly  celebrated  for  its  manufactures  of  cotton  cloth, 
and  where  calico  was  also  printed.  Other  fabrics  than  cotton  are 
now  printed  by  similar  means,  viz.,  linen,  silk,  wool  and  mixtures  of 
wool  and  cotton.  Linen  was  formerly  the  principal  fabric  printed, 
but  since  modern  improvements  have  produced  cotton  cloth  at  a 
comparatively  cheap  rate  linen  fabrics  are  now  sparingly  used  for 
printing,  and  then  principally  for  handkerchiefs,  linen  cloth  not 
producing  such  beautiful  colors,  in  consequence  of  the  small  affinity 
of  flax  for  mordants  or  coloring  matters.  Silk  printing  also  is 
chiefly  confined  to  handkerchiefs,  but  the  printing  of  woolen  fabrics 
or  mousseline  delaines  is  an  important  branch  of  the  art.  (Ure's 
Dictionary.) 

Cambric. — A  cotton  cloth.  No  doubt  the  name  is  derived  from 
Cambray. 

Callenders. — Callenders  are  machines  with  two  or  more  cylin- 
ders, now  generally  heated  by  steam,  used  in  some  of  the  finishing 
processes  ;  also  by  the  calico  printers  to  prepare  the  surface  of  the 
goods.  The  complete  and  perfect  callender  is  a  large  and  expen- 
sive machine,  and  may  be  much  modified  for  certain  fabrics.  It  is 
always  best,  however,  to  have  one  so  fitted  that  it  may  be  worked 
with  any  degree  of  pressure  between  the  rolls,  from  that  which 
simply  insures  regular  contact  to  that  which  will  produce  a  glaze  on 
4 


5o 


SPITZLI'S  MANUAL 


almost  any  fabric.  A  very  good  use  for  callenders,  but  by  no  means 
common,  is  that  made  of  it  by  a  few  manufacturers  of  worsted 
goods  of  the  heavier  classes.  After  pressing  it  is  necessary  to  take 
off  the  glaze  with  steam ;  if  the  goods  are  immediately  dried  on  a 
callender  after  this  steaming,  all  firmness  given  the  goods  by  press- 
ing remains ;  if  not,  the  moisture  gradually  penetrates  the  goods 
and  an  undesirable  result  is  the  consequence. 

Camwood. — This  is  another  species  of  the  red  woods,  and  grows 
in  Sierra  Leone  and  those  countries  adjacent  to  the  Bight  of  Benin. 
Its  chemical  properties  and  nature  are  very  similar  to  barwood 
and  sanders,  being  called  by  botanists  bois  range.  It  contains  more 
coloring  principle,  and  the  color  is  more  permanent  than  sanders  or 
barwood.  It  comes  to  the  dyer  in  a  ground  state,  same  as  barwood 
and  sanders.  The  precipitates  from  a  solution  of  this  wood  are  of 
a  more  yellow  cast,  which  explains  why  the  colors  dyed  by  it  are  so 
much  more  intense  and  rich  than  colors  from  the  other  red  woods, 
its  color  being  more  of  a  decided  red.  It  is  more  extensively 
used  in  woolen  dyeing  than  either  of  the  other  red  woods,  for 
the  reasons  given  above.  It  will  give  a  permanent  color  either 
with  or  without  a  mordant.  Camwood  gives  out  its  color  with 
great  reluctance,  but  by  taking  the  plan  laid  down  for  barwood 
and  adding  to  the  color-bath  one-half  ounce  of  soda-ash  (Na3C03) 
for  every  twelve  pounds  of  camwood  used,  just  as  the  wool  is  to  be 
entered  for  coloring,  will  make  a  great  difference  in  the  quantity  of 
color  obtained,  and  the  wool  will  not  feel  so  harsh,  but  will  work 
more  open  than  if  the  soda-ash  had  not  been  used.  Camwood 
naturally  gives  a  harsh  feeling  to  wool,  but  not  so  much  so  as  san- 
ders. Reagents  give  the  following  results :  Sulphate  of  iron 
(FeS04)  gives  a  plum  color;  muriate  of  tin  (ShCl2)  gives  a  bright 
carmine-red  color;  sulphate  of  copper  (CuS04 )  gives  a  handsome 
looking  claret ;  alum  (A1SO)  gives  the  solution  a  beautiful  red  color  ; 
acetate  of  copper  (IC403H32Cu)  gives  a  light  reddish  brown; 
nitrate  of  iron  (3Noa2Fe)  gives  a  reddish  brown.  None  of  the 
salts  of  lime  seem  to  produce  desirable  results  upon  it  as  a  mor- 
dant. The  sulphate  of  copper  (blue  vitriol)  gives  the  best  results, 
or  effects,  upon  the  color  of  this  wood,  and  appears  to  be  the  most 
effectual  mordant  for  it,  especially  if  using  it  for  browns. — Gibson. 
A  light  bath  of  camwood  before  dyeing  prevents  wool  from  felting 
somewhat. 

Cards. — This  term  has  many  meanings  in  the  textile  world.  We 
card  cotton  and  wool  with  cards.      The  patterns  on  Jacquards  and 


SPITZLI'S  MANUAL,  5  I 

some  other  looms  are  produced  by  the  pattern  cards.  We  have 
pattern  cards  for  another*  purpose  also ;  upon  these  we  paste 
samples  of  goods.  Railroad  cards  are  simply  from  six  to  twelve 
cotton  cards  connected  by  what  are  termed  railroads  ;  these  are  a 
trough  in  which  a  strap  carries  the  slivers  from  all  the  cards  to  a 
series  of  rollers ;  the  slivers  are  delivered  into  a  can.  after  passing 
through  the  rollers.  These  devices  for  saving  labor  are  of  great 
value  as  they  make  better  work  by  more  doubling. 

Carding. — The  carding  of  stock  is  very  important.  What  can 
be  learned  from  books  should  be  studiously  sought ;  but  experi- 
ence is  indispensable  to  any  one  who  is  to  have  charge  of  the  pro- 
cess. There  are  many  good  books  to  be  had,  and,  unlike  works  on 
weaving,  most  of  them  are  sold  at  very  low  prices.  Leroux's  re- 
marks on  this  subject  are  very  valuable.  Baird  in  his  work  on  cotton 
manufacture  says  :  "Cards  are  used  to  disentangle  the  fibres  of  cotton, 
and  lay  them  lengthwise  and  parallel  with  each  other.  Carding  consists 
in  the  reversed  action  of  two  opposite  surfaces,  which  are  studded 
with  angled  wire  hooks.  These  hooks  must  be  made  of  good,  hard- 
drawn  iron  wire,  to  render  them  stiff  and  elastic.  In  former  years, 
cards  were  merely  made  of  small  straight  boards,  studded  with 
sharp  wire  points,  and  having  handles;  these  were  operated  by 
hand  :  now,  they  are  encased  cylinders,  driven  by  steam  or  water 
power.  These  machines  consist  of  one  large,  and  often  of  many 
small  cylinders.  If  the  large  cylinder  is  partially  surrounded  by 
small  cylinders,  the  card  is  intended  for  coarse  yarn,  or  coarse  wool 
or  cotton  ;  if  it  contains  but  one  or  two  small  cylinders,  it  is  used 
for  fine  cotton  and  fine  yarn.  This  machine  receives  the  coil  of  lap 
from  the  spreading-machine,  which  is  as  wide  as  the  card,  and  forms 
it  into  a  lamina,  in  which  the  fibres  of  cotton  are  more  or  less 
parallel,  according  to  the  work.  Coarse  yarn  requires  the  cotton  to 
be  carded  but  once  ;  but,  for  fine  yarn,  it  is  necessary  to  repeat  the 
operation." 

Carpets. — Carpets  are  no  longer  a  luxury  enjoyed  by  the  wealthy 
alone,  their  use  has  become  so  general  that  many  kinds  are  now 
needed  to  meet  the  varied  demands.  These  kinds  or  classes  are  so 
commonly  known  by  their  names  that  it  is  quite  needless  to 
enumerate  them.  It  would  be  quite  as  unsatisfactory  to  consider  each 
as  briefly  as  space  here  would  require.  The  fact  is,  an  exhaustive 
work  on  the  manufacture  of  carpets  is  greatly  needed,  so  much  so 
that   anything   short   of  it  will   not  be   acceptable.     The  subject  is 


52  SPITZLI'S  MANUAL. 

pretty  extensively  treated  by  Barlow,  and  many  illustrations  make 
this  part  of  the  work  quite  instructive  to  those  who  are  making  the 
methods  of  producing  textile  fabrics  a  general  study.  Ashenhurst 
is  also  thorough  in  the  chapters  devoted  to  carpets,  but  has  not 
made  use  of  illustrations  so  profusely  as  Barlow. 

Cashmere  or  Cachemere. — The  genuine  fabrics  of  this  class,  at 
one  time  the  only  goods  sold  under  this  name,  were  formerly  pro- 
duced in  the  Kingdom  of  Cashmere.  They  are  now  made  to  greater 
perfection  in  Europe.  The  material  of  the  cashmere  shawls  is  the 
downy  wool  found  on  parts  of  the  Thibet  goat  (only  a  small  percent- 
age of  their  coats  by  weight).  The  Oriental  Cashmere  shawls  are 
the  results  of  extremely  slow  weaving  processes.  The  Jacquard 
loom  produces  better  goods  at  much  less  cost. 

Cassimeres  or  Kersimeres. — Almost  any  woolen  cloth  that  has 
not  for  some  special  reason  another  name  is  conveniently  classed 
among  cassimeres  by  the  trade.  Really  this  class  of  goods  includes 
only  plain  and  fancy  cassimeres,  both  being  woolen  goods  that  have 
been  milled — the  difference  between  the  plain  and  fancy  being  in 
the  appearance.  Plain  cassimeres  may  be  made  of  any  texture 
which  will  look  smooth  and  plain  oh  the  face ;  even  twills  are  classed 
in  this  line,  when  not  too  large  ;  diagonals  can  not  be.  This  class 
must  also  be  of  one  color  or  mixture  only.  When  more  than  one 
color,  large  or  fancy  diagonals,  or  otherwise  fancy  effects  or  textures 
are  used,  the  goods  are  properly  fancy  cassimeres.  "  Cotton  warp 
fancy  cassimeres  "  is  a  trade  name  to  pass  off  fancy  effects  of  a 
cheaper  grade  (made  as  the  name  implies  in  part  of  cotton),  for 
which  there  is  no  more  appropriate  name  in  common  use.  Some 
"  Union  cassimeres  "  are  of  this  order. 

Catechu. — "  This  is  another  substance  containing  a  great  deal  of 
tannin  or  astringent  principle.  It  is  a  dry  extract,  prepared  from 
the  wood  of  a  sensitive  plant  called  Terra  Japonica.  It  grows  in 
the  mountainous  districts  of  Hindostan.  Catechu  is  dark  brown  or 
chocolate  color,  with  an  astringent  taste,  but  no  odor  or  smell.  It 
contains  about  50  per  cent,  of  tannin  principle  ;  gum,  8;  extractive 
matter,  35  ;  impurities,  7  :=ioo. 

Proto-sulphate  of  Iron  gives  olive  brown  precipitates. 

Chloride  of  Tin  and  Bi-sulphate  of  Copper  gives  yellowish  brown 
precipitates. 

Bichromate  of  Potash  gives  a  deep,  rich,  red  brown  precipitate. 

There  are  different  qualities  as  well  as  kinds  of  catechu  in  the 
market.     The  Bombay  comes   to  us  in   square  masses,  of  a  reddish 


SPITZLI'S  MANUAL.  53 

brown  color.  Its  composition  is:  Tannin,  50 ;  extractive  matter, 
35;  gum,  8;  impurities,  7:  =  ioo. 

The  Bengal  catechu  is  found  in  market  in  flattish  round  lumps. 
The  outside  color  is  a  light  brown  ;  the  inside,  dark  brown.  Its 
composition  is:  Tannin,  48.9  ;  extractive  matter,  37.0;  gum,  7.5; 
impurities,  6.6  :  =  ioo. 

The  Malabar  catechu  we  receive  in  large  masses.  The  color  is 
of  a  light  brown  outside,  but  dark  colored  inside,  and  covered  with 
leaves.  Its  composition  is  :  Tannin,  45.3  ;  extractive  matter,  39.5  ; 
gum,  8.5  ;  impurities,  6.7  :  =  ioo. 

Catechu  is  adulterated  with  sand,  clay  and  ochre.  The  adultera- 
tion can  be  easily  detected  by  dissolving  some  of  it  in  water,  and 
these  impurities  will  settle,  as  good  catechu  is  all  soluble  in  water, 
and  gives  a  clear  solution,  of  a  beautiful  reddish  brown  color,  which 
acids  will  brighten  and  alkalies  darken,  and  the  shade  deepen  by 
standing.  The  tannin  that  is  contained  in  catechu  is  not  so  easily 
converted  by  exposure  into  gallic  acid  as  nutgalls  are,  but  is  sub- 
ject to  oxidation.  When  catechu  is  oxidized,  there  is  a  formation 
of  an  acid  nearly  like  that  of  gallic  acid ;  but  this  acid  is  only 
formed  when  a  solution  of  catechu  is  treated  with  an  alkaline 
matter.  Catechu  is  now  used  in  almost  all  the  compound  colors  on 
raw  cotton  and  cotton  yarns — blacks,  browns,  drabs,  fawns  and 
greens;  and  its  permanency  causes  it  to  be  of  such  high  estimation 
in  the  coloring  of  raw  cotton  at  the  present  time." — Gibson. 

Chenille  Weft. — To  produce  an  imitation  of  pile  or  velvet 
goods  chenille  weft  or  filling  serves  well.  It  is  made  by  weaving  a 
fabric  that  may  be  cut  into  narrow  strips,  the  raw  edges  of  which 
when  twisted  afford  the  projecting  fibers.  To  make  the  strips  fine 
or  narrow  it  is  necessary  to  cross-weave  them ;  this  binds  the  short 
pieces  of  threads  more  firmly.  Elegant  shawls,  cloakings,  carpets 
and  robes  are  made  with  this  filling.  There  are  looms  built 
especially  for  weaving  many  kinds  of  chenille  weft. 

Chloride  of  Calcium. — Lime  and  muriatic  acid. 

Chinchilla. — These  goods  are  used  for  cloaks  and  sometimes 
for  overcoatings.  It  may  be  presumed  that  some  fabric  of  this  class 
at  one  time  had  some  resemblance  to  the  fur  of  an  animal  by  this 
name,  but  few  of  the  goods  now  sold  under  it  can  be  said  to  retain 
the  resemblance.  Chinchilla  goods  must  be  of  stock  and  texture  to 
permit  a  long  full  nap.  The  disposal  of  the  nap  varies.  Some 
kinds  are  curled,  others  are  made  wavy,  yet  others  straight,  etc.,  etc. 
The  whipping  machine  is  a  necessity  in  the  finishing  of  these  goods. 


54  SPITZLI'S  MANUAL. 

Circles. —  Circular  Swivels  or  Lappets  and  Circular  Shuttle 
Boxes  are  subjects  described  by  Barlow  and  many  other  writers 
on  looms  and  weaving.  To  write  understandingly  about  them 
requires  the  use  of  illustrations  and  considerable  space.  Comb 
circles  are  more  easily  described.  They  consist  of  a  brass  or 
composition  base,  in  circular  form  to  fit  the  combing  machines, 
from  \  inch  to  f  inch  in  thickness,  according  to  the  work  they  are 
intended  for.  Through  this  base  pins  are  driven  in  rows,  the  size 
of  the  pins,  shape  and  their  number  also  depends  on  the  kind  of 
work.  The  pins  should  not  be  too  soft  or  too  hard,  as  hooked 
points  or  broken  pins  make  bad  work.  Neither  should  the  pins  be 
set  any  closer  together  than  is  absolutely  necessary  to  clear  the 
wool.  When  close  set,  the  stock  must  be  fed  very  light  or  the 
dabbing  brush  will  not  be  sufficient  to  force  it  between  the  pins. 

Cloth. — The  word  cloth  is  frequently  used  instead  of  fabric, 
erroneously.  Almost  any  textile  fabric  may  be  cloth,  but  the  more 
common  use  of  the  word  is  for  heavier  goods,  and  particularly  those 
made  of  wool,  like  broadcloth,  beavers,  etc.,  etc. 

Cloth  Finish  is  a  term  used  to  designate  that  finish  on  woolens 
similar  to  broadcloth. 

Cochineal. — "  This  is  a  small  insect,  called  coccus  cacti.  It  is  a 
native  of  those  parts  of  South  America  bordering  on  the  Gulf  of 
Mexico,  of  St.  Domingo,  Cuba  and  several  other  of  the  West  India 
Islands,  in  which  places  it  is  sometimes  found  wild."  It  produces 
the  finest  known  shades  of  crimson,  red,  scarlet,  etc.,  for  woolen  or 
silk.  Some  cultivators  use  steam  for  killing  the  insect,  and  the 
different  appearances  of  the  cochineal  are  caused  by  the  different 
modes  of  killing  the  insect.  The  best  sorts  are  those  that  appear 
as  if  dusted  with  white  powder,  and  are  of  a  slate  color;  but  this 
appearance  is  not  a  sure  criterion  to  go  by,  as  the  dealers  very  often 
dust  the  cochineal  with  powdered  talc,  to  deceive  the  purchaser. 
There  are  two  kinds  of  cochineal,  the  silver  and  the  black  cochi- 
neal. The  latter,  as  a  general  rule,  is  inferred  to  be  the  most  valu- 
able, but  this  is  a  nice  distinction,  and  only  holds  good  when  the  two 
kinds  present  the  same  specific  resemblance,  for  a  bold,  clear  silver 
is  preferable  to  a  black  of  opposite  appearance.  In  making  choice 
of  cochineal,  you  must  observe  that  each  grain  exhibits  a  bright, 
free,  clear,  bold  and  large  appearance;  whether  the  whole  mass  be 
free   from   dust  or   small   abraded   parts   of   the   insect,  or   matters 


SPITZLI'S  MANUAL. 


55 


foreign  to  its  nature ;  and  whether  a  quantity  of  it  has  a  certain 
weight  or  specific  gravity,  which  any  person  much  accustomed  to 
testing  weights  can  distinguish  with  the  greatest  nicety.  Cochineal 
is  the  richest  in  coloring  principle  of  all  the  known  dyestuffs,  having 
50  per  cent,  of  pure  crystalizable  coloring  principle;  its  clear  and 
filtered  solution,  with  the  different  mordants  or  mineral  salts,  etc., 
also  in  solution,  present  the  following  results  : 

Tannin  does  not  throw  down  any  precipitate. 

Boracic  acid  does  not  change  the  color,  but  rather  reddens  it 
more. 

Nitrate  and  nitro-muriate  of  per-oxide  of  iron  precipitates  a 
chocolate  colored  lake,  the  nitro-muriate  the  brightest. 

Bi-sulphate  of  copper,  a  red  purple  deposit,  a  portion  of  the  color 
remains  in  solution. 

Potash,  Soda  and  Ammonia  change  it  to  a  crimson  violet. 

Protoxides  of  Tin  produce  the  same  effect. 

Per-oxide  of  Tin  changes  it  to  a  yellowish  red. 

Chlorine  turns  it  yellow. 

Sulphate  of  magnesia,  no  precipitate,  the  solution  unaffected. 

Lime  gives  scanty  precipitates  of  a  violet  or  deep  lilac  color. 

Oxalic  acid  turns  the  solution  orange  color. 

Citric  acid  similar  effects,  but  of  a  redder  hue. 

Super-tartrate  of  potash  brightens  up  the  solution,  causing  it  to 
assume  a  fine  scarlet  color,  and  a  slight  precipitate  falls  of  a  red 
color. 

Super-oxalate  of  potash  produces  more  decided  effects  of  the 
same  character  as  the  preceding. 

Alum  gives  the  liquor  a  fine  crimson  appearance  and  a  moderate 
precipitate  of  the  same  color  takes  place,  the  liquor  still  retaining 
considerable  coloring  matter,  which  a  solution  of  nitro-muriate  of 
tin  precipitates  of  a  more  decided  scarlet,  leaving  the  liquor  of  a 
pale  fawn  color." — Gibson. 

Color. — In  many  fabrics  the  colors  are  quite  as  important  as  the 
texture,  consequently  it  behooves  the  designer  to  acquire  a  thor- 
ough knowledge  of  the  laws  which  govern  their  harmony.  This  can 
be  done  only  when  the  nature  of  colors  is  thoroughly  compre- 
hended. The  whole  combined  is  a  science  of  which  Ashenhurst 
says  :  "  The  science  of  color  teaches  the  nature  and  causes  of 
colors,  their  distinctions,  their  relations  to  each  other,  their  classifi- 
cation, the  mental  effects  that  attend  them,  and  the  causes  and  laws 
of  harmony.     It  also   includes  the  modifications  of  colors   arising 


56  SPITZLI'S  MANUAL. 

from  varying  sensibility  of  the  eye,  and  the  peculiarities  of  color 
vision  which  are  found  to  exist  in  different  individuals."  So 
important  is  the  science  that  it  would  be  folly  to  undertake  a  brief 
lucidation  of  it,  consequently  the  reader  is  referred  to  "  Chevreul  on 
Color,"  a  work  of  the  highest  merit,  and  one  which  cannot  fail  to 
interest  any  one  who  has  the  real  requisites  of  a  designer.  The 
harmony  of  colors,  the  influence  of  one  color  over  another  when 
placed  in  close  proximity  to  each  other,  are  subjects  which  can 
only  be  really  understood  after  much  preparatory  study.  For  any 
one  who  cannot  at  once  interest  himself  in  so  thorough  a  work  as 
Chevreul's  we  recommend  the  concluding  chapter  of  Ashenhurst's 
work  on  "  Weaving  and  Designing  " — a  brief  and  lucid  description 
of  the  science  of  color  and  very  important  suggestions  as  to  their 
application  in  textile  fabrics.  The  following  remarks  from  Chris- 
topher Dresser,  may  aid  some  beginners  who  have  other  necessary 
expenses  to  meet  at  present  and  must  defer  the  purchase  of  the 
books  mentioned  :  "  There  are  few  objects  to  which  color  may  not  be 
applied,  and  many  articles  which  are  now  colorless  might  be 
colored  with  advantage.  Our  reasons  for  applying  color  to  objects 
are  twofold,  and  here,  in  fact,  we  see  its  true  use.  First,  Color 
lends  to  objects  a  new  charm — a  charm  which  they  would  not 
possess  if  without  it ;  and,  second,  Color  assists  in  the  separation  of 
objects  and  parts  of  objects,  and  thus  gives  assistance  to  form. 
These,  then,  are  the  two  objects  of  color.  Mark,  first,  it  is  to 
bestow  on  objects  a  charm,  such  as  they  could  not  have  in  its 
absence.  In  the  hands  of  the  man  of  knowledge  it  will  do  so — it 
will  make  an  object  lovely  or  lovable,  but  the  mere  application  of 
color  will  not  do  this.  Color  may  be  so  applied  to  objects  as  to 
render  them  infinitely  more  ugly  than  they  were  without  it. 
Knowledge  will  enable  us  to  transmute  base  materials  into  works  of 
marvelous  beauty,  worth  their  weight  in  gold.  Knowledge,  then,  is 
the  true  philosopher's  stone  ;  for,  we  may  almost  say,  if  possessed 
by  the  artist,  it  does  enable  him  to  transmute  the  baser  metals  into 
gold.  But  a  little  knowledge  will  not  do  this.  In  order  that  we 
produce  true  beauty,  we  require  much  knowledge,  and  this  can  only 
be  got  by  constant  and  diligent  labor,  as  I  have  before  said  ;  but  the 
end  to  be  gained  is  worth  the  plodding  toil.  The  second  object  of 
color  is  that  of  assisting  in  the  separation  of  form.  If  objects  are 
placed  near  to  one  another,  and  these  objects  are  all  of  the  same 
color,  the  beholder  will  have  much  more  difficulty  in  seeing  the 
boundaries  or  terminations  of  each  than  he  would  were  they  vari- 
ously colored ;  he  would   have   to   come   nearer  to  them  in  order  to 


SPITZLI'S  MANUAL.  57 

see  the  limits  of  each,  were  all  colored  in  the  same  manner,  than  he 
would  were  they  variously  colored  :  thus  color  assists' in  the  separa- 
tion of  form.  This  quality  which  color  has  of  separating  forms  is 
often  lost  sight  of,  and  much  confusion  thereby  results.  Color  is 
the  means  by  which  we  render  form  apparent.  Colors:  when 
placed  together,  can  only  please  and  satisfy  the  educated  when  com- 
bined harmoniously,  or  according  to  the  laws  of  harmony.  What, 
then,  are  the  laws  which  govern  the  arrangement  of  colors  ?  and 
how  are  they  to  be  applied  ?  We  shall  endeavor  to  answer  these 
questions  by  making  a  series  of  statements  in  axiomatic  form,  and 
then  we  shall  enlarge  upon  these  propositions. 

General  Considerations. — 1.  Regarded  from  an  art  point  of  view, 
there  are  but  three  colors — i.  e.,  blue,  red  and  yellow. 

2.  Blue,  red  and  yellow  have  been  termed  primary  colors  ;  they 
cannot  be  formed  by  the  admixture  of  any  other  colors. 

3.  All  colors,  other  than  blue,  red  and  yellow  result  from  the  ad- 
mixture of  the  primary  colors. 

4.  By  the  admixture  of  blue  and  red,  purple  is  formed  ;  by  the 
admixture  of  red  and  yellow,  orange  is  formed  ;  and  by  the  admix- 
ture of  yellow  and  blue',  green  is  formed. 

5.  Colors  resulting  from  the  admixture  of  two  primary  colors  are 
termed  secondary  :  hence  purple,  orange  and  green  are  secondary 
colors. 

6.  By  the  admixture  of  two  secondary  colors  a  tertiary  color  is 
formed  :  thus,  purple  and  orange  produce  russet  (the  red  tertiary) ; 
orange  and  green  produce  citrine  (the  yellow  tertiary) ;  and  green 
and  purple,  olive  (the  blue  tertiary)  ;  russet,  citrine  and  olive  are 
the  three  tertiary  colors. 

Contrast — 7.  When  a  light  color  is  juxtaposed  to  a  dark  color, 
the  light  color  appears  lighter  than  it  is  and  the  dark  color  darker. 

8.  When  colors  are  juxtaposed  they  become  influenced  as  to  their 
hue.  Thus,  when  red  and  green  are  placed  side  by  side,  the  red 
appears  redder  than  it  actually  is,  and  the  green  greener  ;  and  when 
blue  and  black  are  juxtaposed,  the  blue  manifests  but  little  altera- 
tion, while  the  black  assumes  an  orange  tint  or  becomes  "  rusty." 

9.  No  one  color  can  be  viewed  by  the  eye  without  another  being 
created.  Thus,  if  red  is  viewed,  the  eye  creates  for  itself  green,  and 
this  green  is  cast  upon  whatever  is  near.  If  it  views  green,  red  is 
in  like  manner  created  and  cast  upon  adjacent  objects;  thus,  if  red 
and  green  are  juxtaposed,  each  creates  the  other  in  the  eye,  and  the 


58  SPITZLI'S  MANUAL. 

red  created  by  the  green  is  cast  upon  the  red,  and  the  green  created 
by  the  red  is  cast  upon  the  green ;  and  the  red  and  the  green  be- 
comes improved  by  being  juxtaposed.  The  eye  also  demands  the 
presence  of  the  three  primary  colors,  either  in  their  purity  or  in 
combination  ;  and  if  these  are  not  present,  whatever  is  deficient 
will  be  created  in  the  eye,  and  this  induced  color  will  be  cast  upon 
whatever  is  near.  Thus,  when  we  view  blue,  orange — which  is  a 
mixture  of  red  and  yellow — is  created  in  the  eye,  and  this  color  is 
cast  upon  whatever  is  near;  if  black  is  in  juxtaposition  with  the 
blue,  this  orange  is  cast  upon  it,  and  gives  to  it  an  orange  tint,  thus 
causing  it  to  look  "  rusty." 

10.  In  like  manner,  if  we  look  upon  red,  green  is  formed  in  the 
eye,  and  is  cast  upon  adjacent  colors;  or,  if  we  look  upon  yellow, 
purple  is  formed. 

Harmony. — 11.   Harmony  results  from  an  agreeable  contrast. 

12.  Colors  which  perfectly  harmonize  improve  one  another  to  the 
utmost. 

13.  In  order  to  perfect  harmony,  the  three  colors  are  necessary, 
either  in  their  purity  or  in  combination. 

14.  Red  and  green  combine  to  yield  a"  harmony.  Red  is  a 
primary  color,  and  green,  which  is  a  secondary  color,  consists  of 
blue  and  yellow — the  other  two  primary  colors.  Blue  and  orange 
also  produce  a  harmony,  and  yellow  and  purple,  for  in  each  case 
the  three  primary  colors  are  present. 

15.  It  has  been  found  that  the  primary  colors  in  perfect  purity 
produce  exact  harmonies  in  the  proportions  of  eight  parts  of  blue, 
five  of  red  and  three  of  yellow ;  that  the  secondary  colors  har- 
monize in  the  proportions  of  thirteen  of  purple,  eleven  of  green  and 
eight  of  orange  ;  and  that  the  tertiary  colors  harmonize  in  the 
proportions  of  olive  twenty-four,  russet  twenty-one,  and  citrine 
nineteen. 

16.  There  are,  however,  subtleties  of  harmony  which  it  is  difficult 
to  understand. 

17.  The  rarest  harmonies  frequently  lie  close  on  the  verge  of 
discord. 

18.  Harmony  of  color  is,  in  many  respects,  analogous  to  harmony 
of  musical  sounds. 

Qualities  of  Colors. — 19.  Blue  is  a  cold  color,  and  appears  to 
recede  from  the  eye. 


SPITZLI'S  MANUAL.  59 

20.  Red  is  a  warm  color,  and  is  exciting;  it  remains  stationary  as 
to  distance. 

21.  Yellow  is  the  color  most  nearly  allied  to  light;  it  appears  to 
advance  toward  the  spectator. 

22.  At  twilight  blue  appears  much  lighter  than  it  is,  red  much 
darker,  and  yellow  slightly  darker.  By  ordinary  gaslight  blue  be- 
comes darker,  red  brighter,  and  yellow  lighter.  By  this*  artificial 
light  a  pure  yellow  appears  lighter  than  white  itself,  when  viewed  in 
contrast  with  certain  other  colors. 

23.  By  certain  combinations  color  may  make  glad  or  depress, 
convey  the  idea  of  purity,  richness  or  poverty,  or  may  affect  the 
mind  in  any  desired  manner,  as  does  music. 

Teachings  of  Experience. — 24.  When  a  color  is  placed  on  a  gold 
ground,  it  should   be  outlined  with  a  darker  shade  of  its  own  color. 

25.  When  a  gold  ornament  falls  on  a  colored  ground,  it  should 
be  outlined  with  black. 

26.  When  an  ornament  falls  on  a  ground  which  is  in  direct  har- 
mony with  it,  it  must  be  outlined  with  a  lighter  tint  of  its  own  color. 
Thus,  when  a  red  ornament  falls  on  a  green  ground,  the  ornament 
must  be  outlined  with  a  lighter  red. 

27.  When  the  ornament  and  the  ground  are  in  two  tints  of  the 
same  color,  if  the  ornament  is  darker  than  the  ground,  it  will  re- 
quire outlining  with  a  still  darker  tint  of  the  same  color;  but  if 
.lighter  than  the  ground,  no  outline  will  be  required." 

The  surest  and  readiest  method  of  acquiring  a  practical  knowl- 
edge of  colors  and  their  effects  in  textile  fabrics,  is  to  analyze  a 
large  collection  of  samples.  Fashion  controls  the  designer  to  a  great 
extent;  and  fashion  moves  in  cycles.  Exhaustive  collections  of  the 
most  fashionable  colors  and  combinations  of  each  season,  with  a 
proper  record  of  particulars,  will  not  only  add  to  one's  stock  of 
knowledge,  but  any  one  who  is  at  all  observant  will,  after  a  while,  be 
enabled  to  prognosticate  coming  demands  of  fashions,  with  consid- 
erable accuracy.  The  value  of  this  ability  needs  no  comments, 
every  designer  has  suffered  more  or  less  from  a  lack  of  it,  both  in 
himself  and  in  those  who  assume  the  control  of  the  patterns  in  the 
market. 

Combing  and  Combing  Machinery. — Combing  is  an  old  branch 
of  textile  manufactures,  but  the  perfection  of  the  machinery 
employed  is  the  result  of  many  inventions  within  the  last  fifty 
years.  Camel  hair,  cotton,  flax,  silk  and  wool  are  extensively 
combed.     The    best    work    on    wool    combing,    etc.,    is    Leroux's 


6o  SPITZLI'S  MANUAL. 

"  Manufacture    of  Worsted    and    Carded   Yarns."     The    works    on 
these  subjects  are  still  very  few,  in  the  English  language. 

Combs  or  Comber  Boards  are  the  parts  of  Jacquards  through 
which  the  leashes  pass,  and  by  which  they  are  kept  in  regular  order 
and  separate. 

Cords.:;— This  term,  when  used  to  designate  certain  effects  in 
fabrics,  is  erroneously  applied  in  many  cases.  Ribs  of  various 
kinds  running  either  lengthwise  or  crosswise  are  given  this  appella- 
tion by  different  designers,  but  the  best  authorities  seem  to  agree 
that  the  only  effect  that  can  properly  be  called  a  cord  is  a  rib 
lengthwise  of  the  goods,  evenly  and  entirely  covered  by  regular  floats 
of  the  filling.  That  there  may  be  variations  no  one  will  deny, 
but  reps  should  not  be  called  cords  nor  cords  reps. 

Cotton. — Cotton  is  a  fibrous  down,  which  invests  the  seeds  of  a 
peculiar  plant,  called  gossypium  by  Linnaeus.  It  has  a  cup-shaped 
calix,  with  five  obtuse  teeth,  enclosed  in  an  exterior  calix  having 
three  clefts.  Botanists  describe  thirteen  species  of  this  plant,  which 
furnish  the  very  dissimilar  staples  found  in  commerce.  The  length, 
flexibility,  tenacity  and  thickness  of  the  fibres  of  the  different  de- 
scriptions of  cotton  form  the  basis  for  estimating  the  value  of  the 
article.  When  examined  through  a  good  microscope,  the  fibres  of 
cotton  are  seen  to  be  more  or  less  flat  and  twisted,  and  to  have  a 
breadth  varying  from  j±o  of  an  inch  in  the  Smyrna,  or  candle-wick 
cotton,  to  25V0  °f  an  mcn  m  tne  finest  Sea  Island.  The  fineness  of 
the  cotton,  where  No.  500  is  spun,  is  apparent  from  the  following 
circumstance.  It  is  said  that  a  house  in  Manchester,  England,  is 
preparing  a  fabric  for  the  Great  Industrial  Exhibition  of  London, 
which  is  to  be  spun  from  a  pound  of  cotton,  and  to  extend  in  length 
238  miles  and  11 20  yards.  There  are  in  the  warp  eighty  layers  of 
a  yard  and  a  half  each,  with  seven  warps  to  the  hank  and  500  hanks 
in  the  pound  of  cotton.  This  is  a  thread  which  is  finer  than  the 
finest  silk,  and  cannot  contain  more  than  three  or  four  fibres  of  the 
finest  Sea  Island  cotton.  The  main  distinction  between  the  various 
kinds  of  cotton  in  the  pod  is  the  black  seeded  and  the  green  seeded. 
The  first  separate  from  the  fibre  very  easily,  while  the  latter  adhere 
to  it  with  great  tenacity  and  require  the  aid  of  the  gin  to  separate 
them  from  it.  After  the  cotton  is  separated  from  the  seed,  it  is 
packed  in  strong  presses  and  formed  into  bales  of  from  200  to  500 
pounds  each.  Bales  of  American  cotton  generally  weigh  about  500 
pounds  each. — Baird,  (See  Baird's  Cotton  Spinner  for  description 
of  different  kinds.) 


SPITZLI'S  MANUAL.  6l 

Crape  Silk. — Barlow  says  "  the  process  of  making  it  (crape  silk) 
consists  in  extra  spinning,  sizing  and  stoving,  and  not  in  any  peculi- 
arity in  weaving."  Imitations  are  made  to  appear  like  real  silk 
crape  in  the  finishing  processes,  such  as  running  the  fabric  through 
heavy  size  and  crimping  machinery. 

Cross  Drawing. — The  definition  of  this  term  is  already  given  in 
an  allusion  to  it  under  the  head  Draw.  The  beginner  is  always  im- 
patient to  master  this  mysterious  part  of  designing.  Mysterious  : 
first,  because  some  men  foolishly  think  they  add  to  their  own  im- 
portance if  they  can  be  mysterious  about  their  labors.  Second, 
because  many  are  very  unsystematic  about  the  arrangement  of  their 
drafts,  or  even  worse,  do  their  work  without  thoroughly  understand- 
ing the  principles.  However  this  may  be,  the  secret  of  success  is 
not  so  much  in  great  skill  as  in  perseverance  and  practicability. 
Neither  is  there  any  serious  complexity  about  it,  as  one  would  think 
from  the  awe  it  has  inspired.  The  principle  is  one  and  simple. 
Whenever  the  drawing  in  hand  comes  to  a  thread  which  is  to  work 
the  same  as  a  previous  one,  it  must  be  drawn  in  on  the  same 
harnesses.  That  is :  threads  which  work  exactly  alike  may  be 
governed  by  one  and  the  same  harness.  To  reduce  a  full  draft  to 
working  drafts,  is  the  most  confusing  part  of  the  work.  It  is  not 
always  best  to  follow  to  the  letter  the  above  cited  principle,  and  yet 
it  is'"'  desirable  to  use  as  few  harnesses  as  possible.  The  few 
examples  selected  for  illustrations  involve  the  principles  completely, 
and  are  so  simple  as  to  be  easily  understood.  The  alphabetical  order 
of  headings  brings  them  into  the  first  part  of  the  book,  while  simple 
textures  are  illustrated  further  on.  The  latter  should  be  well 
understood  before  going  on  with  these.  (See  Textures.)  No.  37  is 
a  texture  that  can  be  woven  on  any  loom  that  will  produce  a  4  leaf 
twill,  simply  by  drawing  in  the  threads  on  4  harnesses  in'  the  order 
specified  by  the  drawing-in  draft.  We  will  suppose  that  the  full 
draft  has  been  obtained  by  dissecting  a  sample.  Begin  at  the  left 
hand,  examine  every  column  of  squares  (columns  represent  warp 
threads,  lines  filling).  The  first  is  to  be  marked  No.  1,  the  second 
works  differently,  it  cannot  therefore  be  drawn  on  the  same  harness 
as  the  first  thread,  consequently  we  assign  to  it  the  second  harness 
and  mark  it  2.  The  third  thread  is  marked  3  for  the  same  reason, 
and  the  fourth,  4.  But  the  fifth  thread  is  like  the  first  again,  there- 
fore, it  may  be  drawn  on  the  same  harness  as  the  first  thread — and 
is  marked  1  ;  the  sixth  thread  is  marked  2  ;  the  seventh  3 ;  the 
eighth  4,  for  the  same  reason.     The  ninth  thread  is  like  the  second; 


62  SPITZLI'S  MANUAL. 

consequently  marked  2  ;  the  tenth  like  the  first  and  marked  1  ;  the 
eleventh,  4;  and  the  twelfth,  3  ;  and  so  on  the  end,  the  entire  fabric 
being  a  repetition  of  the  first  4  threads,  but  in  different  order. 
After  marking  each  thread  below  as  per  upper  line  of  numbers  by 
the  above  method,  we  have  only  to  write  these  numbers  in  the  form 
most  convenient  for  the  drawing  in  hand,  for  really  this  line  of 
numbers  is  the  drawing-in  draft.  We  have  found  that  only  4 
harnesses  are  necessary  for  this  texture  ;  therefore,  we  confine  the 
drawing  in  draft  to  4  columns  of  squares,  and  copy  the  line  of 
numbers  into  these  columns,  always  putting  the  figures,  in  the 
respective  column.  The  form  employed  here  puts  only  one  figure 
on  a  line,  this  avoids  all  confusion,  but  it  takes  a  little  more  paper 
than  putting  such  figures  as  come  in  consecutive  order  on  the  same 
line  each  time.  Again,  some  designers  instead  of  writing  the 
figures  in  the  v Drawing-in  draft,  use  only  a  mark,  this  answers  the 
purpose  when  understood.  The  Drawing-in  draft  having  been 
deduced,  the  chain  draft  is  next  in  order.  Copy  the  first  column 
from  the  full  draft  in  another  place  on  the  paper,  find  the  second  by 
the  row  of  numbers  below,  copy  it  next  to  the  first,  the  same  with 
the  third  and  fourth.  The  result  is  the  chain  draft,  a  plain  4-harness 
twill,  which,  by  the  way,  could  be  seen  complete  and  intact  on  the 
first  4  threads  of  the  full  draft.  By  examining  the  other  examples  it 
will  be  noticed  that  this  is  not  always  the  case;  the  representative 
harnesses  being  less  regular  in  their  order  of  occurrence  in 
some  of  them.  Let  us  suppose  that  we  have  a  fancy  loom 
to  weave  this  fabric  on ;  that  we  may  employ  eight  harnesses, 
which  is  desirable  when  there  are  many  threads  in  the  warp. 
Let  the  student  give  the  full  draft  a  little  thought ;  he  will  see 
that  it  has  eight  threads  with  the  twill  to  the  right,  eight  with 
the  twill  to  the  left,  eight  with  a  broken  twill ;  eight  with  twill 
to  the  right  again,  eight  with  twill  to  the  left  again,  and  eight  with 
a  basket  texture.  We  will,  therefore,  divide  it  evenly  and  produce 
a  systematic  draft  by  taking  four  harnesses  for  the  right  hand  twill, 
four  more  for  the  left  hand  twill,  and  divide  the  threads  of  the 
broken  twill  and  the  basket  texture  among  these  two  sets.  The 
second  row  of  figures  below  the  draft  is  the  manner  in  which  the 
work  can  thus  be  divided  among  eight  harnesses.  The  student 
should  see  if  these  figures  have  been  put  down  correctly,  and  draw 
off  the  working  drafts  ;  then  compare  with  the  one  (B)  given  ;  in 
this  way  practice  is  at  once  applied.  No.  40  can  be  woven  on  four 
harnesses,  as  is  shown  by  the  working  drafts  (B)  deduced  ;  but  some 
designers   recommend   five   harnesses,  thinking    that  the  harnesses 


SPITZLI'S  MANUAL.  63 

work  better  in  the  loom.  [See  Drafts  "A."]  But  if  any  harnesses 
are  to  be  added,  it  would  seem  that  "  C  "  would  be  far  better.  They 
all  produce  the  same  thing.  The  student  should  reduce  the  full 
draft  to  each  of  them,  and  thereby  learn  that  cross  draws  are  only 
limited  by  the  number  of  harnesses  employed  ;  that  in  reality  they 
are  made  use  of  for  the  purpose  of  producing  the  full  draft  with 
less  harnesses  than  it  would  require  were  one  harness  given  to  each 
thread  of  the  texture  or  pattern,  regardless  of  the  many  which  would 
work  alike,  and  could  therefore  be  spared.  On  the  jacquard  there 
is  no  cross-drawing,  as  the  threads  of  a  texture  or  pattern  are  all 
provided  for  by  an  independent  mail  and  corresponding  cord.  Nos. 
38  and  39  are  given  for  practice  of  the  beginners;  they  involve  the 
same  principles,  but,  being  larger,  look  a  little  more  difficult. 


64 


SPITZLI'S  MANUAL. 


NO.     37. 

FULL  DRAFT  OF  TEXTURE. 


123412342143214312431243123412342143214311331133 

Drawing  in  Draft  A. 

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Drawing  in  Draft  B. 


REDUCED  DRAFTS. 


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SPITZLI'S  MANUAL. 


65 


NO.   38. 


REDUCED  DRAFT 


FULL  DRAFT  OF  TEXTURE. 

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66  SPITZLI'S  MANUAL. 


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27  nn***n*nn*>knn*nn**nn** 
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25  **nnn*n**D**nn**nnD**a 
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1   3   5   7   9  11  13  15  17  19  21 

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68 


SPITZLI'S  MANUAL. 


NO.     40. 


FULL  DRAFT  OF  TEXTURE. 


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SPITZLI'S  MANUAL.  69 

Cross  Weaving. — By  cross  weaving — that  is,  by  twisting  the  warp 
threads  around  each  other — the  fabrics  called  gauze  are  produced. 
The  process  of  weaving  these  crossed  fabrics  should  be  somewhat 
slower  than  for  straight  work,  and  the  yarn  must  be  strong  enough 
to  bear  considerable  extra  strain  and  chafing.  The  threads  to  be 
crossed  must  always  pass  through  the  same  dent  of  the  reed,  unless 
the  crossing  is  done  by  a  needle  bar  before  the  reed,  some  of  the 
warp  threads  coming  through  it  without  going  through  the  reed. 
The  needle  bar  mechanism  is  quite  complicated  ;  there  are  several 
patents  in  England,  and  one  in  this  country  issued  to  J.  G.  Spitzli 
some  years  ago.  When  the  crossing  is  done  by  harnesses,  one  thread 
passes  through  a  regular  heddle  and  a  doup  or  false  heddle  on  a 
separate  frame ;  the  next  thread  passes  between  these  two  heddles, 
but  not  through  them,  and  over  the  other  thread.  To  produce  this 
gauze  effect  in  combination  with  other  textures  requires  more  com- 
plicated arrangements.  In  connection  with  the  jacquard  head, 
most  elegant  fabrics  of  this  class  are  produced.  This  subject  is 
exhaustively  treated  by  Ashenhurst  and  Barlow.  The  principle  is 
very  useful  when  inside  selvages  must  be  made  on  a  wide  loom 
weaving  several  widths  of  narrow  goods  ;  by  thus  twisting  a  few 
of  the  selvage  threads  the  goods  may  be  cut  apart ;  while  they 
will  still  have  a  "  raw  edge,"  the  outside  threads  will  not  ravel  out. 

Crystals  of  Tin. — Salts  of  tin,  or  muriate  of  tin  crystallized. 

Cudbear. — This  coloring  matter  is  archil  in  a  very  dry  and 
powdered  state.  The  color  given  by  cudbear  is  perhaps  less  bright, 
but  more  permanent  than  that  from  archil,  but  still  very  fugitive. 
Although  the  colors  given  by  it  are  fugitive,  it  is  used  consider- 
ably in  woolen  dyeing  for  giving  the  indigo  shade  to  logwood  blues, 
blooming  up  the  dahlia  shades  and  all  colors  that  require  a  purple 
shade  to  them,  such  as  mulberries,  peachblows,  puces,  etc.  It  is 
also  used  with  camwood  at  the  present  time  to  bottom  for  indi- 
go blues,  so  as  to  save  indigo.  The  following  recipe  is  used  by 
most  dyers  for  bottoming  200  pounds  clean  wool,  or  400  pounds  in 
the  grease  :  Bail  up  30  pounds  of  camwood,  15  pounds  of  cudbear; 
enter  the  wool  and  boil  one  hour;  then  draw  off  the  tub,  take  out 
the  wool  and  extract ;  it  is  then  ready  for  the  blue  vat.  Cudbear 
has  all  the  characteristics  of  archil,  and  reagents  produce  the  same 
results  on  both.  Tartar,  (CH202)  is  the  only  mordant  that  is  of 
any  account  for  cudbear  ;  it  brightens  up  the  color  and  enables  it 
to  resist  the  fulling  and  scouring  much  better.  Colors,  when  archil 
and  cudbear  enter  into  their  composition,  should  be   dried  in   the 


JO  SPITZLI'S  MANUAL. 

shade  and  preserved  from  the  rays  of  the  sun.  Cudbear  should  be 
mixed  with  water  into  a  paste  before  putting  into  the  dye-bath, 
otherwise  it  would  float  on  the  surface  ;  it  requires  no  boiling  before 
the  wool  or  cloth  is  entered  into  the  solution. 


D. 

Damask. — Was  formerly  made  of  silk  only,  now  of  wool  or 
worsted,  and  fabrics  part  cotton,  with  figured  texture  like  the 
genuine  article,  are  by  no  means  uncommon  in  the  trade  under  this 
name,  derived  from  Damascus. 

Dandy  Looms. — The  original  Dandy  was  a  hand-loom  invented 
by  Wra.  Radcliffe,  an  Englishman.  His  latest  improvements  were 
added  to  the  loom  about  the  year  1802,  some  time  after  several 
power  looms  had  been  in  successful  operation.  The  general  use 
made  of  this  loom  even  at  that  late  date  shows  how  difficult  it  was 
for  many  manufacturers  to  realize  the  advantage  of  power  looms. 
Some  of  the  principles  which  made  Mr.  Radcliffe's  loom  noteworthy 
are  still  employed  on  many  power  looms  of  recent  manufacture. 

Dead  Spindles. — What  are  known  as  dead  spindles  are  but 
modifications  of  the  live  spindles,  for  the  purpose  of  attaining 
greater  speed.  The  difference  in  quality  of  work  from  the  two 
kinds  is  in  favor  of  the  live  spindle,  which  seldom  performs  more 
than  4,000  revolutions,  and  is  consequently  being  superseded  by 
much  more  rapid  working  devices. 

Designs. — W.  Dunlap  says  :  "  Design,  in  its  broadest  significa- 
tion, is  the  plan  of  the  whole;  in  its  limited  sense  it  denotes  merely 
drawing — the  art  of  representing  form."  There  may  be  a  design  of 
the  texture,  or  a  design  for  the  arrangement  of  colors,  but  a  design 
of  a  textile  fabric,  when  complete,  is  a  perfect  working  plan,  descrip- 
tive and  illustrative  of  the  arrangement  and  character  of  all  the  com- 
ponent parts  and  processes.  It  designates  the  kind  and  quality  of 
the  materials,  the  color,  size  and  character  of  each  kind  of  yarn,  as 
well  as  the  arrangement,  quantity  and  proportion  thereof.  It  illus- 
trates the  construction  of  the  texture,  and  describes  special  pro- 
cesses. It  provides  thorough  working  instructions  for  each  depart- 
ment. To  be  complete  and  perfect,  it  should  be  so  comprehen- 
sive that  any  good  manager  could  from  it  produce  the  desired 
fabric  without  further  instructions.  It  should  with  all  be  an  artistic 
piece  of  work.     If  it  is  proper  to  produce  working  plans  for  a  build- 


SPITZLI'S  MANUAL. 


71 


ing  with  taste,  neatness  and  precision,  surely  these  requisites  are 
much  more  necessary  in  a  design  which  should  originate  from  a  per- 
fect knowledge  of  that  which  pleases  the  human  sense  of  sight.  The 
practical  use  of  a  complete  design  is  that  of  a  chart  of  instructions, 
which  remains  at  headquarters  for  reference  and  future  use.  The 
several  departments  are  given  copies  of  their  respective  parts  of  the 
design.  Many  designers  object  to  furnish  copies  of  designs  for 
future  use,  under  the  foolish  impression  that  by  this  means  they 
enhance  their  own  value.  A  more  ridiculous  theory  would  be  hard 
to  find ;  worse  than  this,  the  design  is  the  result  of  labor  for  which 
the  designer  is  usually  well  paid,  it  therefore  belongs  to  the  em- 
ployer, and  the  designer  should  take  every  pains  to  make  it  legible 
to  any  good  workman,  in  order  that  it  could  be  produced  at  any 
time  without  the  aid  of  the  originator.  We  are  aware  that  this  is 
not  a  popular  doctrine  among  a  certain  class  of  designers,  but  it  is 
none  the  less  sound.  Without  reference  to  unnecessary  detail  or 
decoration  of  designs,  the  statement  may  be  safely  made,  that  a 
design  in  its  appearance  on  paper  should  exhibit  skill  and  taste 
quite  as  much  as  the  fabric  for  which  it  is  executed.  To  this  end, 
some  education  and  practice  is  an  absolute  necessity.  The  simplest 
design  may,  without  waste  of  time,  be  a  specimen  of  neat  and  in- 
telligent workmanship. 

Designers. — For  a  time  many  manufacturers  of  this  country 
thought  to  economize  by  dispensing  with  designers  and  requiring 
the  overseers  of  the  weaving  rooms  or  the  superintendent  to  do  the 
work.  They  found  many  ambitious  and  jealous  workmen  to  en- 
courage this  move,  but  a  large  proportion  have  learned  that  the 
change  was  not  all  clear  gain,  and  have  already  re-engaged  de- 
signers. Some  few  have  also  profited  by  former  lessons,  and  never 
allow  the  ambition  of  a  designer  or  the  jealousy  of  a  superintendent 
to  get  the  mastery  over  them.  The  prevention  is  simple  ;  the  super- 
intendent and  designer  are  given  clear  instructions  as  to  their 
authority  and  relation  to  each  other,  and  the  matter  of  promotion 
is  also  positively  qualified.  The  designer  has  no  reason  to  hope  for 
the  superintendent's  position  if  the  latter  vacates  his  place  for  any 
other  reason  than  such  as  can  in  no  way  reflect  any  suspicion  of 
intrigue  upon  the  designer  or  his  friends.  The  designer  is  not 
above,  but  under  the  superintendent,  and  can  be  removed  by 
him.  Under  these  circumstances  it  is  an  easy  matter  to  regulate 
both,  and  should  ill  feeling  arise  the  power  and  influence  is  not 
equal.  The  designer  cannot  revenge  himself  by  working  out  the 
superintendent,  nor  is  the  latter  tempted   to  proceed  any  differently 


72  SPITZLI'S  MANUAL. 

in  discharging  the  designer  than  he  should  do  with  any  other 
workman.  That  the  labors  of  a  designer  can  be  thoroughly  at- 
tended to  by  one  who  has  other  duties  to  occupy  his  mind  and  time 
is  out  of  the  question,  unless  the  amount  of  designing  to  be  done  is 
very  limited.  The  designer  should  have  no  other  operatives  under 
his  special  authority  than  his  assistants  and  the  pattern  weavers;  he 
should,  however,  have  a  most  influential  voice  in  decisions  relative 
to  designs,  patterns,  colors,  finish  and  such  matters  as  materially 
affect  the  result  of  his  labors,  subject  always  to  the  superintendent's 
decision  as  to  the  possibility  and  practicability  of  carrying  out  such 
details  as  he  may  suggest,  in  the  factory  in  question.  As  regards 
the  education  of  designers,  it  must  be  acknowledged  that  America 
is  yet  far  in  the  wake  of  England,  France  and  Germany.  Too 
much  dependence  has  been  placed  upon  the  natural  adaptability  of 
American  citizens  to  almost  any  convenient  calling.  The  special 
and  thorough  training  under  the  direction  and  supervision  of  prac- 
tical as  well  as  expert  tutors  has  but  of  late  awakened  attention, 
and  even  now  many  of  those  who  should  be  the  most  forward  in 
aiding  every  effort  to  supply  this  want  are  carefully  pinching  their 
dollars  and  waiting  for  some  one  else  to  bear  the  brunt  of  the 
battle.  But  schools  for  the  practical  education  of  the  rising  genera- 
tion must  be  established  in  this  country,  else  the  ground  lost  by  the 
lack  of  them  will  be  greater  and  greater,  as  mechanical  genius  in- 
creases the  demands  upon  mental  ability. 

Designing  is  a  branch  of  textile  manufacturing  of  such  import- 
ance and  peculiar  requirements,  that  it  can  be  performed  thoroughly 
and  correctly  by  those  only,  who  have  more  or  less  natural  qualifi- 
cations for  it.  It  is  exceedingly  tedious  and  trying  work  under  the 
most  favorable  circumstances.  When  the  designer  seems  to  be  idly 
staring  into  vacancy  he  is  perhaps  laboring  in  a  most  trying  manner. 
He  must  develop  a  design  in  his  mind,  to  a  certain  extent,  before  he 
can  proceed  to  commit  it  to  paper.  Designing  a  texture  is  not 
enough  ;  a  complete  design  comprehends  everything  pertaining  to 
the  manufacture  of  the  finished  fabric ;  neither  does  designing  stop 
here.  The  design  will  be  almost  useless  if  it  calls  for  expendi- 
tures so  great  that  the  manufacture  of  the  fabric  will  yield  no 
revenue  to  the  manufacturer.  In  designing  a  fabric  then,  the  details 
of  all  the  processes,  the  nature  of  material,  dyes  and  effects  must  be 
considered.  "To  fit  the  young  designer  not  only  to  perform  these 
duties  in  their  entirety,  but  to  train  his  mind  to  a  realizing  sense  of 
the  importance  of  every  detail,  requires  far  more  time  at  present 
than  need  be  spent  in  preparations.     The  cost  of  time  and  impossi- 


SPITZLI'S  MANUAL.  73 

bility  of  obtaining  ready  encouragement  in  many  instances  deters 
really  promising  young  men  from  making  a  determined  attempt  to 
master  this  art. 

Design  Books. — A  careful  record  of  designs,  however  familiar 
they  may  seem,  is  a  great  advantage  in  after  years.  Notwithstand- 
ing this  matter  is  sadly  neglected  by  many  it  is  of  paramount  im- 
portance. For  this  purpose  design  books  are  supplied.  To  be  con- 
venient they  should  contain  design  paper,  ruled  or  printed  (or  both), 
to  suit  the  character  of  designs  to  be  recorded  ,  by  this  means  a 
somewhat  tedious  task  is  made  easier,  and  the  result  is  much  more 
satisfactory.  We  know  of  old  men  who  have  made  designs  enough 
in  their  day  to  be  now  worth  several  thousand  dollars  if  they  had  been 
properly  recorded.  As  an  instance  of  special  ruling  for  design 
books,  those  now  to  be  had  for  designs  of  fancy  cassimeres  will 
serve  well.  The  pages  should  be  ruled  in  sections.  There  may  be 
either  two,  four  or  six  sections,  or  even  more  in  the  width  of  a 
page  ;  each  section  to  be  about  as  wide  as  30  columns  of  squares. 
The  length  of  the  section  is  not  so  arbitrary  ;  yet,  when  too  long  the 
book  becomes  inconvenient  and  space  is  wasted,  when  too  short 
many  designs  will  be  too  long  and  have  to  be  continued  in  the  next 
sections,  which  is  very  inconvenient.  These  sections  are  ruled  alike 
horizontally,  but  only  each  alternate  one  is  ruled  perpendicularly  to 
make  "  quadrille."  The  left  hand  or  first  one  (ruled  only  one  way) 
is  for  the  record  of  warp  and  filling,  and  the  other  for  the  Drawing-in 
draft  and  chain  draft.  By  being  careful  to  keep  the  enumeration  of 
the  threads  of  the  warp  on  the  same  lines  with  the  numbers  of  the 
respective  harnesses,  and  the  enumeration  of  the  filling  threads  upon 
the  same  lines  with  the  respective  bars  of  the  chain  draft,  much 
trouble  and  confusion  will  be  avoided,  and  neatness  will  be  a  marked 
feature  of  the  book  with  a  little  care. 

Design  Paper. — The  selection  of  design  paper  being  now  possi- 
ble, it  is  no  longer  economy  to  use  one  kind  only.  For  large  pat- 
terns-'-particularly  jacquard  designs — the  fine  lithographic  paper  is 
a  necessity.  Even  this  comes  in  large  varieties,  that  the  designer 
may  use  paper  to  suit  his  work.  Different  sizes  of  squares  and 
blocks,  different  colors  of  print  and  qualities  of  paper  are  the  essen- 
tial differences.  Ruled  paper  cannot  be  made  so  fine  and  regular 
as  the  printed  paper,  but  it  comes  comparatively  cheaper.  If 
for  the  large  designs,  we  use  finer  ruled  paper,  and  for  the  smaller 
ones  coarser  ruled,  the  convenience  in  writing  and  reading  will 
be    very    remarkable.       Large    designs    on    finer   paper,    although 


74  SPITZLI'S  MANUAL. 

they  must  be  wrought  much  finer,  are  easier  to  work  and  read,  be- 
cause the  area  is  not  so  large  as  on  coarser  paper,  and  the  latter 
when  used  for  smaller  patterns  will  still  be  kept  within  convenient 
bounds  and  make  reading  easier.  Different  sizes  of  sheets  are  also 
very  essential.  Woolen  mills  which  have  a  set  way  of  writing  their 
drafts  can  save  much  paper  by  having  their  design  paper  ruled  to 
order.  The  form  of  ruling  suggested  for  Design  Books  is  very  good. 
Design  paper  should  never  be  kept  rolled  up  It  is  the  best  way  to 
transport  it  in  small  quantities,  but  if  kept  so  will  get  out  of  shape. 
Pads  are  very  good  on  this  account. 

Designing  Rooms. — That  designers  should  have  rooms,  well 
lighted  and  ventilated,  large,  convenient,  quiet  and  inaccessible  to 
any  one  but  those  who  have  important  business  there,  is  a  fact,  but 
the  importance  of  it  does  not  seem  to  penetrate  some  craniums. 
Designing  is  work  which  requires  the  closest  application  of  mind 
possible  ;  if  a  mind  is  thus  engaged,  interruptions,  inconveniences 
and  unnecessary  difficulties  not  only  cost  time  but  a  far  greater  tax 
upon  the  mental  powers.  A  poorly  lighted  room,  therefore,  is  a  loss 
to  the  employer  and  an  injury  to  the  persons  who  must  work  in. 
it.  A  designing  room  should  not  be  on  the  first  floor  of  a 
building  closely  surrounded  by  others  of  the  same  or  greater 
height.  East,  west  and  north  windows,  with  convenient  curtains 
and  blinds  for  modifying  or  shutting  out  the  light,  are  neces- 
sary. If  only  one  side  can  be  lighted  the  north  light  is  usually  pre- 
ferred. The  matter  of  ventilation  in  rooms  where  persons  must  stay 
for  hours  at  a  time  is  now  pretty  generally  understood,  but  sadly 
neglected.  Few  designers  can  do  their  best  when  cramped  for 
room  ;  this  will  be  appreciated  by  those  only,  who  have  had  many 
designs  to  keep  track  of,  sometimes  several  in  hand,  and  those  who 
know  how  many  conveniences  and  apparatus  are  needed,  which 
should  have  convenient  places  provided  for  their  storage  as  well  as 
use.  Perfect  quiet  is  a  great  help  ;  for  this  reason,  the  designing 
room  should  be  separate  from  all  else  ;  the  pattern  room,  where  the 
racket  and  jar  of  the  pattern  looms  seldom  ceases,  is  no  place  for 
close  application  of  mind.  To  keep  those  out  who  love  to  impose 
their  presence  wherever  or  whenever  they  are  not  wanted  is  quite  a 
task  in  a  factory  if  the  arrangements  of  the  rooms  cannot  in  a 
measure  be  depended  upon.  The  furniture  of  the  room  is  a  matter 
of  no  little  importance,  but  few  designers  agree  in  the  details  they 
require.  A  large  table,  a  low  and  a  high  desk,  shelves  and  drawers 
in  abundance ;  also,  racks  for  sample  yarns  should  always  be   sup- 


SPITZLI'S  MANUAL.  75 

plied.     Chairs  or  stools  are  a  matter  of  choice,  best  left  to  the  one 
who  is  to  occupy  them. 

Dissecting. — Is  dissecting  or  "  picking  out  "  necessary  ;  if  so, 
what  is  the  best  manner  of  procedure  ?  To  answer  this  double 
question  it  will  be  necessary  to  consider  what  is  understood  by  dis- 
secting ;  if  getting  at  the  texture  is  all,  there  are  many  patterns 
which  need  but  a  glance  to  satisfy  one  who  has  had  much  experi- 
ence. But  if  dissecting  in  its  full  comprehension  is  considered,  the 
character  of  the  finish,  colors,  threads  and  fibers  must  be  ascer- 
tained, as  well  as  the  particulars  of  the  texture.  How  any  one  can 
do  all  this  with  the  naked  eye,  or  without  picking  to  pieces  even  to 
the  very  fibers,  and  not  jump  at  some  conclusions,  is  a  problem  the 
solution  of  which  will  probably  never  appear.  One  needs  to  read 
few  notices  like  the  one  from  which  the  following  quotation  is  taken 
to  become  convinced  that  the  time  has  arrived  when  the  means  of 
distinguishing  fibers  are  imperative  :  "  Mr.  Gideon  Hamilton  has, 
after  much  research  and  experimenting,  succeeded  in  discovering  a 
chemical  process  by  which  the  fundamental  difference  between 
animal  hair  and  wool  fibre  is  actually  removed.  It  is  well  known 
that  the  difficulty  of  employing  wool  and  cotton  or  hair  simultane- 
ously for  textile  purposes  arises  from  the  fact  that  both  materials 
cannot  be  homogeneously  spun  and  milled  or  fulled.  The  cause  of 
the  difficulty  exists  in  the  different  natural  structure  of  the  two 
kinds  of  fibre :  the  animal  hair  being  straight  and  slippery,  while 
the  wool  fibre  is  curly  and  crisp.  The  point  of  the  new  invention 
is  this,  that  by  the  agency  of  certain  chemical  substances  the  animal 
hair  is  so  efficiently  curled  that  it  permanently  retains  its  altered 
structure  during  all  the  manipulations  of  manufacturing  cassimeres, 
cloakings,  felt  goods,  etc.,  and  can  be  dyed  equally  fast  together 
with  wool  by  one  and  the  same  process.  The  importance  of  this 
invention  is  obvious.  First,  an  organic  combination  of  animal  hair 
and  wool  fibre  is  produced;  secondly,  a  splendid  substitute  for 
shoddies  and  artificial  wools  is  found."  But  it  is  not  only  to  find 
the  kind  of  material  used  in  a  sample  to  be  dissected,  that  fibers 
must  be  examined  as  never  before.  The  character  of  a  fiber,  the 
effects  of  various  processes  upon  it;  the  direction  and  amount  of 
twist  and  many  other  details  are  often  necessary  to  produce 
a  peculiarity  in  appearance  which  may  be  the  only  special  merit  of 
the  piece  of  goods  in  hand.  The  less  a  man  knows  about  special 
requirements  of  his  calling,  the  louder  is  his  ridicule  of  all  their 
claims  as  a  necessity  to  perfect  work ;  but  the  time  has  passed  and 
gone  for  designers  of  this  kind.     Manufacturers  are  rapidly  awaken- 


j6  SPITZLI'S  MANUAL. 

ing  to  the  realization  of  the  fact  that  to  compete  with  Europe  the 
designers  employed  must  be  of  the  most  advanced  kind.  The 
best  operatives,  stock  and  machinery  can  be  employed  to  the  best 
advantage,  only  when  the  factory  is  supplied  with  the  most  accurate 
plans,  in  which  economy,  product  and  good  effect  are  well  com- 
bined. Having  given  sufficient  evidence  of  the  need  of  dissecting 
in  its  entirety,  some  suggestions  as  to  method  will  be  in  order. 
Few  who  ask  to  be  shown  the  method  have  any  inclination  to  be 
methodical,  yet  this  is  one  of  the  most  prominent  characteristics 
which  must  be  practiced  and  developed.  We  recommend  that  the 
texture  be  ascertained  first,  because  while  doing  this  threads  are 
drawn  out ;  these,  if  carefully  preserved  in  their  proper  order,  may 
themselves  be  dissected  in  due  time  without  further  mutilation  of  a 
sample,  be  the  sample  large  or  small ;  this  is  a  saving  of  time,  if 
nothing  more.  Gesner  gives  no  instructions  for  dissecting  the  text- 
ure, but  says : 

"  Every  woven  fabric  is  composed  of  two  sets  or  systems  of 
threads  or  yarn.  If  it  is  necessary  to  follow  a  certain  specimen  in 
hand,  the  following  questions  present  themselves  : 

(i.)  Which  are  the  warp  and  which  the  filling  threads? 

(2.)  Of  what  material  are  they  made,  and  what  are  their  special 
characteristics  ? 

(3.)   How  many  warp  and  filling  threads  are  necessary  ? 

a.  Which  are  the  warp  threads  and  which  the  filling  ? 

(1.)  If  on  the  sample  in  hand  there  is  a  bit  of  selvage  the  question 
is  readily  answered,  since  the  selvage  always  runs  in  the  direction  of 
the  warp. 

(2.)  Are  the  threads  one  way  doubled  and  twisted,  and  the  others 
single,  it  is  almost  safe  to  take  the  twisted  threads  for  warp. 

(3).  If  the  threads  one  way  are  single  or  double  cotton  and  the 
others  single  woolen  yarn  the  cotton  is  almost  invariably  the  warp. 

(4.)  Do  the  threads  of  one  set  or  system  produce  a  regular  or  set 
effect,  the  other  less  prominent  and  irregular,  the  first  are  the  warp, 
the  latter  the  filling  threads  without  doubt. 

(5.)  Are  the  threads  one  way  sized,  the  others  not,  the  latter  must 
be  the  filling,  the  warp  having  been  sized  before  or  while  weaving. 

(6.)  Do  the  threads  one  way  appear  straight  and  regular,  the  other 
way  loose,  rough,  displaced  or  not  strictly  regular  in  their  own 
direction,  the  straight  yarn  may  be  safely  assumed  to  be  the  warp. 

(7.)  Reed  marks  of  any  kind  will  show  which  is  the  warp. 

(8.)  The  nap,  if  any,  is  very  reliable,  as  it  is  supposed  to  lay  in  the 
same  direction  with  the  warp. 


SPITZLI'S  MANUAL.  77 

(9.)  The  twist  in  the  yarn  is  often  the  best  means  of  answering 
this  question,  the  hardest  and  strongest  thread  is  the  warp. 

Exceptions  to  these  instructions  occur  but  seldom.  In  many 
fabrics  the  difference  and  the  reasons  for  said  difference  in  the  yarn 
are  so  clear  as  to  require  little  examination.  That  the  warp 
thread  is  usually  the  smoothest,  strongest,  also  of  the  longest  and 
best  material  is  a  very  safe  rule  to  follow. 

b.  Of  what  material  are  they  made? 

While  examining  the  yarns  to  decide  the  first  question,  the  answer 
to  this  is  often  obtained  without  further  effort.  The  size  and  twist 
of  the  yarn  should  have  especial  consideration.  To  distinguish  the 
material  requires  perfect  familiarity  with  the  peculiarities  of  all  kinds 
of  materials,  raw  and  manufactured.  Even  when  such  experience 
or  knowledge  is  possessed,  careful  comparisons  are  the  safest  in  a 
final  decision  of  importance. 

c.  How  many  warp  and  filling  threads  are  necessary? 

The  density  of  the  fabric  is  altogether  controlled  by  the  texture 
and  required  weight  and  thickness.  The  manner  of  designating 
this  density  by  special  and  appropriate  terms  has  been  very  diversi- 
fied by  the  different  systems  of  calculations  employed  in  different 
localities.  The  Technological  schools  now  so  numerous  are  doing 
much  to  establish  a  uniform  system  of  calculations  by  which  the 
density  of  yarn  in  fabrics  is  estimated  by  the  number  of  threads  and 
dents  in  reed  per  inch  or  centimeter." 

To  dissect  the  texture  proceed  as  follows  : 

First — Determine  either  by  the  nap  or  by  the  difference  in  the 
strength  of  threads  drawn  from  each  side,  which  is  warp  and  which 
is  filling.  Many  patterns  display  the  fact  so  clearly  that  the  above 
precautions  are  unnecessary. 

Second — Shear  the  nap  from  the  back  and  face  as  far  as  neces- 
sary at  the  right  hand  lower  corner.  For  this  purpose  use  curved 
scissors;  shaving  is  dangerous,  the  threads  are  so  easily  weakened  ; 
neither  is  singeing  advisable,  for  the  smut  even  from  the  smoke  of  a 
spirit  lamp  is  disagreeable,  and  it  is  more  than  likely  that  too  large 
a  surface  will  be  bared,  the  colors  affected  by  the  heat,  or,  even 
worse,  the  thread  charred  so  much  as  to  break  when  being  drawn 
out.  Of  course  experience  will  teach  one  to  do  almost  anything, 
but  the  safest  way  is  best  for  most  people. 

Third — Having  thus  prepared  the  sample  proceed  to  cut  out  a 
little  piece  of  the  lower  right  hand  corner,  as  shown  in  figure  No.  1 
by  the  lines  ABC.     Save  this  little   piece,  it  may  be  of  use  after- 


78 


SPITZLI'S  MANUAL. 


wards.  Next  turn  the  sample  until  the  cut  corner  is  at  the  upper 
left  hand,  as  in  the  illustrations.  The  corner  to  be  cut  is  designated 
as  the  lower  left  hand  corner,  because  it  is  taken  for  granted  that 
having  found  the  warp  and  filling,  the  sample  will  be  held  in  such  a 
way  as  to  have  the  warp  in  the  perpendicular  direction,  the  filling 
horizontal  or  lateral,  and  if  the  cloth  has  a  nap,  that  the  nap  lay- 
downward  as  worn  in  a  garment,  and  that  it  will  always  be  so  held, 
when  under  consideration,  unless  reversed  as  above  directed.  The 
reversing  is  an  obvious  precaution  after  one  has  observed  how  much 
easier  a  filling  thread  comes  out  with  the  nap  than  against  it. 

Fourth — Make  a  straight  cut  from  D  to  F  ;  this  should  be  in  the 
third  pattern  from  the  cut  corner.  To  make  the  counting  of  patterns 
easy  let  some  prominent  or  conspicuous  thread,  if  there  be  any, 
remain  as  the  first  thread  ;  elongate  or  shorten  the  space,  A  B  C,  to 
obtain  this  desideratum. 

FIG.    NO.     1. 


Note. — The  engraver  has  failed  to  be  systematic  in  his  work.  The  cut  D  E  F 
should  be  in  the  same  place  in  all  three  figures  at  the  beginning  of  the  third 
pattern  ;  it  need  not  be  so  wide,  or  always  so  long.  In  No.  3  the  marked  threads 
are  not  represented  as  regular  as  they  ought  to  be. 

Fifth — Fasten  the  sample  to  a  piece  of  card  board  (or  one  of  the 
sample  stretchers  which  can  now  be  purchased  very  cheap)  with  a 
few  but  firm  stitches.  Then  the  card  is  slipped  under  the  stage 
springs.  All  this  and  some  of  the  following  is  to  be  omitted  when 
no  instrument  is  used,  in  which  case  the  sample  is  held  stretched 
over  the  left  forefinger,  by  the  thumb  at  one  end  and  by  the  second 
finger  at  the  other  end. 

Sixth — Next  ascertain  which  lens  is  necessary  to  give  a  clear 
view  of  the  threads,  always  bearing  in  mind  that  as  soon  as  the  lens 
is  so  strong  as  to  magnify  the  fibers  too  much  they  come  into 
prominence  sufficiently  to  be  really  a  confusing  trouble.  To  ascer- 
tain which  lens  to  use  will  fix  the  focus  as  well. 

Seventh — Having  the  microscope  and  sample  in  readiness,  draw 
out  with  the  greatest  care  one  filling  thread  after  the  other  until  all 


SPITZLI'S  MANUAL. 


79 


the  space  is  clear,  as  in  figure  No.  2.  This  should  always  be  done 
under  a  magnifying  lens,  even  while  a  lack  of  practice  makes  the 
task  slow  and  more  difficult.  Use  a  pair  of  forceps  to  draw  the 
threads  if  possible  ;  they  do  not  split  warp  threads  like  the  needles. 
The  great  difficulty  occasioned  by  threads  which  have  been  split 
or  untwisted  by  the  needle  in  this  necessary  preliminary  process  will 
soon  teach  one  to  take  every  precaution  to  avoid  the  difficulty  ; 
one  of  the  results  of  such  a  lesson  is  that  the  aid  of  a  microscope 
will  be  courted  for  this  part  of  the  work,  even  when  it  can  be  dis- 
pensed with  further  on.  The  threads  drawn  out  should  be.saved  in 
their  regular  order ;  this  will  afford  much  aid  in  determining  the 
order  of  the  filling  threads,  serve  as  samples  of  the  yarn  for  dis- 
section, and  to  be  used  as  guides  for  the  dyer,  etc.,  etc. 

Eighth — The  projecting  warp  threads  should  now  be  examined  ; 
if  there  are  not  several  threads  especially  conspicuous,  on  account 
of  color,  size  or  kind,  some  of  them  should  be  marked  either  by 
staining  or  shortening  to  serve  as  tally  threads  in  keeping  the  count 

FIG.  NO.  2. 


correct.  Brush  out  all  the  loose  fibres  in  the  projecting  threads. 
This  done,  draw  forward  the  first  filling  thread  just  enough  to 
loosen  it  from  the  fabric,  when  the  sample  should  appear  about  like 
figure  No.  3.  All  these  preliminaries  are  tedious,  and  one  is 
tempted  to  slight  them,  but  this  should  never  be  done  ;  many 
seconds  spent  in  preparing  will  save  long  minutes  in  the  work  to 
follow,  to  say  nothing  of  discouraging  annoyances. 

Ninth — To  prepare  the  paper  for  the  reception  of  the  draft,  as 
taken  from  the  sample,  should  be  next  attended  to  ;  mark  off  as 
many  perpendicular  columns  of  squares  as  there  are  projecting 
warp  threads  in  two  repetitions  of  the  pattern,  each  of  these  per- 
pendicular columns  will  then  represent  a  warp  thread,  and  should 
be  marked  at  the  top  if  any  of  the  threads  have  been  marked,  or 
are  otherwise  conspicuous.  Always  ascertain  if  there  are  any  back- 
ing warp  threads  ;  if  so,  also,  the  order  in  which  they  occur,  and 
mark  the  respective  columns  on  the  paper. 


8o 


SPITZLI'S  MANUAL. 


Tenth — Examine  the  sample  and  paper  carefully  to  make  sure 
that  every  detail  has  been  observed  and  complied  with.  Mentally 
assign  the  lateral  lines  of  squares  upon  the  paper  to  represent 
filling-threads,  for  they  are  next  to  be  filled  in  the  same  order  as 
would  be  adopted  in  common  writing. 

Eleventh — Everything  is  now  in  readiness  to  read  off  the  texture; 
note  how  the  warp  threads  cross  the  loosened  filling  thread,  whether 
over  or  under  it ;  if  over  it,  prick  two  holes  in  the  corresponding 
square,  one  if  under,  noting  each  warp  thread  in  its  regular  order  (a 
very  important  point,  wherein  the  inexperienced  meet  the  most 
difficulty)  ;  having  filled  all  the  spaces  of  the  first  lateral  line  of 
squares  as  far  as  previously  marked  off,  if  sure  there  is  no  error,  the 
filling  thread  may  be  taken  out  entirely,  the  loose  fibers  brushed  out, 
and  the  next  filling  thread  loosened;  the  lateral  line  of  squares 
represent  the  filling  threads  in  their  proper  order  as  the  same 
squares  in  perpendicular  lines  or  columns  represent  the  warp 
threads.  Thus,  proceed  with  each  filling  thread,  marking  each  line 
at  the  left  hand  if  any  difference  exist  among  them  in  color,  size  or 

FIG.    NO.    3. 


stock.  When  enough  has  been  picked  out  is  a  matter  which  each 
man's  experience  will  teach  him.  Some  can  tell  after  the  first  few 
threads  how  the  rest  will  run,  but  the  beginner  should  continue 
until  the  pattern  begins  to  repeat  the  second  time.  When  some  one 
is  ready  and  willing  to  write  the  marks  into  the  squares  as  called  off, 
much  time  is  saved.  Some  drop  the  dissecting  needle  to  pick  up 
pen  or  pencil  rather  than  prick  the  paper,  or  they  use  a  slate  or 
pegging  board,  but  this  is  all  a  matter  of  choice.  Some  textures 
can  hardly  be  dissected  from  the  filling  sides,  but  these  are  excep- 
tional cases  ;  when  they  occur,  reverse  the  sample  and  proceed  as  if 
the  warp  were  the  filling.  The  marks  will  then  be  right  on  the  paper 
only  when  also  reversed,  as  in  Ashton's  instruction. 


SPITZLI'S  MANUAL.  8  I 

Twelfth — The  next  move  will  be  to  deduce  the  drafts  from  the 
memorandums  taken  from  the  sample.  To  do  this,  proceed  as  in 
deducing  drafts  from  designs  originated.  (See  Textures.)  As  re- 
gards the  use  of  instruments,  little  need  be  said;  they  make  a  way 
into  every  thinking  man's  favor  with  little  help.  While  some 
authors  recommend  magnifying  glasses  for  cotton  only,  others  reject 
all  optical  aid.  While  some  advise  a  shawl  pin  for  a  dissecting 
point,  others  call  for  a  coarse  needle  in  a  piece  of  wood  for  a  handle. 
Indeed,  so  many  opinions  have  already  been  expressed,  and  so 
arbitrarily,  to  say  more  seems  to  be  adding  to  the  confusion. 
By  calling  attention  to  points  not  brought  to  notice  by  others  some 
good  may  be  done.  First,  then,  as  regards  optical  aid,  we  hold  that 
the  strongest  eyes  cannot  endure  the  tax  of  picking  out  continu- 
ously for  any  length  of  time,  but  by.  the  use  of  instruments  suited 
to  the  work  and  the  eyes,  this  time  may  be  prolonged  and  the  work 
done  with  greater  ease  and  accuracy.  In  place  of  proper  dissecting 
needles  the  shawl  pin  may  do  for  Scotch  cheviots  and  the  like ;  the 
coarse  needle  may  be  an  improvement  upon  the  pin,  but  neither  of 
these  are  a  credit  to  a  man  who  follows  a  calling,  the  life  and  soul 
of  which  is  a  natural  disposition  to  habits  of  taste  and  neatness 
which  alone  can  beget  the  same  characteristics  in  designs.  Further- 
more, a  dissecting  needle  should  not  have  a  point  like  a  pin  or 
sewing  needle,  but  should  taper  regularly  from  the  point  to  within 
one-third  of  the  length  from  the  base,  and  nearly  all  of  this  one- 
third  should  be  taken  into  a  delicate  but  firm  and  strong  needle 
holder,  which  will  permit  a  change  of  needles  to  suit  the  work. 
Four  or  five  different  kinds  of  needles  should  always  be  at  hand, 
three  sizes  of  round  pins,  one  or  two  sizes  of  straight  flat  needles, 
and  at  least  one  size  of  bent  flat  needles.  The  flat  needle  has  the 
advantage  of  affording  strength  and  less  obstruction  to  the  view 
than  a  round  one,  while  a  bent  one  allows  a  different  angle  for  the 
holder,  sometimes  necessary  when  working  with  a  short  focus  instru- 
ment. The  other  instruments  which  are  almost  as  indispensable  as 
the  needles  are  a  pair  each  of  very  fine,  delicate,  curved,  elbow  and 
straight  scissors,  a  pair  of  good  stage  forceps,  at  least  one  good  dis- 
secting knife,  and  some  linen  provers  to  use  separately  or  with 
microscope.  The  curved  scissors  admit  the  blades  close  to  any  fiat 
surface ;  with  the  elbow  scissors  one  may  make  a  cut  in  a  mounted 
sample  when  on  the  stage,  while  the  straight  ones  are  always  needed. 
•  The  forceps  will  pick  up  a  fiber,  thread  or  even  a  bit  of  flocks  that 
would  be  too  small  for  the  most  delicate  fingers  ;  when  once  accus- 
tomed to  them  they  will  be  found  so  convenient  that  they  will  be  in 
6 


82  SPITZLI'S  MANUAL. 

constant  use  when  dissecting.  The  dissecting  knife  is  often  needed 
to  cut  where  or  what  the  scissors  cannot  reach.  Linen  provers, 
with  or  without  lenses,  are  nothing  more  or  less  than  gauges  where- 
by the  threads  may  be  correctly  spaced  and  counted. 

Other  methods  are  recommended  by  various  authors;  one  of  the 
instructions  recently  made  public,  direct  the  operator  to  fasten  the 
sample  to  a  circle  made  by  pasting  the  two  ends  of  a  strip  of  card 
board  together,  but  fails  to  point  out  any  advantages  in  favor  of  this 
novel  contrivance  for  filling  the  hands  with  unnecessary  articles. 
A  better  method  when  a  sample  is  to  be  dissected  for  the  texture 
without  optical  aid,  is  to  sew  the  sample  to  a  round  ball  of  convenient 
size  upon  the  end  of  a  suitable  handle.  The  ball,  when  smoothly 
covered  with  a  knit  fabric,  is  a  good  foundation  upon  which  the 
sample  may  be  fastened  quickly.  There  is  no  trouble  in  procuring 
these  ready-made.  Ashton  recommends  the  following  order  of  pro- 
ceedings :  "  When  a  draft  is  required,  examine  the  cloth  to  see  if 
there  is  any  nap  on  the  back  of  it ;  if  there  is,  it  should  be  burned 
off  by  means  of  a  lighted  match,  care  being  taken  not  to  burn  the 
threads.  If  the  sample  should  be  a  cotton  pattern,  a  magnifying- 
glass  must  be  used.  Next,  remove  as  many  of  the  filling-threads  as 
will  leave  about  one-eighth  of  an  inch  fringe.  If  there  are  any 
double  and  twist  threads  in  the  warp  or  filling,  always  commence 
with  them.  Remove  as  many  of  the  warp  threads  as  of  the  filling. 
When  raising  the  threads  be  careful  not  to  split  those  of  the  warp. 
Now,  having  the  sample  prepared,  take  it  in  the  left  hand  between 
the  forefinger  and  thumb,  holding  it  so  that  the  second  finger  may 
secure  the  threads  as  they  are  picked  out.  Commence  at  the  right- 
hand  side  of  the  sample.  Note  down  on  the  designing  paper  all  the 
threads  on  the  filling,  and  call  them  so  many  threads  on  ;  and  all  the 
threads  under  the  filling,  call  them  so  many  threads  off.  Leave  as 
many  blank  checks  as  there  are  threads  under  the  filling.  Continue 
to  work  thus,  until  the  pattern  repeats  itself  in  both  warp  and  filling, 
and  the  draft  is  complete.  Sometimes,  however,  there  are  repeats  in 
samples  ;  these  can  be  found  by  taking  out  two  threads  more  than 
the  pattern  so  called,  and  if  both  repeat,  then  the  draft  is  correct, 
but  if  only  one  repeats,  trace  the  draft  until  both  warp  and  filling 
repeat.  The  next  thing  is  to  reduce  the  draft.  At  this  point,  do 
not  forget  that  it  is  the  filling  that  has  been  picked  out,  therefore, 
after  the  draft  is  complete,  turn  it  round  one  square  from  right  to 
left,  and  let  the  reduction  begin  at  those  lines  representing  the 
warp.  Strict  care  must  be  taken  that  the  threads  are  drawn  into  the 
heddles  as  indicated  in  each  harness,  otherwise  the  work  will  be  a 


SPITZLI'S  MANUAL.  83 

failure."  Burns  gives  instruction  in  more  minute  details,  but  very 
similar  in  general  principles.  Baldwin  differs  more,  and  is  by  many 
considered  more  clear  and  to  the  point  than  the  other  two.  The 
fact  is,  each  has  some  good  features  to  be  commended,  and  all 
should  be  studied  after  the  beginner  has  made  progress  enough  to 
be  able  to  judge  them  fairly. 

Dissecting  the  Yarn  is  now  necessary.  The  information  which  is 
to  be  ascertained  is  important ;  therefore,  no  pains  should  be  spared 
nor  any  part  of  the  work  hurried.  The  size  of  the  threads,  the 
amount  of  twist,  stock  and  colors,  if  a  mixture,  are  the  principal 
points.  The  nature  of  the  color  should  also  be  investigated.  To 
find  the  correct  size  of  the  threads  in  a  sample  there  is  but  one 
way  positively  sure,  that  is  to  pick  out  36,  72,  or  144,  just  one  inch 
long  without  tearing  them  in  the  least.  Weigh  these ;  having  thus 
found  the  weight  of  one,  two  or  four  yards  of  yarn,  the  size  is  easily 
estimated.  But  the  difficulty  lies  in  getting  these  threads.  Some- 
times it  is  impossible ;  at  all  times  too  slow  if  one  has  acquired  a 
good  judgment  of  sizes  and  the  allowances  necessary  for  the  take- 
up  of  yarn  by  the  curvature  caused  in  each  thread  by  the  fabric. 
Precision  and  accuracy  are  best  attained  by  much  practice  with 
samples,  the  size  of  which  is  positively  known.  Be  the  size  ascer- 
tained by  weighing,  judgment,  or  guess  work,  it  must  not  be  taken 
for  granted,  but  proved  by  estimating  the  weight  of  one  yard  of 
cloth  from  it.  To  do  this  the  threads  per  inch  each  way  must  be 
found.  The  threads  per  inch  in  the  warp  must  be  multiplied  by 
the  number  representing  the  width  of  the  finished  goods,  the  threads 
per  inch  in  the  filling  by  the  number  representing  the  width  of 
the  warp  in  the  reed,  in  inches.  The  proportion  of  each  kind 
of  yarn  in  a  pattern  being  known,  the  same  proportion  holds  good 
in  a  full  yard  of  the  goods  :  when  found,  the  quantity  of  each 
kind  of  yarn  per  yard  is  found  in  ounces  by  means  of  the  yarn 
number,  (ascertained  in  either  of  the  three  ways  above  mentioned.) 
Add  all  the  weights  together.  If  the  sum  of  the  weight  per  yard, 
with  proper  allowances  for  shrinkages,  etc.,  proves  correct,  or  as 
wanted,  the  estimate  of  the  size  number  is  right ;  if  not,  proceed  to 
revise  the  numbers  until  the  work  does  so  prove  itself.  In  count- 
ing the  threads  on  a  piece  of  cloth,  it  is  a  common  practice  to  use 
a  fraction  of  an  inch  as  a  gauge.  The  errors  which  are  liable  to 
creep  in  this  way  are  worth  a  moment's  consideration.  Let  us  sup- 
pose a  :j-inch  linen  prover  or  pick  glass  is  used ;  a  portion  of  a 
thread  projects  within  the  gauge  ;  it  is  only  a  small  portion,  say  one- 
fourth   of  the   thread,  but   it  is  dropped ;    this  makes  one   thread 


84  SPITZLI'S  MANUAL. 

missing  per  inch ;  in  54  inches  it  is  54  threads,  quite  an  item. 
Larger  gauges,  then,  are  a  decided  advantage,  particularly  when 
counting  coarse  yarn;  when  counting  the  threads  by  patterns  or 
fractions  thereof,  a  two  or  three  inch  gauge  should  be  used.  The 
amount  of  twist  is  easily  counted  by  laying  a  thread  under  a  gauge 
upon  a  card,  and  placing  them  under  a  microscope.  The  fibers 
in  each  thread  may  also  be  counted  under  a  good  glass,  and  the 
proportions  of  mixtures  ascertained  to  a  certainty,  the  nature  of  the 
colors  will  be  obtained  at  the  same  time.  The  stock  is  a  matter  of 
consideration  requiring  a  deal  of  sound  judgment,  but  the  micro- 
scope is  a  great  aid  in  discovering  peculiarities.  The  stock  in  the 
sample  should  be  known  even  when  another  class  of  stock  is  to  be 
used  in  the  imitation,  else  how  can  a  fair  judgment  of  the  final  dif- 
ference be  attained.  In  dissecting  threads  the  fibers  are  sometimes 
unruly  on  account  of  electricity  upon  clear  cold  days ;  a  very  little 
moisture  applied  to  the  stage  of  the  microscope  or  the  card  upon 
which  the  sample  threads  lay,  does  away  with  this  difficulty. 

Dobby  Loom. — The  peculiarity  of  the  dobby  loom  is  in  the  appli- 
cation of  a  small  Jacquard  motion  to  work  the  harnesses.  The 
Crompton  Loom  Works  have  turned  out  large  numbers  of  light, 
rapid  looms  under  this  name  during  the  last  few  years ;  in  these 
the  pattern  is  put  upon  the  loom  in  a  peg  chain. 

Doffer. — Upon  a  carding-machine  the  cylinders  which  deliver 
the  stock  to  the  combs  or  condensers.  In  the  spinning-room  the 
operative  who  doffs  the  bobbins.  The  card  doffer  should  always 
be  kept  in  the  best  of  order,  the  wire  should  be  fine  and  of  good 
quality. 

Domeck. — An  English  name  for  an  inferior  grade  of  damask. 

Doubling. — Doubling  the  stock,  while  in  the  several  slivers,  has 
for  its  object  regularity  and  evenness.  It  takes  but  little  thought  to 
comprehend  the  advantage  of  as  much  doubling  as  can  be  done 
judiciously ;  there  would  indeed  be  no  such  thing  as  excessive 
doubling  if  to  double  many  times  the  slivers  did  not  need  to  be  of 
certain  sizes  not  always  suitable  to  the  stock,  to  say  nothing  of  extra 
labor,  destruction  of  material,  waste,  etc.  Doubling  yarn  is  resorted 
to,  to  gain  strength  and  regularity.  The  ring  and  cap  frames  are  the 
most  rapid  doubling-machines,  but  the  quality  of  the  work  is  not 
equal  to  that  from  flyer  frames.  The  doubling  from  mules,  well 
fitted  up  for  the  purpose,  is  the  most  perfect  work  of  this  kind  at 
present  attainable.     It  is  a  matter  of  much  comment  that   the   best 


SPITZLI'S  MANUAL.  85 

manufacturers  of  France  and  Belgium  can  spin  and  double  many 
kinds  of  yarn  more  evenly  than  the  same  class  in  England  or 
America.  The  secret  is  largely  in  the  fact  that  they  do  their  best 
work  with  mules  ;  and  yet  many  of  their  mules  are  built  in  England. 

Double  Cloth. — Double  cloth  is  referred  to,  and  some  textures 
given  under  the  head  of  Textures,  but  Ashenhurst's  remarks  on  the 
subject  are  so  interesting  that  we  quote  a  few  leading  paragraphs 
here  :  "  Double  cloth  is  a  branch  of  fancy  weaving  which  is  not 
practised  generally,  being  confined  to  the  woollen  and  carpet  manu- 
factures chiefly,  and  very  little  used  in  the  cotton,  silk  or  worsted 
manufacture,  except  occasionally  in  the  latter  branch  for  coatings, 
in  which  case  a  woollen  back  is  woven  on  for  the  purpose  of  giving 
weight  and  warmth.  Double  cloth  is  for  the  most  part  composed  of 
similar  fabrics,  which  are  sometimes  interwoven  at  intervals  and 
formed  into  a  diversity  of  patterns,  the  two  cloths  being  of  different 
colors,  the  one  color  forming  a  pattern  on  the  other.  Double 
cloths  are  of  three  kinds,  one  formed  with  one  warp  and  having  two 
weft  surfaces,  the  second  formed  with  one  weft  and  having  two  warp 
surfaces,  and  the  third  being  two  distinct  cloths." 

Double  Velvet. — This  term  alludes  to  the  manner  in  which  the 
goods  are  woven  rather  than  to  any  special  peculiarity  of  the 
finished  goods.  Two  fabrics  are  woven  together  face  to  face ; 
afterwards  severed  with  a  knife ;  the  ends  of  the  threads  cut  to 
separate  the  goods,  constitute  the  pile  or  plush  on  each.  It  is  diffi- 
cult to  make  the  pile  even  in  this  way.  Numerous  inventions  to 
aid  •  the  weaver  in  this  difficulty  are  .extant,  but  as  yet  none  that 
insure  the  perfection  that  may  be  obtained  by  weaving  the  goods 
single. 

Dusters. — Also  called  Willows,  or  Willeys,  are  used  for  opening 
stock  and  removing  dust,  sand,  etc.  .  They  are  provided  with  a 
cylinder  revolved  at  a  high  speed  containing  pegs,  pins  or  teeth  ; 
under  the  cylinder  is  a  screen  which  allows  the  fine  rubbish  to  pass 
through  it  into  a  receptacle  underneath  the  machine.  The  stock  is 
thrown  out  by  the  cylinder,  either  continually,  or  when  the  case  is 
opened  for  the  purpose. 

Drafts  or  Draughts. — The  word  draft  is  made  use  of  for  such 
a  variety  of  meanings  in  textile  factories  that  its  true  application 
and  derivation  seems  to  be  a  matter  of  doubt.  For  convenience 
the  two  ways  of  spelling  are  separately  employed  in  this  work,  Draft 
being  used  for  the  applications  under  this  head,  while  other  defini- 


86  SPITZLI'S  MANUAL. 

tiojis  and  remarks  may  be  found  under  the  word  Draught.  Per- 
haps it  would  have  been  better  to  adopt  one  word,  but  even  in  this 
way,  each  will  have  several  definitions ;  certainly,  as  regards  the 
convenience,  there  can  be  no  doubt.  The  same  words  being  fre- 
quently used  in  these  pages,  it  may  be  well  to  state  that  draught  is 
used  only  in  connection  with  the  draught  or  drawing  of  yarns,  while 
draft  is  used  in  various  connections  with  designs.  The  use  of  this 
word,  instead  of  the  more  correct  verb,  dissect,  by  several  authors 
has  misled  many.  The  true  application  of  the  word  is,  no  doubt, 
in  direct  connection  with  the  sketch  of  a  texture  made  while  dis- 
secting, and  may  without  great  error  be  extended  to  preparatory 
sketches  of  designs.  Custom  has  established  the  use  of  the  word  for 
parts  of  designs  as  well.  This  custom  is  so  universal  in  this  coun- 
try that  it  is  adopted  in  this  work  without  hesitation.  Under  the 
head  of  designs  will  be  found  the  remark  that  the  design  is  not 
given  into  the  works  complete,  but  in  sections  or  parts  commonly 
called  drafts.  These  drafts  are  variously  executed,  and  of  course 
depend  very  much  on  the  kind  of  goods  and  factory.  A  few  of 
them  are  here  explained  in  the  order  delivered  in  some  first-class 
woolen  factories. 

Spoolers'  Drafts  specify  the  number  and  kind  of  spools,  quantity 
of  yarn  on  each,  and  how  to  be  prepared  for  the  warper.  The 
threads  or  ends  upon  each  spool  should  always  be  given,  if  more 
than  one.  If  several  kinds  of  yarn  are  to  be  put  on  one  spool,  the 
number  of  threads  of  each  should  be  stated ;  also,  any  other  par- 
ticulars necessary  to  make  the  preparations  of  the  yarn  for  the 
warper  clear  and  correct. 

Warpers'  Drafts  are  very  similar  to  the  spoolers,  but  have,  in 
addition  particulars  of  the  divisions,  sections  or  smallbeams,  the 
width  of  the  warp,  the  yards  per  piece,  and  the  number  of  pieces  or 
cuts  total.  The  number  of  patterns  per  section,  the  number  of 
threads  per  pattern,  and  their  regular  order  is,  of  course,  necessary. 

Drawing-In  Drafts. — These  are  the  instructions  to  the  drawing 
in  hands,  by  which  they  may  readily  see  in  what  order  to  take  the 
heddles  upon  the  several  harnesses  for  the  purpose  of  drawing  the 
threads  into  them.  These  drafts  should  be  written  on  a  large 
quadrille  paper.  For  the  designer  the  finer  quadrille  is  much  the 
most  convenient,  but  when  the  mind  and  hands  are  occupied  with 
tangled  heddles,  it  saves  time  and  errors,  if  the  instructions  can  be 
read  with  ease. 

Chain  Drafts. — The  chain  draft  shows  how  the  several  harnesses 
must  be  moved  for  each   pick.     They  are   written   on   quadrilled 


SPITZLI'S  MANUAL.  87 

paper  (the  larger  the  better  for  chain  builders),  each  little  square 
represents  a  respective  harness,  the  first  perpendicular  column  is 
devoted  to  the  first  or  front  harness  ;  the  next  for  the  second,  and 
so  on,  until  each  harness  required  for  a  fabric  has  such  a  perpen- 
dicular column  to  represent  it ;  by  making  the  first  pick  of  all  the 
columns  come  on  a  line,  we  are  enabled  to  read  on  each  line  the 
position  of  all  the  harnesses  when  the  shuttle  is  going  through,  thus 
in  the  following  examples  of  one  pick  we  would  read  the  marks  : 

12    3    4    s    6    7    8    9  10  11  12  13  14  15  16 

One  raiser,  two  sinkers,  three  raisers,  four  sinkers,  three  raisers, 
two  sinkers,  one  raiser ;  because  the  heavy  marks  are  put  in  to  rep- 
resent the  ball,  button,  peg  or  any  other  device  put  upon  the  bars 
or  cards  of  the  chain,  to  govern  the  jack  which  lifts  the  harness. 
The  light  marks  show  when  the  device  for  lowering  the  harnesses  is 
to  be  operated.  As  each  line  of  the  draft  represents  a  pick  it  also 
represents  a  bar  or  card  of  the  chain.  Chain  drafts  should  be 
written  on  heavy  paper  (quadrilled  on  one  side  only)  with  a  wide 
margin  on  all  sides,  because,  being  often  handled  by  the  edges, 
they  become  soiled  and  should  be  trimmed  before  filing.  The 
chain  draft  is  written  directly  under  the  drawing  -  in  draft,  and 
to  the  right  of  the  filling  draft  in  a  complete  set  of  drafts,  and  in 
the  design.  When  copying  drafts  for  the  several  departments 
(especially  upon  the  chain  draft)  any  special  thread  or  threads, 
which  must  always  appear  in  the  same  pick  or  harness,  should  be 
legibly  marked  ;  from  the  above  arrangement  of  the  entire  design 
this  is  very  easy.  The  columns  or  harnesses  should  be  numbered 
at  the  bottom  from  left  to  right.  On  the  left  sides  the  lines  or 
picks  should  be  consecutively  numbered,  some  begin  at  the  top, 
others  at  the  bottom  to  bring  the  beginning  of  each  set  of  figures  in 
the  same  corner. 

The  Filling  Drafts  are  made  out  in  many  ways ;  designers 
seldom  do  more  than  give  the  order  of  threads  per  pattern  and 
number  of  picks  per  inch  in  loom.  But  a  filling  draft  should  also 
show  the  working  of  the  shuttle  box  motion.  As  different  box 
motions  require  different  kinds  of  chains  or  devices  for  governing 
them,  the  variety  of  filling  drafts  is  great.  Some  designers,  how- 
ever, designate  the  number  of  shuttles  to  be  used  and  the  order  in 
which  the  respective  boxes  are  to  be  brought  to  the  shed  level. 
This  is  simple  when  the  boxes  are  numbered,  the  shuttles  lettered 
or  named   by  the  kind  or  color  they  carry.     The  instructions    for 


88  SPITZLI'S  MANUAL. 

raw  material — those  to  the  dyer,  carder  and  spinner — may  all  be 
copied  from  the  complete  design,  but  they  can  not  be  called  drafts. 
The  word  draft  has  yet  another  significance  in  factories  ;  its  influ- 
ence on  different  kinds  of  work  varies,  but  in  cotton  or  woolen 
factories  a  draft  is  at  all  times  bad  in  the  carding  and  spinning 
rooms.  Especially  in  worsted  drawing  rooms  should  the  ventila- 
tion be  such  as  to  keep  the  temperature  even  and  the  air  good 
without  a  draft  from  any  source.  Leroux  says :  "  These  work 
rooms  should  be  well  closed  to  prevent  drafts  from  modifying  the 
temperature,  which  should  be  as  uniformly  as  possible — about  200 
of  the  centigrade  thermometer.  Besides  varying  the  temperature, 
a  draft  will  increase  the  evaporation  of  necessary  moisture,  and 
difficulties  from  electricity,  besides  blowing  about  the  stock  and 
small  particles  of  waste. 

Drafting. — This  appellation,  instead  of  "  dissecting  "  or  "  pick- 
ing out,"  is  common  in  some  districts  and  used  even  by  some 
authors,  but  it  is  not  strictly  correct,  as  will  be  readily  understood 
by  a  careful  study  of  the  proper  application  of  the  word  "draft." 
No  doubt  the  word  is  misapplied  from  causes  arising  altogether 
through  misinterpretation  of  the  words  "draught,"  "draughtsman  " 
and  "  draughting." 

Draught. — The  draught  of  a  drawing  or  spinning  frame,  or  any 
other  machine,  is  the  process  of  drawing  the  stock,  whether  in  a 
web,  sliver  or  roving.  Also  the  mechanical  devices  for  drawing,  and 
the  distance  or  amount  of  drawing  done.  The  calculations  of 
draughts  are  very  nice  in  some  yarns,  while  in  others  a  pretty  good 
guess  does  very  well.  Each  one  who  has  any  drawing  of  stock  to 
look  after  should  be  well  acquainted  with  the  various  ways  of  pro- 
ducing desired  results  in  the  most  accurate  manner.  Much  experi- 
ence is  required  to  know  stock  well  enough  to  judge  the  amount  of 
draught  it  will  endure  or  require. 

Drawing. — The  Textile  Designer  should  by  all  means  be  able  to 
draw.  While  dealing  with  elementary  textures  the  work  is  very 
simple,  but  larger  designs  can  not  be  executed  neatly,  when  no 
artistic  skill  is  at  command.  "  Drawing  is  the  A  B  C  of  the  archi- 
tect, engineer  and  surveyor."  (Sir  Isambarn  Brunnel.)  "  Drawing 
supplies  us  with  a  power  whereby  long  descriptions  and  pages  of 
writing  are  at  once  superseded,  and  thus  it  is  a  condensed  short- 
hand as  well  as  a  universal  language."  (R.  Redgrave,  R.  A.)  Since 
every  textile  design  like  the  work  of  the  architect,  must  be  wrought 
out    with    mathematical    precision,    the    production    thereof    may 


SPITZLI'S  MANUAL.  89 

properly  be  classed  under  the  head  of  Mathematical  Drawing. 
Without  discouraging  any  ambition  to  free  hand  drawing,  we  would 
recommend  a  thorough  practice  with  mathematical  instruments 
first.  The  best  method  for  those  who  can  not  place  themselves  in 
the  hands  of  a  good  tutor  is  to  buy  a  standard  work  on  mathemati- 
cal drawing,  mathematical  instruments  and  drawing  materials.  The 
first  book  of  our  choice  would  be  "  Mathematical  Drawing  Instru- 
ments and  How  to  Use  Them,"  by  F.  Edward  Hulme,  F.  L.  S.,  F. 
S.  A.  A  book  of  this  kind  is  as  great  a  necessity  as  any  the  beginner 
can  procure. 

Drawing  Materials. — Of  drawing  materials  quite  a  variety  are 
needed  to  complete  a  designer's  outfit ;  on  the  subject  of  paper, 
pencils,  etc.,  etc.,  the  book  above  recommended  contains  very  val- 
uable information. 

Drawing  In. — This  term  refers  to  drawing  the  ends  of  the  warp 
threads  through  the  heddles,  mails,  etc.  This  work  is  sometimes 
given  into  the  hands  of  children,  or  grown  persons  who  are  worse 
than  many  children,  to  save  wages.  It  is  a  poor  economy  ;  errors 
made  here  are  seldom  discovered  until  the  cloth  shows  it;  the  time 
and  expense  to  make  it  right  are  usually  a  serious  tax.  Drawing  in 
should  be  done  with  a  hook,  which  will  not  strain  the  eye  of  a  new 
heddle.  First,  because  the  eye  of  a  new  heddle  should  have  the 
best  shape  possible;  second,  because  the  hook,  to  strain  the  heddle, 
must  bind  ;  if  a  thread  happens  to  get  between  the  hook  and  wire 
it  will  probably  be  broken  or  cut,  causing  delay  and  a  knot,  both  of 
which  should  be  avoided  everywhere.  To  draw  in  a  cross  draw, 
the  operative  must  read  the  draft  frequently ;  the  sole  dependence 
upon  memory,  after  reading  the  draft  a  few  times,  is  something 
people  like  to  boast  about,  but  it  is  not  the  best  method  even  with  a 
good  memory.  The  drawing  in  is  sometimes  done  on  the  loom  by 
twisting  the  ends  of  a  new  warp  to  those  of  the  old  ;  but  the  prac- 
tice is  not  so  common  as  it  once  was. 

Draw  Boy  Machines. — These  are  devices  employed  to  assist 
the  draw  boy  in  raising  the  "lingoes,"  which,  when  many  in  number, 
were  very  heavy.  This  device,  as  well  as  the  looms  upon  which 
they  were  used,  are  very  fully  explained  and  illustrated  by  Barlow. 

Draw  Looms. — The  draw  loom  is  fully  explained  by  Barlow, 
whose  introduction  of  the  subject  alone  is  very  instructive.  Ashen- 
hurst  has  also  several  pages  of  interesting  matter  on  this  subject. 


90  SPITZLFS  MANUAL. 

Drawing  Frames. — There  are  so  many  kinds  needed  for  the  dif- 
ferent kinds  of  work,  and  opinions  vary  so  much,  that  we  quote 
Baird  on  cotton  drawing  frames  and  Leroux  on  worsted  : 

"  Drawing  or  doubling  is  the  next  operation  through  which  the 
cotton  has  to  pass  after  it  has  been  carded.  The  ends,  bands  or 
slivers,  as  they  come  from  the  card,  are  exceedingly  tender  and 
loose,  the  fibers  of  cotton  not  being  yet  arranged  in  the  parallel 
form  requisite  for  good  spinning.  Before  any  twist  is  given  to  the 
bands,  the  fibers  should  be  in  a  proper  position  for  the  manufacture 
of  smooth  yarn.  The  doubling  and  drawing  out  of  the  bands, 
which  accomplishes  this  perfectly,  is  done  on  the  drawing-frame. 
Some  drawing-frames  are  constructed  with  three  pair  of  rollers,  and 
some  with  four  pair ;  the  latter  having  the  advantage  of  doing  more 
work  in  the  same  time.  The  rollers  in  a  drawing-frame  are  gener- 
ally so  adjusted,  that  the  drawing  is  done  between  the  first  and  third 
roller,  the  middle  roller  having  but  little  influence  on  the  result,  so 
far  as  the  stretching  is  concerned.  Where  there  are  three  or  four 
rollers,  the  drawing  is  performed  twice ;  each  pair  of  rollers  draws  a 
certain  amount.  The  distance  between  the  rollers  is  so  adjusted, 
that  the  longest  fiber  of  the  cotton  does  not  reach  from  the  centre 
of  one  roller  to  the  centre  of  the  other  ;  this  prevents  the  rollers 
from  tearing  the  fibers,  because  the  first  pair  of  rollers  pulls  the 
fibers,  while  the  second  holds  them  fast.  If,  on  the  other  hand,  the 
distance  between  the  rollers  is  too  great,  the  filaments  of  cotton 
separate  in  unequal  thicknesses,  and  the  result  is  unequal  yarn.  It  is 
more  preferable  to  have  the  rollers  too  close  together,  than  to  have 
them  too  far  apart,  provided  they  are  always  so  far  distant  as  not  to 
injure  the  staple.  The  principal  object  to  be  attained  in  drawing 
the  bands  is,  to  reduce  their  thickness  after  they  have  been  doubled. 
Doubling  and  drawing  effects  the  two-fold  purpose  of  stretching  the 
fibers  of  cotton,  and  equalizing  the  bands.  The  more  a  band  is 
doubled  and  eliminated,  the  more  perfect  should  be  the  yarn  spun 
from  it ;  but  this  process  of  drawing  can,  nevertheless,  be  carried 
too  far.  Excessive  drawing,  as  well  as  excessive  picking  and  card- 
ing, tends  to  weaken  the  fiber,  and  finally  renders  it  brittle  and 
rotten.  Still,  if  the  machinery  is  kept  in  such  perfect  order  as  not 
to  injure  the  cotton,  it  may  be  considered  impossible  to  eliminate 
the  fibers  to  too  great  an  extent.  The  sliver  from  the  last  drawing- 
head  should  be  of  a  silky  lustre,  and  its  component  fibers  should  lie 
perfectly  parallel  with  the  band  and  with  each  other.  But  little 
cotton  is  wasted  in  this  operation  ;  the  waste  consists  principally  of 
those  parts  which   have  to   be  broken  off  in  consequence  of  their 


SPITZLI'S  MANUAL,  Q I 

running  singly,  or  when  the  attendant,  through  negligence  or  inadver- 
tence, misses  a  can,  and  gets  behind-hand  with  the  rollers." — Baird. 

"  The  preparatory  machines  consist  of  a  series  of  drawing  frames 
of  different  sizes,  in  which  the  number  of  rollers  varies ;  for,  each 
machine  being  called  upon  to  reduce  the  slivers,  the  numbers  of 
cylinders  ought  to  go  on  increasing  in  proportion  to  the  amount  of 
thinning  the  slivers  have  to  undergo.  The  drawing  process  has  for 
its  object  to  reduce  the  volume  of  a  certain  quantity  of  wool  slivers, 
while  it  preserves  their  original  weight,  with  the  exception  of  a 
slight  loss  in  flyings  and  wastings,  resulting  from  the  drawing ;  for, 
during  that  process,  either  loose  filaments  become  detached  from 
the  slivers  or  bits  of  wool  are  separated  and  get  wound  round  the 
comb.  When  this  latter  case  occurs  the  waste  is  carefully  col- 
lected and  a  skilled  workman  draws  it  by  hand  so  as  to  repass  it 
the  next  time;  but  the  waste  which  falls  on  the  machine  or  the  floor 
is  generally  so  short  and  poor  that  it  is  almost  impossible  to  subject 
it  to  that  operation,  and  we  must  be  satisfied  to  shake  it  up  in  a 
basket  or  wicker  work  cylinder,  and  employ  it  for  carded  products. 
Before  operating  with  the  preparatory  machines,  we  must  first  con- 
sider what  work  we  have  to  do,  and  dispose  of  our  material  accord- 
ing to  the  special  kind  of  wool  to  be  converted  inte  yarn.  We 
begin  by — 

First — Properly  lubricating  the  movable  parts  of  the  machine. 

Second — Arranging  the  parchments. 

Third — Regulating  the  intervals. 

Fourth — Regulating  the  weights  of  the  top  rollers. 

Fifth — Regulating  the  draught. 

All  the  rollers  of  these  machines  are  supplied  with  weights  and 
levers,  exerting  a  certain  pressure  on  the  top  rollers.  The  arms  of 
the  levers  are  movable  throughout  their  entire  length,  and  their 
power  may  be  modified  by  means  of  weights." 

Dresser. — This  name  is  given  to  a  warping  machine  on  which 
sizing  is  applied  to  the  warp,  to  machines  for  applying  sizing,  etc., 
to  fabrics  as  well  as  yarns,  to  some  kinds  of  finishing  machinery, 
and  to  the  men  who  attend  them  ;  also  to  sizing,  etc. 

Dressing. — The  dressing  in  many  instances  is  the  composition 
or  ingredients  used,  the  manner  or  means  of  application,  and  often 
only  the  result  or  appearance  of  an  operation. 

Drying. — When  drying  was  done  in  the  open  air  or  in  rooms,  the 
temperature  of  which   never   exceeded   ioo°  Fahr.,  the  process  was 


92  SPITZLI'S  MANUAL. 

not  of  so  much  moment  as  now.  The  machinery  in  use  at  the 
present  time  is  nearly  all  devised  to  dry  quickly ;  to  a  certain 
extent  this  is  accomplished  by  rapid  circulation  of  air,  but  cold  air 
will  not  carry  the  moisture  as  well  as  hot  air ;  hence,  the  latter  is 
employed  too  freely  in  many  cases.  If  the  operators  of  machines 
could  only  comprehend  the  danger  of  overheating  some  materials, 
no  doubt  there  would  be  less  fault  found  with  the  machinery  ;  it  is  a 
noteworthy  fact  that  even  those  who  are  supposed  to  know  better, 
pay  too  little  attention  to  the  matter  of  regulating  the  heat.  With 
silks  and  woolens  particularly  is  it  necessary  to  watch  closely,  not 
only  the  temperature,  but  the  condition  of  the  goods  before  drying. 
If  woolens  are  too  wet,  when  dried  they  are  stiff,  as  if  starched,  if 
not  clean  they  will  come  from  the  drying-machine  in  a  state  difficult 
to  rectify,  the  colors  dingy,  perhaps  cloudy,  etc.,  etc.  (See  Tenter 
Bars.) 

Dyes. — A  few  of  the  most  common  dyes  and  dyewoods  are  men- 
tioned in  this  work,  with  the  hope  of  awakening  here  and  there  a 
desire  to  investigate  further  a  line  of  study  that  should  occupy  the 
designer,  manager  and  dyer  during  many  spare  hours.  It  is  only 
by  understanding  the  nature  of  ingredients  and  compounds  that 
they  can  be  used  intelligently. 


E. 

Edges. — The  importance  of  perfect  sides  or  edges,  be  the  selvage 
wide  or  narrow,  is  seldom  fully  appreciated  by  operatives ;  indeed, 
even  overseers  are  frequently  either  ignorant  or  regardless  of  the 
consequences  of  crooked,  short,  long,  rolling,  thick,  thin,  imperfect 
or  rough  sides.  Some  of  the  causes  are  here  enumerated  :  Crooked 
edges  are  almost  invariably  caused  by  uneven  tension  on  the  filling 
while  weaving,  either  on  account  of  bad  or  too  long  bobbins, 
crooked  shuttle  spindle,  shuttle  eye  in  wrong  place,  or  anything 
else  showing  itself  by  a  difference  in  tension  on  full  and  nearly 
empty  bobbins.  Uneven  yarn  will  also  make  crooked  edges,  but 
this  is  easily  traced  if  the  goods  are  examined  while  wet  or  by  look- 
ing through  them  toward  a  strong  light.  Uneven  picks,  from  what- 
soever cause,  will  sometimes  produce  this  trouble.  Crooked  edges 
are  only  the  beginning  of  a  worse  evil — cockles.  Short  edges  are 
usually  caused  by  the  warper,  and  may  also  be  done  in  beaming. 
Long  edges  are  a  difficulty  arising  from  high  sides  on  the  warp 
beam  ;  whip  rolls  or  lathes  which   give  in  the  middle ;   worn  breast 


SPITZLI'S  MANUAL.  93 

beam;  also  by  the  warp  reel  when  so  frail  as  to  sag  between  the 
sides  and  spiders,  or  by  putting  waste  and  bobbins  in  at  the  sides 
on  the  cloth  beams.  When  all  these  matters  are  correct  there  may 
still  be  a  difference  in  the  length  of  the  sides  from  different  looms, 
sometimes  on  the  same  piece;  this  is  often  owing  to  uneven  pick- 
ing, or  on  account  of  a  peculiar  lodgment  of  the  shuttles.  A  very 
common  trouble  with  looms  having  a  single  box  on  one  side  and  a 
number  on  the  other.  Temples  have  much  to  do  with  the  sides, 
but  any  trouble  from  them  should  be  apparent  to  any  careful 
observer.  Rolling  edges  are  caused  by  a  difference  in  back  and 
face,  usually  on  such  goods  as  are  made  with  warp  largely  on  one 
side,  filling  on  the  other  ;  whichever  side  shrinks  most  readily  will 
roll  inwards.  With  woolens,  the  fuller  and  gigger  suffer  most  from 
this  trouble,  and  upon  the  fuller  devolves  the  duty  of  sparing  others 
the  annoyance  which  rolling  edges  prove  to  be  in  all  subsequent 
operations.  In  sewing  for  the  fulling  mill,  make  short  stitches ;  if 
possible,  sew  that  side  out  which  naturally  rolls  in  ;  if  impossible 
for  the  entire  process,  one-fourth  of  the  time  at  least,  either  first 
or  last,  will  help  very  much. 

Thick  and  Thin  edges  are  made  in  the  loom  ;  the  tension  of  the 
filling  and  the  temples  must  be  looked  to  first. 

Imperfect  and  Rough  edges  are  frequently  the  result  of  careless- 
ness and  neglect  either  on  the  part  of  the  weaver  or  loom  fixer. 
When  the  shed  is  not  good  at  the  sides,  the  time  of  picking  incor- 
rect, or  one  shuttle  delivering  loose  filling,  another  tight,  look  out 
for  imperfect  and  rough  sides,  they  will  certainly  show  on  thread- 
bare goods  when  finished,  if  not  before. 

Electricity. — Electricity  has  not  as  yet  proved  very  successful 
in  applications  of  it  to  the  textile  manufacturing  processes.  Some 
very  ingenious  inventions  exist ;  but,  for  some  reason,  they  do  not 
come  forward  and  into  general  use.  Among  these  are  electricity 
applied  to  the  Jacquard  loom  and  punching  machines,  to  cutting 
velvet  plush,  etc.,  etc.  But  electricity,  as  an  annoyance  or  diffi- 
culty, is  very  common,  particularly  in  factories,  where  wool  is  used. 
This  is  more  especially  the  case  in  carding  and  spinning;  weaving 
in  a  cold,  dry  room  is  also  difficult  on  account  of  it.  Of  the  many 
devices  employed  to  prevent  troubles  from  electricity  in  carding 
there  is  perhaps  none  which  can  be  covered  by  one  word  better 
than  "  moisture."  Moisture  in  the  stock  or  in  the  atmosphere  is  all 
that  is  necessary.  A  little  escape  of  steam  in  the  vicinity  of  a  card 
giving  trouble  has  remedied  the  matter,  but  a  better  way  is  to  apply 
it  to  the  stock. 


94  SPITZLI'S  MANUAL. 

Electricity  is  almost  sure  to  be  troublesome  when  wool  has  been 
exposed  to  great  heat  in  drying,  if  an  insufficient  quantity  of  oil  is 
used,  or  if  the  colors  either  from  excessive  use  of  acid,  alkali  or  heat 
in  boiling,  have  attacked  those  properties  of  the  staple  which  wool 
requires  to  convey  its  true  nature  to  the  fabric.  There  is  also 
much  electricity  in  factories  altogether  generated  by  friction.  This 
is  especially  a  serious  trouble  in  the  card  ;  and,  no  doubt,  the  pro- 
cess of  carding  does  generate  some  electricity.  Condensing  rollers 
or  drawing  rollers,  when  set  too  close,  bring  about  this  evil  in  the 
very  spot  where  it  is  the  greatest  nuisance.  There  are  some  ten 
pages  on  this  subject  in  the  book  called  "  Queries  and  Replies," 
taken  from  the  Industrial  Record.  Like  everything  else  in  this  book 
the  information  is  all  direct  from  the  workroom  and  is,  therefore, 
very  valuable,  as  it  gives  the  varying  success  of  different  remedies. 
The  electric  light  is  without  doubt  a  grand  success  in  factories. 
Several  hundred  of  them  are  already  in  use,  and  in  one  or  two 
instances  are  used  with  the  best  results  in  shops  running  night  and 
day. 

Emery. — The  emery  used  for  grinding  cards  is  of  various  sizes 
and  qualities.  Nos.  3  and  4  are  good  sizes,  and  are  preferable  to 
finer  kinds.  It  must  be  perfectly  free  from  rotten  or  pounded 
stone  and  all  ingredients  not  belonging  to  it.  Emery  may  be  tested 
by  laying  some  of  it  on  a  flat  piece  of  iron  and  attempting  to  bruise 
it  with  a  flat-faced  hammer ;  if  good  and  hard,  it  will  resist  the  ham- 
mer; if  soft  or  mixed  with  any  improper  matter,  it  will  yield  easily, 
and  should  be  rejected.  Coarse  emery  cuts  and  grinds  quicker 
than  fine,  and  also  sinks  in  among  the  points  of  the  teeth,  cleans 
them,  and  cuts  off  any  roughness,  barbs  or  hooks  that  may  be  on 
them,  and  prevents  them  from  rubbing  on  each  other.  If  the 
emery  is  too  coarse,  it  causes  rings  or  grooves  and  ridges  around 
the  cylinders.  Some  carders  wash  the  emery  in  warm  water,  when 
the  chips  and  dust  will  rise  to  the  surface,  and  may  be  washed  off; 
after  this  the  emery  must  be  dried.  It  can  sometimes  be  suffi- 
ciently cleared  by  sifting. 

To  cover  rollers,  have  them  turned  perfectly  true,  and  a  sufficient 
quantity  of  glue  in  readiness.  The  glue  must  be  of  a  medium  con- 
sistency ;  if  it  is  too  thick,  it  will  not  adhere  to  or  spread  evenly  on 
the  rollers;  it  must  be  applied  as  quickly  as  possible,  while  the  roll 
or  cylinder  is  in  motion,  particular  care  being  taken  not  to  miss  any 
part,  especially  the  ends,  as  it  is  there  they  first  begin  to  give  way. 
As  soon  as  the  roller  is  covered  with  glue  quickly  strew  on  the 
emery,  letting  it  fall  from  a  height  of  two  feet  to  make  it  stick,  and 


SPITZLI'S  MANUAL.  95 

lay  it  around  the  ends  of  the  rollers  by  hand  in  order  to  make  it 
adhere  to  those  places.  The  rolls  should  be  allowed  to  dry  during 
the  night ;  the  next  day  receive  a  second  coat,  applied  as  the  first 
except  that  the  glue  may  be  somewhat  thinner;  they  should  again 
be  left  over  night  to  dry.  The  next  day  all  the  glue  and  waste 
emery  adhering  to  the  ends  should  be  scraped  off,  tried  with  a 
straight  edge,  the  emery  rubbed  off  the  high  places,  and  the  whole 
made  as  level  and  true  as  possible  ;  next  apply  a  wash  composed  of 
2\  ounces  of  glue  and  one  pint  of  water  ;  this  wash  unites  all  the 
coats  firmly  together,  and  does  not  prevent  the  emery  from  cutting. 
The  rolls  should   be  revolved  while   this  wash  is  hardening. 

Many  forms  of  hand  emeries  are  also  employed.  To  cover  them 
the  same  principles  are  involved  as  in  covering  rolls.  The  emery 
used  for  grinding  shears,  etc.,  etc.,  is  necessarily  very  fine,  and  best 
applied  when  mixed  with  a  heavy  oil  to  the  consistency  of  lard  that 
will  just  run. 

Ends. — The  ends  of  warp  threads  are  called  ends.  The  use  of 
the  word  for  threads  in  general  is  very  common. 

English  and  French  Methods  for  spinning  worsted  yarns  are 
often  alluded  to.  The  difference  is  mainly  in  the  manner  of  draw- 
ing from  the  sliver  to  the  thread.  Leroux  has  given  full  descrip- 
tions of  both  methods  in  his  work  on  the  manufacture  of  worsted 
yarns.  The  information  he  gives  should  be  well  understood  by  all 
who  use  or  make  worsted  yarns. 

Estimates. — It  is  often  necessary  to  estimate  the  probable  cost 
of  an  intended  fabric  before  proceeding  to  make  it ;  the  calcula- 
tions necessary  are  the  same  as  those  treated  under  the  head  of  Cal- 
culations and  in  Yarn  Numbers,  Reeds,  &c.  But  to  make  these 
estimates  reliable  requires  quite  as  much  judgment  as  mathematical 
ability  ;  indeed,  the  latter  is  useless  without  the  influence  of  the 
former. 

F. 

Fabric. — The  word  fabric  is  very  frequently  used  instead  of 
texture.     Webster's  definitions  of  the  word  are  as  follows  : 

1.  The  structure  of  anything  ;  the  manner  in  which  the  parts  of 
anything  are  united  by  art  and  labor;  workmanship;  texture; 
make  ;  as  cloth  of  a  beautiful  fabric. 

2.  That  which  is  fabricated ;  (a)  framework,  structure,  construc- 
tion, edifice,  building,  (b)  Manufactured  cloth.  "  Silks  and  other 
fine  fabrics  of  the  East." — Henry. 


96  SPITZLI'S  MANUAL. 

An  effort  has  been  made  to  use  the  words  fabric  and  texture  inde- 
pendently of  each  other  in  this  work,  as  a  combined  use  of  them  is 
often  confusing  to  the  beginner.  There  is  hardly  an  exception  to 
the  rule  in  this  book — fabric  being  used  for  "  manufactured  cloth;" 
texture,  for  the  structure  or  construction  of  the  fabric. 

Fallers. — On  some  drawing  frames  the  gills  are  propelled  by  a 
screw ;  when  they  reach  the  end  of  the  screw  they  fall  into  another 
which  carries  them  back  to  the  other  end  again.  This  falling  gives 
these  several  bars  carrying  the  gills  this  name. 

Fancy. — The  cylinder  on  a  card  which  raises  the  stock  from  the 
main  cylinder,  that  the  doffer  may  take  it.  The  wire  should  be 
long,  set  and  bent  very  regularly  and  accurately,  since  the  fancy 
should  not  be  ground  much.  If  the  fancy  wire  is  soft  it  will  soon 
lay  down  irregularly  and  always  after  prove  a  nuisance. 

Fancy  Diagonals. — Some  English  writers  seldom  use  the  word 
diagonal,  and  would  therefore  head  this  paragraph  with  Fancy 
Twills.  Whatever  they  call  it,  the  English  writers  and  weavers  un- 
derstand the  application  and  variation  of  twills  thoroughly,  as  may 
be  seen  by  the  several  quotations  under  the  head  of  twills.  Fancy 
diagonals  are  nothing  more  or  less  than  very  large  patterns  of  the 
same  family  of  textures  as  twills,  but  the  long  floats  are  frequently 
tied  down  in  a  manner  to  produce  fancy  effects. 

Feeders. — The  employees,  the  machines  or  parts  of  machines 
which  feed  or  enter  stock  of  any  kind,  to  the  machinery.  On 
wool  washing-machines  the  feeder  is  a  boy  or  man  who  lays  the 
wool  on  an  apron  which  is  in  constant  motion  toward  the  bath,  into 
which  it  finally  drops  the  wool.  On  wool,  cotton  and  other  pickers 
the  stock  is  still  fed  by  hand.  On  cotton  cards  the  matter  of  feed- 
ing is  very  simple  because  the  stock  comes  to  the  card  in  laps,  but 
to  woolen  cards  the  stock  is  brought  in  a  loose  open  state  from  the 
picker.  Many  woolen  cards  are  still  fed  by  hand,  but  very  p>erfect 
machinery  is  now  being  largely  introduced  to  do  the  work  cheaper 
and  better. 

Felt  or  Felt  Cloth. — These  goods  are  made  by  applying  heat, 
moisture  and  friction  to  webs  of  various  kinds  of  animal  fibers. 
The  stock  is  mixed  and  picked  for  the  cards ;  carded ;  from  the 
card  it  goes  to  the  felting  machinery  in  an  open  but  web-like  state ; 
from  the  felting  machine  some  kinds  are  taken  to  the  fulling  mills, 
and  some  kinds  of  goods  undergo  various  other  processes  to  pro- 
duce   the    requisite  density  and    characteristics.       The  colors  and 


SPITZLI'S  MANUAL.  97 

finish  applied  are  also  many  in  kind,  according  to  the  ultimate  pur- 
pose of  the  goods. 

Fibers,  or  Fibres. — The  fibers  used  in  the  manufacture  of  tex- 
tile fabrics  are  described  as  follows,  by  Gesner :  "  The  material  used 
in  textile  fabrics  may  be  animal,  mineral  or  vegetable.  The  most 
common  are  wool,  silk,  cotton,  hemp,  flax.  Properly  classified, 
they  appear  in  the  order  below  : 

A. —  Vegetable.     (1)  Fibers  from  the  Stems  of  Plants. 

(a)  Chinese  Grass  or  Nettle  ( Urfica,  Nivia,)  is  a  perennial  plant, 
the  stem  of  which  bears  broad,  oval  leaves ;  the  upper  side  is 
smooth  and  of  a  beautiful  green  color,  while  the  lower  side  is  cov- 
ered by  a  white  woolly  down.  The  plant  grows  in  East  India,  Siam. 
Cochin  China,  Japan,  China,  and  on  many  of  the  islands  of  the 
Indian  Archipelago.  In  its  wild  state  it  is  called  Rhea,  and  is 
usually  found  in  almost  impenetrable  masses  or  thickets.  The 
fiber  of  the  cultivated  plant  has  a  length  of  120  millimeters,  and 
possesses  a  wonderful  strength,  (some  tests  having  shown  a  strength 
two  or  three  times  as  great  as  that  of  Russian  hemp.) 

(b.)  Ramm^e  is  a  sort  of  nettle  thriving  best  upon  several  islands 
of  the  Indian  Archipelago,  where  it  grows  to  a  height  of  one  to  two 
meters.  It  is  of  a  yellowish  white  color,  about  as  fine  as  a  fair 
quality  of  flax,  lusterless  and  very  stiff. 

(e.)  Jute  is  a  native  of  China  and  East  India,  but  successfully 
cultivated  in  other  parts.  It  yields  a  brownish,  coarse,  long  fiber, 
used  largely  in  the  manufacture  of  twine,  burlap,  etc.,  etc.  The 
fiber  may  be  improved  by  the  hackle  and  other  manipulations  until 
a  fine  lustre  is  attained,  but  is  always  very  brittle. 

(d.)     Nettle.     Several  plants  of  this  species  yield  useful  fibers. 

(2.)  Fibers  from  the  leaves  of  plants. 

(a.)  The  New  Zealand  Flax  {Phormium  Tenax).  This  plant, 
native  of  New  Zealand,  produces  a  leaf  from  ^  to  iyV  meters  long 
and  1  to  3  ctm.  wide,  which  contains  great  numbers  of  fibers 
from  5  to  n  millimeters  long.  This  material  resembles  hemp,  but  is 
not  so  soft  and  flexible,  although  producing  very  durable  fabrics. 

(b.)  Manila  or  Manila  Hemp  {Abaca)  is  more  extensively  used  for 
ropes  than  fabrics,  but  does  occasionally  enter  into  various  kinds  of 
the  latter. 

(e.)  Ananas  Hemp  (Bromelia  Ananas)  comes  from  the  West 
Indies  and  South  America.     The  fibers  of  the   roots  are  long  and 

7 


98  SPITZLI'S  MANUAL. 

tough,  furnishing  a  material  with  which  the  Indians  produce  a  sort 
of  coarse  linen. 

(3.)  Fibers  from  Shells  or  Husks  : 

(a.)  The  Cocoa  fibers  possess  remarkable  elasticity  and  strength, 
and  are  used  for  carpets,  mats  and  various  kinds  of  plaited  goods. 

(b.)  Of  the  many  other  vegetable  substances  that  may  be  woven. 
Wood,  straw,  etc.,  etc.,  are  probably  the  most  common. 

B. — Animal  Fibers,  (a.)  Cashmere  or  Kashmere  Wool  is  the 
fine  wool-like  hair  of  the  goat  (Capra  Hircus,  Varietas  Lanigrd). 
This  goat  thrives  best  upon  the  Himmaleh  mountains  at  an  alti- 
tude of  5,000  meters.  The  higher  the  altitude,  the  finer,  softer  and 
thicker  the  coat  of  hair  is  found  to  be.  Nearly  all  of  this  staple  is 
manufactured  into  shawls  in  Cashmere.  What  little  is  sent  to  other 
markets  may  be  said  to  be  of  three  kinds  or  colors — white,  grey 
and  brown.  The  word  cashmere  is  also  used  to  designate  certain 
fabrics  made  of  wool  or  silk  warp  and  goat  hair,  or  fine  merino  wool 
filling.  Cashmere  Satin  (woolen  satin)  is  a  smooth,  lustrous  fabric, 
the  warp  and  filling  of  which  are  of  combed  wool  or  worsted. 
Cashmere  Muslin,  (wool  muslin,  mousseline-laine)  ;  the  warp  and 
filling  of  this  fabric  have  little  twist  and  are  woven  very  loose.  In 
Mousselin-deim-laine  the  warp  is  cotton,  the  filling  combed  wool  or 
worsted.  Cashmeret  is  a  fabric  more  like  cloth  in  its  manufacture 
and  appearance.  The  warp  of  the  best  kinds  is  of  a  peculiar  floss 
silk,  woolen  filling.     These  fabrics  are  fulled,  gigged  and  shorn. 

(b.)  Vigogue  wool  is  a  sort  of  curly  hair  from  a  peculiar  sheep  to 
be  found  in  the  mountains  of  Peru,  Chili  and  Mexico. 

(<r.)  Alpaca  wool  is  the  downy  hair  of  a  goat  in  Peru,  is  very  fine 
and  comes  to  market  brown,  black  and  white.     (Alpagnapaco.) 

(d.)  Mohair  is  procured  from  the  Angora  goat  of  Asia  Minor. 
This  staple  is  largely  spun  from  carded  stock,  and  used  as  filling  for 
several  fabrics,  which  by  fulling,  etc.,  readily  yield  a  nap  resembling 
plush. 

(<?.)  Camel  hair  is  the  downy  hair  of  certain  camels ;  is  used  for 
combed  and  carded  yarns. 

(/.)  Cow  hair  is  spun  into  coarse  yarns,  woven  into  carpets  and 
other  coarse  fabrics.  (Seldom  spun  alone,  but  is  carried  by  a  more 
suitable  fiber  like  wool,  etc. — Ed.) 

(g.)  Horse  hair,  dog  hair  and  even  human  hair  finds  its  way  into 
various  textures. 

C. — Mineral  Fibers,     (a.)  Metallic  wire  is  woven  for  sieves,  and 


SPITZLI'S  MANUAL.  99 

sometimes  is  introduced  into  fabrics  to  represent  gold  and  silver 
threads. 

{b.)  Gold  and  silver  threads  are  frequently  woven  in  as  orna- 
ments or  fancy  effects. 

{c.)  Glass  threads  are  now  produced  and  used  but  for  little  else 
than  millinery  goods. 

Figured  Weaving. — Is  practised  as  a  handicraft  process,  or  the 
weaver  is  assisted  by  the  aid  of  machines.  The  process  of  orna- 
mental weavings  as  used  at  the  present  time  in  India,  is  perhaps  the 
same  as  it  has  been  practised  there  from  the  most  remote  times.  It 
consists  in  interlacing  differently  colored  threads  of  various  sub- 
stances and  thickness  ;  and  this  is  done  by  inserting  them  in  the 
warp  as  in  plain  weaving.  By  this  means  the  effect  is  produced  by 
the  different  colors  and  materials,  rather  than  by  the  ornamental 
decussations  of  the  threads,  in  which  the  skill  of  the  weaver  is 
shown.  When  assisted  by  mechanical  contrivances  the  art  at  once 
assumes  a  new  feature,  for  by  this  means,  with  only  one  or  two 
colors  or  varieties  of  thread,  endless  effects  can  be  produced  on  the 
surface  of  the  cloth.     (Barlow.) 

Filling  or  Weft. — Filling  is  a  word  which  in  textile  terms  is 
used  for  the  yarn  which  fills  the  warp.  This  passive  and  active  dis- 
tinction- between  the  warp  and  the  yarn  which  is  combined  with  it 
to  make  a  fabric  probably  arises  from  the  fact  that  the  warp  is 
opened  by  the  harness  motion,  the  filling  being  passed  through  and 
left  in  these  successive  openings.  The  filling  is  quite  as  important, 
often  more  so  than  the  warp  ;  yet  because  it  is  not  subjected  to  so 
much  wear  and  strain  in  weaving,  it  is  often  made  of  stock  too  poor 
to  produce  the  desired  effect,  or  to  endure  the  subsequent  processes, 
all  of  which  are  more  trying  to  the  filling  than  the  warp.  This  is 
only  another  evidence  that  it  will  not  do  to  slight  anything  in  pre- 
paring the  work  for  a  fabric.  Several  other  allusions  are  made  to 
the  important  part  of  filling  under  different  headings. 

Fines. — Fines  are  instituted  to  aid  overseers  to  enforce  rules 
without  discharging,  but  it  is  demoralizing  to  fine  so  much  or  so 
injudiciously  as  to  impress  the  operatives  with  a  wrong  idea  of  the 
motive.  Frequent  and  heavy  fines  are  better  avoided  then  imposed, 
the  only  true  way  to  avoid  them  is  to  discharge  the  culprit. 

Flavine. — This  is  a  coloring  matter  that  has  superseded 
quercitron  bark  and  fustic  in  dyeing  oranges,  scarlets  and  yellows 


IOO  SPITZLI'S  MANUAL. 

The  quantity  of  coloring  matter  is  greater  than  that  of  quercitron 
or  fustic,  one  pound  of  flavine  being  equal  to  ten  pounds  of  bark  or 
thirty  pounds  of  fustic.  The  best  mordant  for  flavine  is  alum, 
tartar  and  nitro-muriate  of  tin.  A  solution  of  flavine  will  produce 
the  following  reactions  with  the  different  metallic  salts  : 

Potash  Sulphate  of  Alumina — a  very  rich  yellow. 

Nitro-muriate  of  Tin — a  yellow  orange. 

Muriate  of  Tin — a  sulphur-colored  yellow. 

Proto-sulphate  of  Iron — a  deep  greenish  black. 

Acids  lighten  the  color  of  the  solution,  and  alkalies  deepen  it, 
causing  it  to  assume  more  of  a  red  shade. 

Flocks. — Woolen  stock  ground  very  fine.  Those  caused  by  the 
gigg  and  shear  are  distinct  from  those  cut  or  ground  purposely. 
Flocks  are  used  principally  to  increase  the  weight  and  firmness  of 
woolen  goods  ;  when  so  used  they  are  applied  in  the  fulling  mill, 
that  the  short  particles  of  stock  may  penetrate  into  the  fabric  and 
be  in  a  measure  fastened  there  by  the  shrinkage  of  the  goods- 
Flocks  made  of  old  rags  have  but  little  of  the  requisite  properties 
left,  and  are  not  cheap  at  any  price.  The  rags  are  often  colored  to 
make  the  flocks  appear  like  new  stock,  but  the  microscope  will  aid 
any  one,  after  a  little  practice,  to  discover  this  deception.  Caustic 
Potash  may  be  used  to  discover  vegetable  substances,  which  are  a 
dead  loss  in  flocks.  The  method  is  to  boil  a  small  quantity  of 
flocks  previously  weighed  in  a  liquor  made  of  one  gill  of  water  and  a 
piece  of  the  caustic  potash  about  the  size  of  a  common  bean,  this 
will  dissolve  the  animal  fibers  and  leave  the  vegetable,  which  should 
be  washed  out  (care  being  taken  to  lose  none),  dried  and  weighed. 
Use  a  glass  bowl,  sand  bath,  and  spirit  lamp.  A  simple  test  of  the 
cleanliness  of  flocks  is  to  spread  a  small  quantity  on  a  sheet  of  paper 
or  glass,  then  pass  over  it  or  stir  with  a  steel  point  which  has  been 
charged  with  electricity  by  brisk  rubbing  with  a  clean,  very  dry 
woolen  cloth.  Clean  fibers  will  attach  themselves  to  the  point.  By 
re-charging  several  times  the  sample  of  flocks  may  be  robbed  of  all 
the  perfectly  clean  fibers.  Those  loaded  with  grease  or  chemically 
retained  moisture  will  remain.  Flocks  are  sometimes  used  to  fill 
card  clothing  on  the  cards  instead  of  depending  upon  the  leather  to 
sustain  the  wires  in  position  :  a  practice  now  seldom  resorted  to. 

Flyers. — On  spinning  frames  and  twisting  machines,  the  thread 
guide  placed  upon  the  spindle  over  the  bobbin.  There  are  usually 
two  or  three  eyes  or  places  for  the  thread  to  pass  through  on  its 
way  from  the  rolls  to  the  bobbin  or  spool.     There  is  no  doubt  that 


SPITZLI'S  MANUAL.  lOI 

the  flyer  twisters   make  the  most  even   twist ;    but  as  they  are  slow 
machines,  other  devices  are  more  common. 

Friction  on  Warp  Beams. — The  warp  beam  should  be  supplied 
with  means  to  allow  the  warp  to  be  delivered  at  either  a  given  rate 
of  speed  or  with  a  constant  and  even  tension  upon  it.  All  that 
can  be  expected,  is  to  be  able  to  maintain  an  equal  tension,  also 
regulating  the  friction  of  the  beam  that  no  more  strain  shall  be 
thrown  upon  the  threads  when  the  beam  is  nearly  empty  than  when 
it  is  full.  Upon  the  tension  of  the  warp  while  weaving,  many 
fabrics  depend  for  their  peculiarities.  A  fabric  that  is  to  be  at  all 
elastic  should  be  woven  with  the  warp  as  loose  as  possible,  at  the 
same  time  getting  in  the  right  number  of  picks  and  making  a  clear 
shed.  A  part  of  the  tension  of  the  warp  may  be  regulated  by  the 
take-up  motion.  The  two  should  be  worked  in  relative  unison, 
with  due  consideration  of  the  effect  desired  in  the  fabric,  the  weight, 
and  the  amount  of  strain  the  warp  yarn  will  endure. 

Fulling. — Fulling  is  a  process  applied  to  certain  fabrics  com- 
posed in  part  or  entirely  of  animal  fibers.  It  shrinks,  thickens  and 
makes  the  goods  more  compact.  The  fibers  must  be  of  a  peculiar 
nature  or  construction  to  possess  the  necessary  properties  which 
make  this  result  both  possible  and  permanent.  This  property  is 
found  in  the  fine  merino  wools  in  the  highest  degree.  Some  hairs 
have  nearly  as  little  of  it  as  vegetable  fibers.  The  nearer  a  wool 
approaches  hair  in  nature  and  construction,  the  less  of  the  property 
will  it  possess.  The  artificial  means  employed  to  produce  the  result 
above  mentioned  are  heat,  moisture  and  friction.  With  these  alone 
it  is  possible  to  full  some  woolen  fabrics,  but  nearly  all  show  better 
results  when  some  soap  is  used  with  the  moisture  ;  short  staple  will 
not  endure  the  friction  produced  by  the  machinery  necessary,  with- 
out soap.  The  machinery  which  produces  the  friction  and  retains 
the  heat  generated  by  it,  and  the  soap,  by  means  of  which  the  goods 
are  at  once  moistened  and  lubricated,  are  the  two  principal  factors 
employed. 

The  machines  are  considered  under  the  head  of  Fulling  Mills  ; 
the  kind  of  soap  in  its  proper  place.  The  application  and  prepara- 
tions of  the  process  are  alone  to  be  considered  here.  The  appli- 
cation of  the  soap  is  an  important  feature — too  much  makes  the 
goods  clammy  ;  too  little,  spongy.  The  soap  being  too  strong  will, 
with  the  heat  of  the  mill,  not  only  affect  colors  but  the  nature  of 
the  fibers.  It  must  be  gradually  and  evenly  put  upon  the  goods  ; 
this  is  best  done  by  any  means   which  will   allow  a  small   stream  of 


102  SPITZLI'S  MANUAL. 

it  to  be  directed  upon  the  goods  while  in  motion.  The  quantity  of 
soap  used  must  be  governed  by  the  time  the  goods  are  in  the  mill, 
the  stock  in  the  goods,  and  the  density  of  fabric  required.  When 
goods  composed  of  short  stock  (like  shoddy)  have  too  little  soap  in 
the  mill,  they  will  surely  chafe,  a  loss  and  damage  that  cannot  after- 
wards be  fully  repaired.  If  the  soap  is  not  rich  enough  for  the 
amount  of  friction  and  time  required,  chafing  is  a  sure  consequence. 
If  there  is  much  free  grease,  or  dirt,  or  dye  in  the  goods,  the  soap 
must  overcome  it  or  be  overcome  and  prove  little  better  than  water. 

In  Rotary  Mills  of  every  kind  there  must  be  a  contrivance  to  jam 
the  goods  together  lengthwise,  else  the  goods  will  not  shrink  in 
length,  and  goods  not  shrunk  in  length  in  the  fulling  mill,  will  do  so 
in  sponging  and  in  the  garment.  Almost  every  one  has  had  experi- 
ence with  goods  of  this  kind,  and  the  consequent  annoyances.  The 
contrivance  is  most  commonly  applied  in  the  form  of  a  trap  box, 
called  "  clappers,"  "  crimping-box,"  "  jam,"  and  many  other  terms 
by  different  fullers.  The  goods  running  continuously  in  wrinkles, 
unless  frequently  taken  out,  opened  and  stretched,  will  after  a  while 
full  more  in  some  parts  than  others,  notably  those  least  exposed  to 
the  surrounding  atmosphere ;  this  is  the  cause  of  mill  streaks, 
wrinkles,  clouds  and  rows.  There  are  also  other  causes  for  each 
of  these,  but  when  similar  effects  are  caused  by  uneven  appliance  of 
soap,  running  of  colors,  excessive  grease,  dirt,  or  flocks,  or  by  uneven 
yarn  they  are  really  different,  and  should  not  be  designated  by  the 
above  appellations.  The  time  required  by  fulling  can  be  regulated 
in  part  by  the  frequency  of  this  cooling,  opening  or  stretching,  by 
the  amount  of  cold  air  admitted  into  the  mill  and  by  the  pressure 
applied. 

Opinions  vary  much  in  regard  to  the  time  required  to  produce  the 
results,  largely  due  to  the  fact  that  different  circumstances  have  been 
differently  observed  and  accounted  for.  For  instance,  two  factories 
may  produce  the  same  fabric  from  the  same  stock  and  size  of  yarn, 
but  one  produces  the  full  weight  from  the  loom,  in  the  other,  goods 
from  the  loom  are  not  up  in  weight  and  must  be  shrunk  in  length 
until  the  weight  per  yard  is  right  or  filled  with  flocks.  It  is  a  great 
help  to  the  product  to  weave  the  goods  a  little  light  and  gain  the 
weight  in  the  fulling  mill,  it  is  true  that  in  reality  the  loom  has  to 
throw  about  the  same  number  of  picks,  but  the  time  saved  is  in  the 
work  which  goes  much  better  in  the  loom.  To  fill  cheaper  grades  of 
goods  with  flocks  is  a  common  practice,  and  a  little  of  it  on  some 
is  a  real  benefit.  The  goods  to  be  flocked  should  have  the  selvages 
closely  sewed  together,  with  the  side  to  be   flocked  outside ;  if  not 


SPITZLI'S  MANUAL.  IO3 

washed  before  fulling  run  dry  a  few  minutes  before  adding  the 
flocks,  a  few  minutes  after,  and  then  wet  out  with  the  soap.  This 
makes  the  goods  a  little  more  pliable,  gets  the  flocks  more  evenly  on 
all  parts  of  the  piece  before  the  closing  up  of  the  fabric  begins.  If 
many  flocks  are  to  be  put  into  the  goods,  fresh  flocks  should 
occasionally  be  added  during  the  process.  The  slack  method  of 
putting  in  a  few  baskets  full  at  once  and  for  all  has  much  in  it 
to  condemn,  principally  that  the  more  goods  have  been  fulled  the 
harder  they  take  the  flocks ;  from  a  lot  of  flocks  put  into  the  mill  the 
goods  will  take  the  best  first ;  therefore,  after  the  flocks  begin  to  go 
in  slowly  there  is  only  poor  flocks  left  to  go  in.  The  practice  of 
mixing  good  and  bad  flocks  is  erroneous.  The  better  way  is,  to  put 
the  desired  proportion  of  the  poorer  kind  into  the  mill  first,  and  at 
the  right  time  add  good  flocks. 

The  best  method  to  govern  the  gain  of  weight  per  yard  by  shrink- 
ing is  given  us  by  a  fuller  who  has  had  good  opportunities  to  test  the 
rule.  Ascertain  the  weight  total  of  a  piece  in  the  grease,  after  wash- 
ing, gigging  and  shearing.  Note  the  difference  or  loss  in  each  and 
all  these  processes.  Multiply  the  number  representing  the  yards  in 
length  of  the  entire  piece  by  the  number  showing  the  actual  weight 
per  yard  in  ounces  after  shearing ;  divide  the  product  by  the  weight 
per  yard  desired  ;  the  quotient  is  the  number  of  yards  in  the  piece 
after  it  has  been  sufficiently  shortened  by  shrinkage.  The  differ- 
ence between  this  and  the  length,  before  shrinkage,  shows  the  length 
to  lose.  Whatever  proportion  of  the  piece  this  may  be,  the  same 
proportion  per  yard  or  any  number  of  yards  must  be  taken  up. 
Now  by  putting  two  pieces  of  tape  or  string  in  the  selvage  of  the 
piece  any  known  distance  apart  it  is  only  necessary  to  measure  this 
space  to  ascertain  if  the  proper  proportion  is  taken  up.  For  instance, 
a  piece  36  yards  long  weighs  18  ounces  per  yard  after  washing  and 
shearing;  if  kept  out  in  length  it  would  weigh  say  only  16  ounces, 
but  should  weigh  18  ounces.  It  is,  therefore,  2  ounces  light.  To 
gain  2  ounces  per  yard,  how  much  must  the  piece  be  shrunk  ? 
Thirty-six  yards  clean,  weighing  16  ounces  per  yard,  the  total  weight 
is  36  x  16=576  ounces,  it  will  take  as  many  yards  of  18  ounces  each 
to  make  576  ounces  as  18  is  contained  in  that  number=32.  The 
piece  must  be  shrunk  from  36  yards  to  32 — a  shrinkage  of  4  yards, 
or  ^g-  of  the  whole.  Now,  if  the  whole  piece  must  shrink  /g-  of  its 
own  length,  each  yard  or  any  number  of  yards,  in  any  part  of  the 
piece,  must  shrink  in  the  same  proportion.  To  make  the  calcula- 
tions easy,  measure  off  as  many  inches  between  tapes  as  there  are 
yards  in  the  piece,  then  you  have  only  to  shrink  this  marked  space 


104  SPITZLI'S  MANUAL. 

the  same  number  of  inches  as  the  number  of  yards  the  piece  is  to  be 
shrunk,  viz.,  in  the  above  example  you  would  measure  $6  inches, 
and  this  would  have  to  be  reduced  to  32  inches.  It  is  a  good  plan 
to  mark  two  or  more  places  in  different  parts  of  the  piece.  By  care- 
fully noting  on  the  first  piece  how  long  the  felting-box  or  clapper 
was  applied  a  safe  guide  for  others  of  the  same  kind  is  obtained. 
Goods  should  always  be  washed  as  soon  after  fulling  as  possible. 
If  they  must  lay  over  night  let  them  be  well  spread  out. 

Fulling  Mills. — The  machines  for  fulling  cloth  are  termed  full- 
ing mills.  There  are  many  varieties  which  are  very  similar  ;  they 
may  be  divided  into  three  or  more  kinds — the  fulling  stocks  or 
hammers,  the  broad  rotary  mills,  and  the  narrow  rotary  or  German 
mills.  The  fulling  stocks  are  now  almost  superseded,  not  because 
they  are  not  good,  but  that  the  power  and  time  required  is  greater 
than  in  rotary  mills  of  the  best  patterns.  There  are  some  goods, 
however,  that  have  not  yet  been  fulled  just  right  in  anything  but 
stocks.  The  broad  rotaries  are'so  called  because  the  rolls  between 
which  the  goods  pass  continuously  are  long,  making  the  machine  so 
wide  as  to  admit  two,  three  or  even  four  pieces  side  by  side ;  while 
this  is  an  advantage  in  one  way,  it  is  quite  the  contrary  in  another, 
for  too  much  space  forbids  raising  the  temperature  of  the  atmos- 
phere within  it  to  the  proper  degree  without  the  introduction  of 
heating  apparatus,  steam,  etc.  The  rolls  in  the  narrow  mills  are 
only  wide  enough  for  a  single  piece.  Some  have  several  of  these 
rolls  on  one  shaft  side  by  side.  The  narrow  mills,  being  a  more 
recent  invention,  have  in  many  parts  improvements  on  the  older 
kinds.  The  many  builders  of  these  are  all  making  the  best.  It  is 
safest,  therefore,  to  inquire  of  those  who  have  given  them  a  trial 
before  investing  in  them,  if  the  machine  must  do  some  particular 
work  just  right. 

Fustic. — The  tree  from  which  this  dyestuff  is  prepared  is  known 
by  botanists  by  the  name  of  Morns  Tincioria,  it  grows  spontane- 
ously in  Brazil  and  West  India  Islands,  (that  from  Cuba  is  the  best.) 
The  wood  is  the  color  of  sulphur,  with  orange  colored  veins ;  it 
contains  two  coloring  principles,  the  one  resinous  and  insoluble  in 
water,  the  other  very  soluble  in  water,  giving  a  deep  yellow  color 
with  a  light  orange  cast  to  the  solution.  Fustic  requires  more  boil- 
ing than  logwood  to  extract  its  coloring  matter,  but  not  so  much  as 
camwood,  barwood  or  sanders. 


SJPITZLI'S  MANUAL.  105 

G. 

Ganters. — The  beams  to  support  jacquard  machines. 

Gauze  {See  Cross  Weaving?) — There  are  many  kinds  of  gauze, 
but  all  real  gauze  has  at  least  some  of  the  warp  threads  crossed. 
When  gauze  is  made  right,  it  will  endure  considerable  washing  with- 
out displacement  of  the  threads  be  it  ever  so  open.  Imitations, 
however,  have  the  threads  held  in  place  by  a  heavy  sizing.  When 
washed  they  are,  of  course,  a  shapeless  mass. 

Gaws. — A  Scotch  term  for  thin  places  in  cloth.  In  some  sections 
the  term  "thin  rows,"  in  others  "cheats  "  are  used. 

Giggs. — Giggs  are  used  for  raising  or  producing  the  nap  in  the 
process  of  finishing  woolens.  Upon  the  single  gigg  the  cloth  passes 
from  a  roller  at  the  bottom  to  one  at  the  top  and  back  again  a 
sufficient  number  of  times  to  produce  the  desired  result,  the  fabric 
being  held  to  or  from  the  teazle  cylinder  by  means  of  adjustable 
rolls,  about  eighteen  inches  from  the  cloth  rolls  and  nearly  three 
feet  from  each  other  in  a  perpendicular  line.  Single  giggs  are  also 
built  in  a  way  to  touch  the  cylinder  in  more  than  one  place.  The 
double  gigg  is  so  called  because  it  has  two  cylinders  ;  the  goods  on 
these  may  be  made  to  pass  back  and  forth  or  continuously  in  one 
way  ;  in  the  latter  case  the  gigg  is  termed  "  rotary,"  whether  it  has 
one  or  more  cylinders.  The  principle  of  adjusting  rolls  is  similarly 
applied  as  on  single  machines.  The  Cross  Giggs  are  a  complicated 
combination  of  the  other  giggs,  and  the  addition  of  separate  motion 
for  drawing  nap  from  the  warp,  or  working  sideways  also,  by  means 
of  vibrating  slats  or  bands  set  with  teazles,  which  run  from  side  to 
side  in  alternate  order,  the  first  in  one  direction,  the  next  in  the 
opposite.  These  machines  are  so  complicated  that  quite  a  number 
stand  idle  to-day,  because  no  one  can  be  secured  to  run  them  suc- 
cessfully ;  but  the  principle  of  drawing  nap  from  the  sides  is  very 
good,  and  for  some  work  absolutely  necessary.  In  setting  up  the 
machines  care  must  be  taken  to  get  all  the  rolls,  cylinders,  etc., 
parallel  to  each  other,  otherwise  uneven  work  will  be  the  result, 
particularly  if  the  goods  cannot  be  reversed  several  times.  For 
single  giggs  the  manner  of  putting  on  the  leaders  is  of  no  small 
importance ;  if  very  long  leaders  are  used  this  point  is  not  so 
serious,  but  with  short  leaders  the  practice  of  fastening  with  a  few 
hooks  only  is  bad,  as  it  makes  the  tension  on  the  width  of  the  goods 
uneven  at  the  ends.  As  leaders  are  constantly  wearing  at  the  ends, 
frequent   trimming    is  a  natural    consequence,  and    carelessness  in 


I06  SPITZLI'S  MANUAL. 

attaching  them  will  complete  the  rejection  of  a  leader  sooner  than 
when  a  little  pains  has  been  taken.  The  slats  must  not  be  put  into 
the  cylinder  in  such  a  way  as  to  bring  the  cross  bars  of  the  several 
slats  directly  in  a  line,  as  this  will  sometimes  cause  streaks  in  the 
nap.  If  the  cylinder  vibrates  far  enough,  this  trouble  is  in  a  meas- 
ure overcome,  but  prevention  is  better  than  cure.  Teazles  are 
almost  universally  used  on  giggs  to  supply  the  points  with  which  to 
penetrate  the  nap  or  threads  of  the  fabric.  They  should  be  as 
small  as  the  finish  called  for  will  permit ;  of  whatsoever  size,  they 
must  be  uniform  and  set  even  to  do  good  work,  and  firm  to  insure 
durability.  When  in  use  the  slats  should  be  dried  frequently.  To 
clean  slats  a  brush  should  be  provided ;  hand  cards  destroy  the 
teazles. 

Gigging. — The  process  of  producing  a  nap  on  cloths.  To  know 
the  amount  or  kind  of  gigging  necessary  to  produce  any  desired 
finish  requires  an  extensive  experience  on  the  part  of  a  close 
observer.  Rules  are  of  little  use  ;  sound  judgment  is  everything. 
The  points  to  be  considered  and  borne  in  mind  throughout  the 
operation,  may  be  given  in  part ;  first,  the  treatment  necessary  to 
produce  the  desired  finish  ;  second,  will  the  goods  produce  the 
desired  finish?  third,  will  the  strength  of  the  goods  permit  it?  finally, 
the  stock,  twist  and  texture  of  the  fabric  in  hand.  By  frequently 
reversing  the  piece  in  order  to  gigg  both  ways  a  full  and  soft  nap  is 
obtained.  To  do  the  work  nearly  all  one  way  makes  the  nap  lay 
down  and  cover  the  threads  better,  but  it  will  be  correspondingly 
stiff  and  harsh,  when  the  hand  is  drawn  against  the  nap,  neither  will 
the  nap  be  so  full  as  when  the  first  mentioned  method  it  adopted. 
The  goods  should  be  cropped  both  ways  before  the  gigging  is  com- 
pleted; this  results  in  a  more  even  nap  and  aids  the  gigg  in  its  work 
by  making  the  penetration  of  the  teazles  easier.  Cloth  which  has  a 
backing  woven  on,  especially  when  of  different  stock  or  color  from 
the  face  fabric,  should  always  be  gigged  on  the  back  first ;  this 
clears  the  face  of  many  penetrating  fibers  which  would  otherwise 
show.  Poor  slats,  that  is,  such  with  badly  worn  or  missing  teazles, 
should  not  be  put  into  a  wet  gigg.  The  presumption  that  anything 
is  good  enough  for  the  wet  gigg  is  erroneous.  To  get  a  nap  clean 
and  smooth  to  the  very  bottom,  use  slats  which  are  well  broken  in 
but  not  worn  out.  Poor  slats  will  make  a  curly  nap  or  mottled  sur- 
face. When  the  fabric  contains  considerable  silk  it  is  a  good  plan 
to  use  brush  slats  ;  after  the  piece  has  been  wet  out  give  it  a  good 
brushing  on   the   wet    gigg,  to  give   the   silk  a  lustre  not  otherwise 


SMTZLl'S  MANUAL.  I07 

obtainable.  Steaming  goods  on  the  gigg  is  sometimes  practiced  on 
beavers  and  like  fabrics,  but  the  irregular  tension  so  easily  produced 
by  the  cheap  labor  usually  employed  to  run  giggs  will  sometimes 
cause  water  marks  and  other  variations  in  the  character  of  the  finish 
on  the  same  piece,  and  different  pieces  will  not  come  out  alike. 

Gill  Box. — After  the  second  carding  the  wool  is  carried  to  the 
machine  known  as  the  gill  box.  This  apparatus  brings  the  fibers  of 
the  wool  into  a  condition  of  parallelism.  The  wool  is  first  caught 
by  three  cylinders,  which  deliver  it  to  the  moving  combs.  The 
gills,  armed  with  two  rows  of  pins,  approach  the  drawing  roller,  and 
one  by  one  sink  into  a  groove  which  carries  them  to  a  second  pair 
of  screws ;  the  sliver,  after  leaving  the  drawing  roller,  is  rolled  off 
into  a  spool.  Under  some  machines  a  steam  pipe  distributes  steam 
to  the  compartments  intended  to  receive  the  wool  in  its  passage. 
The  wool,  passing  over  the  heated  parts,  becomes  smooth,  and  is 
drawn  out  without  catching. 

Gin. — The  cotton  gin  is  a  machine  for  clearing  the  staple  of  rub- 
bish. The  roller  gin  has  long  been  in  use,  but  it  is  so  slow,  and, 
being  suitable  for  a  few  kinds  of  cotton  only,  it  is  being  superseded 
by  later  inventions,  of  which  the  saw  gin  is  one.  This  machine  does 
little  injury  to  the  staple. 

Gingham. — Gingham  is  a  plaided  or  checked  cotton  fabric  suit- 
able for  dress  goods,  etc. 

Glauber  Salts. — Sulphate  of  Soda. 

Green  Vitriol. — Copperas. 

Grinding. — The  matter  of  grinding  cards  or  shears  is  very  im- 
portant ;  as  easily  overdone  as  neglected,  and  although  easy  enough 
to  describe,  by  no  means  a  process  to  be  learned  entirely  from 
books. 

"In  setting  the  emery  rollers  to  grind  the  cards,  do  not  set  them  to 
bear  too  hard  or  too  heavy  on  the  wire,  for  this  will  heat,  soften  or 
break  the  wire,  if  it  is  not  very  good  and  tough.  The  emery  rollers 
should  be  seven  or  eight  inches  in  diameter,  and  always  two  or  three 
inches  wider  than  the  card  cylinders,  so  that  they  may  traverse  an 
inch  each  way  on  the  cylinder,  and  not  leave  any  of  the  wire  bare. 
Traversing  is  effected  by  means  of  a  waving  pulley,  about  5 -J  inches 
in  diameter;  the  outer  rim  or  edge  of  the  pulley  runs  in  a  slot  at- 
tached to  the  stand  of  the  roller;  or  the  traversing  is  produced  by  a 
crooked   strap,  which,  fitting  between   the   rims  of  the  pulley,  will 


IO&  SHTZLt'S  MANUAL. 

move  the  emery  roller  longitudinally  and  around  at  the  same  time. 
The  traverse  motion  may  be  also  produced  by  a  waving  pulley  at 
the  emery  roller.  The  emery  roller  must  be  kept  on  the  cylinders 
until  they  are  ground  perfectly  true,  and  until  the  greater  portion 
of  the  teeth  are  ground  to  a  point.  The  perfect  rotundity  of  the 
cylinder  may  be  ascertained  by  the  sound  it  produces  on  the  emery 
roller  as  it  runs;  the  sight  may  also  be  of  service  in  this  respect, 
either  when  the  cylinder  is  in  motion  or  by  stopping  it  and  giving 
it  a  careful  examination.  When  the  surface  of  a  card  cylinder  has 
been  sufficiently  ground  it  will  have  a  blackish  appearance,  while 
those  parts  that  are  not  ground  enough  will  appear  more  or  less 
clear  and  bright.  As  long  as  a  considerable  quantity  of  white  teeth 
appear  the  grinding  must  be  continued.  One  day  will  be  sufficient 
to  grind  up  a  new  card,  if  the  emery  is  in  tolerably  good  order." 
— Baird. 

"  All  the  rollers  covered  with  card  clothing  are  ground,  with  the 
exception  of  the  fancy  alone.  The  object  of  this  operation  is  to 
equalize  the  teeth,  render  the  surface  of  the  cards  perfectly  cylindri- 
cal, and  to  give  the  necessary  sharpness  to  the  teeth.  The  sharp- 
ness of  card  clothing  is  more  apparent  in  the  finer  qualities  than  in 
the  coarser. 

"  Grinding  is  certainly  more  readily  performed  when  the  roller  is 
perfectly  cylindrical,  the  teeth  and  leathers  of  the  clothing  both 
uniform  throughout,  and  the  emery-covered  cylinder  well  rounded. 
In  order  to  grind  either  a  main  cylinder  or  a  doffer,  two  movable 
pedestals  are  placed  on  the  parallel  sides  of  the  frame  for  support- 
ing the  grinding  roller,  on  the  axle  of  which  is  fixed  a  pulley  one- 
fourth  or  one-fifth  the  diameter  of  the  roller  itself,  so  that  the  grind- 
ing roller  has  four  or  five  times  as  great  a  circumference  velocity  as 
the  pulley. 

"  To  set  the  grinding  roller  in  motion,  a  pulley  is  thrown  into 
gear  on  the  side  opposite  that  of  the  one  intended  to  drive  the  roller 
to  be  ground.     This  pulley  is  driven  by  that  of  the  drum. 

"If,  for,  instance,  a  doffer  is  to  be  ground,  it  must  be  made  to  re- 
volve slowly,  whereas  the  grinding  roller  turns  very  rapidly.  This 
latter  roller  is  then  brought  towards  the  doffer  very  gradually,  as 
there  is  a  greater  loss  than  gain  in  too  much  haste.  If  we  approxi- 
mate the  rollers  too  closely,  the  teeth  to  be  sharpened  will  only 
break  off,  so  that  we  had  better  never  hurry  the  work.  The  two 
rollers  work  in  the  same  direction. 

"  Among  the  instruments  invented  to  improve  the  operations  of 
grinding  and  straightening  the  teeth,  we  must  mention  that  of  Mr. 


SPITZLFS  MANUAL.  IO9 

Moriceau,  of  Mouy.  It  consists  of  a  grindstone,  either  of  sandstone 
or  emery,  driven  with  a  traverse  motion.  The  cards  treated  by  this 
apparatus  are  in  no  way  injured,  but  on  the  contrary  their  teeth  are 
better  sharpened.  ' 

"  For  grinding  the  cards  of  workers  and  strippers  we  generally  use 
a  turned  cast  iron  cylinder,  covered  with  one  or  more  coats  of 
emery  and  mounted  on  a  cast  iron  frame,  on  which  may  also  be 
fixed  three  or  four  of  the  small  rollers  to  be  ground.  These  work- 
ers and  strippers  are  arranged  around  the  grinding  cylinder  and  the 
apparatus  set  in  motion,  so  that  several  small  rollers  can  be  ground 
at  once. 

"After  being  ground  in  this  way,  the  rollers  are  subjected  to  the 
action  of  a  cloth  covered  with  fine  emery  powder  (canvas  emery). 

"  We  can  easily  make  canvass  emeries  for  ourselves  by  adopting 
the  following  plan  : 

"  Dissolve  (by  the  heat  of  a  water  bath)  in  one  litre  of  water — 
Isinglass,   -  200  grammes, 

Good  glue,      -  -  -  -       100         " 

Spread  the  canvas  to  be  covered  on  a  table,  and  by  means  of  a 
brush  paint  it  over  with  this  glue ;  then  sift  fine  emery  powder  over 
the  glue  thus  spread  out,  equalize  the  surface  with  a  smooth  roller, 
and  after  drying,  the  material  will  be  ready  for  use. 

"  This  cloth  is  usually  mounted  on  two  quarter  circles,  bound  to- 
gether by  two  parallel  cross  pieces. 

"  The  process  of  grinding  is  terminated  by  exposing  the  card 
clothing  of  the  roller,  while  revolving,  to  the  action  of  the  canvas 
emery  thus  mounted,  and  then  giving  a  last  finish  by  the  application 
of  a  leather,  mounted  in  the  same  manner  as  the  canvas  emery  and 
smeared  with  oil  and  grindstone  dust." — Leroux. 

Shear  grinding  is  quite  another  matter  ;  this  is  done  with  very  fine 
emery  for  a  time,  but  after  a  while  the  revolver,  ledger-blade  and  rests 
should  be  sent  to  the  makers  to  be  trued,  or  else,  what  is  better,  a 
machine  for  the  purpose  should  be  at  hand  and  used  once  or  twice 
every  year.  In  the  book,  "  Queries  and  Replies,"  already  several 
times  referred  to,  may  be  found  directions  for  grinding  shears,  said 
to  be  those  sent  out  by  a  firm  of  shear-builders.  More  minute  in- 
structions, written  expressly  for  this  work  by  an  expert  shearer,  are 
here  given,  partly  because  on  some  points  he  takes  issue  with  the 
above,  on  others  he  is  more  explicit.  In  preparation  for  grinding, 
back  off  the  ledger  so  far  that  a  light  wrapping  paper  may  be  drawn 
between  the  blade  and  revolver.  Next  ascertain  the  relative  posi- 
tion of  the  revolver  and  blade  ;  this  is  most  accurately  done  by  use 


IIO  SPITZLI'S  MANUAL. 

of  a  try  square  and  straight  edge.  Place  the  angle  of  the  square 
upon  the  centre  mark  made  on  the  boxes  of  the  revolver  by  the 
makers.  Lay  the  straight-edge  on  the  ledger-blade  letting  the  end 
project  to  meet  the  square.  The  revolver  will  doubtless  be  found 
too  high  ;  if  so,  drop  it  to  its  proper  place,  when  there,  about  T'g  inch 
of  the  square  should  be  visible  under  the  straight-edge.  Some 
advise  setting  up  the  blade  instead,  but  this  will  not  be  of  much  use 
if  the  blade  is  properly  set.  (It  should  not  be  under  the  revolver 
too  much.)  By  dropping  the  revolver  further,  a  deeper  concave  may 
be  made.  This  is  not  desirable,  because  it  will  not  retain  sharp 
edges  so  long.  Let  up  the  blade  to  within  the  thickness  of  tissue 
paper.  Next,  cover  the  brushes  and  rest  to  protect  them  from 
oil  and  emery.  Put  the  belt  on  to  reverse  the  revolver.  Having 
mixed  flour  of  emery  and  oil  to  the  consistency  of  cream,  apply  it 
with  a  large  paint  brush.  The  advantages  of  a  brush  over  those  of  a 
strap  are  obvious  to  any  thinking  mind.  While  applying  the  emery 
set  the  blade  closer  from  time  to  time  but  only  a  very  little  at  a  time. 
When  the  grinding  is  completed  polish  the  ground  surface  by  thin- 
ning the  emery  with  oil,  then  follow  with  clear  oil,  or  a  little  oil  and 
plumbago.  The  revolver  should  next  be  taken  out,  everything  well 
cleaned  and  the  ledger  blade  honed  to  turn  the  edge  toward  the 
bevel.  Never  hone  enough  to  make  a  bevel  on  the  face.  Now,  let 
the  blade  down  to  the  rest  to  make  sure  that  they  correspond  in 
setting ;  replace  the  revolver  and  give  it  a  few  turns  to  cut  off  the 
rough  edge  which  was  turned  over  by  honing.  If  the  grinding  has 
been  successfully  accomplished  it  should  now  cut  tissue  paper 
smooth  in  all  parts  without  further  setting.  If  this  test  proves  all 
correct,  it  is  not  well  to  alter  the  relative  position  of  the  blade  and 
revolver  until  it  is  necessary  to  grind  again.  To  bring  the  edges 
closer  together  raise  the  revolver  a  trifle. 

Grist. — A  Scotch  term  for  the  size  of  a  sliver,  slubbing,  roving 
or  yarn. 

Ground  or  Ground-work. — The  plain  texture  surrounding  the 
fancy  effects  in  fancy  or  figured  cloth. 

Guipure. — This  word  is  sometimes  used  to  designate  some  kinds 
of  lace,  again  for  pointed  lace  or  lacework  in  general. 

H. 

Hackel  or  Hatchel. — A    comb-like   device    for   straightening 
and  separating  flax,  &c.     A  sort  of  hackel  was  employed  when  wool 


SPITZLI'S  MANUAL. 


I  I  I 


was  combed  by  hand.     In   some  parts   gills  are  still  called   hackels, 
and  fallers  hackel  bars. 

Hair  Cloth. — The  original  hair  cloth  was  no  doubt  that  at  one 
time  made  because  woolen  goods  were  not  allowed  in  the  Temple. 
The  goods  now  known  in  the  trade  as  hair  cloth  are  of  such  mate- 
rial as  to  fit  them  for  no  other  use  than  furniture  coverings  and  the 
like. 

Hair  Lines. — Hair  line  fabrics  are  those  in  which  the  color  and 
texture  are  so  combined  as  to  produce  a  fine  line.  The  following 
Hair  Line  Drafts  will  serve  the  beginner  well  in  making  experi- 
ments. It  is  an  easy  matter  to  vary  the  yarn  colors  and  arrange- 
ment without  violating  the  principle  of  hair  line  weaving. 

HAIR  LINE  DRAFTS. 


Warp  Draft. 

i  Mix 
i  Black 

2  threads  per  pattern. 

Filling  Draft. 

i  Mix 

i  Dark  Blue 

2  threads  per  pattern. 


Drawing-In  Draft. 


Chain  Draft. 

2D* 
I    2 


Warp  Draft. 

2  Mix 
2  Black 


Dra wing-In  Draft. 


4  threads  per  pattern. 

Filling  Draft.  , 

2  Mix 
2  Black 


:?□□** 
2**DD 

1  2  3  4 


-Chain  Draft.- 

or  4%nD* 
3DD** 
2n**D 

!**□□ 

1234 


or  4D-X-D* 
3DD** 
2*D*D 

!**□□ 

1234 


Warp  Draft. 

1  Mix 
1  Black 
1  Mix 
1  Black 
1  Mix 
1  Black 
1  Black 
1  Mix 
1   Black 
1  Mix 
i  Black 
1  Mix 


Drawing-In  Draft. 


12  threads  per  pattern. 


I  [  2  SPITZLI'S  MANUAL. 

Filling   Draft.  , Chain  Draft. N 

i  Mix  2Q%  or     i  Mix i2D% 

i  Black  i>kD  i  Black n^D 

12  i  Mix ioD>fc 

2  threads  per  pattern.  i  Black 9^D 

i  Mix 8D* 

2    al*ck) 6D* 

i  Mix 5%n 

r  Black 4D>k 

i  Mix 3^D 

i   Black   2D* 

i  Mix i%D 

12 

12  threads  per  pattern. 

The  principle  is  simply  this  :  To  make  a  hair  line  lengthwise  of 
the  goods,  use  the  same  color  of  filling  as  that  of  the  warp  threads 
which  are  down  in  every  shed.  To  make  cross  lines,  use  filling  of 
the  same  color  as  that  of  the  warp  threads  up  in  each  shed.  At 
least  two  colors  in  the  warp,  and  two  corresponding  ones  in  the  fill- 
ing, also  a  plain  texture  to  suit,  are  needed  to  make  a  real  hair  line. 
The  hair  lines  made  with  a  line  in  the  warp  only,  the  filling  being 
all  one  color,  are  not  the  genuine,  but  imitations. 

By  a  texture  to  suit,  is  meant  one  which  will  confine  the  floats  of 
the  warp  and  filling  threads  over  the  respective  colors. 

The  principle  of  hair  lines  may  be  extended  to  large  patterns,  but 
as  soon  as  the  fine  line  is  augmented  into  what  may  fairly  be  termed 
a  stripe,  the  name  hair  line  is  no  longer  applicable. 

Hair  Looms. — The  looms  for  weaving  hair  cloth  differ  from 
others  mainly  in  the  contrivances  necessary  to  fill  the  goods.  Bar- 
low describes  some  of  them  very  fully. 

Harness,  Leaf,  Wing  or  Shaft. — The  harness,  when  com- 
plete, implies  the  presence  of  heddles  :  without  them  it  is  the  har- 
ness frame  or  harness  rods,  &c.  The  harnesses  are  attached  to  the 
harness  or  head  motion  "of  a  loom  by  means  of  harness  straps,  wires 
or  cords,  and  the  jacks. 

Heddles. — Healds,  Harness  Eyes,  Gears  or  Leash  Eyes,  were  for- 
merly made  of  twine,  thread,  hair,  catgut,  &c,  &c.  The  wire  hed- 
dle  has  superseded  all  these,  except  on  a  few  kinds  of  goods,  where 
the  stain  of  metal  and  a  few  other  similar  peculiarities  are  objection- 
able. The  glass  mail  makes  a  good  thread  eye,  because  it  is  not  so 
quickly  worn  by  the  thread  as  metal.  The  twine  harnesses  are  still 
in  use;  the  twine  is  heavily  coated  to  make  it  smooth  and  durable. 
Wire  heddles  were  quite  universally  condemned  at  first  by  manufac- 
turers of  fine  goods,  because  the  eye  was  too  large  and  not  always 
to  be  depended  upon ;  but  the  machinery  for  producing  them  has 
been  improved  and  perfected  until   any  shape  and   size   of  eye  de- 


SPITZLI'S  MANUAL.  I  T  3 

sired  can  be  produced,  and  so  firmly  made  that  no  thread  can  slip 
into  the  twist.  The  convenience  of  wire  heddles  needs  no  com- 
ment. In  factories  making  one  kind  of  goods  the  year  around,  this 
is  not  appreciated,  but  in  others  where  every  warp  varies  in  number 
of  threads,  the  saving  is  a  large  item. 


I. 

Imitation  Furs  and  Skins. — These  goods  at  times  are  very 
popular  for  cloakings.  Of  this  kind  also  are  many  robes  and  mats. 
Ln  relation  to  this  subject  Ashenhurst  says : 

"  The  length  of  pile  is  a  very  important  matter,  especially  if  the 
object  is  to  imitate  the  skins  of  animals.  The  length  of  pile  must 
be  in  accordance  with  the  nature  of  the  skin  to  be  imitated.  Take, 
for  instance,  the  sealskin,  which  is  very  largely  imitated,  sometimes 
by  the  warp  pile  principle,  and  sometimes  by  the  weft  pile  principle. 
The  pile  or  nap  of  a  sealskin  is  of  the  medium  length,  from  a  quar- 
ter inch  to  about  half  an  inch,  somewhat  longer  than  an  ordinary 
velvet,  while  an  imitation  dog  skin  of  the  long  curly  or  wavy  kind 
has  a  very  long  pile  or  nap,  ranging  up  to  an  inch  in  length.  In 
both  these  kinds  of  skins  there  are  important  features  to  be  ob- 
served, quite  apart  from  the  weaving.  Seal  skins  are  very  often 
made  with  a  sort  of  tan-colored  ground,  and  the  tips  of  the  pile  are 
colored  a  very  dark  brown,  which  gradually  gradates  down  towards 
the  ground,  thus  giving  it  an  exceedingly  rich  appearance.  This 
tipping,  as  it  is  termed,  is  done  after  the  pile  is  woven  and  cut,  and 
is  really  a  part  of  the  finishing  process.  In  the  imitation  dogskin 
the  curl  or  waviness  is  produced  by  a  preparation  of  the  pile  warp 
before  weaving.  The  yarn  is  crimped,  the  length  of  crimp  being 
regulated  by  the  amount  of  waviness  it  is  desired  to  give.  The 
crimping  is  set  in  the  yarn  by  a  steaming  process,  the  yarn  is  then 
made  into  a  warp,  and  woven  over  wires  and  cut.  The  moment  it 
is  cut  it  falls  into  the  crimps  again,  and  thus  produces  that  wavy 
shagginess.  No  matter  what  the  effect  on  the  face  may  be,  if  the 
pile  is  a  warp  pile  the  principle  of  making  is  the  same.  If  the  pile 
is  of  a  material  which  is  very  likely  to  pull  out  easily  it  is  more 
firmly  bound  into  cloth  by  interweaving,  and  vice  versa,  but  all 
other  effects,  such  as  curliness,  waviness,  coloring,  etc.,  are  produced 
in  the  preparation  of  the  yarn  before  weaving,  or  in  the  finishing. 
Numbers  of  various  effects  in  imitation  skins  might  be  given,  all 
produced  by  different  processes,  but  the  object  of  this  work  is  to 


114  SPITZLI'S  MANUAL. 

deal  with  weaving  only,  and  to  lay  down  the  principles  so  that  they 
may  be  applied  to  all  classes  of  trade,  and  not  to  detail  the  manner 
in  which  any  particular  cloth  is  made,  otherwise  there  might  be  no 
limit  to  the  work,  and  a  vast  amount  of  information  might  be  con- 
tained in  it  which  would  be  of  no  value  except  to  those  engaged  in 
that  special  branch  of  trade.  Weft  piles  are  produced  by  the 
material  of  which  the  pile  or  nap  consists  being  thrown  in  as  weft 
instead  of  warp.  The  appearance  of  a  weft  pile  is  usually  totally 
different  to  that  of  a  warp  pile,  inasmuch  as  the  warp  pile  being 
woven  over  a  wire  and  cut  down,  the  pile  is  made  all  of  a  length, 
and  unless  in  the  case  of  a  very  long  pile,  or  when  the  yarn  has 
previously  undergone  a  preparation  for  the  purpose  of  producing 
some  special  effect,  all  warp  piles  present  a  smooth  even  surface, 
the  tips  of  the  pile  only  being  presented  to  view.  But  in  the  weft 
piles  this  evenness  cannot  be  well  maintained,  partly  in  consequence 
of  the  manner  in  which  the  pile  must  be  bound  into  the  ground 
cloth,  and  partly  in  consequence  of  the  method  of  cutting  making 
it  almost  a  matter  of  impossibility  for  both  sides  of  the  loop  to  be 
cut  of  an  equal  length.  There  are  one  or  two  exceptions  to  this 
which  will  be  mentioned,  but  they  are  only  in  special  makes,  and 
have  each  peculiar  characteristics." 

India  Shawls. — The  materials  of  which  the  shawls  are  made  is 
wool  called  touz,  procured  from  a  goat  of  a  particular  species,  fre- 
quenting the  valley  of  Cashmere  and  the  neighboring  mountains  of 
Thibet.  The  fur  of  this  goat  is  of  two  sorts  :  the  touz,  which  is  a 
soft,  woolly  undercoat  of  greyish  hair,  and  an  outer  coat  of  long, 
silken  hairs.  To  make  a  shawl  a  yard  and  a  half  square  requires 
the  touz  of  ten  goats.  The  different  parts  of  it  are  afterward  sewn 
together  with  great  skill.  When  busily  engaged  the  artisan  can 
earn  at  the  utmost  four  annas,  or  eight  cents  of  our  money,  per  day. 
India  shawls  are  named  Dacca,  Delhi,  Bombay,  Calcutta,  Umritzer, 
&c,  after  the  districts  in  which  they  are  made.  The  labor,  how- 
ever, is  what  chiefly  determines  the  value  of  a  shawl,  even  when  the 
texture  is  not  the  finest. 

Indigo. — "  This  is  a  vegetable  color,  and  belongs  to  a  leguminous 
plant  found  in  India,  Africa  and  America,  named  Indigo  Fera. 
There  are  about  sixty  species  of  this  genus,  and  all  yield  indigo. 
The  species  from  which  it  is  extracted  are  the  /.  anil,  the  /.  argentea, 
and  the  /.  tine  tor  ia." 

"  When   indigo  was   first  introduced,  only   a  small  quantity  was 


SPITZLI'S  MANUAL.  I  I  5 

added  to  the  vvoad,  by  which  the  latter  was  much  improved.  More 
was  afterwards  gradually  used,  and  at  last  the  quantity  became  so 
large  that  the  small  admixture  of  woad  served  only  to  revive  the 
fermentation  of  the  indigo.  Germany  thus  lost  a  production  by 
which  farmers,  merchants  and  others  acquired  great  riches.  In 
consequence  of  the  sales  of  woad  being  so  much  injured,  a  prohibi- 
tion was  issued  against  the  use  of  indigo  in  Saxony  in  the  year  1650  ; 
and  in  the  year  1652,  Duke  Ernest  the  Pious  caused  a  proposal  to 
be  made  to  the  Diet  by  his  envoy,  that  indigo  should  be  entirely 
banished  from  the  empire,  and  that  an  exclusive  privilege  should  be 
granted  to  those  who  dyed  with  woad.  This  was  followed  by  an 
imperial  prohibition  of  indigo  on  the  21st  of  April,  1654,  which  was 
enforced  with  the  greatest  severity  in  his  domains.  The  same  was 
done  in  France  ;  but  in  the  well-known  edict  of  1669,  in  which  Cal- 
bert  separated  the  fine  from  the  common  dyers,  it  was  stated  that 
indigo  should  be  used  without  woad;  and  in  1737,  dyers  were  left 
at  liberty  to  use  indigo  alone,  or  to  employ  a  mixture  of  indigo 
and  woad." — (Barlow's  "Manufactures  and  Machinery  of  Great 
Britain.") 

"  The  indigo  plant  which  grows  in  Bengal  is  small  and  straight, 
with  thin  branches  which  spread  out  in  the  form  of  a  turf.  The 
average  height  is  about  four  feet.  The  leaves  are  soft,  and  like 
those  of  the  common  clover,  and  the  blossoms  are  of  a  blue  purple 
color,  and  when  the  plant  is  in  full  blossom  it  yields  the  greatest 
amount  of  indigo. 

For  the  mode  of  extracting  the  indigo  from  the  plant,  see  Barthol- 
let  on  the  "  Elements  of  Dyeing  ;  Dr.  Ure's  "  Dictionary  of  the  Arts 
of  Manufactures  ;"  and  Dr.  Thomson's  "  Vegetable  Chemistry." 

The  impurities  in  indigo  are  iron,  clay,  lime,  magnesia  and  silica 
of  a  substance  somewhat  like  gluten. 

Each  chest  you  will  find  to  contain  a  quantity  of  dust  which 
sometimes  amounts  to  eight  or  ten  pounds.  This  dust  is  an  adul- 
teration composed  of  starch  or  white  lead  mixed  with  powdered 
indigo,  and  is  put  in  the  chest  in  order  to  increase  its  weight. 

The  principal  varieties  of  indigo  in  commerce  are  the  Bengal, 
Guatemala,  Madras  and  the  Manilla. 

The  varieties  of  the  Bengal  indigoes  are  numerous,  the  best  varie- 
ties are  : 

First — The  superfine  or  light  blue.  This  is  in  a  cubical  form, 
light  and  soft  to  the  touch,  of  a  clean  fracture,  and  will  give  a 
beautiful  copper  color  on  being  scraped  with  the  nail. 


Tl6  SPITZLI'S  MANUAL. 

Second — Is  called  superfine  with  a  violet  color  by  being  scraped. 
The  thirteenth  variety  is  an  ordinary  and  low  copper-colored 
indigo,  with  a  copper-colored  blue  or  red  cast,  and  hard  to  break. 

The  indigoes  of  Guatemala  are  of  various  kinds.  The  best  are  a 
bright  blue  color  and  very  light  and  fine.  These  indigoes  are 
equal  to  the  best  Bengal.  The  inferior  kinds  are  a  violet  color  and 
as  a  general  thing  are  more  mixed  than  the  Bengal  kinds. 

The  Madras  indigoes  have  a  rough  fracture.  These  indigoes 
when  of  the  best  quality,  have  great  lightness,  but  are  not  equal  to 
the  Bengal  or  Guatemala.  The  middling  kinds  have  a  very  slight 
copper  color.  The  inferior  kinds  have  a  dark  or  muddy  blue, 
black,  or  even  gray,  and  greenish  color.  The  Manilla  indigoes  are 
of  a  finer  and  lighter  color  than  those  of  Madras,  but  not  so  fine  as 
those  of  Bengal.  The  middling  kinds  are  of  a  violet  color,  but  are 
inferior  to  the  violet  of  Bengal. 

The  tests  for  indigo  are  too  numerous  to  insert  in  a  book  of  this 
kind,  besides  being  too  tedious  and  difficult  for  most  dyers,  they 
not  having  the  facilities  to  "carry  out  such  delicate  operations  as  that 
of  testing  indigoes,  and  for  more  light  upon  this  subject,  dyers  must 
consult,  "  Dr.  Thomson's  Vegetable  Chemistry,"  and  the  other 
works  mentioned  in  this  article. 

Ingrain. — This  term  is  particularly  applied  to  certain  carpets, 
and  implies  that  the  wool  was  colored  before  manufacturing.  This 
it  implies,  we  say,  because  it  is  no  longer  really  true  of  ingrain 
carpets,  they  being  now  largely  dyed  in  the  yarn.  To  all  intents 
and  purposes  the  same,  as  coloring  in  the  wool  as  regards  the  nature 
of  the  goods. 

Inkle  Loom. — A  ribbon  loom. 

Irregular  Fabrics. — By  irregular  fabrics  we  understand  goods 
which  are  not  a  straight  piece  of  cloth ;  indeed,  in  some  instances 
they  are  a  garment  almost  complete,  such  as  underwear,  skirts, 
corsets,  etc. 

The  corset  is  woven  so  that  the  warp  encircles  the  body ;  hence 
the  top  and  bottom  are  the  edges  of  the  web  as  it  comes  from  the 
loom.  The  gores  required  to  give  necessary  shape  are  therefore  on 
each  side  of  the  web,  the  middle,  or  waist  part,  being  smallest.  The 
warp  is  composed  of  36  independent  sections,  so  arranged  as  to  play 
off  warp  only  where  filling  has  been  left  in  the  shed,  or  so  far  as  the 
shed  extended ;  hence,  when  a  filling  thread  has  been  inserted 
through  the  entire  width  of  the  cloth,  they  all  give  warp,  but  in 
weaving  the  gores,  where  the   filling  was  inserted  into  but  a  few 


SPITZLI'S  MANUAL.  I  I  7 

inches  of  the  fabric,  only  those  sections  on  the  corresponding  space 
allow  the  warp  to  advance. 

To  produce  the  shed  in  the  right  place  to  weave  the  double  cloth 
for  the  pockets,  and  to  produce  the  neat  fancy  effects  of  the  weav- 
ing, requires  a  Jacquard  head,  but  both  this  and  the  sectional  let-off 
motion,  though  perfect  in  operation,  would  result  in  shapeless  goods, 
and  prove  uncontrollable,  if  the  ingeniuous  take-up  motion  here 
applied  were  not  used.  This  consists,  first,  of  a  wooden  bar  inset 
with  points  so  as  to  retain  all  that  is  fed  to  it.  Whatever  portion  of 
the  web  has  been  filled  by  any  pick  is  slackened  by  the  next  beat  of 
the  lathe,  and  the  take-up  motion  consisting  of  a  rubber  apron 
closely  adjusted,  draws  up  such  slack,  the  above  mentioned  bar 
retaining  all  that  is  drawn,  always  leaving  the  web  before  the  reed 
square,  though  the  amount  of  cloth  woven  at  the  selvages,  or  top 
and  bottom  of  the  corset,  is  about  double  that  in  the  middle. 

A  very  ingenious  contrivance  for  taking  up  all  slack  in  the  filling 
by  the  shuttle  is  employed  here,  and  is  indispensable  for  this  work. 
It  would  be  impossible  to  do  it  justice  without  a  diagram.  Suffice  it, 
therefore,  to  say  that  it  not  only  takes  up  all  the  filling  necessarily 
extended  at  every  pick,  from  the  web  to  the  shuttle,  at  its  destina- 
tion on  either  side,  but  also  equalizes  the  tension  to  perfection. 
This  improvement,  added  to  other  shuttles,  would,  as  in  this  case, 
obviate  great  waste  or  uneven  selvages  or  kinks  along  the  sides  of 
the  goods,  as  is  often  the  case,  even  in  plain  goods.  It  is  very  evi- 
dent that  with  a  loom  so  well  adapted  to  eccentric  shapes  irregular 
weaving  must  have  a  great  field,  and  there  is  no  reason  why  other 
garments,  such  as  hosiery,  under-clothing,  skirts,  etc.,  should  not  be 
as  successfully  produced. 

Italian  Cloths. — A  cotton  warp  and  worsted  filling  lining 
cloth.     Most  of  these  goods  are  piece  dyed. 


J. 

Jacks. — In  the  textile  interest  we  have  two  jacks  of  importance, 
beside  the  many  which  do  not  amount  to  much.  The  loom  jack  is 
a  part  of  the  harness  motion.  Murphy  speaks  of  jacks  as  a  part  of 
the  hand  looms  in  his  1831  edition.  The  spinning  jacks  are  being 
superseded  by  genuine  mules  or  by  cheaper  machines,  an  imitation 
of  the  mule  called  self-operators. 

Jacquards. — Such   thorough   and  finely  illustrated   descriptions 


I  I  8  SPITZLI'S  MANUAL. 

of  these  machines  may  be  found  in  Ure's  Dictionary,  Ashenhurst's, 
Barlow's  or  Gesner's  works,  that  it  seems  superfluous  to  repeat  them 
in  an  abbreviated  form  here.  The  later  improvements  are  numer- 
ous, each  builder  having  some  to  present  as  his  special  claim  to 
patronage,  and  each  will  be  liberal  in  supplying  the  necessary  in- 
structions to  accompany  them. 

Jute. — A  substance  resembling  hemp,  being  the  fiber  of  the 
corchorus  obitorius  used  for  making  gunny  cloth  ;  also  mats,  coarse 
carpets,  etc.,  etc. 


K. 

Kaleidoscope. — An  instrument  very  useful  to  the  designers  of 
oil-cloths,  carpets,  tapestry,  etc.  When  the  colors  in  it  are  of  the 
right  shades,  it  supplies  an  endless  variety  of  changes  for  the  same 
colors,  which,  with  a  little  modification  or  correction,  will  apply 
well  to  many  textile  fabrics. 

Kentucky  Jeans. — A  peculiar  cotton  warp  and  wool-filling 
fabric.  When  made  right  and  honestly,  a  very  serviceable  cloth, 
formerly  in  color  something  similar  to  the  cadet  and  Oxford  mix- 
tures, but  now  made  in  many  variations  of  color. 

Kerseys. — The  common  Kersey  of  to-day  is  a  cheap  woolen 
cloth  of  a  twilled  texture  from  which  is  derived  the  name  Kersey 
twill.  Simmonds  is  quoted  in  the  latest  editions  of  Webster's 
Dictionaries  as  follows  :  "  A  species  of  coarse  woolen  cloth,  usually 
ribbed,  woven  from  long  wool.  [Scot.,  Corsage  j  D.,  Karsai ;  Fr., 
Carisei,  Carisei,  CreseaA ;  Sp.,  Carisea  ;  Ger.,  Kersey,  Kirsei ;  Sw., 
Kersing ;  Cf.  Gael  &  Ir.,  Ceart,  Ceirt.     A  rag,  old  garment.] 

Kerseymere. — A  woolen  cloth  of  the  finest  wools — Cassimere. 

Kilogrammetre. — The  weight  of  one  kilogramme  raised  to  the 
height  of  one  foot  in  one  second  of  time. 

Knickerbocker  Goods. — Are  a  woolen  fabric  in  part  or  entirely 
made  of  Knickerbocker  yarns. 

Knickerbocker  Yarns. — These  yarns  are  lumpy,  spotted  or 
striped,  sometimes  in  several  colors,  produced  in  several  ways,  some 
of  which  are  described  in  the  following  abstract  from  the  Industrial 
Record,  Queries  and  Replies.  "  The  wool  intended  for  knots  is 
taken  from  the  picker  without  oiling,  and  run  through  the  first 
breaker  with  the  comb  idle,  and  workers   and   fancy  set  off  accord- 


SPITZLI'S  MANUAL.  H9 

ing  to  size  of  knots  wanted.  The  best  knots  drop  between  main 
cylinder  and  doffer.  To  make  a  lot  of  500  pounds,  red  spots  in 
black,  first  run  1 2-3- pounds  of  red  knots  with  37^  pounds  of  the 
black  wool,  through  the  first  breaker,  then  run  through  the  same 
card  the  remaining  450  pounds  of  black,  and  in  48  spools  for  feed- 
ing second  breaker  use  9  of  the  first  lot  (knotted  spools)  and  39  of 
the  black,  running  the  9  with  knots  in  the  top  row  of  creel.  To 
make  silk  spotted  Knickerbockers,  run  equal  portions  of  silk  and 
wool  through  first  breaker,  and  use  only  3  spools  at  a  time  on  sec- 
ond breaker.  Besides  setting  the  workers  off  from  the  cylinder, 
the  doffer  must  be  set  back — in  fact,  set  clear  away  from  the  cylin- 
der. This  allows  the  wool  to  remain  on  the  cylinder  till  the  naps 
are  rolled,  so  that  they  fall  away,  or  rather  are  flung  from  the  cylin- 
der by  centrifugal  force.  The  distance  at  which  the  workers  are  set 
from  the  cylinders  regulates  the  size  of  the  naps,  but  if  the  doffer 
be  close  enough  to  catch  the  wool,  then  you  are  carding,  not  nap- 
ping. If  the  naps  are  too  hard  rolled,  they  will  drop  off  in  the 
spinning  and  carding;  so  they  must  be  left  with  a  beard  sticking 
out  to  incorporate  them  thoroughly.  Again,  if  you  want  the  naps 
all  one  size,  never  take  wool  from  the  picker  to  nap,  but  run  it 
through  your  first  breaker  and  open  jt  out  thoroughly,  not  partially 
between  the  picker  and  the  regular  carding  or  napping." 

Knitting. — Knitting  is  a  process  of  producing  a  fabric  by  inter- 
twining the  yarn,  instead  of  weaving  it  together.  It  is  now  almost 
entirely  done  by  machinery.  The  goods  produced  are  sold  as 
hosiery.  It  is  a  distinct  and  separate  branch  of  textile  manufac- 
tures. 


L. 

Lace  and  Lace  Looms  is  such  a  complicated  subject  that  space 
cannot  be  afforded  for  the  needed  illustrations.  The  subject  is  well 
considered  by  several  authors. 

Lam. — A  heddle  or  leaf. 

Lamps. — Lamps  have  been  almost  entirely  superseded  in  factories 
where  gas  is  available.  The  lamps  to  be  considered  here  interest 
the  student  more  than  the  manufacturer.  Of  the  many  men  who 
will  hold  important  positions  in  the  course  of  another  decade,  not  a 
few  are  obliged  to  do  all  their  studying  by  lamp  light,  in  their 
rooms  at  home  or  at   the  boarding   house ;  a  large   proportion   of 


120  SPITZLI'S  MANUAL. 

them  can  get  no  other  time  to  practice  dissecting,  &c.  To  these  a 
lamp  which  will  supply  an  abundance  of  light  on  the  work  and  pro- 
tect their  eyes,  is  a  boon  which  they  cannot  fail  to  appreciate  if 
they  will  for  a  moment  consider  the  many  men  who  have  ruined 
their  sight  for  life  for  the  want  of  a  good  lamp  to  study  by. 

Lathe,  Lay  or  Batten. — The  frame  in  which  the  reed  and 
shuttle  boxes  are  fastened.  Its  use  on  the  loom  is  to  supply  a  race- 
board  for  the  shuttles  to  travel  on,  and  to  beat  up  the  picks  during 
the  changes  of  the  sheds. 

Laying  Out. — In  woolen  mills  the  term  laying  out  is  very  com- 
mon ;  it  is  more  particularly  applied  to  laying  out  lots,  yarns, 
designs,  etc.,  and  refers  to  the  necessary  calculations  referred  to  in 
their  respective  places. 

Lease,  Lea  or  Leas. — By  alternately  crossing  the  threads  of  a 
warp  their  regular  succession  may  be  retained  by  means  of  lease 
rods  or  cords.  The  above  terms  are  used  for  the  cross  of  threads 
so  made. 

Lino  or  Linau. — Murphy  describes  this  as  a  species  of  gauze. 

Lingoes. — The  weights  used  on  the  bottom  of  jacquard  leashes. 
As  there  is  nothing  but  these  weights  to  draw  down  the  lower  sheds 
upon  a  jacquard  loom,  their  importance  is  obvious. 

Live  Spindles. — Although  now  rather  too  slow,  it  must  be  still 
acknowledged  the  best  for  even  and  smooth  work.  Live  and  dead 
spindles  are  more  particularly  known  by  these  names  in  connection 
with  throstles  and  cotton  spinning. 

Logwood. — "  The  logwood  tree  is  known  to  botanists  by  the  name 
of  Hmmatoxylon  Compeachianum.  Its  bark  is  thin  and  smooth,  but 
furnished  with  thorns ;  its  leaves  resemble  the  laurel.  The  wood  is 
hard,  compact  and  capable  of  taking  a  fine  polish.  Its  specific 
gravity  is  higher  than  water,  in  which  it  will  sink. 

Like  many  other  valuable  dyestuffs,  logwood  was  used  a  long  time 
before  the  real  nature  of  the  coloring  principle  was  known. 

"  Chevreul  made  a  chemical  examination  of  logwood,  and  found 
that  it  contained  a  distinct  coloring  substance,  which  he  called 
hematine,  a  name  which  has  been  changed  to  hasmatoxyline,  to 
avoid  any  confusion  with  a  substance  having  a  similar  name,  con- 
tained in  blood." 

Logwood  contains  resin  and  oil,  sulphate  of  lime  and  alumina 
besides  the  coloring  matter.  The  ingredients  vary  in  different 
woods,  some  having  more  than  others. 


SPITZLI'S  MANUAL.  I  2  I 

A  solution  of  this  wood  is  easily  changed  from  its  natural  color, 
by  alkalies  to  a  purple,  by  acids  to  an  orange.  Almost  all  the 
metallic  and  earthy  salts  cause  abundant  precipitates  or  lakes,  with 
its  solutions,  the  colors  of  which  vary  from  violet  to  black,  and  in  all 
cases  retaining  a  tinge  of  the  violet  hue  ;  so  that  a  solution  of  log- 
wood always  throws  down  a  compound  color,  whose  proportions  of 
red  and  blue  vary  with  the  different  metals  used,  and  each  gives 
deeper  shades,  according  as  it  is  more  or  less  oxidized. 

Tin  alone,  of  all  the  metals,  gives  it  the  property  of  resisting  acids, 
and  by  taking  a  proper  course  with  a  mordant  of  tin,  you  can  obtain 
a  purple  as  durable  as  indigo  blue.  Alum  always  gives  violet- 
colored  shades. 

Logwood  enters  into  all  colors  that  have  any  tinge  of  the  violet  in 
their  composition,  such  as  drabs,  lead,  slates  and  all  the  violet 
shades,  plums,  some  dark  browns,  etc. ;  but  its  principal  consump- 
tion is  in  logwood  blues  and  in  blacks,  to  which  it  communicates  a 
softness  and  glossy  lustre,  unequalled  by  any  other  material. 

If  a  well  saturated  decoction  of  logwood  be  evaporated,  a  deep 
plum-colored  magma,  of  a  very  tough  and  tenacious  consistency,  is 
obtained  :  this  is  called  extract  of  logwood,  hematine,  or  haematoxy- 
line.  Chevreul's  process  for  obtaining  the  extract  of  logwood  is  to 
digest  logwood  chips  in  water  at  1200  or  180°  Fahrenheit,  after- 
wards filtering  the  liquor  and  evaporating  to  dryness.  What 
remains  is  put  into  alcohol  for  a  day  ;  this  is  again  filtered,  and  the 
clear  liquor  evaporated  until  it  becomes  thick.  To  this  is  added  a 
little  water,  and  evaporated  anew.  It  is  then  left  to  itself,  and  the 
coloring  matter  crystallizes. 

The  extract  possesses  the  same  properties  as  the  decoction,  and  is 
in  comparative  strength  to  good  logwood  chips  as  1  is  to  5  :  that  is, 
one  pound  of  the  extract  is  equal  to  five  pounds  of  the  chips. 

Logwood  grows  in  the  West  Indies  and  on  the  eastern  shores  of 
the  Bay  of  Campeachy  ;  that  which  comes  from  Campeachy  is  the 
best." — Gibson. 

Looms. — There  are  now  so  many  kinds  of  looms  that  several  of 
the  many  builders  require  large  books  to  furnish  all  the  particulars 
of  their  manufacture  alone.  How  useless  then  would  be  the 
attempt  to  describe  them  all  briefly.  For  a  general  account  of  the 
construction  of  the  more  common  looms  most  builders  may  be 
depended  upon.  For  the  construction  of  the  Jacquard  lace  loom, 
etc.,  etc.,  the  reader  is  referred  to  standard  works  on  Weaving, 
Barlow,  Ashenhurst,  Gesner,  &c,  &c.     Some  of  the   most  common 


122  SPITZLI'S  MANUAL. 

names  may  be  profitably  enumerated  :  Roller,  cam,  tappet,  chain, 
draw,  open  shed,  close  shed,  positive  shuttle  motion,  ribbon  and 
tape  looms. 

The  roller  loom  proper  is  so  called  because  the  harnesses  are 
raised  and  lowered  by  means  of  straps  passing  over  rollers  which  are 
worked  by  an  eccentric  motion. 

A  cam  loom,  tappet  loom  and  chain  looms  are  so  called  because 
the  harness  motions  are  governed  either  by  cams,  tappets  or  pattern 
chains. 

The  open  shed  and  close  shed  looms  are  names  used  to  designate 
looms  which  close  the  shed  at  every  pick,  be  the  next  shed  entire 
or  in  part  the  same  ;  and  those  which  do  not  change  the  position  of 
the  harness  until  the  change  is  called  for  of  necessity  by  a  different 
shed.  Much  is  said  in  favor  of  both  which  is  true,  and  nearly  as 
much  which  is  exaggerated.  There  is  no  doubt  that  the  open  shed 
loom  is  easiest  upon  the  yarn,  but  in  some  textures  it  makes  a  rough 
surface,  in  others  the  picks  cannot  be  beaten  in  fully.  The  fact  is, 
a  loom  which  can  readily  be  changed  from  one  motion  to  the  other 
without  much  trouble  is  wanted,  that  the  shed  may  be  made  as 
required  by  the  work.  Such  a  loom  will  doubtless  soon  be  pro- 
duced in  a  high  state  of  perfection  at   the  Crompton  Loom  Works. 

M. 

Madder. — "  This  plant  or  shrub,  Rubia  Tinctorum,  rivals  indigo  as 
a  dye  drug,  both  from  the  beauty  and  permanence  of  the  colors  given 
by  it,  and  also  from  the  numerous  shades  that  can  be  dyed  by  it. 
Madder  is  raised  or  cultivated  in  France,  Holland,  but  mostly  in 
Holland  and  the  Levant.  The  Levant  or  Turkish  madder  is  the 
best.  In  France  and  Holland  the  roots  are  gathered  every  three 
years,  in  Smyrna  and  Cyprus  they  are  gathered  every  five  years. 
When  the  roots  are  taken  from  the  ground  they  are  carefully 
cleansed  and  spread  on  the  ground  to  dry;  it  is  then  ground  to  a 
fine  powder  and  put  into  casks  ;  in  this  state  it  is  received  by  the 
dyer.  Madder  should  be  kept  in  a  dry  place,  as  it  easily  absorbs 
moisture  which  is  an  injury  to  it ;  when  kept  dry  it  improves  by  age, 
its  age  can  be  ascertained  by  the  appearance  of  the  head  of  the  cask, 
if  it  is  two  or  more  years  old  the  head  will  be  swelled  out  by  the 
swelling  or  growing  of  the  madder.  The  quality  of  madder  is 
judged  by  the  taste  and  smell,  the  good  will  have  a  heavy  sweet 
smell,  with  an  earthy  flavor,  its  taste  is  a  sweet  bitter ;  when 
exposed  to  moisture  its  color  will  pass  from  the  orange  tint  to  a  deep 


SPITZLI'S  MANUAL.  123 

red.  Madder  is  sometimes  adulterated  with  brick  dust,  red  or  yel- 
low ochres,  sand,  clay,  sawdust  from  mahogany,  powdered  logwood, 
and  sandal  wood,  etc.  The  mineral  impurities  may  be  detected  by 
putting  some  of  the  madder  in  a  glass  jar  and  pouring  boiling  water 
upon  it,  the  madder  will  float  and  the  sand,  brick  dust,  clay,  etc., 
will  sink  to  the  bottom." — Gibson. 

Mails. — Mails,  glass  or  metal,  are  thread  eyes  used  on  jacquards, 
and  sometimes  harnesses.  Some  glass  eyes  or  mails  have  also  been 
shown  of  late  in  wire  heddles. 

Mathematical  Instruments. — How  to  use  these  instruments 
may  be  learned  from  much  more  satisfactory  works  than  a  para- 
graph in  this  or  any  other  book.  Especially  do  we  recommend  the 
beginner  to  purchase  one  of  s-tandard  authority.  The  selection  of 
instruments  in  purchasing,  is  very  practically  treated  in  the  intro- 
duction of  such  a  work  by  F.  E.  Hulmer,  F.  L.  S. 

Measuring. — Measuring  in  whatsoever  part  of  the  factory  or 
processes,  should  at  all  times  be  done  with  the  greatest  care  and 
accuracy.  The  little  allowances  here  and  there  often  lead  to  greater 
errors.  Measuring  machines,  wherever  they  can  be  applied,  if  right 
good,  are  always  better  than  hand  measuring. 

Meltons. — Woolen  cloth  that  has  been  well  fulled,  but  not 
gigged.  As  the  nap  on  these  goods  is  developed  entirely  in  the 
fulling  mill,  and  because  meltons  are  very  generally  made  into  gar- 
ments with  raw  edge  seams,  it  is  highly  important  that  the  stock  be 
short,  fine,  sound,  (of  good  fulling  quality,)  that  the  yarns  be  fine, 
not  too  hard,  the  texture  not  too  open,  and  the  fulling  process  just 
right. 

Merinos. — Many  fabrics  have  from  time  to  time  been  given  this 
name,  sometimes  honestly;  more  often  to  deceive  the  trade,  by 
falsely  implying  that  they  were  made  of  Spanish  or  merino  wool. 

Microscope. — The  microscope  is  an  optical  instrument,  which 
should  have  more  than  a  simple  definition  here.  But  so  important 
has  its  use  become  that  some  standard  treatise  on  the  subject  is 
more  advisable  than  a  brief  abstract.  Its  use  in  the  designing 
room,  however,  is  a  subject  which  calls  for  some  consideration.  It 
is  only  of  late  years  that  the  more  advanced  designers  of  textile 
fabrics  have  discovered  the  great  aid  they  may  obtain  from  optical 
instruments.  The  old  saying,  "  Don't  use  glasses  as  long  as  you 
can  see  better  without  them,"  seems  to  have  been  interpreted  as  a 
general  warning  against  optical  aid.     The  fact  that  few  can  see  well 


124  SPITZLI'S  MANUAL. 

without  some  practice  with  any  instrument,  has  perhaps  led  many 
to  think  they  could  still  see  better  without.  The  microscope,  when 
used  properly,  is  a  great  help  to  any  designer,  those  with  the  very 
healthiest  eyes  not  excepted.  When  the  proper  power  is  applied  in 
the  right  place,  when  the  instrument  suits  the  work,  and  the  operator 
has  learned  the  necessary  points  in  regard  to  adjustment,  etc.,  there 
will  never  more  be  a  doubt  of  the  benefits  afforded  by  the  use  of 
optical  instruments.  Another  reason  why  many  have  been  discour- 
aged in  attempts  to  use  instruments,  even  after  impaired  sight  was 
cause  enough  to  resort  to  them,  has  been  the  impossibility  to  get 
the  right  instruments  convenient  in  shape  and  power  for  the  work. 
Another  difficulty  has  been  the  ignorance  of  optics  among  those 
who  should  make  the  science  a  study.  The  compound  microscope 
supplies  a  field  of  suggestions  to  the  Jacquard  designer  which  he 
can  fill  in  no  other  way.  With  it  he  may  see  the  most  wonderful 
arrangement  of  particles  in  substances  of  every  kind ;  it  opens  to 
him  the  endless  book  of  designs  which  excel  all  human  possibili- 
ties, but  afford  unlimited  numbers  of  suggestions  which  are  more 
graceful,  more  pleasing  to  the  eye  than  those  from  any  other  source. 
As  an  instance,  we  would  cite  a  sectional  view  of  many  kinds  of 
hair.  Almost  invisible  to  the  naked  eye,  under  the  microscope  they 
are  most  magnificent  designs  in  gauze.  But  its  use  is  not  confined 
to  suggestions  alone.  After  having  become  familiar  with  its  powers, 
one  may  distinguish  the  different  textile  fibers  quickly  and  with  a 
certainty.  One  may  count  the  fibers  in  a  thread,  thus  get  at  the 
grade  of  stock  and  yarn  ;  also  ascertain  the  exact  proportion  of 
mixtures.  Indeed,  there  is  not  room  in  all  this  book  to  tell  of  all 
its  uses  and  benefits  to  manufacturers.  The  single  microscope  is 
no  less  important  because  it  costs  less  money ;  indeed,  for  some 
work  it  is  infinitely  superior  to  any  compound  microscope.  Take, 
for  instance,  the  most  common  use  for  it,  dissecting  the  texture.  If 
strong,  a  mingling  of  fibers  is  the  consequence ;  one  is  confused 
rather  than  aided ;  but  with  a  power  that  is  adapted  to  the  work, 
one  can  see  every  thread  clear  and  distinct ;  can  work  for  hours 
without  unusual  fatigue  to  the  eyes,  notwithstanding  the  threads  do 
not  look  like  so  much  cord  wood,  as  some  expect  to  see  it  if  they 
venture  five  dollars  on  a  magnifying  glass.  The  principal  necessity 
is  that  of  having  the  instruments  constructed  to  suit  the  work. 
This  opticians  could  do  if  they  understood  the  work,  but  the  time 
required  they  cannot  spare  to  learn  it.  Consequently  a  good  instru- 
ment from  a  good  manufacturer  may  need  reconstruction   before  it 


SflTZLI'S  MANUAL.  125 

is  right  for  the  use  of  the  textile  interest.     Full  instructions   for  the 
care  and  management  should  accompany  each  instrument. 

Mixing. — When  mixing  different  qualities,  to  produce  mixtures  of 
materials,  if  the  several  kinds  go  into  the  works  at  hap-hazard 
trouble  will  ensue,  When  cotton  is  mixed  with  wool,  the  mixing 
should  be  done  after  the  wool  has  been  oiled,  if  oiled  at  all. 
When  waste  or  other  short  fibers  are  mixed  with  longer  staples,  the 
mixing  before  the  picker  is  not  enough,  it  will  fall  unevenly  mixed 
in  coming  out  of  the  picker ;  the  lighter  fibers  will  not  fly  like 
the  heavier,  or  a  solid  lock  like  one  more  open.  For  fancy  mixtures 
the  mixing  should  not  end  with  picking ;  the  cards  must  be  ad- 
justed to  do  their  share  of  the  work  also.  When  long  and  short 
stock  are  mixed,  the  two  doffers  must  be  adjusted  to  take  stock 
evenly,  or  one  may  take  long  stock  and  the  other  short.  In 
fact,  mixing  stock  is  quite  a  scientific  process.  To  mix  colors  to 
produce  certain  shades  is  an  easy  matter  for  a  designer  who  is 
properly  fitted  out  and  understands  the  harmony  of  colors. 

Mixtures. — Mixtures  of  textures  are  several  textures  combined 
or  compounded  rather  irregularly;  (not  a  proper  term,  but  quite 
common  in  some  districts.)  By  mixed  fabrics,  we  mean  those  in 
which  the  materials  used  are  several  distinct  kinds,  as  cotton 
warp  and  wool  filling,  silk  warp  and  worsted  filling,  etc.,  etc. ; 
sometimes,  also,  fabrics  into  which  inferior  stock  has  been  mixed 
to  deceive  the  purchaser.  Mixtures  of  the  stock  are  common  ' 
for  various  purposes.  Better  stock  may  be  mixed  with  a  lower 
grade  to  make  it  spin  to  the  desired  number,  the  latter  may  be  used 
in  this  way  to  cheapen  the  goods,  or  to  give  the  necessary  peculiari- 
ties to  the  yarn  or  fabric.  Again  stock  of  several  colors  may  be 
mixed  to  produce  what  is  known  by  the  names  mixture,  mixes  and 
mixings,  in  different  parts.  These  kinds  of  mixtures  are  confined 
almost  altogether  to  woolens.  They  are  used  alone,  in  combination 
with  each  other,  and  with  other  colors.  There  are  certain  mixtures 
like  the  Cadet,  Oxford,  etc.,  etc.,  which  are  supposed  to  be  made 
nearly  alike  at  all  times  and  all  places,  but  this  is  not  the  case. 
There  is  a  great  deviation  of  percentage,  or  shade,  from  any  one 
sample  one  may  take  as  a  standard.  To  reproduce  mixtures  it  is 
necessary  to  examine  the  fibers  of  a  sample  and  count  them  (this  is 
only  possible  with  the  microscope);  by  this  means  an  accurate  esti- 
mate may  be  formed  of  the  colors,  quantity  and  proportions  needed. 
Much  depends  upon  a  good  combination  of  colors  ;  if  the  necessary 
colors  do  not  combine  right,  it  is  well  to  put  in  a  small  percentage 
of  a  color  which  will  make  up  the   defect.     A  black   to  be  mixed 


126  SPITZLI'S  MANUAL. 

with  white  should  be  a  blue  black,  if  not,  a  small  percentage  of  blue 
should  be  added  to  give  the  blue  tone.  A  blueish  red  looks  well  in 
black,  but  it  must  be  quite  blue  to  look  even  decent  in  a  brown.  A 
small  percentage  of  orange  in  a  dark  blue  blends  well. 

Mohair. — "The  silvery  fleece."  Mohair  (Angora  fleece)  is  not 
a  substitute  for  sheep's  wool,  but  occupies  its  own  place  among  the 
textile  fabrics.  It  has  the  aspect,  feel  and  luster  of  silk  without  its 
suppleness.  It  differs  materially  from  wool  in  the  want  of  the  felt- 
ing quality,  so  that  the  stuffs  made  of  it  have  the  fibers  distinctly 
separated  and  are  always  brilliant.  They  do  not  retain  dust  or 
spots,  and  are  thus  particularly  valuable  for  furniture  goods.  The 
fibre  is  dyed  with  great  facility,  and  is  the  only  textile  fibre  that 
takes  equally  the  dyes  destined  for  all  its  tissues.  On  account  of 
the  stiffness  of  the  fibre  it  is  rarely  woven  alone  ;  that  is,  when  used 
for  filling,  the  warp  is  usually  of  cotton,  silk  or  wool,  and  the  re- 
verse. It  is  not  desired  for  its  softness  in  addition  to  silkiness — 
such  qualities  as  are  found  in  Cashmere  and  Mauchamps  wool — but 
for  the  elasticity,  luster  and  durability  of  the  fibre,  with  sufficient 
fineness  to  enable  it  to  be  spun.  Those  who  remember  the  fashions 
of  thirty  or  forty  years  ago,  may  call  to  mind  the  camlets  so  exten- 
sively used  for  cloaks  and  other  outer  garments,  and  will  doubtless 
remember  that  some  were  distinguished  for  their  peculiar  luster  and 
durability,  which  was  generally  attributed  to  the  presence  of  silk  in 
the  tissue.  These  camlets  were  woven  from  mohair.  Its  luster  and 
durability  peculiarly  fit  this  material  for  the  manufacture  of  braids, 
buttons  and  binding,  which  greatly  outwear  those  of  silk  and  wool. 
The  qualities  of  luster  and  elasticity  peculiarly  fit  mohair  for  its 
chief  use,  the  manufacture  of  Utrecht  velvets  commonly  called 
furniture  plush,  the  finest  qualities  of  which  are  composed  princi- 
pally of  mohair,  the  pile  being  formed  of  mohair  warps,  which  are 
cut  in  the  same  manner  as  silk  warps  in  velvets.  Upon  passing  the 
finger  lightly  over  the  surface  of  the  best  mohair  plushes,  the 
rigidity  and  elasticity  of  the  fibre  will  be  distinctly  perceived.  The 
fiber  springs  back  to  its  original  uprightness  when  any  pressure  is 
removed.  The  best  mohair  plushes  are  almost  indestructible. 
They  have  been  in  constant  use  on  certain  railroads  in  this  country 
for  twenty  years  without  wearing  out.  They  are  now  sought  by  all 
the  best  railroads  in  the  country  as  the  most  enduring  of  all  cover- 
ings— an  unconscious  tribute  to  the  remarkable  qualities  of  this 
fibre.  Mohair  yarn  is  employed  largely  in  Paris,  Nismes  and  Lyons, 
and  in  Germany,  for  the  manufacture  of  laces,  which  are  substituted 


SPITZLI'S  MANUAL.  I  27 

for  the  silk  face  fabrics  of  Valenciennes  and  Chantilly.  The  shawls 
frequently  spoken  of  as  made  of  Angora  wool  are  of  a  lace  texture, 
and  do  not  correspond  to  the  Cashmere  or  Indian  shawls.  The 
shawls  known  as  Llama  are  made  of  mohair.  One  of  these,  valued 
at  I80,  weighed  only  two  and  one-third  ounces.  Mohair  is  largely 
consumed  at  Bradford,  England,  in  the  fabrication  of  light,  summer 
dress  goods.  These  goods  are  distinguished  by  their  lustre  and  by 
the  rigidity  of  the  fabric.  Mohair  is  now  extensively  used  to  form 
the  pile  of  certain  styles  of  plushes  used  for  ladies'  cloakings  ;  also, 
for  the  pile  of  the  best  fabrics  styled  Astrakans. — Hayes. 

Moreens. — A  certain  fabric  with  a  watered  finish. 

Mules. — Mules  are  without  doubt  the  best  machinery  available 
for  spinning  cotton,  wool  and  worsted,  when  fine  even  yarn  is  the 
first  and  great  requisite. 

Muslin. — Named  from  Mosul  in  x\sia.  There  are  plain  and 
figured  muslins,  some  nearly  as  close  as  cambric,  but  much  finer, 
yet  others  almost  as  open  as  gauze. 

N. 

Nap. — The  ends  of  the  fibers  of  which  a  fabric  is  composed  being 
drawn  out  by  means  of  a  gigg  or  napper  are  called  the  nap;  those 
worked  out  on  the  surface  by  the  fulling  process  are  also  called  nap, 
but  this  nap  cannot  be  made  to  stand  or  lay  down  in  such  smooth 
and  regular  order  as  when  gigged  out. 

Natural  Grease  in  Wool. — This  grease  is  very  variable  in 
different  wools  as  regards  quantity,  but  the  nature  is  similar  in  all 
breeds.  The  soluble  part  of  it  is  produced  by  the  secretion  of  the 
sweat ;  the  insoluble  is  the  product  of  the  soil  and  surrounding  cir- 
cumstances. Some  wools  contain  from  50  to  75  per  cent,  of  their 
weight  in  grease,  others  only  from  15  to  20  per  cent.  To  rid  the 
wool  of  this  grease  without  attacking  the  fiber  with  the  chemicals 
employed,  is  one  of  the  secrets  of  success  in  scouring.  The  soluble 
grease  is  easily  saponified,  not  so  with  the  insoluble,  which  can  be 
carried  off  by  water  only  because  soluble  grease  is  the  agent  which 
retains  the  insoluble  upon  and  in  the  wool. 

Needles. — There  are  many  kinds  of  needles  used  in  factories. 
Beside  the  large  variety  of  sewing  needles,  there  are  those  which  on 
some  kinds  of  looms  are  necessary  to  convey  the  pattern  from  the 
pattern  chains  or  cards  to  the  lifting  parts.  Dissecting  needles  are 
perhaps  the  most   interesting  subject  here.     They  should  be  as  fine 


128  SPITZLI'S  MANUAL. 

as  possible,  care  being  taken  to  have  them  strong  and  long  enough 
for  the  work  and  instrument  used.  They  should  not  have  a  blunt 
point  like  a  shawl  pin,  but  taper  gradually  to  the  point.  At  least 
six  kinds  of  dissecting  needles  should  be  conveniently  at  hand — 
three  or  four  sizes  of  round  ones,  two  or  three  sizes  of  the  flat  kinds  ; 
of  the  latter,  at  least  one  should  have  a  bend  edgewise,  to  be  con- 
venient under  a  short-focus  instrument. 

Neutral  Colors. — The  effect  of  these  tints  and  colors  are  im- 
portant in  textile  designs.     Ashenhurst  says  : 

"  Suppose  we  have  alternate  stripes  of  red  and  green,  or  if  we 
have  red  figures  on  a  green  ground,  or  vice  versa,  the  eye  could  not 
rest  long  upon  them  without  experiencing  an  unpleasant  sensation  ; 
the  two  colors  would  begin  to  swim  into  each  other,  as  it  were,  and 
the  longer  the  eye  rests  upon  them  the  stronger  and  more  un- 
pleasant will  this  swimming  sensation  become;  but  if  the  two  colors 
be  separated  by  black  or  white,  or  some  tertiary  or  neutral  color, 
then  this  swimming  sensation  will  be  entirely  prevented,  and  yet 
perfect  harmony  will  prevail.  In  the  same  manner,  if  blue  and 
orange  be  juxtaposed  the  swimming  sensation  will  result,  but  it  may 
again  be  prevented  by  the  introduction  of  neutral.  If  purple  and 
yellow  are  placed  together  the  effect  is  not  quite  so  unpleasant,  be- 
cause the  two  colors,  although  complementary,  are  more  nearly 
allied  to  light  and  darkness  respectively.  Yet  even  in  this  case  the 
effect  is  much  improved  by  the  presence  of  tertiary  or  neutral 
colors.  Therefore,  at  all  times  colors  which  are  complementary  to 
each  other  should  either  be  present  in  subdued  form  or  separated 
from  each  other  by  the  presence  of  some  neutral  color.  In  addition 
to  this  quality  of  modifying  the  effect  of  complementary  colors, 
neutral  colors  also  possess  the  property  of  modifying  the  effect  upon 
each  other  of  colors  which  possess  the  same  common  element.  As 
has  been  shown,  colors  which  possess  the  same  common  element,  if 
placed  in  juxtaposition,  have  the  effect  of  detracting  from  each 
other,  but  if  separated  by  black,  by  white,  or  by  neutral  color,  this 
mutual  detraction  is  prevented  or  modified.  If,  for  example,  we 
place  blue  and  green  together,  one  color  will  partly  destroy  the 
other,  and  the  point  of  junction  of  the  two  will  scarcely  be  dis- 
cernible, but  if  we  separate  the  two  by  either  a  black  or  white  line 
we  shall  find  the  effect  materially  improved.  In  the  same  manner 
we  may  deal  with  red  and  orange,  or  with  any  other  two  powerful 
or  bright  colors,  and  the  result  will  invariably  be  the  same.  In 
speaking  of  neutral    colors,   the  peculiar  properties  of  gold   as  a 


SPITZLI'S  MANUAL.  I  29 

neutral  may  be  pointed  out.  Although  the  appearance  of  the  color 
of  gold  is  decidedly  yellow,  yet  it  is  one  of  the  most  neutral  colors 
to  be  met  with.  Not  only  will  it  harmonize  with  any  or  all  colors, 
but  it  will  modify  the  effect  of  any  two  colors,  or  compositions  of 
color,  upon  each  other.  It  is  for  this  property  as  much  as  for  its 
peculiar  richness  that  gilded  frames  are  so  much  preferred  for  pic- 
tures, the  richness  and  neutrality  of  the  color  of  the  gold  not  only 
tending  to  improve  the  effect  of  the  coloring  of  the  picture,  but  at 
the  same  time  effectually  preventing  the  interference  in  an  undue 
degree  of  any  surrounding  colors.  Gold  is  a  color  which  is  very 
rarely  used  in  textile  fabrics,  yet  it  may  sometimes  be  used  with 
advantage,  and  whenever  it  is  used  this  peculiar  property  may  be 
borne  in  mind." 

Numbers. — A  systematic  method  of  numbering  everything  about 
a  factory  that  can  be  numbered  to  advantage  saves  much  confusion. 
The  method  of  numbering  yarns  is  given  under  yarn  numbers.  A 
good  system  of  numbering  styles  is  to  have  two  sets  of  numbers,  one 
to  designate  the  series,  another  the  variation  of  the  series.  For 
example,  a  pattern  is  ordered  in  eight  variations.  Call  this  pattern, 
series  No.  1,  the  several  changes,  variations,  Nos.  1,  2,  3,  4,  5,  6,  7 
and  8.  The  term  series  may  be  improved  upon,  also  the  word 
variations.  Separate  lots  of  stock  laid  out  for  certain  orders,  the 
batches  colored  by  the  dyer,  the  warps  made  by  the  warper,  the  cuts 
by  the  weaver,  and  every  sample,  remnant  or  other  piece  of  goods 
finished  should  be  recorded  with  a  series  of  numbers.  The  number- 
ing of  wool,  yarns,  etc.,  is  exhaustively  treated  by  Leroux. 

Nut  Galls. — Nut  galls  are  an  excrescence  which  grows  upon 
certain  species  of  the  oak.  {Quercus  infertoria.)  They  contain 
gallic  acid  and  tannin.  There  are  several  kinds  of  nut  galls  from 
East  India,  Smyrna  and  Aleppo,  differing  mainly  in  ripeness  of  the 
nuts.  Some  are  black,  others  green  or  white.  When  mixed  they 
are  called  natural  galls.  The  Blue  Aleppo  are  best  for  most  dyes, 
the  Smyrna  come  next.  They  must  be  ground  before  they  can  be 
used  for  dyeing. 


Oil. — Many  kinds  of  oil  are  used  in  and  about  factories.     At  one 
time  the  varieties  were  very  few,  sperm  oil  for  lubricating  machinery, 
olive,  poppy  or  some  similar  vegetable   oil  on   stock.     Mineral  oils 
9 


I30  SPITZLI'S  MANUAL. 

are  now  largely  used  for  lubricating  machinery,  and  are  in  many 
respects  better  than  animal  oils,  although  in  some  few  points  they 
are  not  equal  to  them.  Consequently  oils  are  mixed  in  different 
proportions.  When  well  mixed,  and  according  to  the  work  to  be 
done,  there  is  no  doubt,  the  best  results  can  be  attained  in  this  way.. 
Of  the  animal  and  fish  oils  used  sperm,  lard,  tallow,  red  and  elaine 
are  the  most  important,  and  olive,  cotton  seed,  poppy  seed  and 
palm  of  the  vegetable  oils.  Kerosene  and  paraffine  are  the  two 
mineral  oils  in  common  use.  The  following  table  of  comparative 
weights,  clipped  from  a  periodical,  is  interesting  : 

Deg. 

Baume.  Per  Gal. 

Naphtha 68  to  73  5f 

Kerosene 45  6£ 

Paraffine 24  ~j\ 

"       %■■  27  7f 

"     30  7i 

"      33  7i 

"      36  7 

Castor 15      7i  to  8£ 

Linseed,  boiled ig  Ji 

"         raw 21  7^ 

Menhaden,  light .„ 20  l\ 

dark 21  ~j\ 

Cotton  seed r  1  7i 

Whale 21  7i 

Fish 22  7$ 

Olive 22  7$ 

Lard 23  "]\ 

Neatsfoot 23  "]\ 

Palm 25  7-J 

Sperm,  natural 29  ~j\ 

"       bleached 29  7^ 

Manchester 23!  7J 

"  Oiling  wool  is  effected  by  means  of  a  greasy  substance,  suffi- 
ciently fluid  to  afford  elasticity  to  the  wool.  The  liquid  oils  are, 
therefore,  the  most  suitable,  and  the  more  liquid  they  are  the  better. 
Oil  possesses  the  property  of  rendering  the  wool  supple  and  adapted 
to  carding,  the  '  moist '  process,  on  the  contrary,  destroys  the  quali- 
ties of  the  wool  by  the  repeated  jarring  and  stretching  produced  by 
carding." — Leroux. 

From  3  to  6  quarts  of  oil  per  cwt.  of  wool  seem  to  be  the  most 
common  quantities  used.  Stock  to  be  worked  into  shoddy  must  be 
oiled  ;  it  is  found  that  a  good  saponified  oil  is  best  for  this  purpose. 


SPITZLI'S  MANUAL.  131 

Leroux  recommends  a  mixture  of  oleine  and  olive  oil  and  gives  a 
good  formula  for  a  composition  which  we  do  not  feel  at  liberty  to 
publish.  The  entire  subject  of  oiling  is  treated  in  his  work  and 
would  be  well  worth  the  price  of  the  work  to  some  who  are  sorely  in 
need  of  advice  on  this  subject. 

"  Of  the  elements  which  analysis  shows  these  oils  and  greases  to 
consist  of,  two  only  may  be  considered  as  bearing  on  their  use  in 
woolen  manufacture,  namely,  stearine  and  oleine,  and  their  value 
for  wool  and  soap  depends  largely  on  the  relative  proportions  of 
these  substances  contained  in  them.  The  principles  which  are  here 
suggested  as  governing  their  application  may  be  expressed  thus  : 

First — That  the  successful  results  obtained  in  oiling  wool  will  be 
directly  as  the  oleine  in  the  oil  predominates  over  the  stearine. 

Second — That  the  amount  of  felt  or  solidity  obtained  in  fulling 
will  be  directly  as  the  excess  of  stearine  over  oleine  in  the  oil  or 
grease  of  which  the  fulling-soap  is  made. 

Third — That  the  cleanliness  of  the  goods  will  be  directly  as  the 
oleine  in  the  oil  or  grease  from  which  the  soap  is  made  is  in  excess 
of  the  stearine. 

As  to  the  first  proposition,  a  perfect  wool  oil  must  have  body 
enough  to  protect  the  barbs  or  serratures  of  the  fiber  and  prevent 
waste,  it  must  be  diffusive  enough  to  spread  well,  and  it  must  scour 
out  of  the  cloths  with  ease.  Oleine,  or  so-called  elaine,  if  an  honest 
article  could  be  obtained,  would  fill  these  conditions  better  than  any 
other  oil.  The  next  best,  when  not  too  costly,  is  olive  (oleine,  72  ; 
stearine,  28  ;)  and  after  it  lard  oil  (oleine,  62  ;  stearine,  38). 

As  to  the  second  proposition,  the  value  of  the  different  oils  and 
fats  for  fulling-soaps  would  be  in  the  following  order :  Tallow 
(stearine,  70  ;  oleine,  30) ;  lard  (stearine,  38  ;  oleine,  62  ;)  palm 
(stearine,  31  ;  oleine,  69).  In  the  above  enumeration  cotton-seed 
oil  is  omitted,  as  its  composition  and  properties  have  not  yet  been 
well  enough  ascertained  to  make  its  use  alone  in  a  fulling-soap 
advisable.  It  may  be  used  mixed  with  tallow,  for  economy's  sake, 
on  goods  that  do  not  require  an  extreme  felt. 

As  to  the  third  proposition,  the  best  scouring-soap  is  that  made 
from  oleine.  The  value  of  the  other  oils  and  greases  will  be  in 
order  reversed  from  that  of  their  value  for  fulling-soaps.  The  rea- 
son for  this  is  probably  that  the  oleic  acid  has  not  the  same  affinity 
for  the  lime  salts  in  the  water  as  the  stearic  acid. 

The  greater  the  proportion  of  stearine  in  the  soap  the  greater  will 
be  the  liability  to  decomposition  of  the   soap   and  formation   of  in- 


I32  SPITZLI'S  MANUAL. 

soluble  stearates  in  the  cloths,  and  consequent  soapy  smell.  In- 
soluble, because  the  best  known  solvent  for  them,  glycerine,  is  still 
too  costly  for  use.  The  same  evil  is  caused  by  the  use  of  the  stearic 
oils  on  wool,  because  the  salts  used  in  dyeing  and  the  iron  from 
card  grinding  will  also  form  these  insoluble  compounds  with  stearic 
acid. 

The  above  suggestions  are  the  result  of  efforts  to  ascertain  the 
causes  of  the  different  action  of  the  various  oils  and  soaps  in  practice. 
It  is  not  claimed  for  them  that  they  are  indisputable,  but  the  results 
obtained  in  an  extensive  practice  based  upon  them  seem  to  justify 
the  writer  in  the  conclusion  that  they  are  in  the  main  correct. — 
R.  A.  Clog  her,  in  a  Letter  to  the  Bulletin  of  National  Wool  Associa- 
tion. 

Oil  Spots  on  Finished  Goods. — Instruct  every  hand  to  watch 
closely  for  oil  spots,  and  the  moment  one  is  detected  let  every 
measure  to  obviate  a  repetition  of  the  occurrence  be  attended  to  ; 
also  let  the  goods  be  detained  in  their  progress  until  the  existing 
damage  has  been  rectified  ;  moreover,  let  no  such  piece  of  goods  lay 
in  folds,  that  the'  oil  spots  may  not  come  in  contact  with  clean 
portions  of  the  goods,  or,  if  left  in  folds,  let  thick  paper  be  placed 
between  the  single  folds  to  prevent  multiplication.  To  extract  the 
oil  from  cloth,  many  erroneous  methods  and  ideas  are  employed, 
and  generally  with  unsatisfactory  results  ;  in  consequence,  thousands 
of  yards  are  given  away  by  manufacturers  to  parties  who  can  easily 
remove  the  grease  and  sell  the  goods  for  perfect.  The  simplest  and 
surest  process  for  extracting  oil  spots  is  to  saturate  the  oil  spot  with 
benzine,  then  place  two  pieces  of  very  soft  blotting  paper  under  and 
two  upon  it,  and  press  well;  in  some  cases  a  hot  iron  is  necessary, 
in  others  a  high  pressure,  without  heat  is  sufficient.  By  this  means 
the  fat  is  dissolved  and  entirely  absorbed  by  the  paper.  To  rub  the 
oil  spot  with  a  sponge  saturated  with  turpentine  or  benzine  only 
spreads  the  grease. 

Organzine. — Silk  warp  threads,  the  filling  being  called  tram,  from 
Trama,  Latin  for  weft.  Organzine  is  an  Italian  technical  term 
meaning  extra-spun  or  machined.  The  organzine  silk,  commonly 
used  for  silk  mixtures  (cassimeres),  is  said  to  have  260,000  to  280,- 
000  yards  per  pound  of  14  ounces. 

Orleans  Cloth. — Certain  thin  fabrics,  cotton  warp,  worsted  fill- 
ing. 

Overcoatings. — Overcoatings,  whether  thick  or  thin,  coarse  or 


SPITZLI'S  MANUAL.  I  33 

fine,  should  always  be  an  elastic  fabric  that  is  as  much  so  as  well- 
fulled  woolen  goods  can  be.  When  hard  or  "  boardy"  they  never 
make  a  graceful  garment.  The  special  goods  made  for  overcoats 
are  nearly  all  soft  fabrics.  Long  nap  in  fancy  effects  have  been  very 
fashionable,  but  the  cloth  finish  seems  to  be  reclaiming  its  former 
popularity. 

P. 

Paint  for  Spool  Drums. — Spirits  of  turpentine,  2  parts;  linseed 
oil  (boiled  with  litharge),  1  part ;  Venice  turpentine,  1  part ;  Black 
oil  varnish,  1  part. 

Paramattas. — Fine  cloths  originally  made  of  Paramatta  wool 
filling  and  silk  warp. 

Pattern. — The  word  pattern  is  variously  used  for  design,  char- 
acter and  parts  of  designs,  but  the  use  of  it  in  this  work  has  been 
confined  to  represent  the  limits  of  one  complete  design  in  the 
fabric.     Thus,  a  fancy  fabric  may  be  many  repetitions  of  the  pattern. 

Pattern  Books. — Are  used  in  great  variety  as  the  best  means  of 
preserving  samples  of  cloth,  yarn  and  colors.  (See  books  recom- 
mended in  outfit  catalogue.)  A  pattern  book  should  open  flat 
and  when  full  be  of  an  equal  thickness  back  and  front;  the  paper 
should  be  heavy  enough  to  keep  straight  and  not  pucker  (pains 
being  taken  to  place  samples  of  uniform  size  in  exactly  the  same 
place  on  each  leaf  will  permit  lighter  paper) ;  samples  should  never 
be  kept  in  books  made  of  highly  colored  paper.  If  the  harmony  of 
colors  is  well  understood  special  colors  for  peculiar  samples  may  be 
an  advantage,  but  such  book  should  be  made  to  order  and  not  used 
at  random.  Almost  any  color  looks  well  on  manila ;  many  will  not 
look  well  on  pure  white.  Book  paper  or  natural  tint  is  very  good. 
We  advise  heavy  manila  for  common  use,  and  white  or  natural  tint 
for  very  nice  books.  It  does  not  pay  to  buy  machine-stitched 
books  ;  they  appear  well,  are  cheaper  and  do  well  if  not  much 
used,  but  they  lack  durability. 

Pattern  Rooms. — All  first-class  mills  keep  one  or  more  looms 
weaving  sample  pieces  ;  in  nearly  every  case  this  work  is  done  in  a 
separate  room,  often  in  the  designing  room.  The  pattern  room 
should  be  for  nothing  else,  however,  than  for  producing  sample 
pieces,  and  for  cutting  them  up  into  patterns  to  keep  and  to  send 
to  market.     When  the  pattern  room   is  dispensed  with,  it   is  almost 


134  SPITZLI'S  MANUAL. 

invariably  at  the  expense  of  interference  with  regular  work  else- 
where. Good  pattern  looms,  a  large  assortment  of  pattern  yarns 
and  many  of  the  conveniences  of  the  designing  room  are  needed. 
Pattern  yarns  are  not  always  attainable  in  the  factory  in  sufficient 
variety  ;  or  novelties  in  yarn  may  be  wanted  which  had  better  be 
paid  for  liberally  than  attempted  at  the  mill.  There  are  a  number 
of  reliable  houses  who  furnish  yarns  of  every  description.  Such 
an  one  we  consider  Messrs.  Tingue,  House  &  Co.  Many  other 
firms  might  be  mentioned. 

Peach  Wood. — (See  Brazil  Wood.) 

Pencils. — When  sketching  for  an  elaborate  design,  nearly  all 
grades  of  artists'  pencils  are  called  for  ;  to  do  more  ordinary  work 
the  usual  five  grades  of  any  good  make  will  suffice.  When  a  pencil 
sketch  must  afterwards  be  inked  as  little  erasing  as  possible  should 
be  done,  a  mark  to  show  that  a  dot  or  line  should  have  been 
erased,  often  answers  the  purpose  and  will  disappear  when  the 
whole  is  cleaned  of  lead.  If  erasure  is  necessary  three  precautions 
will  save  bad  results  :  First,  a  pencil  which  does  not  disturb  the  sur- 
face fibers  of  the  paper  or  make  a  crease,  and  will  not  smut.  The 
smut  from  some  pencil-marks  can  never  be  cleaned  off  the  paper 
entirely;  second,  use  smooth  paper  with  good  finish;  third,  always 
use  clean  pure  gum.  A  neat  draughtsman  or  designer  will  take 
great  pains  to  keep  his  rubber  clean.  To  sharpen  a  pencil  cut  wood 
well  back  then  reduce  the  lead  to  a  point  with  a  pencil  file  or  pad. 
In  this  way  a  clean,  long,  sharp  point  is  made  and  no  lead  wasted  by 
breaking. 

Peg  Board. — An  invention  for  the  convenience  of  designers  in 
working  out  small  ground  fabrics,  used  instead  of  a  slate  or  design 
paper,  at  one  time  very  common  in  Scotland.  Other  devices  for 
the  same  purpose  are  now  supplied,  and  are,  without  doubt,  superior 
to  the  most  improved  pegging  board.  For  instance,  blocks  either 
cube  or  thin  to  cover  an  equal  area  each.  These  may  be  colored 
in  great  variety  ;  thus  aid  the  designer  to  keep  tally  of  the  disposi- 
tion he  wishes  to  make  of  several  kinds  of  yarn.  The  ruled  slate, 
however,  has  many  advantages,  especially  a  double  one,  which  can 
be  closed  like  a  book. 

Persian  Carpets. — Persian  carpets,  whether  wrought  in  Persia, 
India  or  elsewhere,  are  formed  upon  a  vertical  frame,  on  which 
warp  threads  are  arranged.  Upon  these  tufts  of  woolen  yarns  are 
knotted,  and  over  each    row  of  these  tufts  a  wool  thread  is   passed 


SPITZLI'S  MANUAL.  I  35 

to  bind  them.  Turkey  carpets  are  made  in  the  same  manner,  and 
some  French  tapestries;  only  in  the  latter  a  shuttle  needle  is  used 
in  attaching  the  woolen  threads  to  the  warp. 

Pick. — A  throw  of  the  shuttle,  also  one  filling  thread,  are  tech- 
nically termed  a  pick. 

Pick  Counters. — This  term  is  used  for  a  variety  of  applications. 
The  person  who  goes  about  the  weave-room  counting  the  picks  is, 
in  some  mills,  honored  with  this  title  ;  while  in  others  he  may  have 
a  different  appellation,  and  the  instrument  he  uses  for  a  guage  is 
called  pick  counter.  Some  looms  have  an  automatic  machine  for 
indicating  the  number  of  picks  that  have  been  woven  during  the 
day  ;  these  devices  also  have  this  name.  Linen  provers  are  some- 
times so  called.  While  on  this  subject  of  counting  it  will  be  well  to 
suggest  that  it  is  better  to  have  a  two-inch  guage  than  a  quarter 
inch. 

Pickers. — This  word  is  used  for  various  meanings.  There  are 
Wool,  Cotton,  Waste,  Rag,  Burr  Pickers,  &c. ;  Loom  Pickers.  As- 
sorters  are  also  called  pickers  in  some  districts. 

The  Wool  Picker  is  a  very  simple  machine,  and  is  used  for  open- 
ing the  wool  for  the  cards.  It  is  speeded  very  high,  and  the  teeth 
are  far  apart  in  order  to  do  the  work  without  tearing  the  wool. 

Cotton  Pickers  are  much  more  complicated,  larger  and  more 
expensive. 

Burr  Pickers  are  used  by  woolen  mills  to  extract  the  burrs  from 
the  wool.  There  are  several  good  machines  in  the  market  for  this 
purpose.  The  chemical  process  for  extracting  vegetable  substances 
from  the  wool  is  dangerous  unless  well  understood. 

Rag  and  Waste  Pickers  are  machines  which  convert  rags  and 
yarn  waste  into  shoddy. 

Loom  Pickers  are  made  of  rawhide,  sole  leather,  wood,  etc.,  etc. 
The  picker  or  picking  stick,  being  driven  by  cams  or  arms  for  the 
purpose,  drives  the  picker  and  it  the  shuttle. 

Picking  Out. — Picking  out  is  a  common  term  for  dissecting ; 
also,  when  a  weaver  has  to  pick  back  to  take  out  filling  on  the 
loom,  he  is  said  to  be  picking  out. 

Picking  Motion. — All  the  parts  of  a  loom  which  combined 
throw  the  shuttle. 

Pirn. — A  quill,  reed  or  small  shuttle. 


136  SPITZLI'S  MANUAL. 

Plaiting. — Plaiting  was  doubtless  the  beginning  of  weaving. 
The  remains  of  this  class  of  weaving  have  been  found  in  the  lakes 
of  Switzerland  among  the  lake  dwellings  which  belong  to  the  stone 
age. 

Poplin. — Poplins  proper  are  made  with  silk  and  worsted.  Fab- 
rics entirely  of  worsted  are  sometimes  so  named  by  the  trade. 

Porcupines. — Some  comb  circles  are  called  porcupines.  The 
name  is  also  used  for  coarse  gills  in  some  places. 

Presses. — Many  fabrics  must  be  pressed  one  or  more  times  dur- 
ing the  finishing  process.  Formerly  this  was  all  done  with  hand- 
screw  presses.  Now  the  hydraulic  press  is  used  or  the  more  recent 
inventions  by  means  of  which  goods  are  pressed  between  a  roll  and  a 
metallic  concave  plate,  the  goods  being  run  through  quite  rapidly 
while  in  the  other  style  of  presses  they  must  be  folded  between 
layers  of  press  paper,  the  several  pieces  built  up  into  a  pile  in  the 
press  with  hot  plates  between  them.  Here  they  must  remain  several 
hours  at  least,  and  often  the  processes  must  be  repeated.  The 
press  papers  should  be  of  very  good  stock,  smooth  and  tough. 

Prevention  of  Knots  in  Wool. — "  In  carding  there  are  often 
found  knots  in  the  wool,  and  the  foreman  should  be  aware  of  the 
source  of  this  defect,  for  a  material  loses  much  of  its  value  in  which 
it  is  found  to  exist  to  any  great  extent. 

The  causes  producing  knots  are  : 

Too  much  moisture  in  the  wool. 

Irregularities  in  the  surface  of  card  clothing. 

Unnecessary  coarseness  of  card  clothing. 

Dullness  of  the  teeth  of  the  card  clothing. 

Faulty  adjustment  of  intervals  between  the  rollers  ;  and  especially, 
the  fancy  being  too  far  off. 

When  this  case  occurs,  the  fancy  is  brought  nearer  the  main 
cylinder,  but  not  too  near,  however,  or  by  its  velocity  it  will  carry 
away  the  wool  from  the  surface  of  the  main  cylinder. 

The  fancy  ought  to  lightly  touch  the  wool  on  the  surface  of  the 
cards  of  the  main  cylinder,  so  as  to  smooth,  straighten  and  prepare 
it  to  be  hooked  by  the  doffer. 

The  harder  and  stronger  the  wool,  the  more  it  should  be  sub- 
jected to  the  action  of  the  fancy  ;  and,  on  the  other  hand,  the  finer 
it  is,  the  less  it  should  be  so  treated.  For  this  reason  fancies  are 
made  of  different  sizes,  and  it  may  be  well  to  add,  that  though 
many  machine  builders  make  them,  only  a  few  make  them  properly. 


SPITZLI'S  MANUAL.  I  37 

Fancies  are  sometimes  liable  to  the  important  defect  of  carrying 
off  the  wool  from  the  main  cylinder,  and  throwing  it  forcibly  into 
the  air.  This  imperfection  is  called  "  spitting,"  and  results  either 
from  shortness  or  stiffness  of  the  teeth,  from  their  being  too  thickly 
set,  or  from  the  dullness  of  those  of  the  main  cylinder.  It  may  be 
remedied  by  slightly  flattening  the  teeth  of  the  fancy,  if  too  stiff, 
and  sharpening  those  of  the  main  cylinder,  when  dull. 

To  obtain  a  good  and  advantageous  result  from  carding,  we  must 
have  : 

First — Perfectly  oiled  wool. 

Second— Very  little  moisture  in  the  wool. 

Third — No  irregularities  in  the  teeth. 

Fourth — Card  clothing  to  suit  the  nature  of  the  wool. 

Fifth — Cards  always  well  ground. 

Sixth — A  proper  adjustment  of  the  intervals,  especially  in  the 
case  of  the  fancy. 

Seventh — The  velocity  of  the  doffer  regulated  to  suit  the  product. 

Eighth — The  journals  of  each  roller  frequently  oiled  when  in 
motion. 

Ninth — A  temperature  of  180  to  200  Centigrade. 

Tenth — Clean  belts. 

We  may  add,  however,  that  a  temperature  of  25 °  C.  would  do  no 
harm  in  carding,  but,  on  the  contrary,  would  enable  the  wool,  which 
is  very  elastic  when  warm,  to  be  more   easily  drawn   out." — Leroux, 

Print  Cloth. — Raw  cotton  goods  woven  expressly  for  prints. 
Prints. — Cotton  goods  printed,  or  calico. 

Printed  Dress  Goods. — These  are  made  in  many  ways,  but  the 
name  was  first  given  to  cotton  warp  and  worsted  filling  goods,  or 
a  sort  of  delaine  when  printed. 

Pulled  Wool  or  Pelt  Wool. — The  wool  which  is  taken  from 
the  pelt  of  slaughtered  sheep  is  known  by  these  names  and  several 
others.  There  are  various  ways  of  pulling  wool — not  exactly  of  the 
pulling,  but  of  the  manner  of  loosening  the  wool  in  the  skin.  Sev- 
eral of  the  chemical  processes  (notably  the  lime  process)  are  very 
much  quicker  than  sweating,  but  much  more  unsafe,  besides  leaving 
so  much  lime  in  the  wool  as  to  make  it  difficult  to  scour.  Even 
with  sweating  the  healthiest  wool  is  easily  injured,  and  often  the 
damage  is  not  fully  developed  until  the  wool  has  been  subjected  to 
scouring  or  even  dye  liquors.     The  purchase  of  pulled  wool  then, 


I38  SPITZLI'S  MANUAL. 

is  decidedly  precarious;  even  tolerable  experts  are  frequently 
deceived.  When  wool  has  been  well  handled  in  pulling,  washing 
and  drying,  there  is  no  reason  why  it  should  be  inferior  to 
clipped  wool  of  the  same  quality  and  grade,  which  has  been 
clipped  when  the  sheep  would  naturally  shed  much  of  its  wool; 
the  proper  time  for  clipping  is  a  point  of  importance  often  for- 
gotten. There  is  no  doubt  that  wool  cut  while  it  still  has  a  firm 
root  in  the  skin  is  healthier  and  stronger  than  when  it  has  attained 
its  full  growth  and  ripeness,  as  it  were ;  but  the  growers  dislike  to 
lose  four  or  five  weeks'  growth,  and  therefore  wait.  As  sheep  are 
seldom  slaughtered  at  this  time,  the  inference  is  that  pelts  in  gen- 
eral have  "firm  wool"  on  them.  The  sweating  process  of  pulling 
is  simple  but  slow.  One  very  successful  wool-puller  selects  the 
pelts,  exposes  them  on  a  large  field,  flesh  side  up,  a  few  hours  on  a 
fair  day,  then  piles  them  in  his  storehouse,  taking  pains  to  thor- 
oughly salt  the  flesh  side  before  rolling  up  each  fleece  separately. 
When  ready  to  pull,  the  pelt  is  washed  and  prepared  as  usual,  taken 
to  the  sweating  pit,  allowed  to  remain  there  until  the  wool  is  begin- 
ning to  loosen  on  some  pelts  ;  these  are  then  taken  out,  and  the 
others  as  fast  as  they  reach  the  same  stage.  The  pullers  next  pull 
the  wool,  throwing  the  wool  very  similar  to  the  manner  of  wool 
sorters.  If  the  skin  is  in  good  condition  the  wool  pulls  freely  and 
without  bits  of  skin  coming  with  the  wool.  It  must  be  now  quickly 
dried  or  it  will  heat,  become  yellow  and  tender.  It  is  here  that 
many  pullers  lose  the  benefit  of  great  pains  in  other  stages  of  the 
processes.  Pulled  wool  containing  much  lime  is  much  more  readily 
and  thoroughly  scoured  if  oiled  with  some  good  saponified  oil, 
picked  and  allowed  to  lay  ten  or  twelve  hours  covered  up  before 
scouring.  The  quantity  of  oil  used  and  the  time  of  laying  must 
be  governed  by  the  temperature  and  condition  of  the  atmosphere  at 
the  time  and  place  of  its  being  done,  as  well  as  by  the  amount  of 
lime  present  in  the  wool.  One  to  two  gallons  of  oil  in  double  the 
quantity  of  water  are  safe  limits  to  give. 


Q. 

Quadrilled. — A  foreign  term  used  for  "  checkered,"  not  com- 
mon except  in  trade.  Quadrilled  design  paper  is  the  proper  name 
for  counter  ruled,  like  cross  section  paper.  This  quadrilled  paper, 
to  be  accurate,  requires  much  pains  and  time  in  preparing  the 
ruling  machinery,  consequently  perfect  paper  costs   far  more   than 


SPITZLI'S  MANUAL.  I  39 

the  same  quality  ruled  one  way  only.  Nearly  all  reliable  houses 
keep  only  a  very  good  quality  of  paper,  which  also  enhances  the 
price;  they  can,  however,  readily  furnish  cheaper  paper  and  com- 
mon cross-ruling  to  order. 

Quercitron  Bark. — The  inside  bark  of  black  oak  {queacus 
nigra).  It  was  formerly  used,  after  being  ground  or  bruised,  for 
dyeing  yellow,  etc.,  but  is  superseded  by  flavine. 

Quill. — A  weft  bobbin. 


R. 

Raising  Machine;  or,  Raising  Engine. — Scotch  and  English 
terms  for  the  machine  we  call  gigg. 

Recess. — A  crease  in  a  pattern  or  fabric  caused  by  adjoining 
threads  worked  in  a  manner  to  produce  a  sharp  depression  in  the 
surface. 

Receipts. — The  many  receipts  which  may  be  given  for  com- 
pounds and  compositions,  soaps  and  dyes,  etc.,  etc.,  have  all  a 
proper  place  and  use,  but  are  really  practical  only  when  prepared 
and  used  in  a  practical  manner.  In  other  words,  only  an  average 
formula  can  be  given  ;  variations  in  stuff  used,  in  the  process  of 
preparation,  and  uses  made  of  the  receipts,  can  not  be  allowed  for; 
they  must  be  left  altogether  to  the  judgment  of  the  operator. 
Dick's  Encyclopedia  of  Practical  Receipts  should  be  in  every 
manager's  and  overseer's  library.  Like  books,  also  others  quite 
different  yet  very  valuable,  and  a  host  of  receipts  for  dyeing,  are 
extant,  all  containing  many  valuable  receipts,  while  not  a  few  are 
worthless. 

Record  Books;  or,  Memorandum  Books  for  Designers,  Superin- 
tendents, etc.,  should  be  of  convenient  size,  good  quality  paper, 
plain  ruling,  and  pages  numbered.  Account  books  will  answer,  but 
the  size  of  book,  excepting  thickness  or  number  of  pages,  should 
be  same  as  the  design  and  sample  books.  To  keep  a  record  of 
everything  one  learns",  is  a  trivial  task ;  the  benefits  afforded  there- 
by may  be  inestimable.  The  difficulty  some  experience  in  acknowl- 
edging new  accessions  to  their  stock  of  knowledge  is  a  serious 
matter,  and  no  credit  to  any  one.  In  keeping  a  record,  write  con- 
cisely, never  hastily.  The  arrangement  of  the  book  should  be  a 
specimen  of  systematic  habits.     It  is   sometimes   necessary  to  make 


140  SPITZLI'S  MANUAL. 

a  memorandum  hastily  ;  have  a  special  book  for  this,  and  copy  from 
it  at  leisure. 

Reeds. — Reeds  are  a  series  of  narrow  strips  of  metal,  between 
which  the  threads  of  the  warps  pass  in  the  loom.  The  purpose  of 
the  reed  is  two-fold — to  keep  the  threads  evenly  divided  and  to 
strike  the  filling  in  many  places  in  beating  up.  The  derivation  of 
the  name  is  from  the  material  used  for  the  narrow  strips  years  ago, 
viz.,  split  reeds.  The  writer  has  a  very  fine  reed  of  this  description 
still  in  possession.  The  origin  of  the  word  split,  for  dent,  is  also 
explained  by  this  allusion  to  the  original  material  used  for  reed 
making.  The  coarser  the  reed,  to  a  certain  extent,  the  easier  the 
picks  go  into  the  fabric.  The  finer  the  reed  the  smoother  the 
goods,  and  with  perfect  reeds  the  less  reed  marks.  Reeds  may  be 
unevenly  set ;  the  wires  may  not  stand  parallel  with  the  warp  ;  the 
wire  may  be  too  thick,  thin,  wide  or  narrow  for  the  work  in  hand  ; 
indeed,  a  perfect  reed  is  not  so  easily  found  as  needed.  The  thread 
in  each  dent  should  be  such  as  to  be  the  same  in  each  repeat  of  the 
pattern.  Threads  riding  each  other  may  often  be  remedied  by  a 
different  number  of  threads  per  dent,  or  by  taking  different  threads 
of  the  pattern  in  the  same  dent.  Some  patterns  look  best  with  all 
the  threads  of  the  same  texture  together  in  the  same  dents  ;  others 
are  much  improved  by  a  different  division.  Reeds  are  damaged 
more  by  careless  handling  and  abuse  than  by  actual  wear  and  tear 
necessary.  Flat  steel  wire  is  now  considered  the  best  material  for 
reeds ;  brass  and  iron  are  too  soft,  and  once  bent  do  not  spring 
back  into  shape  and  place.  Rules  for  estimating  reeds  may  be  found 
further  on,  under  the  head  of  Rules. 


SPITZLI'S  MANUAL. 


141 


TABLE  OF  REEDS, 

Showing  the  Threads  per  Dent,  No.  of  Reed,  and  Threads  per  Inch. 


a 

a 

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Q 

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a      j= 

7 

14 

21 

28 

35 

42 

17.5 

24.5 

28 

31.5 

38.5 

7.5 

15 

22.5 

30 

37.5 

45 

18.75 

26.25 

30 

33.75 

41.25 

8 

16 

24 

32 

40 

48 

20 

28 

32 

36 

44 

8.5 

17 

25.5 

34 

42.5 

51 

21  25 

29.75 

34 

38.25 

46.75 

9 

18 

27 

36 

45 

54 

22.5 

31  5 

36 

40.5 

49.5 

9.5 

19 

28.5 

38 

47  5 

57 

23  75 

33.25 

38 

42.75 

52.25 

10 

20 

30 

40 

50 

60 

25 

35 

40 

45 

55 

10.5 

21 

31.5 

42 

52.5 

63 

26.25 

36  75 

42 

47.25 

57.75 

11 

22 

33 

44 

55 

66 

27.5 

38.5 

44 

49.5 

60.5 

11.5 

23 

34.5 

46 

57.5 

69 

28.75 

40.25 

46 

51.75 

63.25 

12 

24 

36 

48 

60 

72 

30 

42 

48 

54 

66 

12.5 

25 

37  5 

50 

62.5 

75 

31.25 

43.75 

50 

56.25 

68.75 

13 

26' 

39 

52 

65 

78 

32  50 

45.5 

52 

58.5 

71.5 

13.5 

27 

40.5 

54 

67.5 

81 

33.75 

47.25 

54 

60.75 

74.25 

14 

28 

42 

56 

70 

84 

35 

49 

56 

63 

77 

14.5 

29 

43.5 

58 

72.5 

87 

36.25 

50.75 

58 

65.25 

79.75 

15 

30 

45 

60 

75 

90 

37.5 

52.5 

60 

67.5 

82.5 

15.5 

31 

46.5 

62 

77.5 

93 

38.75 

54  25 

62 

69.75 

85.25 

16 

32 

48 

64 

80 

96 

40 

56 

64 

72 

88 

16  5 

33 

49.5 

66 

82.5 

99 

41.25 

57.75 

66 

74.25 

90.75 

17 

34 

51 

68 

85 

102 

42.5 

59.5 

68 

76.5 

93.5 

17.5 

35 

52.5 

70 

87  5 

105 

43.75 

61  25 

70 

78.75 

96.25 

18 

36 

54 

72 

90 

108 

45 

63 

72 

81 

99 

18.5 

37 

55.5 

74 

92  5 

111 

46.25 

64.75 

74 

83.25 

101.75 

19 

38 

57 

76 

95 

114 

47.5 

66.5 

76 

85.5 

104.5 

19.5 

39 

58.5 

78 

97.5 

117 

48.75 

68.25 

78 

87.75 

107.25 

20 

40 

60 

80 

100 

120 

50 

70 

80 

90 

110 

20.5 

41 

61.5 

82 

102.5 

123 

51.25 

71.75 

82 

92.25 

112.75 

21 

42 

63 

84 

105 

126 

52.5 

73.5 

84 

94.5 

115.5 

21.5 

43 

64.5 

86 

107.5 

129 

53.75 

75.25 

86 

96.75 

118.25 

22 

44 

66 

88 

110 

132 

55 

77 

88 

99 

121 

22.5 

45 

67.5 

90 

112.5 

135 

56.25 

78.75 

90 

101.25 

123.75 

23 

46  ' 

69 

92 

115 

138 

57.5 

80.5 

92 

103.5 

126.5 

23.5 

47 

70.5 

94 

117.5 

141 

58.75 

82.25 

94 

105.75 

129.25 

24 

48 

72 

96 

120 

144 

60 

84 

96 

108 

132 

25 

50 

75 

100 

125 

150 

62.5 

87.5 

100 

112.5 

137.5 

26 

52 

78 

104 

130 

156 

65 

91 

104 

117 

143 

27 

54 

81 

108 

135 

162 

67.5 

94.5 

108 

121.5 

148.5 

28 

56 

84 

112 

140 

168 

70 

98 

112 

126 

154 

29 

58 

87 

116 

145 

174 

72.5 

101.5 

116 

130.5 

159.5 

30 

60 

90 

120 

150 

180 

75 

105 

120 

135 

165 

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144  SPITZLI'S  MANUAL. 

Reels. — Measuring  Reels  are  used  principally  by  spinners  and 
designers  to  measure  samples  of  yarn  before  weighing  to  ascertain 
the  size  number.  This  machine,  although  small,  is  expensive;  to  be 
really  useful  it  must  be  accurate,  well  made  and  finished.  There 
are  many  kinds  with  registering  dials,  etc.,  which  add  to  the  cost. 
A  measuring  reel  for  measuring  cloth  as  it  comes  from  the  loom 
was  invented  not  long  ago,  but  the  inventor  has  withheld  it  for 
further  improvements. 

Yarn  Reels,  for  winding  the  yarn  from  bobbins,  are  also  used  in 
great  variety.  Some  very  complete  machines  of  this  kind  are 
made  by  a  firm  in  Pawtucket,  R.  I.  It  is  economy  to  use  a  good 
reel ;  the  character  of  the  skein  is  an  important  point  when  it 
becomes  necessary  to  wind  or  spool  the  yarn  again.  In  tieing  the 
parts  of  skeins  together  care  should  be  taken  to  tie  with  binding 
yarn  that  will  not  break  too  easily,  making  knots  that  will  not  untie, 
at  the  same  time  tieing  loosely  that  the  dyer  may  easily  slip  the 
binding  yarn  several  times  while  in  the  kettles  (necessary  to  get 
some  colors  even  on  the  skein).  The  binding  yarn  used  to  tie 
several  skeins  together  should  be  stronger  still  and  tied  more 
loosely  ;  the  dyer  must  lift  this  yarn  by  these  ties  several  times  while 
the  yarn  is  very  wet  and  consequently  heavy.  It  is  well  to  have 
two  distinct  kinds  of  binding  yarn  for  these  two  purposes.  The 
ends  of  knots  should  not  be  longer  than  one  inch  on  the  binding 
yarn.  When  the  skeins  must  be  taken  apart,  it  is  a  loss  of  time  if 
the  binding  yarn  is  so  strong  that  it  cannot  be  readily  broken  by 
the  operative. 

Dye-house  Reels  are  in  many  instances  clumsy,  inconvenient  con- 
trivances, some  driven  by  hand,  others  by  belts  and  only  here  and 
there  as  they  ought  to  be  by  shafting  and  clutches.  A  man  to  turn 
the  reel  is  very  expensive  power.  The  reels  should  be  almost 
round  if  goods  are  injured  by  bar  marks  in  draining.  The  writer 
has  seen,  in  one  dye-house,  drums  two  feet  in  diameter ;  they  were 
so  arranged  as  to  be  turned  at  slow  or  high  speed  in  either  direction 
by  simply  throwing  in  a  different  clutch.  The  slow  speed  was  used 
for  winding  up  and  passing  the  goods  through  the  liquor,  the  quick 
motion  was  applied  when  the  goods  were  upon  the  reel  after  the 
dyeing  process  was  finished.  Before  starting  the  high  speed  a  sort 
of  cap  or  screen  was  dropped  over  the  reel ;  the  rapid  revolution  of 
the  reel  extracted  the  dye  liquor  in  the  goods,  the  screen  was  so 
arranged  as  to  keep  it  from  flying  about  the  room  and  cause  it  to 
drip  into  the  kettle. 


SPITZLI'S  MANUAL.  I  45 

Repellants. — This  class  of  goods  was  at  one  time  known  as 
Water-Proof  Cloaking.  Very  few  pieces  sold  as  such,  however, 
were  water-proof.  Cotton  warp  and  woolen  filling  are  the  materials 
used.  From  3600  to  5600  threads  in  the  warp  and  from  two-run  to 
seven-run  filling  are  the  limits  within  which  the  writer  has  made  a 
large  variety  of  these  goods.  The  size  of  cotton  warp  and  the  tex- 
ture are  varied  to  suit  the  demands  of  the  market,  varying  very 
much  in  weight  and  the  amount  of  cotton  to  be  shown  on  the  face. 
In  using  low  stock  for  filling  great  care  must  be  taken  to  keep  with- 
in due  bounds,  or  tender  goods  will  be  the  result.  We  give  four  of 
the  most  common  textures  : 


4DDD* 

4DDD* 

5DDDD* 

6nnnnn* 

3DD*D 

3D*nn 

4D*nnn 

snn^nnD 

2D*DD 

2nn*n 

3DDD*n 

4nnnn*n 

!*□□□ 

i*DDD 

2*nnDn 

3D*nnnn 

1234 

1234 

iDD*DD 

2nnn*DD 

123456 

i*DDDDD 
1  2  3  4  5  6 

As  regards  the  finish  of  these  goods,  we  would  say,  full  thor- 
oughly, as  quickly  as  possible,  without  allowing  the  goods  to  get 
very  warm ;  heat  and  soap  permanently  fix  the  stain  upon  cotton 
which  comes  from  the  colors  of  the  filling.  To  get  a  good  mill  nap 
some  finishers  gigg  lightly  before  fulling,  but  it  must  be  done  very 
evenly  and  with  great  care  or  the  goods  will  be  tender.  If  the  cot- 
ton must  not  be  very  white  the  goods  may  be  steamed  or  boiled. 

Ribbons. — "The  original  meaning  of  the  word  ribbon  is  a  long 
web  of  silk,  worn  for  ornament  or  use.  Ribbons  of  linen,  worsted, 
gold  or  silver  thread  were  formerly  included  in  the  term."  Ribbon 
in  French  is  ruban  ;  in  German  and  Swedish,  band  j  Danish,  baand. 
Silk  was  early  wrought  into  ribbons,  and  for  centuries  one  web  was 
made  at  a  time  ;  great  numbers  may  now  be  made  at  the  same  time 
in  the  same  loom.  The  shuttle  of  the  ribbon  loom  is  not  thrown, 
but  is  governed  by  positive  motion.  It  is  in  this  particular  method 
of  the  shuttle  motion  and  the  other  necessary  arrangements  for  nar- 
row webs  that  the  loom  differs  from  others. 

Ribs  — Narrow  raised  stripes  in  fabrics  are  called  ribs.  Some- 
times wide  ones  also,  but  the  proper  application  of  the  term  is  to 
small  or  narrow  effects  of  this  kind. 

Roving  or  Roping. — The  untwisted  strand  of  fiber  ready  for  the 

spinning  machine.     All  strands  in  machinery  before  that  producing 

roving  are   called   slivers,  slubbing,  rolls,   etc.,  etc.     Some   rovings 

are  not  twisted  at   all,  while   others   must  have  considerable   twist. 

10 


I46  SPITZLI'S  MANUAL. 

This  difference  is  due  altogether  to  the  kind  of  machinery  used,  and 
the  variations  in  amount  of  twist  to  the  kind  and  condition  of  the 
stock  in  hand.  The  size  of  the  roving  is  almost  always  larger  than 
the  thread  to  which  it  is  to  be  spun  ;  the  difference  is  also  con- 
trolled by  the  machinery,  kind  and  condition  of  the  staple. 

Rubbers. — The  condensing  rolls  on  a  card.  Rubber  springs  on 
many  machines.  The  kinds  of  rubber  needed  by  the  designer  are : 
First,  a  piece  of  pure  gum;  second,  some  sponge  rubber;  other 
kinds  for  erasing  may  be  added  for  special  work. 

Rules. —  Yam  Calculations:  To  find  the  quantity  of  yarn 
required  for  a  warp,  in  runs — 

(a)  Multiply  the  number  of  ends  by  the  length  in  yards  and 
divide  by  1600. 

Example. — 3,200  ends  X  300  yards  =  o6o,ooo  yards-M6oo  yards  = 
600  runs. 

(0)  Multiply  the  number  of  biers  by  the  length  in  yards  and 
divide  by  40. 

Example.— 80  biers  x  300  yards =  24,000-^-40=600  runs. 

To  find  the  size  of  a  woolen  thread  when  composed  of  several 
minor  threads — the  size  numbers  of  the  single  threads  being  known. 

(a)   Divide  the  product  of  the  size  numbers  by  their  sum. 

Example. — A  2-run  and  3-run  thread  being  twisted  together, 
what  is  the  size  of  the  two-fold  yarn  ? 

2  x  3-^2+3  =  6-7-5=1-}  runs. 

Example. — A    2-run,    4-run    and    6-run    thread    being   twisted 
together,  what  is  the  size  of  the  three-fold  yarns  ? 
2    x  4-=-2    +4=8-j-6  =i§   Runs. 
if  X6-Mf  +  6=8-f-7f=i  JT  Runs. 
(0)  Find  the  actual  weight  of  the  several  single  threads  per  yard 
in  grains  ;    divide  7000  by  their  sum  to  find  the   yards  per  pound. 
Divide  the  yards  per  pound  by  the  number  of  yards  per  pound  of 
No.  1  yarn  ;  the  quotient  will  be  the  correct  size. 
Example. — 2-run  and  3-run  together. 

A  2-run  thread  weighs  2^0  of  an  ounce  per  yard. 

a  u  «  (i        _x_       "  "  " 

o  300 

2&0  +  300=6   ounce  per  yard.       7000 -+-§-=8400    yards    per   pound. 
8400 -T-i 600=5 £  Runs,  or  8400-7-840=1^0.  10  (Cotton.) 
To  ascertain   the   number  of  threads  in  a  warp,  the   number  per 
inch  in  finished  goods   being  known,  multiply  the  threads   per  inch 
by  the  number  representing  the  finished  width  in  inches. 


SPITZLI'S  MANUAL.  147 

To  ascertain  the  quantity  of  each  kind  of  yarn  in  a  warp,  the 
length,  number  of  ends  per  warp,  and  the  threads  in  each  pattern 
being  known,  add  the  number  of  threads  of  each  kind  of  yarn  per 
pattern  together;  the  sum  will  be  the  total  number  of  threads  per 
pattern.  Divide  the  total  number  of  ends  in  warp  by  the  ends  per 
pattern  ;  the  quotient  will  show  the  number  of  patterns  per  warp. 
Multiply  the  number  of  each  kind  of  threads  per  pattern  by  the 
number  of  patterns  per  warp ;  the  several  products  will  show  the 
ends  of  each  kind  of  yarn  per  warp.  Multiply  the  ends  of  each 
kind  of  yarn  per  warp  by  the  length  of  the  warp  in  yards ;  the  sev- 
eral products  will  show  the  yards  of  yarn  required  of  each  kind. 
To  ascertain  the  quantity  of  filling  required  for  one  yard  of  cloth, 
multiply  the  threads  or  picks  per  inch  by  the  number  of  inches 
representing  the  width  of  the  goods ;  the  product  is  the  quantity  of 
filling  required  in  yards.* 

Reed  Calculations .—The  threads  per  warp  and  threads  per  inch 
being  known,  find  the  width  by  dividing  the  total  number  of  threads 
by  the  threads  per  inch. 

The  threads  per  warp  and  the  width  being  known,  find  the  threads 
per  inch,  by  dividing  the  threads  per  warp  by  the  width  in  inches. 

The  threads  per  inch  and  width  being  known,  find  the  total  num- 
ber of  threads  by  multiplying  the  two  known  quantities. 

When  the  threads  per  dent  are  regular,  to  find  the  threads  per  inch, 
multiply  the  threads  per  dent  by  the  dents  per  inch. 

When  the  threads  per  dent  vary,  find  the  average  number  of 
threads  per  dent,  and  proceed  as  above. 

Example. — What  are  the  threads  per  inch  when  the  warp  is 
reeded  as  follows  in  a  No.  15  Reed  : 

2,     4,     4,     2,     3,     per  dent,  (making  5  dents  per  set.) 

2+4  +  4  +  2+3=15-7-5=3  threads  for  the  average. 

3X  15=45  threads  per  inch. 

It  frequently  happens  that  the  average  number  of  threads  in- 
cludes an  inconvenient  fraction  ;  to  avoid  one  calculation  with  this 
fraction,  multiply  the  sum  of  the  contents  of  the  dents,  by  the  dents 
per  inch,  and  then  divide  by  the  dents  per  set. 

*  Note. — The  shrinkage  of  the  goods  must  always  be  borne  in  mind,  and  in- 
cluded in  estimates.  Allowances  for  "  take-up  "  of  yarn  in  weaving,  waste,  etc., 
must  be  taken  into  account.  Arbitrary  rules  in  relation  to  these  allowances  are 
of  little  use  ;  there  is  much  variation  in  different  mills  and  under  different  circum- 
stances.    The  convenience  of  minute  records  on  such  subjects  is  apparent. 


I48  SPITZLI'S  MANUAL. 

Example. — What  are  the  threads  per  inch  when  the  warp  is 
reeded  as  follows  in  a  No.  15  Reed  : 

3,     4,     4,     3,     3,     per  dent,  (making  5  dents  per  set.) 
3  +  4  +  4  +  3  +  3=17  X  15=255-5-5=51  threads  per  inch. 

To  Estimate  the  number  of  Heddles  required  upon  each  Harness. — 
Multiply  the  number  of  threads  on  each  harness  per  pattern  by  the 
number  of  patterns  in  the  entire  warp.  Example — Warp,  4,800 
threads.     Drawing  in  draft  reads  as  follows  : 

1        2       3       4     —     —       7       8     —     —     —     — 

—     —       3        4___     —     —     —     1112 

1        2     —     —     —       6     —     —       9     10     —     — 
1        23456789     10     11      12 

No.  of  Th'ds  per  Patterns 

Harness.  Patterns.  per  Warp. 

i 3  x  160  =  480 

2... 3  x  160  =  480 

3 3  x  160  =  480 

4 3  x  160  =  480 

5 2  x  160  =  320 

6 2  x  160  =  320 

7.. 2  x  160  =  320 

8 ..  2  x  160  =  320 

9 3  x  160  =  480 

10 ..  3  x  160  =  480 

11 2  x  160  =  320 

12 ..  2  x  160  =  320 

Total  Threads ._   30  4800 

When  the  drawing-in  draft  is  very  irregular  this  method  is  con- 
venient because  so  easily  proved. 


S. 


Samples. — It  is  highly  important  that  every  factory  preserve 
samples  of  all  the  kinds  and  variations  of  goods  made,  also  samples 
of  the  stock,  yarn  or  colors  which  cause  the  variations,  with  lucid 
records.  If  it  is  important  for  the  factories,  it  is  doubly  so  for  man- 
agers, designers  and  overseers.  Sample  books  are  perhaps  not  to  be 
depended  upon  as  evidence  of  much  knowledge,  however  well 
filled  ;  but  they  may  show  an  extensive  experience,  and  their  con- 
dition will  indicate  many  habits  of  the  compiler. 


SPITZLI'S  MANUAL.  1 49 

Sample  Yarns. — Ashton  recommends  that  a  collection  of  samples, 
accurately  numbered,  be  used  for  comparison  until  great  familiarity 
with  yarns  makes  them  unnecessary  ;  he  advises  washed  yarns  only. 
The  better  way  is  to  take  a  liberal  portion  of  the  samples  of  each 
size,  wash  it  thoroughly,  when  dry  (let  the  skein  hang  loose  while 
drying)  label  it  with  the  numbers,  showing  the  then  actual  weight 
and  size,  by  all  the  most  common  systems  of  numbering  ;  to  the 
clean  skein  tie  the  remainder  of  the  skein  of  raw  yarn,  similarly 
labeled.  If  then  the  raw  yarn  is  numbered  by  the  spinner,  and  the 
washed  yarn  is  renumbered  after  shrinkage,  the  comparative  shrink- 
age of  different  sizes  will  also  be  exhibited  by  the  difference  in 
marks  upon  the  labels,  clean  and  raw.  Other  comparative  memo- 
randums may  be  attached,  all  of  which  is  little  trouble.  The  bene- 
fit in  return  is  inestimable. 

Sanders  or  Saunders. — This  is  the  wood  of  a  tree  grown  in 
the  East  Indies.  Is  harder  and  more  resinous  than  Barwood  or 
Camwood,  but  considered  by  many  as  a  species  of  Barwood.  As- 
tringents such  as  sumach,  galls,  etc.,  help  to  extract  the  coloring 
matter.  Alcohol  will  extract  it  entirely.  This  wood  requires  more 
boiling  than  any  other  dyewood  to  extract  the  color. 

Satin. — Real  satin  is  a  silk  fabric  in  which  the  warp  is  allowed 
to  float  over  the  filling  in  a  manner  covering  it  entirely  and  present- 
ing a  smooth,  lustrous  face. 

Satinets. — Are  part  woolen  fabrics,  in  which  the  face  shows 
only  the  woolen  filling,  the  cotton  warp  being  less  prominent  or  out 
of  sight.  A  good  satinet  is  a  very  serviceable  piece  of  goods,  and 
many  a  workman  would  be  content  with  a  satinet  suit  if  well  made ; 
but  few  satinets  can  now  be  produced  without  the  introduction  of 
an  excessive  amount  of  short  staple,  the  ruling  market  prices  being 
so  low. 

Satinettes. — A  cheap  imitation  satin. 

Scouring. — Scouring  implies  a  more  severe  treatment  than  wash- 
ing. Scouring  wool  and  woolen  goods  is  an  exceedingly  important 
branch  of  woolen  manufactures ;  besides  requiring,  on  the  part  of 
those  in  charge,  a  thorough  knowledge  of  chemistry,  as  far  as  applica- 
ble, it  also  demands  a  wide  experience.  The  water  should  be 
analyzed,  the  nature  of  the  chemicals  used  and  their  action  upon 
the  material  and  impurities  thoroughly  understood. 

Selisia. — A  cotton  fabric  quite  firm,  with  a  gloss  finish  upon  the 
face  side,  used  for  lining. 


150  SPITZLI'S  MANUAL. 

Selvages. — The  selvage  is  a  narrow  band  woven  on  the  edges  or 
sides  of  goods,  and,  in  some  way,  made  to  ornament  rather  than 
detract  from  the  general  appearance  of  the  piece  when  right  and  as 
they  ought  to  be.  To  neglect  this  is  quite  common  among  opera- 
tives; for  this  there  is  the  excuse  of  ignorance  of  the  importance  of 
selvages,  but  there  is  no  excuse  for  those  who  have  had  better 
advantages  to  observe  the  benefit  of  handsome  effects.  Handsome 
because  clean,  clear,  perfect  and  in  proper  contrast  of  colors  or 
fabric  or  both.  The  selvages  must  endure  more  chafing  from  the 
shuttle  and  reed  than  the  body  yarn,  consequently,  they  should 
always  be  made  of  yarn  a  little  stronger  than  that  used  in  the  main 
fabric,  unless  there  is  special  and  good  reason  for  the  contrary. 
Selvages  are  made  long  and  short,  etc.,  for  the  same  reason  as  the 
edges  (which  see),  but  all  troubles  of  this  kind  are  usually  worse  in 
selvage  than  further  in.  There  is  another  cause  for  long  and  short 
selvages,  which  is  independent  of  the  body  goods,  and  that  is  the 
difference  of  texture  between  selvage  and  cloth  adjoining,  which  will 
occasionally  make  the  warp  and  selvage  yarn  take  up  differently. 
It  is  sometimes  necessary  to  weave  two  or  more  widths  in  one  loom, 
in  which  case  it  will  be  necessary  to  bind  the  outside  selvage 
threads  where  two  selvages  adjoin,  or  the  selvage  will  ravel  out 
easily.  This  is  done  by  means  of  a  pair  of  lace  heddles  for  each 
inside  selvage.  Selvages  should  be  neat  and  show  good  taste. 
Ugly  selvages  on  a  good  piece  of  cloth  may  be  compared  to  an  old 
hat  and  boots  on  a  person  otherwise  well  dressed. 

Sets. — Certain  complements  of  machinery  or  parts  thereof, 
threads,  patterns,  etc.,  etc.  The  "  set  "  of  cards  includes  all  the 
cards  through  which  the  same  stock  must  pass  to  complete  the  pro- 
cess. For  woolen  carding  three  cards,  differing  only  in  the  manner 
of  entering  and  delivering,  size  of  wire  and  speed  of  certain  parts, 
complete  the  most  common  set.  In  worsted  cards  or  scribblers  the 
several  cylinders  are  usually  all  combined  by  one  frame,  thus 
making  one  machine  of  what  at  one  time  were  separate  parts  of  a 
set.  The  number  of  cards  in  a  cotton  set  vary  very  much.  (See 
Sett.) 

Sett. — A  term  used  in  England  "  to  indicate  the  pitch  or  the 
fineness,  or  the  distance  apart  of  the  warp  threads  as  they  are 
separated  or  distributed  over  the  fabric  by  the  reed.  By  the  Lock- 
port  system  the  sett  is  indicated  by  the  number  of  reeds  or  splits 
per  inch  ;  and  the  number  of  ends  through  each  split  is  understood 
to  be   two,   unless    when   otherwise   expressed;    consequently  what 


SPITZLI'S  MANUAL.  I  5  I 

would  be  termed  a  thirty  sett  would  represent  60  ends  per  inch. 
The  great  variety  of  setts  used  in  England  is  well  set  forth  in  the 
following  quotation  from  Thomas  R.  Ashenhurst : 

"  If  we  leave  Stockport  and  take  what  is  known  as  the  Manchester 
and   Bolton  system   we   have   something  totally  different.     By  this 
system  what  is  termed  the  sett   is  the  number  of  Beers  of  40  ends 
each   in   24^  inches.     If  we   leave  Lancashire  and  enter   Yorkshire 
we  find   different  systems   again   in  use.      At  Huddersfield   the  old 
sett  system  was   based   upon   the  number  of  Beers  of  38  ends  each 
in    30  inches,  but  I  understand   many  of  the  firms  have  abandoned 
this  and  adopted   the  reeds  per  inch  as  their  sett.     If  we  go  from 
Huddersfield  to  Holmfirth,  a  distance   of  some  six   or  seven   miles, 
we  find  their  system  is  based  upon  10  ends  per  foot,  so  that  if  there 
are  twenty  times   ten   ends,   or   assuming    two  ends    in   each  split, 
twenty  times  five  reeds   in   one  foot,  it  would   be   termed  a  twenty 
sett,  or  if  reduced  to  the  same  system  as  the  others  it  would   be  the 
number  of  Beers  of  40  ends  each   in  48  inches.     If  we  take  other 
woolen  districts  we  shall  find   the  calculation   based  upon  the  num- 
ber of  Portits,  Porties,  or  Porters,  as  they  are  variously  known,  in  a 
given  number  of  inches  (the  Portit  and  the  Beer  are  the  same  thing 
known   by  the  different  names   in  different  districts.)     The   Portits, 
as  well  as  Beers,  are  variable  quantities   according  to  the  custom  of 
the  district,  and   the  number  of  inches  which   is  taken   as   the  basis 
is  different   also  in   each  district.      If  we  leave  the  woolen  district 
and  come  into  the  Bradford  worsted  district,  we  find  the  sett  system 
based  upon  the  number  of  beers  of  40  ends  each   in  36  inches.     In 
Scotland  the  sett  is  reckoned  by  the  number  of  reeds  in  37  inches, 
thus  if  there  are  1200  reeds  in  37  inches  it  would  be  called  a  twelve 
hundred  reed,  and  there  are  always  two  ends  through  each  split  un- 
less otherwise  expressed,  consequently  a  twelve  hundred  set  means 
2400  ends  in  37  inches.     In   some  of  the   silk   manufacturing  dis- 
tricts the  sett   is  indicated  by  the  number  of  reeds  in  the  width  of 
the  piece,  and  the  ends  through  each  split  stated  at   the  same  time; 
thus   there  may  be    1200   reeds  in    18  inches,  and   eight   threads  in 
each  split.     It  would  then  be  called  twelve  hundred   eight  thread, 
eighteen  inches  ;  or  if  the  piece  was  24  inches  wide  it  might  still  be 
a  twelve  hundred  eight  thread:     But  in  the  one  case  there  would  be 
66f  splits  per  inch  or  533^  ends  per  inch,  and   in   the  other  case 
there  would  be  50  splits  or  400  ends  per  inch.     I  have  enumerated 
only  a  few  of  the  systems  in  use  ;    it  would  not   be  very  difficult   to 
increase    the    list   considerably,  but    those    I    have  named  will    be 
sufficiently  representative  for  our  purpose.     To  convey  a  little  more 


152  SPITZLI'S  MANUAL. 

clearly  to  your  minds  what  these  different  systems  represent  I  will 
make  a  few  comparisons.  Most  people  engaged  in  the  Bradford 
manufacturing  trade  are  familiar  with  the  term  60  sett. 

By  Bradford    system  60  sett  represents  66f  ends  per  inch. 
"    Stockport  "      60     "  "         120 

"    Huddersfield  "      60     "  "  76 

"    Holmfirth         "      60     "  "  50 

"    Bolton  "      60     "  <       "  98f4     " 

Or  to  enable  me  to  include  the  Scotch  and  silk  trades  in  the 
comparison,  I  will  take  a  Bradford  60  sett  and  I  find  it  will  be 
equal  to  Bolton  4°t52 

Stockport  33^ 

Huddersfield     52    on  the  old  system. 

Huddersfield     33-g-  on  the  new  system. 

Holmfirth  80 

Scotch  1233^ 

Silk  800    two  thread  24  inches." 

Shed. — The  separation  or  opening  in  the  warp  threads  on  the 
loom,  made  by  means  of  the  harnesses  or  the  jacquard  machine  for 
the  shuttle  to  pass  through,  at  the  same  time  leaving  a  thread  in  the 
shed  which  is  beaten  up  to  the  cloth  by  the  lathe.  The  shed  is 
then  changed  for  the  next  passage  of  the  shuttle  ;  each  such  passage 
is  called  a  pick.  Upon  the  correct  timing  of  the  opening  and  clos- 
ing of  the  shed,  upon  a  perfect,  clear,  neither  too  high  or  too  low, 
too  tight  or  too  loose  a  shed  much  depends.  Open  the  shed  too 
late  or  close  it  too  early  the  shuttle  is  more  or  less  obstructed  in  its 
passage.  The  evil  may  be  so  bad  as  to  throw  the  shuttle  out,  or 
only  to  make  the  warp  go  bad  at  the  sides,  but  to  whatever  degree 
this  evil  exists,  rough  and  imperfect  edges  in  the  goods  is  a  sure  con- 
sequence. Too  high  or  too  low  a  shed  is  often  the  result  of  heed- 
lessness in  starting  a  warp,  sometimes  the  loom  fixer  tinkers  with 
the  shed  motion  to  make  the  shuttle  behave,  when  the  trouble  is  in 
the  picking  or  box  motion,  which  must  be  timed  correctly  as  well  as 
the  harness  mechanism.  Tight  or  loose  sheds  are  not  altogether 
produced  by  the  take-up  and  let-off  motions.  If  the  whip  roll  and 
breast-beam  are  both  too  high,  the  lower  shed  will  be  tight,  the 
upper  one  loose,  the  contrary  position  of  these  two  pieces  or  parts 
will  reverse  the  effect  on  the  shed.  When  only  one  of  them  is  out 
of  line  the  evil  is  not  so  perceptible  in  the  shed  unless  there  are 
many  harnesses,  in  which  case  the  harnesses  near  or  far   away  from 


SPITZLI'S  MANUAL. 


153 


the  part  in  wrong  position  will  be  differently  affected,  which  will 
cause  an  uneven  shed.  These  are  points  which  prove  seriously 
troublesome  in  some  goods,  while  in  others  they  must  be  made  use 
of  to  produce  the  right  effect  or  to  humor  a  warp. 

Shoddy. — Stock  which  has  been  recovered  from  yarn  or  cloth  by 
conversion  into  staple  sufficiently  good  to  spin  again.  There  is  a 
great  difference  in  the  success  of  different  operators  with  the  same 
stock  and  machinery.  Shoddy  is  very  useful,  almost  indispensable 
in  some  kinds  of  goods  ;  it  will  yield  a  better  nap  than  longer  stock. 
Shoddy  made  of  old  rags  is  not  good,  being  lifeless,  lustreless  and 
cannot  give  goods  the  proper  character  or  strength  ;  it  is  from  ex- 
cessive and  fraudulent  use  of  this  class  of  stock  that  the  prejudice 
against  shoddy  has  arisen.  Good  shoddies  may  also  be  used  to 
excess,  and  the  goods  weakened  thereby,  but  the  expert  manufac- 
turer discovers  the  difficulty  before  the  goods  are  made  by  the 
reduction  of  product — a  serious  matter  in  American  manufacturing. 
Flocks  are  not  shoddy,  in  the  present  use  of  the  word. 

Shoddy  Pickers. — These  are  only  a  variation  of  the  waste 
pickers  to  adapt  them  to  the  more  difficult  work  of  unraveling 
cloth  instead  of  yarn. 

Shellac. — "  Shellac  or  lac  is  a  resinous  substance  which,  in 
India,  flows  from  certain  trees  in  the  form  of  lucid  tears,  in  conse- 
quence of  punctures  made  upon  their  branches  by  a  small  insect. 
Shellac  is  very  apt  to  be  adulterated  with  common  resin,  and  hence, 
unless  when  a  pale  lacquer  is  required,  most  artisans  prefer  seed  lac. 
When  lac  is  mixed  with  a  little  resin  and  colored  with  vermillion  or 
ivory  black  it  forms  sealing  wax.  Shellac  is  soluble  in  alcohol  but 
not  in  turpentine.  It  is  also  soluble  in  alkaline  solutions,  including 
ammonia.  A  solution  of  borax  in  water  dissolves  it  readily,  and  the 
resulting  solution  has  been  used  as  a  cement,  as  a  varnish,  and  as  a 
basis  for  indelible  ink.  It  is  much  used  by  hatters  as  an  insoluble 
cement." — Workshop  Companion. 

Shuttles. — Shuttles  are  the  vehicles  for  carrying  the  filling  into 
and  through  the  warp  shed.  Upon  the  employment  of  the  proper 
shape  and  weight  in  shuttles  much  depends  in  the  running  of 
looms.  In  the  particular  of  quality  and  kind  of  wood  used  in  shut- 
tles Europe  is  far  in  advance  of  this  country,  and  American  manu- 
facturers suffer  not  a  little,  from  the  false  economy  exhibited  in  the 
purchase  of  cheap  shuttles. 

Silk  Mixtures. — Any  fabric   in  part  made  of  silk   may  properly 


154  SPITZLI'S  MANUAL. 

be  called  a  silk  mixture  ;  but  the  goods  known  by  this  trade  name 
are  cassimeres  wherein  fine  lines  or  dots  are  produced  by  the  intro- 
duction of  a  small  percentage  of  silk  threads,  with  or  without  twist- 
ing the  silk  with  a  woolen  thread.  Silk  mixtures  cannot  be  fulled 
so  much  as  some  other  goods,  and  should  be  cautiously  cleared  on 
the  gigg,  not  depending  upon  the  shear  for  anything  but  to  shorten 
or  cut  off  the  nap. 

Sizing. — Sizing  upon  goods  and  yarn  are  applied  for  various 
purposes.  In  goods  to  give  weight,  to  afford  a  proper  base  for 
printing,  on  some  worsted  fabrics,  for  a  preparation  to  subsequent 
cleansing,  etc.  On  yarn  to  weight  it,  to  fit  it  for  the  wear  and  tear 
it  must  be  subjected  to  in  weaving,  etc.  Many  recipes  for  sizing 
may  be  found  in  works  on  Warping  in  the  "  Queries  and  Replies," 
Webb's  "Warp  Sizing,"  Dick's  "  Encyclopedia  of  Practical  Recipes," 
&c. 

Soap. — The  manufacture  of  soap  for  use  in  factories  is  a  branch 
of  no  little  moment ;  the  opportunities  to  deceive  are  so  great  that 
the  most  unscrupulous  practices  are  common,  so  much  so  that  it 
behooves  manufacturers  to  trust  to  no  recommendation  except 
extensive  tests  and  trials  under  the  most  careful  supervision  in  their 
own  works.  We  give  a  common  formula  for  a  cheap  oil  soap  that 
may  be  varied  to  suit  many  kinds  of  work.  This  in  particular, 
because  it  is  a  soap  that  may  be  made  and  used  in  many  factories  : 

For  6  barrels  of  red  oil  fulling  soap,  50  pounds  of  soda  ash,  6 
pounds  of  rosin,  36  pounds  of  saponified  red  oil ;  water  to  boil  be- 
fore putting  in  soda  ash,  then  rosin,  then  oil.  Boil  four  hours.  For 
scouring  soap  same  as  above,  except  60  pounds  of  soda  ash,  6  pounds 
of  rosin,  14  pounds  of  saponified  red  oil.  The  more  oil  the  heavier 
body  of  soap.  Some  boil  in  one-third  of  the  water,  and  add  balance 
when  nearly  done. 

Spinning. — Of  spinning  little  more  can  be  said  than  of  carding. 
The  subject  is  at  this  time  being  very  extensively  discussed  in 
journals  devoted  to  manufacturing  interests.  The  consideration 
thereof  is  therefore  deferred  for  the  time  when  a  revised  and  en- 
larged edition  of  this  work  will  permit  a  thorough  and  exhaustive 
treatise. 

Splits. — The  dents  in  a  reed  are  called  splits  quite  as  often  and 
commonly  as  dents. 

Spontaneous  Combustion. — The  frequent  recurrence  of  fires 
from  this  cause  has  led  to  many  theories  and  some  scientific  in- 
vestigations of  the   subject.     Clean,  dry  stock  of  any  kind  seldom 


SPITZLI'S  MANUAL.  I  55 

ignites  ;  but,  as  the  use  of  oils  and  dyes  are  indispensable  about  a 
factory,  the  greatest  caution  is  not  always  sufficient  to  avoid  this 
danger. 

Spooling. — Spooling  yarn  implies  that  the  yarn  or  stock  is  being 
put  upon  spools.  In  the  carding  room  the  sliver  is  sometimes  taken 
from  one  card  in  coils,  a  number  of  which  are  put  upon  a  large 
spool,  from  which  the  stock  passes  into  the  next  card  ;  this  or  any 
other  process  of  spooling  sliver  or  drawings  in  carding  and  spinning 
is  being  rapidly  superseded  by  more  convenient  methods  of  trans- 
ferring the  stock.  Yarn  is  spooled  in  many  different  ways  according 
to  the  purpose  for  which  it  is  done.  There  is  spooling  from  the 
skein,  from  bobbins,  or  from  spools.  There  are  machines  for 
putting  one  thread  upon  each  spool,  yet  others  for  20  to  120.  On 
machines  of  this  latter  kind  there  is  usually  a  measuring  device  that 
the  exact  quantity  upon  the  spool  may  be  known  or  regulated. 
Upon  even  and  careful  spooling  the  subsequent  process  of  warping 
is  very  dependent  for  good  results.  The  process  seems  simple,  but 
it  is  so  important  that  the  common  practice  of  placing  it  in  charge 
of  ordinary  ability  causes  a  greater  loss  in  waste  than  is  gained  in 
wages. 

Spools. — This  term  now  implies  a  barrel  and  two  heads  ;  the 
variety  of  spools  is  legion,  and  for  each  kind  there  are  many  ways 
of  making  and  fastening  the  heads.  The  most  durable  are  the 
best,  provided  the  wood  is  such  as  to  wear  smooth.  Too  much 
economy  in  bobbins  and  spools  costs  many  mills  more  than  the 
price  of  a  full  set  every  year.  The  principle  that  by  keeping  the 
factory  in  want  of  bobbins  is  the  best  method  to  keep  down  the 
surplus  stock,  may  deceive  some,  but  they  had  better  apply  more 
beneficial  methods,  and  produce  the  result  in  a  less  costly  manner, 
if  it  must  be  done,  which  is  altogether  a  question  relative  to  the 
character  of  the  surplus. 

Stop  Motions  for  Looms. —These  are  devices  for  stopping  the 
loom  when  a  shuttle  fails  to  reach  its  box;  others  when  the  filling 
breaks  or  runs  out,  and  yet  others  when  a  warp  thread  breaks. 
The  first  are  now  on  all  power  looms  in  some  form.  The  second 
are  quite  common  for  plain  looms,  and  being  introduced  for  fancy 
looms.  These  stop  motions  are  both  expensive  and  not  always  a 
saving,  since  they  have  been  known  to  do  much  damage  by  marking 
the  goods;  this  is,  however,  owing  to  a  failing  in  adjustment  of  the 
feelers,  or  the  peculiar  kind  of  goods  woven.  They  must  be  well 
understood  to  prove  satisfactory.     The  warp   stop  motions   are  not 


I56  SPITZLI'S  MANUAL. 

yet  adopted  in  general  use,  the  mechanism  required  being  so  deli- 
cate and  complicated  that  the  device  will  serve  better  as  a  curiosity 
than  anything  else.  Notwithstanding  this  fact,  however,  the  in- 
ventors have  displayed  an  unusual  amount  of  perseverance  and 
ingenuity. 

Strippers. — The  small  cylinders  upon  the  carding  machines 
which  strip  the  stock  from  the  workers.  This  name  is  also  applied 
to  other  devices  for  the  same  work,  to  the  persons  who  clean  cards, 
to  the  hand  cards  used  in  cleaning,  etc.,  etc.  The  last-mentioned 
are  made  in  many  ways  ;  what  is  called  the  English  pitch  is  much 
preferred  by  most  carders  now,  but  some  have  become  prejudiced 
against  the  English  pitch  on  account  of  failures  in  American  imita- 
tions, the  leather  used  being  poor  or  the  bend  in  the  wire  being  in- 
correct. 

Stripping  Cards. — To  unclog  the  teeth  it  is  not  enough  to  rub 
the  hand  card  over  the  roller,  for  evidently  we  should  only  injure 
the  te.eth  without  reaching  all  the  wool  kept  in  the  card  clothing. 
The  hand  card  is  taken  in  the  hand,  the  teeth  nearest  the  handle 
placed  upon  the  teeth  of  the  roller,  and  the  wool  pricked  by  raising 
the  head  of  the  card ;  a  slight  motion  is  then  given  it,  which  draws 
out  the  wool.  After  having  stripped  all  the  cylinders  of  the  breaker, 
they  are  treated  with  emery  and  finishing  cloths.  For  stripping  the 
teeth  of  a  fancy,  a  comb  with  steel  needles  has  been  successfully 
used. 

Sumach. — A  native  plant  of  Syria,  now  cultivated  in  many  other 
parts,  notably  in  Spain,  Italy,  Portugal  and  Sicily.  It  is  brought  to 
market  in  a  powdered  state.  The  odor,  when  a  decoction  of  it  is 
boiling,  is  not  unlike  that  of  good  tea;  the  color,  fawn  drab;  acids 
make  it  more  yellow,  and  the  alkalies  more  brown,  or  toward 
orange.  Ground  Sumach  contains  about  one-sixth  of  its  own  weight 
of  tannin. 


Tables. — The  use  of  tables  is  to  save  time  and  labor ;  there  are 
unlimited  opportunities  of  increasing  their  number  and  the  useful- 
ness of  many  extant.  Several  pages  of  this  work  are  devoted  to 
tables  in  daily  need  by  many.  They  are  not  so  elaborate  as  some, 
but  on  the  other  hand  they  are  simple,  convenient,  accurate  and 
large  enough  for  many  purposes.  Lawson's  reed  table  is  more 
complete  in  detail  than  those  herein  contained,  and  is  in  the  form 


SPITZLI'S  MANUAL.  I  57 

of  a  sheet  which  may  be  framed  or  mounted,  a  feature  desirable  in 
some  instances ;  indeed,  some  prefer  this  form  to  those  found  in 
books  because  the  entire  table  is  in  full  view  ;  on  the  other  hand,  it 
cannot  be  used  so  conveniently  in  combination  with  other  tables  or 
stored  away  as  a  book  may  be.  Some  of  the  tables  are  also  to  be 
found  in  other  forms  elsewhere,  but  the  table  of  the  capacity  of 
looms  is  new,  and  when  well  understood  will  be  in  constant  use. 

Tapestry. — Tapestry  is  an  ornamental  figured  textile  fabric  of 
worsted  or  silk  for  lining  the  walls  of  apartments ;  the  term  also 
includes  carpets  and  other  fabrics,  for  household  decorations. 
The  manufacture  of  tapestry,  such  as  carpets,  oil-cloths  and  lace,  is 
localized  in  peculiar  districts  in  a  remarkable  manner.  Kidder- 
minster, Wilton,  Glasgow  and  Halifax  contain  extensive  factories 
solely  engaged  in  the  production  of  the  various  descriptions  of  car- 
pets in  ordinary  domestic  use.  The  application  of  the  power  loom 
to  the  carpet  manufacture  is  recent,  and  its  use  is  extending. 
There  are  a  great  variety  of  combinations  of  materials,  many  of 
which  indicate  a  remarkable  departure  from  the  ordinary  method  of 
manufacturing  carpets  and  similar  objects.  One  of  these  is  a 
species  of  mosaic  tapestry,  where  the  cut  wool  is  fixed  to  a  ground 
or  foundation  of  caoutchouc. 

Tappets. — Changeable  cams  used  on  looms  for  various  purposes, 
the  tappets  for  the  box  and  harness  motions  being  the  most  com- 
mon. When  the  cams  are  fixed  so  that  no  others  can  be  con- 
veniently put  in  their  place  the  looms  are  commonly  called  cam 
looms.  When  the  cams  are  changeable  they  are  called  tappets,  and 
consequently  the  loom  a  tappet  loom. 

Teasing,  Teaseling,  Teaselling  or  Teasel. — The  Scotch  and 
English  use  this  word  for  the  operation  here  called  gigging.  This 
accounts  for  the  name  of  teasels. 

Teasels. — "[A-S.,  tcesel,  tassel,  the  fuller's  herb ;  O.  H.  Ger., 
zeilala,  id.]     [Written  also  tassel,  tazel,  teasle  and  teazle.] 

1.  (Bot.)  A  plant  of  the  genus  depsacus,  of  which  one  species 
(D.  fullonum)  bears  a  large  burr  or  flower  head  covered  with  stiff, 
prickly-hooked  awns  or  bracts,  which,  when  dried,  is  used  for  rais- 
ing a  nap  on  woolen  cloth. 

2.  The  burr  of  the  plant. 

3.  Any  contrivance  intended  as  a  substitute  for  teasels  in  dressing 
cloth." —  Webster's  Dictionary. 

For  further  particulars  of  using  and  setting,  see  gigging. 


158  SPITZLI'S  MANUAL. 

Teasers. — English  and  Scotch  for  giggs,  for  the  people  who 
operate  them,  and  in  some  sections  for  wool  pickers  also. 

Temples. — If  a  weaver  understands  setting  them  up,  and  attends 
to  it  faithfully,  the  old-fashioned  bar  temples  will  do  most  excellent 
work.  But  weavers  are  not  disposed  to  be  bothered  with  temples 
if  any  automatic  contrivance  will  do  the  work.  The  rapidity  of 
power  looms  makes  it  difficult  for  a  weaver  to  see  imperfections  on 
the  small  space  of  goods  between  the  bar  temples  and  the  shed. 
There  can  be  no  worse  temple  for  any  kind  of  goods  than  a  pair  of 
dilapidated  hooks  connected  by  a  miserable  strap,  40  or  50  pounds 
of  old  castings,  said  strap  running  down  over  the  end  of  the  breast- 
beam  with  nothing  better  to  keep  it  in  its  place  than  the  groove  it 
has  worn.  To  have  4  or  6  hooks  in  the  end  of  a  strap,  2  to  3  inches 
wide  next  to  the  cloth,  about  three-eighths  ,of  an  inch  wide,  from 
within  4  inches  of  the  cloth  to  the  weights,  running  over  a  pulley  as 
near  the  lathe  as  possible,  and  at  least  two  feet  from  the  cloth  ; 
weights  which  will  answer  to  draw  the  cloth  to  its  proper  width, 
but  occupying  little  space  as  possible,  and  treadles  to  lift  and  let 
them  down  gradually  when  setting,  may  all  help  to  make  this  class 
of  temples  answer,  but  at  best  they  are  not  perfection.  An  auto- 
matic temple  is  wanted,  which  will  do  all  kinds  of  work,  require  little 
repair  and  be  easily  adjusted.  The  nearest  approach  to  a  perfect 
temple  that  has  come  to  our  notice  is  an  English  invention  ;  if  we 
should  speak  of  it  here  as  we  think,  our  remarks  would  read  very 
much  like  an  advertisement.  There  is  this  about  it,  however,  it  is 
somewhat  complicated  and  troubles  many  weavers  at  first.  A 
little  perseverance  is  needed. 

Temple  Marks. — When  strap  or  bar  temples  are  not  regularly 
and  frequently  set,  hold  the  goods  too  wide  or  not  wide  enough, 
draw  too  much  in  the  direction  toward  the  cloth  beam,  chafe  or  tear 
the  goods  ;  or  if  the  goods  are  slazy,  temple  marks  are  pretty  cer- 
tain to  occur.  They  show  much  more  on  some  goods  than  on 
others,  but  ought  not  to  exist.  After  picking  out,  a  weaver  sets  up 
temples  to  take  up  the  slack  at  the  sides.  A  temple  mark  is  an 
almost  sure  consequence.  Automatic  temples  will  mark  the  goods 
principally  by  chafing  and  slipping.  The  temple  needs  much 
attention,  but  when  once  right  it  is  easily  kept  there  if  closely 
watched. 

Tenter  Bars. — Notwithstanding  all  the  many  ingenious  inven- 
tions on  the  drying  machines  in  use,  there  are  some  points  in  which 
all  are  yet  inferior  to  the  tenter  bar,  when  gotten   up  and  fitted  out 


SPITZLI'S  MANUAL.  I  59 

with  the  best  and  latest  improvements.  The  stretching  is  on  no 
machine  under  such  accurate  control.  Since  the  introduction  of 
Lacy's  tenter  clothing  the  edges  cannot  come  from  any  machine  in 
better  shape  and  condition  than  the  bars  having  this  almost  in- 
destructible clothing,  instead  of  the  old-fashioned  tenter  hooks. 
The  slow  process  of  drying  on  bars  may  not  be  the  cheapest  as 
regards  the  cost  of  labor,  but  the  effect  on  some  goods  is  worth 
many  times  the  cost  of  the  extra  labor. 

Texture. — Texture  is  a  term  used  to  designate  the  binding  or 
interlacing  of  threads  necessary  to  produce  a  fabric.  Texture  does 
not,  therefore,  mean  the  fabric,  nor  yet  the  yarns  whereof  it  is  made, 
but  the  construction  whereby  it  is  made  with  the  yarn.  The 
simplest  texture  requires  four  threads,  two  each  way,  one  pair  being 
at  right  angles  to  the  other.  By  constructing  a  few  of  the  simplest 
textures  with  pieces  of  tape,  any  one  who  must  learn  the  nature  of 
textures  from  the  very  foundation  will  be  much  benefited.  Pro- 
ceed as  follows :  Take  4  pieces  of  tape,  each  1  inch  long,  lay  two 
parallel  (side  by  side)  upon  the  table  ;  call  these  the  warp  threads; 
the  ends  toward  you  we  will  suppose  to  be  pointing  toward  the 
cloth  beam  ;  these  should  be  pasted  to  a  pieces  of  paper.  The 
other  ends  toward  the  warp  beam  ;  these  are  better  to  be  left  loose. 
The  left  hand  one,  mark  No.  1,  the  other  No.  2.  You  are  now 
ready  to  put  in  the  first  pick,  which  is  easily  done  by  slipping  one 
of  the  remaining  pieces  of  tape  over  the  end  of  warp  tape  No.  1, 
and  under  No.  2,  next  to  the  paper.  The  second  pick  put  in  at 
the  other  end,  but  contrary  to  the  manner  of  the  first ;  that  is,  under 
No.  1  and  over  No.  2.  The  result  is  a  fabric  of  the  simplest 
texture  possible.  But  this  is  not  only  the  simpelst  texture,  the 
fabric  is  about  as  limited  in  size  as  in  texture.  A  fabric  may  con- 
tain more  threads  each  way,  in  which  case  they  must,  of  course,  be 
longer.  The  increased  number  of  threads  are  bound  into  a  larger 
fabric,  but  the  texture  remains  the  same,  being  simply  repeated. 
Let  the  student  prove  this  and  learn  several  points  by  the  operation. 
Cut  12  pieces  of  tape,  each  3  inches  long,  paste  the  ends  of  6 
upon  a  strip  of  paper  2  inches  long  by  ^  inch  wide,  so  that  the 
6  pieces  of  ^  inch  tape  (side  by  side)  will  have  equal  spaces 
between  them.  Upon  two  other  papers  paste  the  other  6  pieces,  3 
on  each,  leaving  about  T\  inch  space  between  the  pieces  of  tape  ; 
place  the  paper  with  6  pieces  next  to  yourself,  the  free  ends  pointing 
away  from  you,  this  will  again  represent  the  warp.  At  the  right 
hand  lay  3  of  the  filling  threads,  at  the  left  the   other   3.     Number 


l6o  SPITZLI'S  MANUAL. 

the  warp  threads,  from  the  left,  i,  2,  3,  4,  5,  6  ;  the  filling  threads 
number  alternately,  the  nearest  left  hand  No.  1,  the  nearest  right 
hand  one  No.  2,  the  next  left  hand  one  No.  3,  and  so  on.  Now 
enter  No.  1  filling  thread,  over  No.  1  warp  thread,  under  2,  over 
3,  under  4,  over  5,  under  6,  next  to  the  paper.  From  the  other  side 
enter  filling  thread  No.  2,  next  to  No.  1,  over  warp  thread  No.  6, 
under  5,  over  4,  under  3,  over  2,  under  1.  Filling  thread  No.  3 
enter  like  the  first  next  to  No.  2,  No.  4  like  No.  2,  No.  5  like  No.  1 
again,  No.  6  like  No.  2.  This  constitutes  a  fabric  with  three  repeti- 
tions of  the  texture  each  way,  technically  speaking  three  "  repeats" 
each  way  ;  and  it  has  been  constructed  just  as  the  loom  must  do  it 
in  principle.  The  loom  is  more  practical  with  its  contrivances, 
having  mechanism  for  lifting  all  thread  simultaneously,  another  for 
passing  a  shuttle  through  the  opening  between  the  raised  threads 
and  those  left  down,  said  shuttle  carrying  with  it  a  coil,  or  bobbin  of 
filling  in  such  a  way  as  to  leave  a  thread  behind  it,  in  the  said  open- 
ing, properly  called  shed.  To  represent  the  shuttle  coming  from 
each  side,  alternately,  the  tapes  have  been  entered  from  both  sides, 
to  keep  the  tapes  in  their  proper  order  it  has  been  necessary  to 
fasten  the  ends  ;  in  the  loom  this  is  done  by  the  heddles  and  reed. 
The  heddles  lift  and  lower  the  warp  threads,  and  the  reed  beside 
keeping  the  yarn  evenly  spread  next  to  the  cloth,  is  brought  up 
against  the  cloth  after  each  pick  has  been  entered,  which  forces  the 
filling  threads  together.  The  construction  of  the  simplest  texture 
being  understood,  the  application  of  the  principle  to  produce  large 
fabrics  by  many  repetitions  of  the  pattern  or  single  textures  being 
comprehended,  the  student  is  prepared  to  proceed  to  other  tex- 
tures. The  same  tapes  will  answer  for  many  ;  longer  ones,  and  more 
of  them  may  be  prepared  in  a  similar  manner,  or  the  frames  made 
for  the  purpose  purchased  with  instructions  or  made  from  the  fol- 
lowing description  :  A  frame  something  like  the  frame  of  a  slate  in 
appearance  has  tapes  stretched  one  way,  as  close  together  as  con- 
venient, in  number  according  to  the  size  of  frame — 12  inches  will 
admit  about  40.  The  filling  tapes  are  fastened  by  one  end  at  the 
sides.  These  frames  are  very  convenient,  and  can  be  made  or  pur- 
chased without  much  trouble.  The  next  step  is  to  represent  tex- 
tures on  paper  ;  this  is  quite  simple  after  a  little  practice  with  the 
tape.  Take  quadrilled  design  paper  ;  the  rows  of  squares  up  and 
down,  as  the  paper  lays  before  the  student,  represent  warp  threads. 
The  lines  of  squares,  horizontally,  represent  filling  threads.  Since 
fabrics  are  made  up  of  repetitions  of  the  texture,  and  the  loom 
duplicates  the  application  of  it  to  the  threads,  it  is  necessary  to  rep- 


SPITZLI'S  MANUAL. 


161 


resent  a  texture  only  once  on  the  paper,  such  representation  forms 
the  part  of  a  complete  design  designated  by  the  term  chain  draft, 
because  by  it,  the  pattern  chain  is  built,  whether  the  chain  be  of 
paper,  wood  or  iron.  In  writing  a  draft,  its  beginning  and  ending 
must  be  the  same  as  if  another  repetition  of  the  draft  were  to  be 
placed  on  either  side  of  it.  This  is  necessary  because  such  is 
really  the  case  in  the  goods,  when  the  directions  of  a  perfect  draft 
are  carried  out  by  the  loom.  Below  are  representations  of  some  of 
the  elementary  textures;  any  one  of  them  is  a  complete  chain  draft : 


No.  i. 


No.  4. 


No.  10. 


No.  17. 


No.  22. 


2*d 

3*DD 

4*DDD 

5*DDDD 

6*d*d*d 

in* 

2D*D 

3D*DD 

4D*DDD 

5*D*D*D 

1 2 

iDD* 

2DD*D 

3DD*dd 

4*D*D*D 

123 

iDDD* 

2DDD*n 

3D*d*d* 

1234 

iDDDD* 
12345 

2D*D*D* 

iD*d*d* 

No.  5. 

No.  11. 

123456 

3D** 

4D*** 

2*D* 

i**D 
123 

3*D** 

2**D* 

i***n 

No.  18. 

No.  23. 

No.  2. 

4*D 
3*D 

2D* 

iD* 

1  2 


No.  3. 

io*D 

9*n 

8*D 
7*D 
6*D 
5D* 
4D* 
3D* 
2D* 
iD* 
1  2 


No.  6. 

6*DD 
5D*D 
4DD* 
3*DD 
2DD* 
iD*D 
123 


No.  7. 

6D** 

5*D* 

4**D 
5D** 

2**D 

i*D* 
123 


No.  8. 

6*DD 
5D** 
4**D 
3DD* 

2**D 

iDD* 
1  2  3 


No.  9. 

6  **D 

5  DD* 

4  **D 

3  D** 

2  *DD 

1  D** 
1  2  3 


No.  12. 

4***D 

3D*** 

2**D* 

i*D** 
1234 


No.  13. 

4**DD 
3**DD 
2DD** 
iDD** 
1234 


No.  14. 

4**DD 
3D**D 
2DD** 
i*DD* 
1234 


No.  15. 

4*D*D 
3**DD 
2D*D* 
iDD** 
1234 


No.  16. 

**DD 
D**D 
*DD* 
DD** 
1234 


5D**** 

4*D*** 

3**D** 

2***D* 

i>jc***D 
12345 


No.  19. 

5**DDD 

4D**DD 
3DD**D 
2DDD** 
i*DDD* 
12345 


No.  20. 

5DD*** 
4*DDD* 
3**DD* 
2***DD 
iD***D 
12345 


No.  21. 

5****D 
4**D** 

3D**** 

2***D* 

i*D*** 
12345 


6***DDD 
5***DDD 
4***DDD 
3DDD*** 
2DDD*** 
iDDD*** 
123456 


No.  24. 

6**D*DD 
5***DDD 
4D**OD* 
3DD*D** 
2DDD*** 
i^fDD**D 
1  2  3  4  5  6 


No.  25. 

6*DDD** 
5**DDD* 
4***DDD 
3D***DD 
2DD***D 
iDDD*** 
123456 


No.  26. 

6*DD**D 
S**D*DD 
4***DDD 
3***DDD 
2D**DD* 
iDD*D** 
123456 


11 


I  62  SPITZLI'S  MANUAL. 

No.  i  represents  the  plain  texture  first  illustrated  by  the  experi- 
ments with  tape.  This  texture  is  called  "cotton  weave,"  "sheet 
weaving,"  "  plain  cloth  "  and  by  many  other  appellations,  the 
derivation  of  which  is  almost  self-evident.  From  this  base  one  may 
branch  out  into  many  variations.  No.  2,  for  instance,  is  like  No.  1, 
but  two  lines  being  alike,  the  respective  picks  in  weaving  will  have 
the  same  shed  opened  for  them,  consequently  the  filling  threads  will 
be  doubled  in  each  shed.  This  is  called  weaving  with  2  picks  in  a 
shed.  It  is  done  for  various  effects  and  purposes.  No.  3  is  an 
extension  of  the  same  idea  to  5  picks  in  a  shed,  such  a  chain  with 
the  proper  yarn  would  produce  a  fabric  called  "  repp,"  or  "  cross 
cord."  No.  4  is  already  an  enlargement  of  the  first  texture  repre- 
sented and  cannot  be  made  to  look  entirely  plain  because  the  change 
from  thread  to  thread,  of  the  one  harness  up,  causes  a  diagonal 
effect.  While  such  effects  are  small  but  distinct,  they  are  termed 
twills.  No.  4  is  then  a  3-harness  twill.  The  filling  shows  much 
more  than  the  warp  on  the  face.  Therefore,  this  is  a  filling-face 
twill.  No.  5  is  the  same,  but  because  two-thirds  of  the  warp  yarn 
passes  over  the  filling  it  is  called  a  warp-face  3-harness  or  3-leaf 
twill.  No.  6  is  like  No.  4  for  3  picks,  the  other  3  picks  being 
really  the  same  texture,  but  applied  in  a  different  order.  This  is  a 
variation  of  the  No.  4  texture  which,  with  some  yarns,  makes  a  face 
that  appears  to  be  almost  plain,  therefore,  it  is  sometimes  called 
"  plain  3-leaf  cloth."  The  same  difference  is  exhibited  between 
No.  6  and  No.  7  as  between  No.  4  and  No.  5.  One  being  a  filling- 
face  the  other  a  warp-face.  Already  the  student  will  have  noted 
that  to  be  a  filling-face  texture  the  warp  threads  must  go  down  in 
the  larger  proportion  and  vice  versa.  Such  observations  give  the 
cue  to  quick  comprehension  of  special  characteristics  in  more 
elaborate  texture,  and  particularly  in  combinations  of  textures. 
No.  8  and  No.  9  are  the  first  steps  at  combination.  These  chain 
drafts  combine  the  texture  of  No.  1  and  No.  4  in  No.  8  ;  of  No.  1 
and  No.  5  in  No.  9.  The  student  should  now  examine  the  texture 
of  the  individual  warp  threads  or  harnesses,  also  the  filling  threads 
or  picks,  and  study  out  the  combination  principle  without  aid. 
No.  10  is  similar  to  No.  4,  but  with  one  more  harness  and  pick  per 
pattern.  Were  the  fifth  harness  in  No.  17  like  the  first  it  would  be 
the  same  4-harness  twill  as  is  represented  in  No.  10,  with  one  thread 
too  many.  This  thread  might  be  the  one  of  another  repetition  of 
the  texture,  in  which  case  it  would  be  wrong  to  have  it  appear  on 
the  draft ;  but  it  might  for  certain  effects  be  desirable  to  have  5 
threads   in   the   pattern — the  first   and   last    to  work  alike  when  it 


SPITZLI'S  MANUAL.  I  63 

would  be  proper  to  leave  it  on  the  draft,  but  not  really  necessary, 
because  there  is  another  way  of  producing  the  same  result,  namely  : 
to  have  only  4  harnesses,  when  the  fifth  thread  is  reached  in  draw- 
ing the  threads  into  the  heddles,  draw  it  into  a  heddle  on  the  first 
harness,  then  the  first  one  of  the  next  pattern  would  have  to  be 
drawn  on  the  first  harness  also,  the  second  on  the  second,  and  so  on 
until  the  fifth  is  reached  again,  which  is  to  be  placed  on  the  first 
every  time,  as  before.  This  slight  digression  will  admit  a  little 
light  on  the  cross  draw  principle,  which  is  duly  considered  else- 
where. No.  11  and  No.  12  are  the  same  texture,  but  the  order  of 
the  threads  is  changed.  No.  13  is  the  same  as  No.  1,  but  doubled 
every  way.  No.  23  is  the  same,  but  has  3  threads  working  alike 
each  way.  This  variety  of  textures  are  called  "basket  weaves," 
probably  because  the  several  threads  working  alike  lay  side  by  side 
and  give  the  appearance  of  narrow  strips  that  have  been  plaited. 
No.  14  is  another  4-harness  twill.  It  is  a  very  common  texture, 
often  named  from  the  class  of  goods  made  with  it — "  Kersey 
twill,"  "  cassimere  weave,"  "double  treadle  twill,"  etc.  Nos.  15 
and  16  are  the  same  as  No.  14,  but  the  twill  is  broken  by  a  different 
order  of  the  threads  working  the  same.  Broken  twills  are  much 
used  for  mottled  effects.  Nos.  24  and  26  are  of  this  order.  No.  21 
is  also  sometimes  called  a  broken  twill,  but  in  reality  it  is  a  double 
twill.  It  is  commonly  called  the  doeskin  weave.  It  is  needless  to 
encumber  space  here  with  further  illustrations  ;  most  complete  col- 
lections of  textures  are  procurable.  Besides  studying  such  collec- 
tions, the  student  should  give  much  time  and  attention  to  work  out 
the  principles  here  illustrated  in  larger  effects,  with  more  harnesses, 
without  aid,  and  when  such  a  task  is  completed  compare  notes  with 
some  one  or  with  the  same  thing  as  given  in  some  of  the  collections 
referred  to.  So  far  the  textures  considered  have  all  been  single. 
Combinations  may  be  called  compound  fabrics,  if  a  name  must  be 
produced.  Double  fabrics  are  such  as  have  two  textures,  one  above 
the  other.  Triple  fabrics  are  the  same,  with  three  textures.  In 
this  class  the  textures  may  be  separate,  here  and  there  tacked  to- 
gether, or  so  incorporated  in  each  as  to  be  one  solid  mass  or  inter- 
changeable in  their  appearance  in  either  by  parts.  In  taking  up 
double  textures  only  the  simplest  kinds  are  illustrated  here,  elaborate 
designs  of  this  kind  must  not  be  attempted  until  the  principles  and 
elements  underlying  them  are  fully  comprehended.  When  this 
point  is  reached  a  large  collection  is  of  more  use  than  a  few 
examples,  and  more  could  not  be  given  here.  We  begin  again  with 
texture    No.    1    by    doubling   it.     No.    27    represents    this    texture 


164  SPITZLI'S  MANUAL. 

separate  ;  that  is  :  if  this  chain  were  used,  the  loom  would  simply 
make  two  pieces  of  cloth,  one  above  the  other.  No.  28  shows  one 
way  of  tacking  the  two  together,  this  is  done  by  raising  the  back 
warp  (harness  No.  2  and  harness  No.  4)  for  the  face  filling  shed.  The 
addition  to  the  draft  to  produce  this  result  is  in  a  different  charac- 
ter from  the  others  (©)  not  because  it  must  be  different  or  of  particu- 
lar shape  or  kind,  but  because  it  is  very  convenient  always  to  mark 
this  place  usually  called  the  "  binder"  and  the  threads  so  used  to 
bind  fabrics  and  textures  together,  called  binding  threads.  In 
No.  29  the  two  textures  are  the  same,  but  bound  together  differ- 
ently. In  No.  28  the  back  warp  threads  were  raised  to  let  a  face 
filling  thread  go  under  them  ;  in  No.  29  the  face  warp  threads  are 
lowered  when  a  back  filling  thread  is  going  through  ;  thus  it  is  incor- 
porated into  the  back  fabric,  besides  doing  regular  service  on  the 
face  fabric,  consequently  binding  the  two  together.  To  be  systema- 
tic some  designers  never  call  a  face  thread  the  binder,  always  the 
backing  thread  which  helps  to  make  the  union.  According  to  this 
in  No.  28  the  back  warp  threads  would  also  be  binding  threads  ;  in 
No.  29  the  back  filling  threads.  The  difference  between  No.  27 
and  No.  29  is  designated  by  a  cipher  (o)  in  the  space  which  should 
otherwise  be  a  blank  square,  (□)  and  must  be  considered  a  "sinker." 
It  is  very  common  not  to  bind  textures  together  so  frequently,  as  will 
be  seen  further  on.  The  principal  feature  of  a  double  cloth  draft 
is,  that  for  the  face  pick  only  those  harnesses  are  raised  which  rep- 
resent threads  that  must  pass  over  face  filling.  All  the  others  must 
be  let  down.  This  lets  down  all  of  the  back  warp  and  a  part  of  the 
face  warp.  When  the  back  pick  is  to  go  through  all  of  the  face 
warp  and  some  of  the  back  warp  must  be  raised,  leaving  only  such 
threads  down  as  must  pass  under  the  respective  back  pick.  Back- 
ing is  sometimes  attached  not  as  a  separate  fabric,  but  as  backing 
only,  (for  instructions  see  Backing.)  No.  30  is  a  double  cloth 
with  the  same  twill  on  back  and  face  as  texture  No.  14.  No.  31  is 
the  same  as  No.  30,  but  shows  one  of  the  many  ways  of  attaching 
the  two  fabrics  to  each  other.  No.  32  is  the  same  as  No.  27,  but  by 
a  different  arrangement  the  binding  is  regular  and  one  which  is 
usually  very  safe  because  not  so  close  as  Nos.  28  or  29,  and  not 
showing  through  so  badly.  It  also  does  away  with  the  little  dimple 
other  bindings  make  in  some  fabrics.  The  back  and  face  texture 
are  not  always  alike,  neither  is  the  yarn  always  the  same.  No.  33 
illustrates  a  double  texture  of  this  kind,  the  face  being  like  texture 
No.  25,  a  plain  6-harness  twill,  the  back  like  No.  5,  a  plain  3-harness 
twill  filling  back.     The   warp  face   of  the  back  fabric  being  under 


SPITZLI'S  MANUAL. 


165 


the  face  fabric.  The  density  of  the  threads  also  differs  in  this, 
there  being  two  face  threads  to  each  back  thread.  In  such  fabrics 
it  is  customary  to  use  fine  yarns  in  the  face  fabric,  coarser  in  the 
back  fabric.  No.  34  illustrates  that  the  double  cloth  texture  need 
not  be  confined  to  twills  but  can  be  applied  to  any  texture.  The 
fact  that  more  harnesses  being  required  for  double  than  for  single 
textures  must  be  borne  in  mind.  No.  34  is  a  basket  face  and  a 
broken  twill  back.  Note  that  the  binding  is  done  in  both  ways  in 
this  draft : 

No.  30.  No.  33. 


No.  27. 

8*Dnnnn*n 

9e**«oaaan 

7*n*«*»*n 

8an«**«noa 

4***D 

6*n*nnDDD 

7*******D* 

3DD«D 

5*D*D*»*« 

6ann®*»ooa 

2*D** 

4DD*n*nna 

5DODDn«e*» 

ilDDD 

3*«*D*D*» 

4*D******* 

1234 

2nnnn*n*n 

3«oanan**» 

i*0*»*D*D 

20*0DODDa© 

1  2  3  4  5  6  7  S 

i^c^c>ic*Q^ciic>|c* 
123456789 

No.  31. 

No.  34. 

No.  28. 

8*DDDDD*D 

7*D*«0©*D 

"•□•□©nDDDann 

4***D 

6*n*nnnnn 

ii*D*****noa** 

3DD©© 

s*a*n*»oo 

io«a©D©©DDDDDD 

2*D** 

4na*n*DDD 

9***d***d***d 

■  •fflDD 

30D*D*n*« 

8t©»D»DDDDDDD 

1234 

2D»nn*n*n 

7*****a***aoa 

i*«o«*a*n 

6nanann«a«D«D 

12345678 

5*aon***a**** 

4naanDD«a#a®e 

3*D***D***D** 

No.  32. 

2anDDDD«e»n«n 

i***DOD^f****n 

No.  29. 

i2n***n*** 

na*nnn*Da 

1 23456789 10 11 12 

4**OD 

io*an*nnn* 

3DD«D 

9**D***D* 

2CO** 

sn*nnn*nn 

8*D*D**** 

i«DDD 

7naa*nn** 

7DDDD***D 

1234 

60***0*** 

6*D*****D 

sn*Dnn*nn 

5Dn***nDD 

4naD**aD* 

4*****D*D 

3**D***D* 

3***Dnnna 

2n*DDD*na 

2***d*d** 

iDD**DDD* 

i*anann** 

12345678 

12345678 

Many  of  the  more  elaborate  designs  can  be  produced  by  a  com- 
bination of  several  textures.  Notably  ingrain  carpet,  two-ply  and 
three-ply.  In  such  goods  the  yarn,  when  not  required  in  the  face 
fabric,  is  bound  into  a  texture  on  the  back  which  at  once  adds 
firmness,  warmth  and  durability.  Other  goods  are  made  with  a 
face  and  a  back  fabric,  and  any  yarn  or  threads  not  needed  in  the 
face  or  back  allowed  to  float  between  the  two;  they  are  there  out  of 
sight  and  the  danger  of  being  drawn  or  pulled  in  finishing  or  weav- 
ing. In  woolen  goods  that  must  be  fulled,  it  will  not  do  to  allow 
these  floats  to  be  too  long  or  many,  as  they  roll  together  and  make 
uneven  thickness  in  shrinking. 


1 66  SPITZLI'S  MANUAL. 

The  characters  used  in  the  foregoing  drafts  are  : 

*  and  ©  for  raisers,  n  and  •  for  sinkers. 

Tickings. — A  heavy  cotton  fabric,  most  commonly  blue  and 
white  checks  or  stripes,  and  a  warp  twill  texture. 

Ties. — This  word  has  many  erroneous  applications.  It  is  used 
by  some  in  place  of  fabrics,  the  arrangement  of  harnesses,  com- 
pound fabrics,  etc.  The  proper  use  for  the  word  is  now  generally 
acknowledged  to  be  limited  to  the  manner  or  peculiar  ways  of  fas- 
tening several  fabrics  together  into  one,  when  this  is  done  with  a 
special  arrangement  of  the  threads  for  the  purpose.  The  manner 
of  tying  the  back  and  face  together  is  illustrated  by  Texture 
Drafts  Nos.  23  to  35.  The  manner  of  making  double  and  triple 
cloth,  and  having  the  yarn  interchange  in  the  several  fabrics,  is 
also  exemplified. 

Thread-Bare. — A  name  for  the  finish  on  goods  which  leaves  no 
nap. 

Throstle  Frame. — For  cotton  the  frame  in  its  transverse  section 
is  similar  to  the  throstle  frame  used  for  combed  wools.  A  cylinder, 
bearing  the  roving,  is  at  the  summit  of  the  frame.  The  roving  in 
its  descent  becomes  engaged  between  two  drawing  rollers  at  a 
proper  distance  apart,  and  surmounted  with  top  rollers.  The 
drawn  out  roving  passes  through  a  fly  terminated  by  a  tube,  and  is 
wound  off  and  twisted  by  the  rotation  of  a  spindle.  Each  spindle 
receives  its  motion  from  a  drum  placed  underneath  the  frame. 

Tools. — Tools  are  a  great  necessity  of  the  present  day.  Manu- 
facturers are  sometimes  compelled  to  be  stingy  in  supplying  them, 
because  the  workmen  they  employ  are  either  dishonest,  careless  or 
incapable.  It  would  seem  that  this  would  be  a  good  criterion  by 
which  to  judge  employees,  and  we  contend  that  it  is;  that  the  best 
and  cheapest  workmen  are  those  who  can  be  entrusted  with  good 
tools.  But  workmen  must  become  accustomed  to  tools  to  make  the 
best  use  of  them ;  if,  then,  they  were  to  find  tools  different  when- 
ever they  changed  places  their  beginning  would  not  be  so  satisfac- 
tory. Some  tools  they  should  own  and  take  with  them,  and  manu- 
facturers should  encourage  it  by  replacing  tools  lost  or  damaged  in 
their  service,  without  a  fault  on  the  part  of  the  owner.  From  the 
designer  down  to  the  most  common  laborer,  the  best  results  are  at- 
tained at  the  least  cost  of  material,  time  and  exertion  only  when  the 
best  attainable  tools  are  employed  by  workmen  who  have  sufficient 
intelligence   to  make   good  use  of  them.     The  following  quotation 


SPITZLI'S  MANUAL,  I  67 

from   the   Boston   Journal  of  Commerce  agrees  with   these  remarks 
and  cites  the  same  facts  in  yet  another  light : 

"  There  is  an  old  saying  to  the  effect  that  '  it  takes  a  good  work- 
man to  make  a  good  job  with  poor  tools.'  So  it  does,  and  there 
have  been  many  triumphs,  recorded  and  unrecorded,  of  brain  and 
skill  over  seemingly  insurmountable  obstacles.  It  is  a  satisfaction 
to  compass  a  result  with  apparently  inadequate  means,  and  the 
mechanic  who  does  it  is  justly  proud  of  his  success.  But  working 
with  poor  tools  is  never  certain  to  produce  good  results,  however 
great  the  skill  and  inventive  the  brain.  Misses  are  made  as  well  as 
hits,  and  even  the  most  self-assured  workman  feels  safer  with  good 
and  applicable  tools.  No  workman  can  afford  to  risk  his  reputation 
and  success  with  poor  tools  ;  there  is  so  much  risk  of  a  failure,  and 
such  anxiety  for  the  result,  that  even  if  success  is  attained  it  has 
been  at  the  expense  of  time,  thought,  muscle  and  trouble  that  robs  it 
of  half  its  gratification.  The  time  has  gone  by  when  the  workman 
was  expected  to  '  make  something  out  of  nothing,'  when  one  imple- 
ment or  appliance  was  made  to  do  duty  for  another,  and  '  make- 
shifts,' their  origination,  use,  and  application  to  the  job  in  hand 
were  part  of  the  kit  of  the  workman.  Even  in  hand  tools  the  im- 
provement is  obvious  to  the  slightest  observation.  In  every  depart- 
ment of  industry  these  improvements  have  made  their  mark.  They 
have  saved  time  and  labor  and  produce  more  satisfactory  results.  It 
is  a  wise  economy  to  reject  imperfect  tools,  and,  as  the  patent- 
medicine  men  advertise,  '  use  the  best.  Whenever  an  improved 
implement  is  put  into  the  market — one  that  will  do  the  work  better 
or  quicker,  it  is  economy  to  buy  it,  even  if  the  old  one  is  intact  and 
serviceable." 

Travelers. — On  spinning  and  twisting  frames,  short  pieces  of 
flat  steel  wire,  bent  to  make  almost  a  complete  circle,  but  the  ends 
do  not  quite  meet.  They  are  sprung  upon  the  ring  on  which  they 
travel  around  the  bobbins  ;  the  threads  to  be  spun  or  twisted  passing 
through  them  on  their  way  to  the  bobbins,  and  the  tension  upon  the 
threads  being  largely  governed  by  the  weight  or  size  of  the  travelers. 

Treatment  of  Wool  Before  Carding. — Wool  should  be 
open  and  free  to  scour  well ;  it  is  impossible  to  do  justice  to  wool 
when  submitted  to  scouring  in  the  condition  the  sorters  leave  it  in. 
Hot  or  strong  scouring  liquors  are  a  decided  injury  to  wool,  but 
when  too  weak  or  too  cold,  wool  is  not  got  clean  quick  enough,  and 
is  consequently  either  scoured  improperly  or  felted.     Much   hand- 


1 68  spitzli's  manual. 

ling  while  in  any  liquor  felts  wool.  Sal  Soda  felts  wool  more  than 
soda  ash,  soap  more  than  sal  soda,  yet  sal  soda  and  soap  must  be 
used  under  certain  circumstances.  Many  men  cannot  get  wool 
through  the  squeezing  rolls  of  a  washing  mashine  from  a  perfectly 
clear  water.  The  best  temperature  for  scouring  wool  either  by  hand 
or  machine  is  from  no°  to  1300  F.  The  chemicals  used,  the 
temperature  of  liquor  and  time  of  saturation  should  always  be 
governed  by  the  kind  of  wool  in  hand,  and  no  attempt  with  a  large 
lot  should  be  made  until  a  small  sample  has  been  got  clean  in  a 
pail.  By  this  method  one  soon  learns  to  judge  accurately  by  small 
experiments,  a  great  saving.  Tag  locks  and  cotted  wool  should  be 
subjected  to  a  sweating. 

Tweeds. — Twilled  woolen  fabrics,  at  one  time  only  those  cassi- 
meres  with  regular  four-leaf  twill,  but  now  applied  to  almost  any 
twilled  goods  resembling  the  original  tweeds.  English  and  Scotch 
tweeds  differ  in  stock  and  character.  The  English  goods  of  this  class 
are  usually  finer  than  the  Scotch.  The  finer  grades  are  made  of  Aus- 
tralian, New  Zealand,  Cape,  Buenos  Ayres,  Port  Natal,  German  and 
Saxony  wools.  The  coarser  kinds  or  cheviots  are  made  of  Scotch, 
Slavonian,  Chilian,  Transylvanian  and  Colonial  crossbred  wools. 
Inferior  wools  from  other  countries  are  also  used  for  this  latter  class. 
The  wools  of  this  country  which  give  the  best  result  in  cheviots 
come  from  Maine.  Canada  wool  does  well  also.  It  is  necessary  to 
spin  this  coarse  stock  twice  to  get  it  fine  enough  for  many  styles. 
Yarn  dyed  cheviots  when  the  colors  are  fast  enough  to  full  a  little, 
resemble  the  foreign  goods  much  more  than  goods  made  of  raw 
yarn.  Crabbing  improves  the  firmness  of  many  pieces  which  would 
otherwise  seem  slazy.  As  a  reliable  work  on  Scotch  tweeds  that 
written  by  Robert  Johnson  may  be  cheerfully  recommended.  (The 
name  is  "  Scotch  Tweed  Designers'  Hand-Book.") 

Twills. — Twills  are  fine  diagonals  of  the  plainest  kind.  Used 
largely  in  many  woolen  fabrics,  and  frequently  employed  as  the 
ground  texture  of  larger  designs.  In  plain  woolen  goods  the  finer 
twills  are  used  for  light  weight  goods  single,  for  heavy  goods  by 
adding  a  backing.  In  all  materials  the  proportion,  twist  and  size 
of  yarn  are  important  factors  in  the  production  of  certain  appear- 
ances of  twills.  If  the  warp  and  filling  are  the  same  size  and  twist, 
and  the  threads  are  equal  in  number,  the  filling  will  usually  pre- 
dominate, because  it  is  almost  impossible  to  weave  the  warp  yarn  as 
slack  as  the  filling  with  the  best  tension  devices.  The  warp  yarn  is 
generally  twisted  harder  than  the  filling  ;  therefore,  if  of  the  same 


SttTZLt'S  MANUAL.  1  69 

weight,  and  being  woven  tighter  as  well,  the  warp  twill  would  sink  in 
still  more.  To  reverse  this,  the  warp  yarn  may  be  made  a  little  coarser 
than  the  filling,  or  the  number  of  threads  made  greater.  By  making 
the  direction  of  the  twist  conform  to  the  direction  of  the  twill, 
further  effects  are  attained  ;  the  above  statements  are  all  made  upon 
the  supposition  of  like  twist  in  both  warp  and  filling,  say  right 
hand.  If  such  yarn  be  woven  into  a  twill  running  to  the  right,  the 
twill  will  run  with  the  twist  of  the  warp  and  against  the  twist  of  the 
filling,  consequently  the  filling  twill  will  stand  out  more  ;  if  the 
twill  be  turned  to  the  left,  the  warp  twill  will  come  up  and  the  fill- 
ing twill  sink  down.  The  warp  being  the  hardest  yarn,  the  goods  in 
this  case  will  feel  softer  when  the  filling  predominates,  the  qualities 
and  size  of  the  yarn  being  the  same.  By  reversing  the  twist  of  the 
filling  and  making  it  more  prominent  in  that  way  the  goods  are 
made  still  softer,  provided  the  stock  in  the  filling  is  as  fine  or  finer 
than  the  warp.  For  many  goods,  therefore,  it  is  well  to  have  the 
warp  against,  and  the  filling  twist  with  the  twill,  for  others  the  con- 
trary may  be  better,  and  when  the  warp  and  filling  are  of  the  same 
twist,  intermediate  effects  are  produced. 

Twist. — The  amount  and  direction  of  twist,  in  yarn,  plays  an 
important  part  in  fabrics  ;  in  the  preparation  of  a  design,  in  dis- 
secting, and  in  the  general  management  of  a  factory  it  should  never 
be  lost  sight  of  or  overlooked.  The  word  twist  is  sometimes  used 
instead  of  double  and  twisted  yarn,  manifold  yarns,  etc.  In  single 
or  manifold  yarn  the  evenness  of  twist  is  also  important,  but  when 
unevenness  of  twist  appears  on  the  same  bobbin  it  is  usually  the 
effect  of  uneveness  in  the  size  of  the  yarn,  where  it  has  either  been 
strained  by  too  much  tension  or  was  never  drawn  even.  The  twist 
runs  to  the  finest  places  first  and  most. 

Twitts. — Twitts  in  yarn  are  fine  places  that  may  be  caused  by 
irregular  or  excessive  drawing.  By  overdrawing  we  mean  drawing  in 
some  part  of  the  process  more  than  the  stock  will  endure.  Twitts 
may  be  discovered  in  yarn  by  taking  a  number  of  bobbins — say  ten 
— laying  them  at  one  end  of  a  sheet  of  paper,  the  color  of  which  is 
a  strong  contrast  to  that  of  the  yarn  ;  draw  the  threads  from  the 
bobbins  slowly  over  this  sheet  of  paper,  side  by  side,  letting  none 
cross  others,  and  having  them  all  about  equal  distances  apart,  not 
more  than  one  inch  at  one  end  of  the  sheet,  not  less  than  one-six- 
teenth at  the  other.     This  is  a  very  severe  test  for  any  yarn. 


I  70  SPITZLI'S  MANUAL. 

u. 

Upland  Cotton. — A  species   of  sea  island  cotton   produced  in 
the  inland  counties  of  Virginia,  the  Carolinas,  Georgia,  Tennessee, 
Alabama,  Louisiana  and  several   other  States.     It   is  a  light,  weak 
and  uneven   staple.     Of  the   various   kinds  of  cotton,  Baird   gives  ■ 
some  ten  pages  of  most  useful  information. 

Unit  of  Power. — One-horse  power  is  by  some  writers  given  as 
the  unit  of  power.  "  One-horse  power  is  equal  to  75  kilogrammetres." 
(Leroux's  work.)  Haswell  says  :  "  Its  estimate  is  the  elevation  of 
33,000  pounds  avordupois  one  foot  in  height  in  one  minute,  and  is 
nominated  as  being  the  nominal,  indicated  or  actual." 

Unsworth  Needle  Looms  — The  peculiarity  of  this  loom  con- 
sists of  two  sets  of  weft  carriers  and  points  in  lieu  of  shuttles.  The 
principle  is  employed  on  fringe  looms. 

V. 

Velvet. — Velvet  may  be  made  in  many  ways  ;  the  plush  may 
be  of  silk  and  the  body  fabric  linen  or  cotton.  When  the  material 
is  all  cotton  the  goods  are  called  velveteen.  The  fabric,  as  it 
comes  from  the  loom,  before  the  plush  is  cut  is  most  commonly 
known  by  the  name  of  a  class  of  goods  of  this  order  :  "  Fustian." 
The  cutting,  dressing  and  finishing  processes  are  clearly  described 
by  Dr.  Ure  in  his  "  Dictionary  of  Arts  and  Manufactures,"  from 
which  the  following  and  many  other  paragraphs  in  this  work  are 
quoted  :  "  After  the  fustian  cloth  is  taken  from  the  loom-beam,  it 
is  carried  to  the  cutter,  who  rips  up  the  surface  threads  of  weft,  and 
produces  thereby  a  hairy-looking  stuff.  After  being  thus  ripped  up, 
it  is  taken  to  the  brushing  or  teazeling  machine,  to  make  it 
shaggy ;  after  they  are  brushed  in  the  machine  the  goods  are 
singed  by  passing  their  cut  surface  over  a  cylinder  of  iron,  laid  in  a 
horizontal  direction,  and  kept  red  hot  by  a  flue.  They  are  now 
brushed  again  by  the  machine,  and  once  more  passed  over  the 
singeing  surface.  The  brushing  and  singeing  are  repeated  a  third, 
or  even  occasionally  a  fourth  time,  till  the  cord  acquires  a  smooth 
polished  appearance.  The  goods  are  next  steeped,  washed  and 
bleached  by  immersion  in  solution  of  chloride  of  lime.  They  are 
then  dyed  by  appropriate  chemical  means,  after  which  they  are 
padded  (imbued  by  the  padding  machine  of  calico  printers)  with  a 
solutive  of  glue,  and  passed  over  steam  cylinders  to  stiffen  them. 
Smooth  fustians,  when  cropped  or  shorn   before   dyeing,  are  called 


SPITZLt'S  MANUAL.  Ijl 

moleskins  ;  but  when  shorn  after  being  dyed,  are  called  beaverteen  : 
they  are  both  tweeled  fabrics.  Cantoon  is  a  fustian  with  a  fine  cord 
visible  upon  the  one  side,  and  a  satiny  surface  of  yarns  running  at 
right  angles  to  the  cords  upon  the  other  side.  The  satiny  side  is 
sometimes  smoothed  by  singeing.  The  stuff  is  strong,  and  has  a 
very  fine  aspect. 

Velvet  Finish. — This  term  means  a  finish  which  has  a  resem- 
blance to  velvet.  In  woolens  this  finish  is  frequently  required  and 
consists  of  a  short,  thick  nap  standing  up  as  straight  as  possible. 
This  effect  is  produced  by  gigging  almost  equally  both  ways,  and 
allowing  no  subsequent  operation  to  lay  down  the  nap. 


W. 

Warp. — The  yarn  which  passes  through  the  harnesses  and  reed. 
The  character  of  this  yarn  should  be  altogether  governed  by  the 
fabric  for  which  it  is  to  be  used ;  but  the  product  of  a  loom  largely 
depends  upon  the  strength  of  the  yarn,  be  the  fabric  what  it  may. 
If  for  any  reason  the  yarn  of  a  warp  is  not  strong  enough  for  the 
work  it  must  endure  to  produce  the  right  texture,  there  is  often  a. 
way  open  to  change  the  texture  slightly  to  relieve  it  with  less 
damage  than  that  caused  by  a  small  product  and  imperfect  goods. 
Much  may  be  done  to  humor  a  warp  by  various  changes  in  the 
loom.  When  the  warp  is  being  woven  very  tight  the  opening  of  the 
shed  is  an  extra  strain  upon  the  threads  ;  if  the  shed  is  not  at  the 
right  level  this  strain  will  be  greatest  upon  one  shed  or  the  other. 
Sizing  applied  to  warp  yarn  will  make  it  work  much  better  in  many 
fabrics.  This  was  at  one  time  done  altogether  in  the  loom,  but  is 
now  done  by  machinery  while  preparing  the  warps. 

Warping. — The  collection  of  yarn  into  a  warp  is  a  process  seem- 
ingly very  simple,  but  one  which  has  brought  out  many  new  de- 
velopments in  machinery,  and  is  still  very  imperfect  in  some  par- 
ticulars. The  silk  and  cotton  manufacturers  have  advanced  far 
beyond  the  woolen  in  this  department.  This  may  be  accounted  for 
by  the  fact  that  no  subsequent  process  with  them  will  hide  the 
defects  in  warping,  while  in  woolen  goods  the  shrinkage  and  the 
nap  have  covered  and  must  to-day  cover  many  sins.  The  manu- 
facturers of  worsted  goods  have  of  late  turned  their  attention  in 
this  direction  ;  and  well  they  may,  since  nearly  all  the  requirements 
of  cotton  warps  hold  good  in  relation   to  worsted,  and  the  finish  is 


I  72  SPITZLI'S  MANUAL. 

such  as  can  not  be  depended  upon  to  conceal  anything.  Even 
tension  in  all  parts  of  the  warp,  equal  length  of  all  the  threads,  and 
even  dressing  when  applied,  are  the  three  great  requisites  of  warp- 
ing. Other  important  points  will  intrude  on  every  hand,  but  none 
assume  the  importance  of  these.  In  silk  and  cotton  it  is  now  the 
common  practice  to  put  the  yarn  upon  separate  beams,  from  the 
small  bobbins  or  spools,  then  to  take  alternate  threads  from  these 
beams,  from  four  to  twelve  in  number,  for  the  warp.  The 
machinery,  especially  that  for  applying  the  sizing  or  dressing,  and 
for  drying  the  same,  is  now  very  perfect.  These  machines,  or  modi- 
fications of  them,  are  being  introduced  for  worsted  work,  and  are 
really  a  necessity.  The  manner  of  warping  woolen  warps  is  still 
very  primitive  in  many  mills,  and  the  best  machines  in  use  are 
not  what  they  should  be,  because  manufacturers  will  not  pay  the 
price  of  better  ones.  A  greater  folly  can  hardly  be  found  in  the 
entire  manufacturing  interests  than  this.  The  warp  being  well  pre- 
pared, good  work  and  plenty  of  it  is  a  natural  consequence — the 
opposite  side  is  too  ridiculous  to  mention.  The  necessary  remedy 
lies  principally  in  better  machinery,  (manufacturers  should  do  their 
utmost  to  stimulate  development;)  next  in  more  pains  and  labor 
with  what  machinery  is  now  in  use.  In  warping  for  fancy  goods 
the  number  of  threads  are  fixed  by  two  limits — the  pattern  and  the 
weight,  both  of  which  must  sometimes  be  modified  to  bring  them 
within  present  facilities  for  warping.  Whether  the  warp  is  made 
from  section  beams  or  in  sections  upon  a  reel,  the  first  calculation 
necessary  is  to  find  the  number  of  threads  in  each  section,  and  if 
possible  make  them  conform  to  the  threads  in  a  pattern.  That  is, 
the  threads  of  a  section  should  be  a  multiple  of  the  threads  in  a 
pattern.  Making  several  different  sized  sections,  or  running  one 
straight,  the  next  reversed,  (with  a  twist,)  are  almost  sure  methods 
of  making  section  stripes  ;  the  matter  of  damage  is  only  doubtful 
when  there  is  a  question  whether  the  kind  of  goods  happen  to  show 
them  or  not.  Having  found  the  threads  of  the  sections  in  con- 
formity to  above  instructions,  the  number  of  patterns  per  section 
will  necessarily  be  known;  the  number  of  threads  of  each  kind  of 
yarn  per  section  is  now  obtained  by  multiplying  the  number  of  each 
kind  of  threads  in  a  pattern  by  the  number  of  patterns  per  section ; 
the  total  number  by  multiplying  this  product  by  the  number  of 
sections,  and  the  total  amount  of  each  kind  of  yarn  in  yards  by 
multiplying  the  last  product  by  the  length  of  the  warp  in  yards. 
To  ascertain  the  weight  from  the  yards,  see  Yarn  Table  and  Rules. 
For  dressing  or  sizing,  see  Sizing. 


SPITZLI'S  MANUAL.  I  J ^ 

Waste. — Too  much  attention  cannot  be  paid  to  the  matter  of 
waste  in  a  factory.  Not  only  waste  of  material,  yarn  and  cloth,  but 
time  and  supplies.  The  manner  of  assorting,  preserving  and  pack- 
ing waste  is  of  importance.  To  keep  the  waste  clean  it  must  be 
kept  off  the  floors  as  much  as  possible,  what  falls  to  the  floor  should 
be  picked  up,  not  swept  along  with  other  sweepings. 

Waste  Pickers. — The  many  machines  under  this  name  made  to 
pick  or  ravel  waste  to  recover  as  much  staple  fibers  as  possible  from 
refuse  yarn,  need  little  comment.  The  Kitson  &  Parhurst  pickers 
for  the  purpose  are  well  known,  and  probably  have  the  lead  in  the 
market. 

Weaving. — Such  elaborate  articles  on  this  subject  may  be  found 
in  the  opening  chapters  of  nearly  all  books  on  Weaving  and  Design- 
ing that  it  is  superfluous  to  add  to  or  repeat  what  has  been  thus 
published  at  the  present  writing. 

Weft. — Filling. 

Weights. — The  convenience  of  standard  weights  of  all  kinds,  as 
well  as  many  special  weights,  for  test  weighing  and  the  like,  is  a  sub- 
ject beyond  comment.  The  surest  way  to  get  accurate  weights  is 
to  have  them  made  by  responsible  parties,  who  are  provided  with 
the  exceedingly  sensitive  scales  necessary  to  test  weights.  With 
care  and  patience  very  good  weights  may  be  made.  Baird  gives 
instructions  (pp.  192)  that  the  amateur  in  the  manufacture  of 
weights  will  do  well  to  heed. 

Willowing. — This  process  is  one  that  comes  under  the  head  of 
separating  the  staple  from  refuse  matter.  It  is  practised  very  gen- 
erally by  the  best  woolen  mills.  The  cotton  gin  serves  the  best 
purpose  for  cotton,  but  has  more  to  do  and  under  greater  diffi- 
culties. In  further  cleansing  stock,  each  kind  of  textile  fiber  must 
be  treated  differently  in  the  early  cleansing  processes.  That  which 
interests  the  most  men,  because  they  are  engaged  in  that  branch, 
is  wool  washing  and  scouring,  and  perhaps  there  is  no  other  staple 
so  troublesome  from  the  many  variations  required. 

Winding. — By  winding  we  understand  that  a  process  similar  to 
that  of  spooling  is  implied,  but  that  the  receptacle  of  yarn  in  this 
case  is  a  bobbin,  not  a  spool.  Much  that  may  be  said  of  spooling 
applies  here,  especially  the  allusions  to  precaution  ;  good  work  in 
winding  is  more  imperative,  because  a  badly  wound  bobbin  cannot 
be  used  without  loss  of  time  and  material,  particularly  in   the  shut- 


I  74  SPITZLI'S  MANUAL. 

tie,  the  most  common  destination  of  a  bobbin  of  yarn.  In  winding 
bobbins  great  care  should  be  taken  to  adjust  the  machinery  to  form 
the  taper  to  suit  the  peculiarities  of  the  yarn  wound.  For  instance, 
slippery  yarn  should  have  a  long  taper,  tender  woolen  yarn  a  short 
one,  and  in  all  cases  should  the  guide  which  forms  the  taper  work 
smoothly  and  regularly.  The  tension  should  be  so  applied  that  the 
yarn  will  draw  a  little  harder  when  winding  next  to  the  wood  than 
when  at  the  large  end  of  the  taper;  few  machines  will  do  this,  but 
it  is  a  point  of  great  advantage.  There  should  never  be  a  dwell  in 
the  guide  motion,  or  an  irregular  traverse,  as  the  yarn  will  certainly 
come  off  with  irregular  tension  if  this  is  not  attended  to.  The 
faults  of  and  remedies  for  over-run,  too  full,  large,  hard  or  soft 
bobbins  are  obvious.  In  some  parts  all  spools  and  bobbins  are 
given  this  one  name,  but  in  this  country  the  term  bobbin  is  now 
almost  universally  applied  only  to  a  barrel  with  one  head.  Bobbins 
should  be  made  of  wood  which  wears  smooth,  whatever  the  first 
cost.  Maple  is  very  good.  Steaming  yarn  on  the  bobbin  is  very 
destructive  of  the  bobbin,  however  much  it  benefits  the  yarn.  Set- 
ting the  twist  by  heating  in  an  oven  is  quite  as  bad  for  wood  ;  when 
either  course  is  practiced  many  bobbins  are  split.  Of  the  shape  of 
bobbins  little  can  be  said  save  that  the  bobbin  should  be  made  to 
suit  the  yarn.  Cone  bobbins  are  those  which  have  a  cone  next  to 
the  head,  because  the  building  motion  upon  the  machines  used  for 
winding  the  yarn  upon  the  bobbin  requires  it;  the  same  require- 
ment usually  extends  to  the  shape  of  the  cone.  Ribs  or  depres- 
sions, or  creases  upon  the  barrel,  prevent  the  yarn  from  sliding  off 
in  a  body,  but  the  rib  adds  considerable  friction  and  consequently 
cannot  be  used  on  some  kinds  of  work,  the  difference  in  the  tension 
of  the  yarn  when  beginning  to  unwind  a  bobbin,  and  at  the  last 
being  too  great. 

Woad. — The  plant  (Isates  Glastumn  or  Isastis  Tinctoria)  when 
made  into  fermented  paste  is  known  as  woad.  It  is  a  native  plant 
of  England,  its  coloring  properties  having  been  used  by  the  ancient 
Britons  more  than  2,000  years  ago.  It  is  also  cultivated  in  Europe. 
Its  use  in  the  blue  vat  is  very  important  and  requires  much  skill 
and  experience.  The  nature  and  application  of  this  substance 
should  be  studied  by  all  who  should  understand  colors,  their  nature, 
peculiarities  and  relations. 

Wool. — Wool,  strictly  speaking  is  a  cutaneous  secretion  taking 
place  through  the  epidermic  pores  of  the  animal.  These  pores  are 
all  of  the  same  diameter,  and,  at  equal  intervals  upon  the  epidermis 


SPITZLI'S  MANUAL. 


175 


of  the  same  sheep.  They  vary  according  to  species,  and  are  nar- 
row, straight  or  tortuous,  and,  consequently,  the  wool  fibers  will  be 
fine,  smooth  or  undulating,  according  to  the  shape  of  the  pores  by 
which  they  are  gauged.  Wool,  if  kept  in  a  well-ventilated  place, 
undergoes  very  little  change.  Under  the  influence  of  heat,  wool 
decomposes,  giving  carbonate  of  ammonia  and  much  oil.  Acids  act 
but  feebly  upon  it ;  caustic  alkalies  and  their  solutions  dissolve  it 
entirely.  Wool  is  classified  and  valued  by  the  length  of  its  staple, 
the  diameter  of  its  fiber,  its  suppleness,  elasticity  and  strength.  The 
fineness  of  wool  is  determined  by  the  number  of  undulations  in  a 
given  length  of  staple — a  very  wavy  staple  should  double  its  length 
by  stretching,  and  then  return  to  its  original  dimensions.  There 
are  two  principal  sorts  of  wool,  namely  :  short  or  carding  wool  and 
long  or  combing  wool.  These  two  sorts  give  rise  to  four  very  dis- 
tinct classes  : 

First — Fleece  wool  for  combing  ; 

Second — Fleece  wool  for  carding  ; 

Third — Pulled  wool  (mortling)  for  combing  ; 

Fourth — Pulled  wool  (mortling)  for  carding. 

Fleece  wool  is  all  that  is  shorn  from  the  living  animal ;  and 
pulled  wool  (pelt  wool,  mortling),  that  pulled  from  the  skin  of  the 
animal  after  death.  The  latter  is  less  valuable  than  the  former. 
These  two  sorts  differ  in  their  stoutness  and  softness.  Both  are 
generally  white,  though  sometimes  black  or  brown.  The  skins 
supplying  the  pulled  wool  are  of  two  classes  : 

First — The  skins  of  animals  killed  on  farms. 

Second — The  skins  of  animals  killed  in  slaughter  houses. 

According  to  its  degree  of  fineness  pulled  wool  is  sorted  into  fine, 
medium  and  common.  This  kind  of  wool,  never  having  reached 
maturity,  and,  moreover,  being  weakened  and  impaired  by  the  lime 
used  in  stripping  the  skin,  is  lighter  and  weaker  than  fleece  wool. 

Woolens. — The  term  woolens  is  used  by  the  trade,  and  includes 
as  a  class,  all  woolen  goods  for  men's  wear,  flannels,  etc.,  etc. 

Worsted. — The  essential  difference  between  worsted  and  woolen 
yarn  is  that  the  former  is  combed,  the  long  fibers  being  all  laid 
parallel,  the  short  fibers  separated  and  taken  away,  while  in  the 
latter  the  fibers,  long  and  short,  must  go  together,  and  they  cannot 
be  so  thoroughly  straightened  out.  The  reduction  of  the  sliver  or 
tops,  as  it  comes  from  the  combs  to  yarns,  is  also  different  from  the 
process  of  spinning  woolen  yarn.  The  stock  must,  of  course,  be 
suitable  to  the  process,  hence   the  wools   that  are  long   and  strong 


I  j6  SPITZLI'S  MANUAL. 

enough  to  produce  good  worsted  yarns  are  graded  into  combing 
and  delaine  wools.  Unless  the  drawing  is  done  on  machines  that 
do  not  twist  the  slivers,  and  the  spinning  on  a  very  long  draught 
machine  like  the  mule,  the  yarn  will  be  hard  and  wiry,  lacking  elas- 
ticity. This  is  the  disadvantage  the  English  process  in  the  manu- 
facture of  worsted  yarns  has  over  the  French.  Having  produced 
the  right  yarn,  the  production  of  the  texture  is  similar  to  other 
goods,  but  far  more  trying  to  the  weaver;  because  of  its  costliness, 
the  necessity  of  avoiding  the  smallest  imperfection  becomes  impera- 
tive, and  on  account  of  the  peculiarity  of  the  fabrics  every  imper- 
fection is  easily  seen.  The  process  of  finishing  and  dyeing  worsted 
goods  is  far  more  difficult  than  any  one  unacquainted  with  the 
nature  of  the  difficulties  can  imagine.  The  treatment  of  a  few 
kinds  of  worsted  fabrics  from  the  loom  to  the  case  would  be  a 
capital  subject  for  a  large  book. 


X. 

Xerga. — A  Spanish  name   for  a  peculiar   woolen   blanket.     Our 
common  market  term,  "  Serge,"  is  derived  from  this  name. 


Yama-Mai,  or  Oak  Tree  Silkworm. — The  Yama-mai  is  a 
species  of  silkworn  common  in  Japan,  which  derives  its  sustenance 
from  the  leaves  of  oak  trees. 

Yarn. — Any  spun  thread  may  be  called  yarn,  but  the  term  in  its 
strictest  sense  implies  spun  wool. 

Uneven  Yarn.— The  causes  of  uneven  yarn  are  numerous  and 
varied,  the  consequences  invariably  imperfect  goods,  almost  always 
a  reduction  of  product,  and  much  waste.  There  are  a  variety  of 
terms  used  to  designate  the  kind  of  unevenness.  What  is  under- 
stood by  uneven  yarn,  is  that  caused  by  uneven  stock  or  roving, 
tight  or  loose  bands,  worn  drawing  rolls,  etc.,  etc.  Uneven  twist  is 
often  mistaken  for  uneven  yarn,  but  by  careful  weighing  one  may 
ascertain  which  it  is.  The  uneven  twist  when  not  caused  by 
irregular  size  or  tension  of  spindle  bands  is  usually  the  effect  of 
irregular  tension  between  the  roving  spool  and  the  yarn  bobbin. 
To  watch  every  set  of  bobbins  as  they  are  taken  off  is  an  important 
duty  that  some   one   who   is   competent   should   be   entrusted   with. 


SPITZLI'S  MANUAL. 


177 


Twitty  yarn  may  be  caused  by  poor  carding  and  combing,  improper 
adjustment  of  drawing  rolls,  uneven  speed,  slipping  belts,  etc.,  etc. 
If  the  stock  in  the  roving  is  examined  frequently  there  should  be  no 
difficulty  in  deciding  whether  the  trouble  is  in  the  spinning  or 
before.  The  spinner  cannot  make  good  yarn  with  poor  roving  or 
machinery  which  is  not  adapted  to  the  work. 

Yarn  Numbers,  or  Counts. — The  numbers  of  woolen  yarn  most 
commonly  used  in  this  country  are  those  regulated  by  the  run  and 
grain  systems.  By  the  run  system,  No.  1,  or  i-run  yarn,  has  1600 
yards  per  pound ;  No.  2^,  or  2^-run  yarn,  has  4000  yards  per  pound, 
etc.,  etc.  This  is  very  convenient,  because  so  easily  estimated  per 
ounce,  each  number  representing  the  number  of  times  100  yards 
are  needed  to  weigh  an  ounce.  The  grain  system  of  numbering 
woolen  yarn  is  quite  different,  the  most  common  measure  or  basis 
being  20  yards.  Whatever  20  yards  of  any  kind  of  yarn  weighs  in 
grains  is  the  number  given  by  this  system.  If  20  yards  of  any  yarn 
weighs  13  grains,  it  is  called  13  grain  or  No.  13  yarn  ;  if  the  same 
measure  weighs  30  grains,  then  the  yarn  is  designated  as  30  grain 
or  No.  30  yarn. 

Yarn  Tables  and  Weights. — The  avordupois  pound  and  ounce 
are  the   correct   weights  for  yarn  calculations,  but  finer   denomina- 
tions are  necessary ;  the  pennyweight  and  grain  of  the  Troy  weights 
being    convenient,    they    are    sometimes    employed    in    expressing 
smaller  divisions  of  an  avordupois  ounce. 
24     grains  =     1       dwt. 
437!       "     or    28^-    "    =   1  ounce. 
7000         "     "     291!      "  or  16       "     =  1  pound. 

Table  of  Common  Fractions  of  Ounces  in  Grains. 
of  1   ounce=     4-f  grains. 


1 

100 

1 

10 
1 
t 


I 

u 

=  8* 

I 

u 

=  12^ 

I 

a 

=  43f 

I 

a 

=  87i 

I 

a 

=io9| 

I 

a 

=i45f 

I 

a 

=2l8f 

I 

u 

=i9if 

I 

a 

=328! 

If  y^j-  of  an  ounce  or  4-f  grains  are  put  into  one  shell  of  a  balance 
scale,  the  number  of  any  woolen  yarn  in  runs  may  be  ascertained 
by  the   number   of  yards  it  takes  to  balance  the  4-f  grains. 
12 


178  SPITZLI'S  MANUAL. 

For  the  grain  system  of  numbering  woolen  yarns  the  weight  of  20 
yards  of  any  yarn  in  grains  being  used  as  the  number  of  the  yarn, 
all  that  is  required  is  a  good  scale  and  set  of  grain  weights  to  ascer- 
tain the  number. 

For  cotton  yarn  use  -££-$  for  an  ounce  or  8^  grains  and  for 
worsted  yarns  use  ^j-  of  an  ounce  or  12^-  grains  to  ascertain  the 
number  of  the  yarn. 

Worsted  and  cotton  numbers  for  yarns  are  derived  from  the 
number  of  hanks  required  per  pound,  but  the  size  of  reel  used 
differs,  therefore,  the  number  of  hanks  per  pound  must  be  different. 
The  cotton  reel  is  taken  at  54  inches  in  circumference,  the  worsted 
reel  at  36  inches  or  1  yard  for  a  basis. 

Cotton   Table. 

54  inches=i  thread=i-J  yards. 
80  threads=i  lea  or  knot=i2o  yards. 
7  leas  or  knots=i  hank=84o  yards. 

Worsted  Table. 

36  inches=i  thread=i  yards. 
80  threads=i  lea  or  knot=8o  yards. 
7  leas  or  knots=i  hank=56o  yards. 

Some  woolen  mills  number  their  yarns  by  cuts.  The  number 
given  indicates  the  cuts  per  pound : 

Two  hundred  and  forty  yards  per  cut. 

Eight  cuts  per  head. 

Six  heads  per  spindle. 

Street's  tables  for  grading  yarns  are  highly  recommended. 

F.  T.  Ashton  of  Pittsfield,  Mass.,  publishes  a  Spinner's  Guide, 
well  thought  of  by  many,  for  yarn  calculations. 

The  following  tables  are  very  convenient  for  those  who  must 
make  comparative  estimates  of  yarns  numbered  by  the  different 
systems. 


SPITZLI'S  MANUAL. 


179 


YARN    TABLE. 


Weight 

of 
20  Yds 

Yards. 

1,000 

2,000 

3,000 

4,000 

5,000 

6,000 

"7T000 

~870~00 

"97000 

Holes. 

16.66 

33.33 

50.00 

66.66 

83.33 

10.00 

11.66 

13.33 

15.00 

Grains. 

Runs. 
1 

.625 

1.25 

1.875 

2.50 

3.125 

3.75 

4.375 

5.00 

5.625 

87.50 

10.00 

20.00 

30.00 

40.00 

50.00 

60.00 

70.00 

80.00 

90.00 

70.00 

li 

8.00 

16.00 

24:00 

32.00 

40.00 

48.00 

56.00 

64.00 

72.00 

58.33 

n 

6.66 

13.33 

20.00 

26.66 

33.33 

40.00 

46.66 

53.33 

60.00 

50.00 

it 

5.71 

11.42 

17.20 

22.91 

28.62 

34.33 

40.11 

45.82 

51.53 

43.75 

2 

5.00 

10.00 

15.00 

20.00 

25.00 

30.00 

35.00 

40.00 

45.00 

38.88 

at 

4.44 

8.88 

13.33 

17.77 

22.22 

26.66 

31.11 

35.55 

40.00 

35.00 

2i 

4.00 

8.00 

12.00 

16.00 

20.00 

24.00 

28.00 

32.00 

36.00 

31.81 

34 

3.63 

7.27 

10.90 

14.54 

18.17 

21.81 

25.44 

29.08 

32.72 

29.16 

3 

3.33 

6.67 

10.00 

13.33 

16.67 

20.00 

23.33 

26.67 

30.00 

25.00 

H 

2.86 

5.71 

8.57 

11.42 

14.28 

17.14 

20.00 

22.84 

25.71 

21.87 

4 

2.50 

5.00 

'7.50 

10.00 

12.50 

15.00 

17.50 

20.00 

22.50 

19.43 

U 

2.22 

4.44 

6.66 

8.88 

11.11 

13.33 

15.55 

17.77 

20.00 

17.50 

5 

2.00 

4.00 

6.00 

8.00 

10.00 

12.00 

14.00 

16.00 

18.00 

15.90 

5* 

1.81 

3.63 

5.45 

7.27 

9.08 

10.90 

12.71 

14.54 

16.35 

14.57 

6 

1.66 

3.33 

5.00 

6.66 

8.33 

10.00 

11.66 

13.33 

15.00 

13.45 

u 

1.53 

3.07 

4.61 

6.15 

7.69 

9.22 

10.76 

12.30 

13.84 

12.50 

7 

1.42 

2.85 

4.28 

5.71 

7.14 

8.57 

10.00 

11.42 

12.85 

11.66 

n 

1.33 

2.66 

4.00 

5.33 

6.66 

8.00 

9.33 

10.66 

12.00 

10.93 

8 

1.25 

2.50 

3.75 

5.00 

6.25 

7.50 

8.75 

10.00 

11.25 

10.28 

8£ 

1.17 

2.35 

3.52 

4.70 

5.88 

6.05 

8.23 

9.40 

10.58 

9.71 

9 

1.11 

2.22 

3.33 

4.44 

5.55 

6.66 

7.77 

8.88 

10.00 

8.75 

10 

1.00 

2.00 

3.00 

4.00 

5.00 

6.00 

7.00 

8.00 

9.00 

7.95 

11 

.90 

1.81 

2.72 

3.63 

4.54 

5.45 

6.36 

7.27 

8.18 

7.28 

1     12 

.83 

1.66 

2.50 

3.33 

4.16 

5.00 

5.83 

6.66 

7.50 

Some  years  ago  the  author  published  the  above  yarn  table. 
It  has  since  been  published  by  several  other  parties,  which  is  suffi- 
cient evidence  that  the  table  is  worth  the  space  it  occupies  here. 
It  is  not  convenient  to  any  one  who  is  not  in  the  habit  of  using 
decimals  in  calculations  of  this  kind.  But  to  any  one  who  has  become 
thoroughly  conversant  with  the  convenience  of  the  decimal  point, 
it  will  be  of  great  service  in  estimating  stock  required,  yarns, 
spooler  measures,  etc.  It  is  applicable  to  both  the  run  and  grain 
systems  of  numbering,  and  by  using  other  tables  of  this  work  for 
comparison  of  numbers  it  will  answer  tolerably  for  worsted  also. 
The  original  explanation  of  the  table  is  also  given  : 

"  The  yarn  table  herewith  is  intended  to  cover  several  points. 
First,  to  find  the  weight  in  ounces  of  any  number  of  threads,  one 
yard  in  length,  or,  in  other  words,  any  number  of  yards  of  yarn. 
Second,  to  find  the  measure  in  runs;  and,  thirdly,  in  holes,  of  any 
number  of  yards.  The  size  of  the  thread  being  designated  both  in 
grains  and  runs,  in  the  two  first  columns.  The  yards  in  the  first 
line,  holes  in  the  second,  runs  third,  and  ounces  in  all  subsequent. 
The  yards  are  given  in  thousands,  for  convenience  sake  ;    for  a  less 


l8o  SPITZLI'S  MANUAL. 

number  it  is  only  necessary  to  divide  by  ten,  one  hundred,  or  one 
thousand,  as  the  case  may  be,  by  removing  the  decimal  point  to  the 
left  one,  two  or  three  spaces.  The  table  is  based  as  follows:  100 
yards  of  one-run  yard  weigh  one  ounce  ;  1,600  yards  or  one  run  in 
length  weighing  one  pound  ;  60  yards  one  hole." 


Z. 

Zig-Zag. — In  some  parts,  particularly  in  England,  herring  bone 
textures  are  called  by  this  name.  The  texture  effects  which  the 
writer  classes  as  zig-zags  are  those  in  which  the  twills  reverse  in  a 
much  more  irregular  order.  One  sometimes  meets  muslins  and 
gauze  of  this  class,  reminding  one  of  chain  lightning. 


SPITZLI'S  MANUAL.  l8l 


INDEX 

To  the  Subject  Matter  of  the  Manual  which  is 
not  Alphabetically  Arranged. 


Note. — The  work  contains  162  pages  of  names  and  terms  with  definitions  and 
derivations,  also  elementary  instructions  on  many  important  subjects  involved,  all 
arranged  in  alphabetical  order. 

Page. 

Alpaca  Wool 98 

Ananas  Hemp 97 

Animal  Fibers 98 

Boiler  Ash-pits,  Furnaces  and  Grates 38 

Boiler  Bridge-wall 39 

Cam  Looms 122 

Camel  Hair    98 

Card  Grinding. .    107 

Chain    Drafts 86 

Chain  Drafts  for  Backing 33 

Chain  Drafts  for  Double  Cloth 165 

Chain  Drafts  for  Repellants 145 

Chain  Looms 122 

Chinese  Grass 97 

Close  Shed  Looms 122 

Cocoa  Fibers 97 

Computations  of  Fuel,  Steam,  &c 40 

Contrast  of  Colors   57 

Dissecting  Instruments 81 

Drafts  Illustrating  Cross  Drawing 64 

Drafts  Illustrating  Simple  Textures 161 

Drawing-in  Drafts 86 

Draw  Loom 122 

Dye-house  Reels . 144 

Emery  Rollers 94 

Estimate   of  Heddles 148 

Evaporation  of  Water  in  Boilers 46 

Filling  Drafts 87 

Fixed  Alkalies ...      21 

Flax 97 

General  Consideration  of  Colors.  . .    57 

Glass  Threads 99 

Gold  and  Silver  Threads ...     99 


1 82  SPITZLI'S  MANUAL. 

Hair  Line  Drafts m 

Harmony  of  Color gg 

Heating  Feed  Water  for  Boilers   42 

Imperfect   Edges 03 

Introduction q 

Jute q7 

Manila   Hemp 18 

Mineral  Fibers qS 

Nealing 24 


Nettle 


97 


Open  Shed  Looms 122 

Pelt  Wool i37 

Picking  Out 75 

Positive  Shuttle  Motion  Looms 122 

Qualities  of  Colors 5S 

Rammee 97 

Reducing  or  Deducing  Drafts 160 

Reed  Calculations , 147 

Reed    Tables .  .  141 

Roller  Looms 122 

Rough  Edges 93 

Ribbon  Looms 122 

Rule  for  Shrinkage  in  Fulling   - 103 

Shear   Grinding 109 

Spooler  Drafts 86 

Suggestions  to  Beginners 15 

Tables  Showing  Product  of  Looms 142-143 

Table  of  Oils — Comparative  Weights   130 

Tape  and  Tappet  Looms ...  122 

Teachings  of  Experience  Relative  to  Colors 59 

Tenter  Clothing 159 

The  Manufacture  of  Textile  Fabrics 11 

The  Needle-bar  Mechanism 69 

The  Preparation  of  the  Sample  for  Dissecting 78 

Uneven  Yarn 176 

Vegetable  Fibers 97 

Volatile  Alkali 21 

Warpers'  Drafts 86 

Water  Surface  of  Boilers 40 

Yarn  Reels 144 


APPENDIX 


APPENDIX. 


Achromatic. — Not  showing  color  caused  by  the  decomposition 
of  light. 

Achromatic  Lens. — A  lens  composed  of  separate  lenses  of  dif- 
ferent shape  and  substance,  with  the  necessary  adjustment  of  curva- 
tures to  correct  the  chromatic  aberration  in  each  by  the  other. 

Achromatic  Microscope  or  Telescope. — Instruments  in  which 
the  achromatic  or  compound  lens   is  employed   for  the  object  glass. 

Burling. — The  real  process  of  burling  involves  nothing  further 
than  the  removal  of  burrs  from  the  woolen  cloths,  at  a  proper  or 
convenient  time  during  the  finishing  process.  When  burrs  exist  in 
great  numbers,  and  the  character  of  the  goods  permit,  they  may 
sometimes  be  satisfactorily  removed  by  means  of  a  chemical  pro- 
cess. Nearly  all  fabrics  require  more  or  less  burling.  This  is  done 
by  hand,  and,  as  it  would  be  a  waste  of  time  and  labor  to  do  other- 
wise, the  burlers  are  expected  to  remove  knots,  lumps,  slubs,  etc. 
Upon  careful,  thorough  and  skillful  burling  many  kinds  of  goods 
depend  for  a  perfect  appearance  when  finished.  Goods  may  be 
such  as  to  require  the  burling  and  removal  of  knots  after  washing — 
for  instance,  in  many  light  worsted  fabrics  if  a  knot  is  removed  be- 
fore washing,  the  ends  of  the  threads  will  shrink  back;  again,  some 
goods  need  to  be  burled  several  times ;  in  others  some  lumps,  knots, 
etc.,  may  be  left  in,  for  the  fine-drawer  to  remove  when  ready  to 
repair  the  damage,  while  others  may  be  left  in,  until  removed  by 
some  other  operation  like  gigging  or  shearing. 

Delaine. — A  light  worsted  fabric.  The  wool  for  these  goods 
having  been  for  a  long  time  especially  selected  as  to  quality,  length 
and  strength,  has  given  that  class  of  wool  the  appellation  "  Delaine 
Wool." 

Extractors. — The  use  of  extractors  in  factories  is  very  im- 
portant, whether  the  water  is  thrown  or  squeezed  out;  all  woolen 
fabrics  especially  should  be  thoroughly  extracted  before  drying. 
The  machines  which  throw  out  the  water  have  one  great  advantage 
over  those  which  squeeze  it  out,  when  cloth  is  extracted,  viz.,  the 
13 


2  SPITZLI'S  MANUAL. 

open  state  of  the  fabric  produced.  The  pressure  of  squeezing  rolls 
compresses  the  goods  and  makes  them  more  impenetrable  to  currents 
of  air  necessary  to  dry  them.  The  extractor  of  the  day  for  cloth,  is 
no  doubt  the  new  one  recently  introduced  by  the  Tolhurst  machine 
company  of  Troy.  This  machine  throws  the  water  from  the  goods, 
which  are  put  into  the  machine  upon  a  roll,  thus  saving  much  labor, 
and  doing  the  work  better  than  any  other  kind.  Extractors  for  wool 
rags  and  the  like  must  still  retain  the  old  principle  —  a  basket 
revolved  at  high  speed. 

Fine  Drawing. — Fine  drawing  literally  means  drawing  fine 
threads  into  fabrics  to  repair  damages.  The  fine  drawer  should 
have  a  thorough  comprehension  of  the  texture  in  hand  to  do  good 
work;  this  at  once  involves  a  mind  superior  to  that  found  in  the 
more  ordinary  working  people ;  also  skill  and  judgment,  all  of 
which  necessitate  the  payment  of  high  wages  for  this  work.  Real 
fine-drawers  of  experience  are  hard  to  find  in  this  country,  conse- 
quently the  work  is  largely  left  undone  or  poorly  done.  While  this 
is  wrong,  and  the  education  of  good  fine-drawers  should  interest 
every  manufacturer  because  of  the  saving  they  would  prove,  it  must 
not  be  supposed  that  the  presence  of  any  number  of  fine-drawers  in 
any  mill  would  make  a  greater  leniency  in  other  departments  prac- 
ticable. On  the  contrary,  prevention  is  ever  better  than  cure,  and 
in  most  instances  in  the  factory,  infinitely  cheaper.  The  fine- 
drawer  may  save  many  times  his  or  her  wages  in  repairing  unavoid- 
able damages  in  the  most  ordinary  goods,  but  it  is  ruinous  to  pro- 
vide fine-drawers  with  more  than  this  to  do. 

Genappes. — "  A  worsted  yarn,  subsequently  to  spinning  treated 
to  produce  upon  the  thread  a  smooth,  lustrous  and  fiberless  sur- 
face." 

Ink. — The  subject  of  ink  is  of  no  little  importance  to  the  de- 
signer, if  he  would  produce  neat,  clear  and  distinct  drafts  with  the 
greatest  ease  possible.  The  same  specifications  apply  as  in  me- 
chanical drawing.  Good  indelible  inks  are  indispensable  for  the 
best  work. 

Jacquard. — The  Jacquard  is  a  loom,  parts  of  which  were  in- 
vented and  improved  by  a  noted  Frenchman  of  the  same  name. 
Many  improvements  upon  the  original  have  been  made.  The  sheds 
are  opened  by  means  of  wire  hooks  of  exactly  the  same  form  as  those 
used  in  the  witch  machine,  but  are  more  numerous  in  the  Jacquard 
machine.    The  hooks  are  placed  in  eight  rows,  (this  varies  according 


SPITZLI'S  MANUAL.  3 

to  the  extent  of  the  machine  which  is  known  in  trade  as  the  400- 
machine — that  is,  a  machine  containing  400  of  these  hooks  for  the 
purpose  of  making  patterns,  and  eight  of  which  are  sometimes  used 
for  selvages  or  other  purposes.)  Each  of  these  is  supported  or  kept  in 
position  by  a  cross-wire,  having  an  eye  through  which  the  hook  passes. 
One  end  of  this  wire  is  kept  perfectly  straight,  while  on  the  other  end 
is  formed  a  loop  ;  the  straight  end  is  passed  through  a  perforated 
board  called  the  needle-board,  and  is  allowed  to  project  about  three- 
eighth  of  an  inch  in  front  of  it ;  the  loop  end  is  secured  by  a  wire 
pin  passed  down  through  it.  Immediately  behind  this  is  placed  the 
spring  box,  which  contains  as  many  small  helical  springs  as  there 
are  cross-wires,  and  which  are  so  arranged  that  each  one  acts  upon 
the  loop  at  the  end  of  the  cross-wire.  The  pressure  thus  bestowed 
upon  the  cross-wires  keeps  them  in  position  through  the  needle- 
board,  and  at  the  same  time  keeps  the  hooks  in  an  upright  position. 
To  the  bottom  of  the  hooks  is  attached  a  cord  termed  the  neck- 
cord  ;  this  cord  is  passed  down  through  the  bottom  board  of  the 
machine  upon  which  the  hooks  rest.  At  a  distance  of  a  few  feet 
from  the  bottom  of  the  machine,  and  a  short  distance  above  the 
warp  line  is  placed  another  perforated  board,  known  as  the  cumber 
board.  These  holes  are  at  regular  distances,  in  rows  of  eight,  the 
distances  apart  being  arranged  according  to  the  number  of  ends  per 
inch  required  in  the  cloth.  The  board  is  divided  into  divisions  of 
as  many  holes  as  there  are  hooks  in  the  machine.  Taking  the  first 
hook  in  the  machine  a  cord  is  passed  down  from  it  and  through  the 
first  hole  in  each  division  of  the  number  board.  The  second  hook 
is  treated  in  like  manner,  and  so  on,  until  every  one  of  the  four 
hundred  hooks  have  as  many  cords  attached  to  them  as  there  are 
divisions  in  the  cumber  board  Each  of  these  cords  has,  at  the 
warp  line,  a  mail,  through  which  the  warp  passes,  and  which 
answers  the  purpose  of  the  heddle ;  to  the  bottom  of  each  cordis 
attached  a  lead  or  wire  weight  for  the  purpose  of  bringing  it  back 
into  its  place  after  being  lifted  to  form  a  shed.  Every  cord  in  each 
division  being  each  a  repetition  of  the  other.  This  four  hundred, 
then,  represents  the  limit  of  the  number  of  ends  upon  which  a  pat- 
tern can  be  produced.  It  has  been  shown  that  the  cross-wires  are 
allowed  to  project  in  front  of  the  needle-board.  From  the  top  of 
the  frame  depends  an  arm,  which  carries  a  square  perforated  bar, 
or,  as  it  is  termed,  a  cylinder.  In  this  cylinder  the  holes  are  bored 
to  conespond  in  position  with  the  needle-board,  but  the  holes  are 
larger  to  allow  the  needles  to  enter  them  easily.  It  will  be 
apparent  that  if  this  cylinder  be  brought  in  contact  with  the  points 


4  SPITZLI'S  MANUAL. 

of  the  needles  which  project  through  the  needle-board  no  effect 
would  be  produced,  because  each  needle  would  enter  a  hole,  the 
springs  in  the  box  keeping  them  in  position  ;  but  if  any  of  the  holes 
in  the  cylinder  are  stopped,  it  immediately  strikes  back  the  needle, 
the  spring  giving  way  under  the  pressure  ;  the  result  is  that  the  up- 
right hook  is  pushed  back  out  of  position  over  the  lifting  blades. 
These  hooks  are  fixed  in  a  movable  frame,  and  their  duty  is  to  lift 
such  of  the  hooks  as  are  not  pressed  back  in  the  manner  described. 
The  way  in  which  the  pattern  is  formed  is  by  having  a  number  of 
cards  cut  to  the  desired  pattern  and  passing  over  the  cylinder.  At 
each  tread  or  pick  of  the  loom,  the  arm  is  thrown  back,  and  all  the 
needles  are  liberated.  Then,  as  the  shed  closes,  the  cylinder  again 
comes  forward  with  the  card  upon  it,  and  presses  back  such  of  the 
hooks  as  are  not  required  to  be  lifted  for  the  pattern  which  is  being 
woven.  To  insure  the  cards  following  each  other  in  the  proper 
order,  they  are  fastened  together  in  a  continuous  chain,  by  means 
of  string  laced  through  holes  cut  for  that  purpose  at  each  end  and 
in  the  middle.  The  preparation  of  the  cards  is  an  important  pro- 
cess, requiring  a  great  amount  of  experience,  skill,  care  and 
attention.  The  first  thing  that  is  necessary  is  that  the  design 
should  be  drawn,  on  an  enlarged  scale,  upon  squared  paper,  which 
is  intended  to  represent  the  warp  and  weft.  This  being  done,  it  is 
taken  before  the  card  cutter,  placed  between  two  laths,  in  such  a 
manner  as  to  leave  in  view  the  line  which  represents  the  pick  of 
weft  he  is  about  to  cut  the  card  for.  He  places  a  punch  in  every 
hole  of  the  plate  corresponding  with  the  white  space  upon  his  paper. 
The  card  and  plate  are  then  placed  in  the  stamping  machine  and 
the  card  cut.  After  one  set  of  cards  has  been  cut  from  a  design, 
any  number  may  be  repeated  by  means  of  the  repeating  machine. 
The  cards  are  all  numbered  in  the  order  in  which  they  are  cut  from 
the  design,  put  upon  a  frame  to  keep  them  in  proper  position  in 
consecutive  order,  and  laced  or  strung  together  as  previously 
described.     All  this  work  is  now  largely  done  with  machinery. 

Within  the  last  thirty  years  the  Jacquard  apparatus  has  under- 
gone numerous  modifications,  not  only  to  make  it  more  efficient  but 
to  adapt  it  to  particular  descriptions  of  weaving.  It  has  also  been 
successfully  applied  to  the  lace  frame,  and  to  several  purposes  apart 
from  weaving,  such  as  musical  instruments,  to  punching  machines 
for  punching  wrough-iron  plates  used  in  the  construction  of  girders, 
and  to  type-setting  machines.  To  increase  the  speed  of  the  ap- 
paratus, and  to  make  it  more  adapted  to  the  power-loom,  rising  and 
falling  motions  have  been  given  to  the  bottom  board  of  the  machine, 


SPITZLI'S  MANUAL.  5 

as  well  as  the  griffe  and  the  double  action  principle  for  increasing 
speed  is  gradually  working  its  way.  A  great  improvement  has  also 
been  made  by  working  the  card  cylinder  by  a  connection  which  can 
be  detached,  which  not  only  operates  advantageously  for  the  action 
of  the  griffe  on  the  hooks,  but  enables  the  weaver  to  reverse  the 
cards  or  "  pull  back  "  with  ease  and  certainty.  Even  electricity  has 
been  applied  for  operating  on  the  needles,  but  this  idea,  although 
workable,  can  scarcely  be  considered  in  any  other  light  than  as  a 
novelty.  Since  the  power  loom  became  thoroughly  established  the 
improvements  in  it  have  been  so  great  and  varied  that  we  can  at 
present  merely  indicate  their  nature.  In  the  loom  itself  the  take-up 
motion  and  weft  stop  motion  have  been  much  improved.  Shedding 
motions,  for  the  production  of  small  patterns,  have  been  very 
numerous,  and  many  of  them  very  ingenious.  Circular  and  drop 
boxes  have  also  received  great  attention,  in  order  to  adapt  them  to 
the  increased  speed  of  the  loom,  which  is  now  at  least  twice  as  fast 
as  in  the  early  days  of  the  power  loom  weaving.  These  boxes  are 
for  the  purpose  of  weaving  checks,  or  goods  which  require  different 
colored  or  different  kinds  of  weft.  Swivel,  carpet,  velvet  and  other 
descriptions  of  looms,  in  combination  with  Jacquards,  have  also  re- 
ceived great  improvements. 

Lamps. — For  night  work  in  the  designing-room  good  light  should 
be  the  first  consideration.  This  can  only  be  obtained  when  the 
flame  from  which  the  light  is  delivered  is  large,  intense  and  steady. 
Many  design-rooms  have  gas  light,  which  is  very  good  when  the  gas 
and  burners  are  good  and  the  pressure  even  ;  but  many  must  work 
where  gas  is  not  available  ;  for  such  the  best  coal  oil  lamp  is  the  next 
best  to  a  good  gas  jet,  unless  the  electric  light  is  made  available. 
But  none  of  these  will  without  the  aid  of  reflectors  and  condensing 
lenses  prove  sufficient  to  illuminate  an  object  under  a  microscope, 
or  a  sample  to  be  dissected.     Well  directed  light  is  needed. 

Lenses. — Many  kinds  of  spare  lenses  are  very  convenient  in  a 
designing-room.  A  set  of  cheap  lenses  of  the  various  forms,  viz.  : 
Double  Convex,  Double  Concave,  Piano  Convex,  Piano  Concave, 
Meniscus  Convex  and  Meniscus  Concave  should  be  possessed  by 
all.  A  few  larger  Piano  Convex  lenses  may  be  used  to  good 
advantage  as  condensers  for  special  illumination.  Especially  does 
the  designer  need  colored  lenses,  to  test,  correct  and  suggest  new 
shades  and  tints  of  colors.  These  are  not  expensive ;  with  them 
costly  experiments  are  often  avoided.  Even  solid  sombre  colors  can 
be  advantageously  examined  and  correctly  criticised  by  their  use. 


6  SPITZLI'S  MANUAL. 

Magnifying  Glasses. — A  good  magnifying  glass  is  often  very 
convenient,  while  it  does  not  permit  the  scope  of  powers  and  focus 
that  a  single  microscope  may,  it  has  the  advantage  of  being  always 
ready  for  such  work  as  can  be  done  with  it.  For  dissecting  they 
are  undesirable  for  many  reasons  ;  the  microscopes  for  the  purpose 
are  more  steady,  reliable  and  can  be  adapted  to  various  kinds  of 
work.  Single  lenses  are  objectionable  in  nearly  every  kind  of  in- 
strument used  by  the  designer,  the  achromatic  lenses  are  needed  to 
discern  colors  correctly. 

Microscopic  Objects. — A  large  collection  of  well-mounted 
objects,  like  and  similar  to  objects  which  should  be  frequently 
examined  are  of  inestimable  value.  They  serve  as  a  base  of  opera- 
tions for  nice  and  important  comparisons. 

Mounting  Materials. — The  necessity  of  mounting  materials  in 
the  designing-room,  or  office  of  every  first  class  factory,  arises  from 
the  fact  that  a  well-mounted  microscopic  object  may  be  preserved 
for  any  length  of  time  ;  it  requires  little  space  and  usually  proves 
more  valuable  for  future  reference  and  comparison  than  pages  of 
memorandums  or  drawings. 

Parcel  Pens. — This  name  was  given  these  pens  because  they 
were  intended  by  the  inventor  for  marking  parcels.  The  designer 
finds  for  these,  a  set  of  good;  shading  pens,  and  the  triple  pointed 
pens,  a  much  more  important  use.  By  choosing  a  pen  of  the  right 
width,  either  the  parcel  pen  or  a  good  shading  pen,  will  fill  an  entire 
square  of  the  design  paper  with  one  stroke.  Thus  these  conveni- 
ences may  be  used  to  beautify  as  well  as  lessen  his  work. 

RECEIPTS. 

Cements. — Rust  Joint — (Quick  Setting.) — One  pound  Sal-am- 
moniac, 2  pounds  Flower  of  Sulphur,  80  pounds  fine  Iron  chips. 
Made  to  a  paste  with  water. 

(Slow  Setting.) — Two  pounds  Sal-ammoniac,  1  pound  of  Sulphur, 
200  pounds  Iron  borings. 

The  latter  cement  is  best  if  the  joint  is  not  required  for  immedi- 
ate use. 

For  Steam  Boilers,  Steam  Pipes,  etc. — (Soft.) — Red  or  white  lead 
in  oil,  4  parts;  fine  Iron  chips,  2  to  3  parts. 

(Hard.) — Fine  Iron  chips  and  salt  water,  and  a  small  quantity  of 
Sal-ammoniac  with  fresh  water. 

For  Holes  in  Castings. — Sulphur  in  powder,  1  part ;  Sal-ammoniac, 


SHTZLI'S  MANUAL.  7 

2  parts ;  powdered  Iron  turnings,  80  parts.  Make  into  a  thick 
paste. 

The  ingredients  composing  this  cement  should  be  kept  separate, 
and  not  mixed  until  required  for  use. 

To  Mend  Iron. — Sulphur  2  parts,  fine  Black  Lead  1  part.  Put 
the  sulphur  in  an  iron  pot,  over  a  fire,  until  it  melts,  then  add  the 
lead  ;  stir  well ;  then  pour  out.  When  cool  break  into  small  pieces. 
A  sufficient  quantity  of  this  compound  being  placed  upon  the  crack 
of  the  ware  to  be  mended,  use  a  soldering  iron  as  in  brazing. 

For  Cisterns  and  Casks. — Melted  glue,  8  parts ;  Linseed-oil,  4 
parts.     Boiled  into  a  varnish  with  litharge. 

This  cement  hardens  in  about  48  hours,  and  renders  the  joints 
of  wooden  cisterns  and  casks  air  and  water  tight. 

Inks — Indelible,  for  Marking  Linen,  etc. — 1.  Juice  of  Sloes,  1  pint ; 
Gum,  half  an  ounce. 

This  requires  no  "  preparation  "  or  mordant,  and  is  very  durable. 

2.  Nitrate  of  silver,  1  part ;  Water,  6  parts  ;  Gum,  1  part.  Dis- 
solve. 

3.  Lunar  caustic,  2  parts;  Sap  green  and  Gum  arabic,  each  1 
part.     Dissolve  with  distilled  water. 

The  "Preparation." — Soda,  1  ounce;  Water,  1  pint;  Sap  green, 
\  drachm.  Dissolve  and  wet  the  article  to  be  marked,  then  dry 
and  apply  the  ink. 

A  Permanent  Ink  for  Stones,  Marble,  etc. — Pitch,  1 1  parts  ;  Lamp- 
black, 1  part ;  Turpentine  sufficient.     Warm  and  mix. 

Copying  Ink. — Add  1  oz.  of  Sugar  to  a  pint  of  ordinary  ink. 

Speck  Dye  for  cloths  with  cotton  warps  and  mixed  filling  (cotton 
and  wool). 

Pounds. 

Extract  Logwood - . 100 

Soda-ash 7  7-J 

Blue  Vitriol 43 

Extra   Citron 6 

Make  in  100  gallons  of  water  ;  reduce  to  strength  desired. 
This  will  tint  white  wool. 

Another  which  is  safe  to  use  on  cloths  which  have  fancy  woolen 
threads,  100  gallons  of  water. 

Pounds. 

Logwood  (extract) 62 

Soda-ash  30 

Blue  Vitriol 15 


8  SPITZLI'S  MANUAL. 

For  specking  ink  use  some  good  indelible  ink  which  dries  quickly. 
A  little  gum  arabic  hastens  drying.  A  good  printer's  ink  thinned 
down  with  benzine  is  good  also. 

To  Remove  Stains. — Stains  of  iodine  are  removed  by  rectified 
spirit.  Ink  stains  by  oxalic  or  superoxalate  of  potash.  Ironmolds 
by  the  same  :  but  if  obstinate,  moisten  them  with  ink,  then  remove 
them  in  the  usual  way.  Red  spots  upon  black  cloth  from  acids  are 
removed  by  spirits  of  hartshorn,  or  other  solutions  of  ammonia. 

Stains  of  Marking-ink,  or  Nitrate  of  Silver. — Wet  the  stain  with 
fresh  solution  of  Chloride  of  lime,  and  after  10  or  15  minutes,  if 
the  marks  have  become  white,  dip  the  part  in  solution  of  Ammonia 
or  of  Hyposulphite  of  soda.  In  a  few  minutes  wash  with  clean 
water.  Or,  stretch  the  stained  linen  over  a  basin  of  hot  water,  and 
wet  the  mark  with  tincture  of  iodine. 

To  Remove  Iron  Mold. — Remoisten  the  part  stained  with  ink, 
if  possible  the  same  kind  as  that  in  the  stain ;  remove  this  by  the 
use  of  muriatic  acid  diluted  by  5  or  6  times  its  weight  of  water, 
when  the  old  and  new  stain  will  be  removed. 

Cleansing  and  Scouring. — While  Job  Dyeing  is  not  a  subject 
proper  for  this  book,  it  involves  many  points  which  manufacturers 
would  do  well  to  heed;  to  prove  this  assertion  we  quote  from  "The 
Dyer  and  Scourer  "  a  few  remarks  on  scouring  as  practised  by  "job 
dyers  "  : 

"  The  object  sought  for  in  scouring  operations  is,  or  should  be,  the 
thorough  cleansing  of  the  goods  under  such  treatment.  Unfortunate- 
ly, however,  many  persons,  either  from  ignorance  or  carelessness,  fall 
far  short  of  attaining  the  desired  end.  More  especially  is  this  liable 
to  be  the  case  with  the  "  jobber ;  "  and  for  this  reason,  and  also 
because  of  the  peculiar  nature  of  some  of  his  work,  we  propose  to 
devote  a  little  space  to  this  important  subject.  And  we  will 
first  consider  the  treatment  of  such  goods  as  are  for  cleaning 
only,  because,  in  our  humble  opinion,  such  articles  should  re- 
ceive the  undivided  attention  of  the  workman,  should  be  scoured 
as  expeditiously  as  possible,  and  removed  to  the  drying  room  at 
once.  Of  course,  for  all  scouring  purposes,  rain  water,  by  reason  of 
its  freedom  from  mineral  or  earthly  matter,  is  preferable  ;  but  owing 
to  the  large  quantity  necessarily  consumed  in  these  operations,  and 
the  uncertainty  of  the  supply,  the  workman  is  reduced  to  the  neces- 
sity of  using  spring,  river  or  other  water,  all  more  or  less  contami- 
nated with  these  impurities,  the  presence  of  which  is  the  prime 
cause  of  his  failure. 


SPITZLI'S  MANUAL.  9 

It  is  of  paramount  importance  that  the  scourer's  soap  should  be 
of  good  uniform  quality,  and  that  he  should  use  it  of  uniform 
strength.  To  secure  these  desirable  ends,  he  will,  in  the  first  place, 
deal  only  with  good,  reliable  makers,  and,  secondly,  will  dissolve  a 
given  weight  of  soap  in  a  known  quantity  of  water.  He  will  also  do 
well  to  see  that  the  soap  used  for  the  class  of  scouring  now  under 
consideration  is  of  a  neutral  character,  and  is  always  used  cold,  thus 
lessening  the  chances  of  bleeding  the  colors  in   the   goods  treated. 

We  will  now  proceed  to  scouring  of  men's  clothes.  We  first  beat 
out,  or  brush  off,  any  loose  dirt,  and  turn  out  the  dirt  from  the 
pockets  ;  then  make  up  a  good  substantial  soap  liquor  in  the  punch- 
tub,  and,  entering  the  goods,  punch  them  well  for  ten  or  fifteen 
minutes,  occasionally  turning  them  over. 

We  now  fold  each  article  as  flat  as  possible,  taking  care  to  turn 
the  buttons  inside,  and  pass  through  the  wringer.  This  squeezes 
out  the  dirty  soap,  and  leaves  the  goods  in  a  better  condition  for  the 
next  liquor,  which  should  only  be  of  sufficient  strength  to  fill  them, 
or,  in  other  words,  to  make  a  good  lather  in  them,  which  can  be 
ascertained  by  squeezing  in  the  hand,  when,  if  they  have  sufficient, 
it  will  come  to  the  surface  and  remain.  We  again  put  through  the 
wringer,  and  then  punch  in  another  liquor,  with  just  sufficient  soap 
added  to  raise  what  (in  the  language  of  the  dye-house)  is  termed  a 
bead,  or,  in  other  words,  enough  to  create  and  support  bubbles  on 
the  surface.  This  liquor  takes  the  soap  from  the  goods,  and  causes 
them  to  come  clear  from  the  rinse.  The  reason  for  this  is  that  be- 
fore a  bead  can  possibly  rise  to  the  surface  of  this  weak  liquor, 
enough  soap  must  be  added  to  combine  with  or  neutralize  the  whole 
of  the  impurities  in  the  water,  leaving  the  latter  soft,  and  free  to 
appropriate  the  soap  in  the  goods.  After  working  in  this  a  short 
time,  we  find  it  getting  quite  frothy  and  strong;  we  then  lift  the 
goods  and  add  more  water,  taking  care  not  to  entirely  knock  down 
the  bead.  We  punch  in  this  again,  occasionally  adding  water,  until 
the  soap  is  all  drawn  from  the  goods,  which  is  known  by  squeezing 
them  and  by  the  poorness  of  the  liquor.  They  might  even  be  dried 
at  this  stage,  but  to  make  assurance  doubly  sure  we  proceed  to 
rinse  them  in  two  separate  waters  at  about  ioo°  Fah.,  and  from  this 
if  all  woolen — pass  them  through  cold  water  with  just  sufficient 
sulphuric  acid  in  it  to  be  appreciable  to  the  taste,  and  finally  put 
them  in  the  "  salt  hardening."  After  laying  a  short  time  in  this,  we 
take  out  and  extract  all  the  water  possible,  either  by  means  of  the 
"hydro  extractor,"  which  is  best,  or  the  wringer,  which  last  should 
have   rubber  rollers.     Upon  reaching  the  stove   or  drying-room  we 


IO  SPITZLI'S  MANUAL. 

pull  or  stretch  any  that  we  think  likely  to  have  shrunk  a  little,  and 
then  hang  the  whole  up  to  dry  by  putting  each  article  on  half  a 
wooden  hoop  suspended  from  the  center.  The  object  in  passing 
through  the  acidulated  water  is  three-fold.  It  kills  whatever  traces 
of  soap  still  remain  ;  it  clears  up  such  goods  as  greys,  checks  or 
anything  containing  white ;  and  raises  or  brightens  such  as  are 
mixed  with  yellow,  orange,  scarlet,  blue,  green  and  kindred  colors. 
It  is  contended  by  some  dyers  that  goods  containing  drabs,  fawns, 
browns  and  other  wood  colors  are  injured  and  their  color  changed 
by  this  use  of  acid  ;  but  we  have  found  from  long  experience  that, 
used  in  the  proportion  above  named,  it  has  the  effect  of  restoring 
these  colors  to  their  original  shade  previous  to  scouring,  for,  let  this 
operation  be  conducted  ever  so  carefully,  the  soap  will  to  a  certain 
extent  affect  them,  and  that  in  a  directly  opposite  manner  to  the 
acid,  which  in  this  case  merely  neutralizes  the  effects  of  the  former. 
The  salt  hardening  is  for  the  purpose  of  preventing  the  colors  from 
running,  or  rather  for  fixing  them,  and  is  made  by  merely  adding 
one  pound  of  common  salt  to  every  thirty  gallons  of  cold  water. 
This  is  the  proper  treatment  for  nearly  all  woolen  goods,  and,  with 
trifling  modifications,  mixed  goods  also;  although  some  of  such, 
owing  to  the  ease  with  which  they  bleed,  should  be  cleaned  singly  by 
hand,  as  they  are  thus  put  through  more  expeditiously. 

In  the  cleaning  of  silk  we  substitute  a  large  board  and  a  brush 
for  the  punches,  and  keep  the  articles  as  flat  and  free  from  creases 
as  possible.  This  is  to  avoid  the  crushing  or  breaking  of  the  silk; 
which,  owing  to  its  peculiar  close  texture  and  stiffness,  would  in- 
evitably follow  were  we  to  treat  it  in  the  usual  way  ;  and  which, 
moreover,  no  amount  of  subsequent  dressing  or  finishing  would 
effectually  remove.  The  best  plan  is  to  have  the  pieces  composing 
dress  or  other  articles  tacked  into  a  compact  sheet  or  strip,  which 
can  be  handled  and  folded  over  readily.  We  give  the  soaps  as  for 
woolens,  but  we  do  not  punch  ;  on  the  contrary,  we  brush  and  handle 
these  goods  through  all  the  liquors  as  carefully  and  straight  as 
possible.  Neither  do  we  wring,  because  in  the  first  place,  it  is  not 
necessary,  silk  holding  so  little  soap  ;  and,  secondly,  because  it 
would  break  and  injure  the  silk.  To  get  the  water  from  such  goods 
previous  to  hanging  up,  we  either  place  in  the  "  extractor,"  or 
spread  fiat  on  a  sheet,  and  rub  down  smoothly  with  clean  white 
cloths.  Some  silks,  having  a  peculiar,  sensitive  or  fugitive  top 
given  them  in  the  dyeing  for  producing  a  particular  shade,  such,  for 
instance,  as  some  apple-greens  topped  with  picric  acid,  dark  browns 
topped    with   indigo    compound,  and    others  will,  in    spite   of  the 


SPITZLI'S  MANUAL.  I  I 

utmost  care,  lose  some  of  this  surface  color  ;  and  in  some  cases  it 
will  be  found  necessary  to  pass  such  through  a  weak  warm  bath  of 
the  lacking  dye.         ***** 

In  preparing  goods  that  are,  for  the  most  part,  badly  soiled  and 
faded,  for  dyeing,  our  aim  is  not  only  to  clean  them  but  also,  with 
some  exceptions  hereafter  noticed,  to  bleed  or  strip  them,  and 
thereby  leave  as  little  of  the  old  color  as  possible. 

We  first  select  the  white  or  light-colored  articles,  and  proceed  to 
punch  them  in  a  strong  soap  at  a  temperature  of  about  no°  Fah., 
having  a  little  ammonia  or  other  alkali  in  solution.  When  this 
appears  dead,  or  fails  to  lather  up,  we  wring  out  and  give  another 
soap,  as  before — omitting  the  alkalis,  however.  Then  follows  the 
weak,  or  thin  soap  liquor,  as  described  previously,  only  that  in  this 
case  it  is  used  quite  warm.  Now  rinse  in  two  warm  and  one  cold 
waters,  extract,  and  if  not  intending  to  dye  directly,  hang  up  to  dry. 
If,  however,  you  are  ready  to  dye  at  once,  examine  the  goods  well, 
and  see  if  all  the  grease  spots,  etc.,  are  completely  removed.  We 
proceed  with  the  dark  goods  in  exactly  the  same  way,  but  giving  a 
little  more  alkali ;  increasing  the  amount  if  it  is  desirable  to  strip 
them  much  ;  at  the  same  time  being  careful  not  to  injure  the  fabric 
by  an  overdose.  As  already  stated,  this  stripping  off  of  the  color  is 
not  always  advantageous,  on  the  contrary,  there  are  many  instances 
in  which  it  is  a  positive  advantage  and  profit  to  retain  all  we  can  of 
the  dye  on  the  goods.  This  is  more  particularly  the  case  with 
goods  that  are  to  be  redyed  the  same  color ;  also,  though  in  a  less 
degree,  does  it  apply  to  articles  where  the  existing  color  will  form  a 
bottom  or  constituent  part  of  the  one  we  wish  to  apply.  To  illus- 
trate this  :  we  have  some  scarlet  or  crimson  damask  window  cur- 
tain to  redye — perhaps  very  dirty  and  trifle  faded — we  thoroughly 
clean  them  as  just  stated,  but  omit  all  free  alkali,  using  our  soaps 
just  milk-warm;  rinse  well;  pass  through  a  sharp  sour,  and  dye. 
We  find  that  the  quantity  of  cochineal,  etc.,  required  for  this  pur- 
pose, is  regulated  by  the  body  of  color  we  are  able  to  retain  in  the 
goods  while  scouring  ;  and  therefore,  considering  the  price  of  such 
dye-drugs,  this  matter  is  surely  worth  some  attention. 

Again,  where  we  have  goods  of  a  simple  color  to  dye  a  compound 
color,  it  will  be  found  in  some  cases  merely  necessary  to  give  the 
other  or  absent  constituent  or  constituents  of  the  color  sought  for, 
entirely  leaving  out  that  represented  by  the  color  already  on  the 
cloth.  For  instance  :  suppose  we  have  some  blue  cloth  or  yarn  that 
we  want  either  green  or  purple  ;  if  we  can  preserve  a  good  body  of 


12  SPITZLI'S  MANUAL. 

blue  in  these  goods,  we  can  get  our  green  by  simply  giving  the 
proper  amount  of  yellow,  or  the  purple  by  merely  giving  red. 

It  is  a  common  practice  with  dyers  to  dispense  altogether  with 
scouring  when  the  goods  are  for  black  ;  but  we  must  confess  we 
fail  to  see  any  advantage  arising  from  this  departure  from  the 
general  treatment.  It  is  urged  in  support  of  such  conduct,  that 
black,  being  the  embodiment  of  all  colors,  does,  by  reason  of  its 
density,  cover  up  or  conceal  all  stains  and  dirt,  and  that  a  great 
saving  is  effected  both  in  soap  and  time.  Now  let  us  see  if  this  is 
borne  out  in  practice.  We  dye  a  dress,  coat,  or  other  articles  hav- 
ing more  or  less  dirt  and  grease  in  it,  and  we  find  in  most  cases, 
upon  looking  the  article  over,  that  these  imperfections  are  really 
hidden.  But  look  at  the  same  article,  after  it  has  been  worn  a  short 
time,  and  we  find  that  a  little  rubbing  and  exposure  has  sufficed  to 
remove  the  kindly  but  unsubstantial  veil  that  hid  them  from  the 
workman's  gaze.  This  alone  should  be  enough  to  show  him  the 
impolicy  of  such  a  course,  for  the  turning  out  of  such  work  is  not 
likely  to  add  to  his  reputation  as  a  good  dyer,  and  therefore  not  cal- 
culated to  increase  his  profits.  There  is  an  old  maxim  that  says; 
"  Whatever  is  worth  doing  at  all  is  worth  doing  well ;  "  and  the 
dyer  would  be  consulting  his  own  interest  did  he  follow  its  teaching. 
Before  passing  on  to  dyeing  operations,  it  will  not  be  out  of  place 
to  make  a  few  remarks  on  "bleaching."  Woolens,  silk  and  straw 
are  bleached  by  exposing  to  the  action  of  sulphurous  acid,  a  gas 
produced  by  burning  sulphur  in  an  open  vessel.  The  goods  must 
be  thoroughly  wetted,  and  are  then  hung  up  straight  and  open  in  a 
close  room  or  closet,  and  a  pan  of  sulphur  placed  on  the  floor. 
When  all  is  ready,  we  ignite  the  sulphur  by  dropping  a  piece  of  red 
hot  iron  in  the  pan  and  at  once  close  the  door.  After  remaining 
some  hours,  we  take  down  and  rinse  in  clear  cold  water,  and  as  the 
white  thus  obtained  has  more  or  less  of  a  yellowish  tint,  we  proceed 
in  the  case  of  the  woolen  and  silk  goods  to  dye  them  white.  For 
this  purpose  we  take  a  clean  vessel  of  cold  water,  giving  the  goods 
plenty  of  room,  and  if  not  very  yellow,  merely  give  a  little  blue  ; 
working  in  this  until  a  good  white.  If,  however,  the  goods  seem 
very  yellow,  the  blue  will  not  do  alone,  but  must  be  associated  with 
a  little  red.  Of  course  the  quantities  of  coloring  matter  must  be 
very  minute,  and  should  always  be  strained.  We  can  use  sulphate 
of  indigo  and  cudbear  for  this  white,  or  we  can  resort  entirely  to 
aniline  colors. 

We  are  not  confined  in  these  operations  exclusively  to  white 
goods.     Checks  and  mixes,  such  as  scarlet  and  white,  orange  and 


SPITZLI'S  MANUAL.  I  3 

white,  yellow  and  white,  Prussian  blue  and  white,  or  in  fact  any  goods 
where  the  colored  part  has  been  dyed  in  a  bath  containing  tin 
spirits,  sulphuric  acid,  etc.,  will  be  much  improved  by  this  process, 
but  for  such  as  are  mixed  with  sweet  colors,  as  common  black, 
brown,  drab,  olive,  etc.,  we  must  content  ourselves  by  passing 
through  acidulated  water  as  before  described. 

Cotton  is  bleached  by  being  wrought  in  a  solution  of  chloride  of 
lime  and  soda,  or  by  first  working  in  chloride  of  lime  only,  and  then 
passing  through  a  sharp  sour  of  vitriol.  We  must  be  particular  to 
avoid  having  any  loose  bits  of  lime  in  the  bleaching  liquor,  as 
wherever  such  come  in  contact  with  the  goods  a  hole  is  the  result. 
The  best  plan  is  to  dissolve  the  lime  in  a  separate  vessel,  and  then 
pour  through  a  strainer  into  the  bleaching  tub.  Care  must  be  taken 
not  to  let  the  solution  exceed  a  certain  strength,  or  the  goods  will 
be  injured.  It  should  in  no  instance  stand  above  i°  of  Twaddell's 
hydrometer,  and  for  most  purposes  can  be  used  weaker.  It  is  of 
great  importance  that  the  goods  be  thoroughly  washed  or  rinsed 
from  the  bleach,  more  especially  if  they  are  for  dyeing. 

In  concluding  this  section  of  our  work,  we  would  explain,  for  the 
benefit  of  those  unacquainted  with  their  use,  that  the  puncher  and 
the  punch-tub  so  often  spoken  of  in  the  foregoing  pages  are  indis- 
pensable aids  in  the  "job  dye-house."  The  puncher  is  made  from 
a  sound  piece  of  birch  or  ash,  three  feet  long  and  six  inches  square. 
From  one  end  of  this  piece  we  saw  out  two  slabs  at  right  angles, 
two  inches  thick  and  eighteen  inches  long,  thus  leaving  four  legs 
each  two  inches  square.  Next  reduce  the  other  end,  above  these 
legs,  to  a  uniform  thickness  of  three  inches,  finally  putting  in  a 
cross-piece  or  handle,  fifteen  inches  long  and  one  and  one-half 
inches  diameter,  two  inches  from  the  top.  The  peculiarity  of  the 
punch-tub  consists  in  the  thickness  of  the  bottom,  which  is  four 
inches,  and  also  from  the  fact  of  the  latter  being  brought  down  flush 
with  the  bottom  of  the  staves.  This  is  for  the  purpose  of  giving 
increased  strength  and  stability,  and  rendering  it  the  better  able  to 
withstand  the  blows  of  the  puncher.  It  is  about  two  feet  six  inches 
in  height,  and  the  same  in  diameter  at  the  top,  gradually  lessening 
toward  the  bottom,  which  is  two  feet  across." 

To  Destroy  Burrs  with  Chemicals. — Steep  the  wool  in  which  the 
burrs  exist  several  hours  in  a  bath  of  sulphuric  acid,  40  to  6°  B. 
next  pass  it  through  a  weak  soda  bath  about  40  B.  Dry  the  wool, 
using  a  pretty  hot  current  of  air.  By  this  process  the  burrs  are 
converted  into  dust. 


14  SPITZLTS  MANUAL. 

To  Remove  Burrs  from  Wool  by  Chemical  Means. — Prepare  a 
bath  of  dilute  muriatic  acid.,  containing  from  3  to  5  per  cent,  of  the 
acid.  A  little  sulphuric  acid  is  sometimes  added.  After  steeping 
in  the  bath  for  several  hours,  or  over  night,  the  wool  is  taken  out  and 
dried.  The  vegetable  fiber  is  thus  destroyed,  being  rendered  friable, 
pulverulent,  and  easily  removed  on  the  cards.  The  process  of 
separating  cotton  from  wool  is  substantially  the  same. 

Extracting  Cotton  from  Delaines. — Take  for  delaines  about  one 
part  of  oil  of  vitriol  to  fourteen  parts  of  water;  put  the  dry  rags 
into  the  solution,  taking  not  less  than  30  and  not  more  than  45 
minutes  for  this  operation  ;  leave  in  about  five  minutes.  Get  rid  of 
the  dust  of  the  vegetable  fiber  by  rubbing,  etc.,  and  wash  in  clear 
water  or  salt  water  (one  pound  of  salt  to  one  of  wool.)  If  the  fiber 
has  been  rendered  harsh  by  the  acid,  use  a  little  oil  or  cow's  milk  to 
soften  it. 

Cleaning  Tag  Locks  and  Clotted  Wool. — Wool  that  is  clotted  with 
dirt  needs  subjecting  to  a  sweating  or  softening  process;  the  same  is 
good  for  "tag-locks;"  and  this  softening  process  is  also  good  for 
wool  that  is  badly  fleece-grown.  "  Tag-locks  "  should  be  wetted 
down  with  hot  scouring  liquor  in  some  place  where  the  pile  can  be 
kept  warm,  and  when  the  balls  of  dirt  have  become  quite  soft  dry 
the  whole  and  dust  well;  then  scour.  The  dirtiest  "tag-locks  "  can 
be  cleaned  in  this  way. 

Wool  Scouring  Liquors. — A  great  array  of  formulas  might  be 
given  here,  each  having  done  good  service  somewhere,  each  having 
been  found  wanting  elsewhere.  Never  expose  wool  to  more  than 
1200  F.,  or  less  than  900  F.  in  a  scouring  liquor.  To  produce  a 
good  scouring  liquor  consider  first  the  water  used,  overcome  the  im- 
purities with  the  mildest  chemicals  which  will  answer  the  purpose  and 
yet  unite  freely  with  the  chemicals  necessary  to  saponify  the  soluble 
natural  grease.  Soap  and  sal  soda  are  mild  and  softening,  but  they 
felt  the  wool  more  quickly  than  soda  ash,  ammonia  and  some  other 
alkalies.  Soda  ash,  caustic  soda,  turpentine  or  rosin  must  be  used 
in  very  small  quantities,  if  used  at  all ;  they  destroy  the  most  valu- 
able characteristics  of  fine  wool. 

To  Remove  Grease  Spots. — Keep  in  a  well-corked  4-ounce  vial  the 
best  of  benzine,  to  which  has  been  added  a  few  drops  of  ammonia. 
Shake  well,  dampen  the  spot  and  dry  out  with  cloths  and  hot  irons. 
Blotting  paper  is  better  than  cloths  in  some  instances. 

Sizing. — For  woolen  yarn.  To  a  solution  of  Irish  moss  which  is 
thick  enough  to  be  "  stringy,"  add  light  solution  of  glue.     Boil  well 


SPITZLI'S  MANUAL.  I  5 

together  and  cool.  Some  size  with  glue.  Glue  is  safe,  but  if  hard 
and  brittle  a  very  little  wax  will  soften  it.  A  very  good  size  for 
woolen  yarn  or  warps  is  made  with  gelatine  1  pound,  glycerocolle 
1  to  4  ounces,  and  6  to  8  quarts  of  water,  according  to  the  strength 
of  size  desired. 

Sizing  for  Cotton  Yarn. — Water,  100  quarts;  flour,  200 
pounds :  soap,  6  pounds ;  tallow,  8  pounds  ;  molasses,  2  pounds. 
The  flour  is  first  digested  during  three  months  in  the  water,  and 
then  the  whole  is  boiled  together  till  perfectly  limpid. 

A  good  Size  can  be  made  with  40  pounds  of  starch  and  1  pound 
of  sulphate  of  zinc,  to  200  quarts  of  water. 

Boil  2  ounces  of  gum  arabic  in  6  ounces  of  water  till  all  is  dis- 
solved, then  add  4  ounces  of  wax  and  stir  well  till  the  wax  is  melted 
and  fully  incorporated ;  it  is  then  ready  to  mix  with  a  hot  dressing 
made  with  10  pounds  of  flour. 

Ten  pounds  pale  British  gum  ;  2  pounds  sulphate  of  aluminum; 
24  pounds  glycerine  of  280  B.,  and  60  pounds  of  water. 

Glues — For  Parchment. — Parchment  shavings,  1  pound  ;  Water, 
6  quarts.  Boil  until  dissolved,  then  strain  and  evaporate  slowly 
to  the  proper  consistence. 

Rice  Glue  or  Japanese  Cement. — Rice  flour ;  Water,  sufficient 
quantity.     Mix  together  cold,  then  boil,  stirring  it  all  the  time. 

Liquid. — 1.  Glue,  Water  and  Vinegar,  each  2  parts.  Dissolve  in  a 
water-bath,  then  add  Alcohol,  1  part. 

2.  Cologne  or  strong  glue,  2.2  pounds;  Water,  1  quart.  Dis- 
solved over  a  gentle  heat;  add  7  ounces  nitric  acid  $(y°,  in  small 
quantities.     Remove  from  the  fire  and  cool. 

3.  White  Glue,  16  ounces  ;  White  lead,  dry,  4  ounces  ;  Rain 
water,  2  pints.  Add  Alcohol,  4  ounces,  and  continue  the  heat  for  a 
few  minutes. 

Marine. — Dissolve  India-rubber,  4  parts,  in  34  parts  of  Coal-tar 
Naphtha;  add  powdered  Shellac,  64  parts.  While  the  mixture  is 
hot  it  is  poured  upon  metal  plates  in  sheets.  When  required  for 
use  it  is  heated  and  then  applied  with  a  brush.  Or,  1  part  India- 
rubber,  12  parts  of  coal  tar;  heat  gently,  mix  and  add  20  parts  of 
powdered  Shellac.  Pour  out  to  cool.  When  used,  heat  to  about 
2500.  Or,  Glue,  12  parts;  water,  sufficient  to  dissolve;  add  yellow 
resin,  3  parts ;  and,  when  melted,  add  turpentine,  4  parts.  Mix 
thoroughly  together. 

Strong  Glue. — Add  powdered  chalk  to  common  glue. 


I  6  SPITZLI'S  MANUAL. 

Gum  Mucilage. — Oil  of  cloves  poured  into  a  bottle  containing 
gum  mucilage  prevents  it  from  becoming  sour,  (10  drops  per  quart). 

Glue  to  Resist  Moisture. — Five  parts  glue,  4  parts  resin,  2  parts  red 
ochre,  mixed  with  the  least  practicable  quantity  of  water.  Or,  4 
parts  of  glue,  1  part  of  boiled  oil  by  weight,  1  part  oxide  of  iron. 
Or,  1  pound  of  glue  melted  in  2  quarts  of  skimmed  milk. 

Varnish  for  Iron  and  Steel. — Clear  grains  of  mastic,  12  parts  ; 
camphor,  5  parts  ;  sandarach,  15  parts  ;  and  elemi,  5  parts.  Dis- 
solve in  a  sufficient  quantity  of  alcohol,  and  apply  without  heat. 
This  varnish  will  retain  its  transparency,  and  the  metallic  brilliancy 
of  the  articles  will  not  be  obscured. 

To  Prevent  Iron  From  Rusting. — Warm  it ;  then  rub  with 
white  wax  ;  put  it  again  to  the  fire  until  the  wax  has  pervaded  the 
entire  surface.  Or,  immerse  tools  or  bright  work  in  boiled  linseed- 
oil  and  allow  it  to  dry  upon  them. 

Varnish  for  Draughtmen's  Paper. — Powdered  Tragacanth,  1 
part;  water,  10  parts.  Dissolve,  and  strain  through  clean  gauze, 
then  lay  it  smoothly  upon  the  paper,  previously  stretched  upon  a 
board.     This  paper  will  take  either  oil  or  water-colors. 

Anti-friction  Grease. — 100  pounds  tallow,  70  pounds  palm- 
oil.  Boiled  together,  and  when  cooled  to  8o°,  strain  through  a 
sieve,  and  mix  with  28  pounds  of  soda  and  i-J  gallons  of  water. 
For  winter,  take  25  pounds  more  oil  in  place  of  the  tallow.  Or, 
black  lead,  1  part ;  lard,  4  parts. 

Booth's  Grease  for  Railway  Axles. — Water,  1  gall.;  clean 
tallow,  3  lbs.;  palm-oil,  6  lbs.;  common  soda,  ^  lb.;  or,  tallow,  8  lbs.; 
palm-oil,  10  lbs.  To  be  heated  to  about  2120,  and  to  be  well  stirred 
until  it  cools  to  700. 

Ribbons. — Italian  organzine  silk,  either  thrown  in  Italy  or  Eng- 
land from  Italian  raw  silk  (and  principally  the  last)  is  used  for  the 
warp  of  the  best  English  ribbons  ;  Bengal  and  China  organzine  for 
inferior  qualities.  China,  Bengal  and  Broussa  singles,  and  English, 
thrown,  are  used  largely  for  filling. 

Bengal  silk  cannot  be  used  for  fine  colors  ;  Marabout  is  used  for 
gauzes.  The  fineness  of  the  silk  is  determined  by  the  number 
of  warp  ends,  measuring  72  yards  in  the  ounce ;  fine  silk,  for 
instance,  runs  about  160  threads  of  that  length  to  the  ounce.  One 
ounce  in  twenty  is  allowed  for  waste  in  the  manufacture  of  silk  into 
ribbons. 


SPITZLI'S  MANUAL.  I  7 

Ribbons  are  made  according  to  a  fixed  standard  of  widths  desig- 
nated by  different  numbers  of  pence,  which  once,  no  doubt,  denoted 
the  price  of  the  article,  but  at  present  have  reference  only  to  its 
breadth.  The  French  distinguish  their  widths  by  simple  numbers. 
Thus  the  English  ribbons,  from  a  quarter  of  an  inch  to  about  four 
and  a  half  inches  wide,  are  called  from  penny  widths  to  forty  penny 
widths  ;  while  the  French  have  from  No.  1  to  No.  60.  All  dressed 
ribbons,  as  satins,  gauzes,  etc.,  are  made  in  the  loom  one-twelfth  of 
an  inch  wider  than  sarsanets  ;  in  order  to  allow  for  the  diminution 
of  breadth  which  results  from  the  lengthwise  stretching  they  receive 
in  the  operation  of  dressing ;  fine  gauzes  require  an  allowance  of 
two-twelfths. 

French  satins  are  woven  with  the  face  downward,  and  are  lighter 
in  make  than  English,  but  have  a  peculiar  richness  and  lustre  owing 
to  their  superior  silk.  French  ribbons  in  general  have  less  weight 
of  silk  than  the  English.  The  transparency  of  gauze  ribbon  is  pro- 
duced by  the  kind  of  silk  of  which  it  is  made,  the  fine  hard  twisted 
marabout  which  leaves  the  interstices  clear.  One  warp  thread  only 
passes  between  each  dent  of  the  reed,  and  these  are  closer  together 
than  lute-strings  and  satins.  In  fine  satins,  there  are  eighty  or 
more  dents,  and  from  ninety  to  one  hundred  and  twenty  picks  to 
the  inch.  The  plain  gauze  ribbons  made  at  Coventry,  called  China 
gauzes,  are  chiefly  those  used  for  mourning — white,  black  and 
lavender,  with  satin  on  ground  stripes.  In  the  fancy  gauze  ribbons, 
the  figures  are  frequently  produced  in  a  different  color  from  the 
ground  by  the  mixture  of  colors  in  the  warp,  the  colors  being 
warped  separately.  In  the  intervals  of  the  figures,  the  colored 
threads  are  carried  along  the  under  side  of  the  ribbon.  It  is  said  to 
have  a  double  or  treble  figure,  according  to  the  number  of  colors 
passing  through  each  dent.  In  some  ribbons — gauzes  in  particular 
— these  threads  are  cut  away  by  the  scissors  after  the  ribbon  is 
made.  In  brocades,  the  figure  is  made  by  small  additional  shuttles, 
thrown  in  partially  across  the  ribbon,  as  the  pattern  may  require,  the 
connecting  threads  of  the  filling  being  clipped  off.  By  damask  is 
meant  the  laying  of  the  warp  over  the  filling  to  form  the  figure,  in  the 
manner  of  satin.  The  patterns  are  sometimes  geometrical,  but  more 
frequently  combinations  of  leaves,  sprigs  or  flowers.  In  the  supe- 
rior French  ribbons,  groups  and  wreaths  of  flowers  are  executed 
with  the  richness  and  variety  of  hand  embroidery.  Novelties  are 
continually  being  introduced  in  coloring  and  texture.  In  the  rib- 
bon manufacture  the  labor  is  nearly  the  same  for  the  richer  as  for 
14 


1  8  SPITZLI'S  MANUAL. 

the  inferior  goods,  the  difference  consisting  principally  in  the  silk  of 
which  they  are  made.  Cheap  ribbons  are  generally  made  by  re- 
ducing the  warp  silks,  which  is  the  most  expensive,  and  making  up 
the  bulk  of  the  ribbon  with  a  larger  proportion  of  the  cheap  material 
in  the  filling. 

RULES  AND  EXAMPLES  FOR  CALCULATIONS. 

Relative  to  Shrinkages. — To  find  the  percentage,  the  actual 
shrinkage  being  known  :  Add  two  decimal  ciphers  to  the  pounds 
lost,  and  divide  by  the  gross  pounds. 

To  find  the  net  cost,  the  per  cent,  of  shrinkage  and  gross  price 
being  known:  Divide  the  gross  price  by  $1.00  less  the  percentage 
of  shrinkage. 

To  Regulate  Weight  of  Goods  in  Drying. — To  correct  the 
weight  of  goods  in  drying  it  is  necessary  to  let  them  run  up  to  gain 
weight;  to  stretch,  if  wanted  lighter.  It  is  not  best  to  leave  such  im- 
portant work  to  inferior  workmen.  It  is  an  easy  matter  for  the  finish- 
er to  ascertain  the  loss  of  weight  by  cleansing.  If,  then,  the  raw  piece 
is  weighed,  and  the  weight  marked  on  the  goods,  he  has  but  to  deduct 
the  loss  of  weight  by  percentage  to  ascertain  the  weight  of  the  piece 
finished.  Reduce  the  clean  weight  to  ounces  and  divide  the  ounces 
total  by  the  ounces  wanted  per  yard,  the  quotient  is  the  length  to 
which  the  piece  must  be  finished  to  be  of  the  right  weight.  If  the 
overseer  will  make  this  calculation  and  give  the  drying  operatives 
the  correct  order,  there  should  be  no  trouble  with  weights. 

Rules  for  Yarn  Calculations,  &c. — To  find  the  size  number, 
the  yards  per  pound  or  ounce  being  known. 

The  yards  per  pound  divide  by  1600  for  woolen  runs. 

"       560  for  worsted  numbers. 
"       840  for  cotton  numbers. 

20  and  with  the  quotient  divide 
7000  for  woolen  grain  numbers. 

The  yards  per  ounce  divide  by  100  for  woolen  runs. 

"       35  for  worsted  numbers. 
"       52^  for  cotton  numbers. 
"       20  and  with  the  quotient   divide 
437-5  f°r  woolen  grain  numbers. 

Example. — What  are  the  size  numbers  of  a  yarn,  6720  yards  of 
which  weigh  a  pound,  or  420  yards  of  which  weigh  an  ounce  ? 


SPITZLI'S  MANUAL.  I  9 

420-i-ioo  or  6720-1-1600=4-^0   runs. 

420-f-  35  or  6720-i-  560=12  worsted  number. 

420-T-525  or  6720-i-  840=  8  cotton  number. 

6720-5-20=336 7000-5-336=^20111  woolen  numbers  in  grains. 

Note. — Ashton  gives  a  very  convenient  grain  table  for  these  calculations. 

To  convert  woolen  yarn  numbered  by  cuts,  threads,  and  spindles 
per  pound  to  other  woolen  yarn  numbers  : 

Divide  the  number  of  cuts  per  pound  by  3  and  multiply  by  20  to 
obtain  the  runs. 

Multiply  the  threads  per  pound  by  1.2,  and  multiply  the  spindles 
per  pound  by  7.2. 

Cotton  Worsted 

Hank.  Hanks.  Runs. 

240  yards=i  cut f  or    f  or    ■^■ 

8  cuts==i  head. .- 2f  or   3-f  or   i| 

6  heads=i    spindle 13-!     or     20-f-     or       i\ 

To  ascertain  the  yards  per  pound  by  the  grain  number  system, 
divide  7000  by  the  number  of  grains  which  20  yards  weigh,  and 
multiply  by  20. 

Analysis  :  If  20  yards  weigh  35  grains,  in  7000  grains  there  will 
be  as  many  times  20  yards  as  35  is  contained  in  7000. 

To  convert  grain  numbers  to  run  numbers,  find  the  yards  per 
pound  and  divide  that  number  by  1600. 

To  convert  grain  numbers  to  worsted  numbers,  find  the  number 
of  yards  per  pound  and  divide  that  number  by  560. 

To  convert  grain  numbers  to  cotton  numbers,  find  the  number  of 
yards  as  above  and  divide  by  840. 

To  convert  other  numbers  to  grain  numbers,  divide  140000  by 
the  yards  per  pound  of  the  size  to  be  reduced. 

To  convert  run  numbers  into  grain  numbers,  divide  the  yards  per 
pound  by  20  and  use  the  quotient  as  a  divisor  with  which  to  divide 
7000. 

To  convert  run  numbers  into  worsted  numbers,  multiply  the  run 
number  by  20  and  divide  by  7,  or  divide  the  number  of  yards  per 
pound  by  560. 

To  convert  run  numbers  into  cotton  numbers,  multiply  the  run 
number  by  40  and  divide  by  21,  or  divide  the  number  of  yards  per 
pound  by  840. 

To  convert  other  numbers  to  run  numbers,  find  the  yards  per 
pound  and  divide  by  1600. 

To  convert  other  numbers  to  worsted  numbers,  find  the  yards  per 
pound  and  divide  by  560. 


20  SPITZLI'S  MANUAL. 

For  cotton  numbers,  divide  by  840. 

Cotton  Yarn  Calculations. — To  find  the  weight  of  the  warp, 
the  ends,  yards  and  number  of  yarn  being  known  ;  multiply  the  ends 
by  the  number  of  yards;  divide  the  product  by  the  size  number, 
and  the  quotient  obtained  by  840. 

Example. — A  warp  450  yards  long,  1700  ends,  No.  25  yarn,  what 
is  the  weight  total? 

1700  x  450=765000-^-25  =  30600-5-840=36  lbs.  7  oz. 

To  find  the  total  number  of  hanks  in  a  warp,  also  the  size  num- 
ber or  hanks  per  pound,  the  ends,  yards  and  weight  being  known  : 
Multiply  the  ends  by  the  yards  and  divide  the  product  by  840  to 
find  the  total  number  of  hanks.  Divide  the  total  number  of  hanks 
by  the  weight  to  find  the  size  number. 

Example. — A  warp  450  yards,  1700  ends,  weight  36  lbs  7  oz., 
how  many  hanks  per  warp  ;  how  many  per  pound  : 

1700  X  45o==765ooo-h84o=9io-||L-=-36I:L3-==No.    24.99. 

Answer:  9io-ff-  hanks  per  warp,  and  24.99  hanks  per  lb. 

To  find  the  weight  per  yard  of  cloth,  the  weight  of  1  square  inch 
(in  grains)  being  known  :  Multiply  the  weight  of  one  inch  by  the 
square  inches  per  yard  (1944  for  £  goods,  972  for  f  goods),  and 
divide  the  product  by  437.5.  The  result  is  the  desired  weight  in 
ounces. 

To  find  the  weight  per  yard  from  any  sample  the  exact  area  of 
which  is  known  :  Ascertain  the  weight  of  the  sample  in  grains 
which  multiply  by  the  area  per  yard  in  inches.  Divide  the  pro- 
duct by  the  area  of  the  sample  and  the  quotient  thus  obtained  by 
437.5.     The  result  will  be  the  weight  per  yard  in  ounces. 

Note. — Above  rules  will  permit  no  error  in  estimating  area  or  weight,  the 
utmost  exactness  is  necessary.  For  the  purpose  of  making  the  sample  just  right  in 
size,  use  a  die. 

To  test  the  size  of  yarn  or  roving  :  For  the  cotton  hank  number 
(840  yards  per  hank.)  Divide  250  by  the  weight  of  30  yards  in 
grains. 

Example. — What  is  the  size  of  yarn  30  yards  of  which  weigh  25 

grains  ? 

25o-j-25=No.  10. 

Some  cotton  spinners  weigh  the  roving  by  a  system  of  560  yards 
per  hank,  and  only  the  yarn  by  the  above  rule ;  in  this  case  reel  and 
weigh  20  yards  instead  of  thirty.  In  reeling  roving  great  care  must 
be  taken   not  to  stretch   it,  or  let  it  hang  loose.     A  good  way  to 


SPITZLI'S  MANUAL.  21 

measure  is  with  a  board  say  3  ft.  4  in.  long,  8  or  10  inches  wide,  lay 
the  desired  number  of  rovings  upon  this  board  full  length;  upon 
this  lay  another  board  exactly  3  feet  long,  cut  off  the  projecting  ends 
of  the  roving  at  each  end,  which  leaves  the  exact  measure  under  the 
board  with  the  natural  tension.  No  reeling  will  always  give  the 
same  tension  so  nearly  as  this  method  when  carefully  done. 

For  the  worsted  hank  Nos.  560  yards  per  hank,  divide  250  by  the 
weight  of  20  yards  in  grains. 

Example. — What  is  the  size  number  of  yarn,  20  yards  of  which 
weigh  25  grains  ? 

25O-r-25=N0.   10. 

Another  method  is  to  use  a  weight  of  12^  grains,  then  the  number 
of  yards  required  to  balance  this  weight  represents  the  number  of 
the  size. 

Example. — No.  10  yarn  would  require  10  yards  to  balance  12^ 
grains.  Above  example  proves  this  because  we  then  found  that  20 
yards  weighed  25  grains. 

To  test  woolen  yarn  (1600  yards  per  run)  :  Divide  210  by  the 
weight  of  48  yards  in  grains. 

Example. — What  is  the  size  number  in  runs  of  a  yarn  48  yards  of 
which  weigh  30  grains. 

210-5-30=7  run. 

To  ascertain  the  size  of  roving  needed  for  the  size  of  yarn 
wanted  :  Multiply  the  yarn  size  by  5  and  divide  by  3  for  grain 
numbers,  for  runs,  worsted  and  cotton  numbers  reverse ;  multiply 
by  3  and  divide  by  5. 

Note. — This  is  only  a  general  rule.  It  is  impossible  to  give  a  short  rule  from 
which  it  will  not  be  necessary  to  deviate  often.  The  above  is  for  a  single  roving. 
When  two  rovings  are  spun  into  one  thread  some  spinners  reverse  the  rule.  Many 
woolen  spinners  want  nearly  all  their  rovings  about  double  the  size  of  the  yarn 
to  be. 

The  importance  of  universal  uniformity  in  the  methods  for  at- 
taining and  designating  yarn  numbers  is  thoroughly  realized  by  those 
who  have  met  with  difficulties  arising  from  a  different  course  ;  it 
would  seem  that  any  one  might  comprehend  the  benefits  thereof. 
The  following  from  a  lecture  by  Thomas  R.  Ashenhurst  may  help  to 
convince  some  : 

"Worsted  yarns  are  calculated  by  the  hank  of  560  yards,  made 
up  in  the  following  manner.  By  the  old  system  of  reeling,  all 
worsted  was  reeled  or  made  into  hanks  upon  a  reel  of  one  yard  cir- 


2  2  SPITZLI'S  MANUAL. 

cumference  ;  at  the  end  of  the  reel  was  attached  an  indicator,  which 
was  so  arranged  that  at  every  80  revolutions  of  the  reel  it  gave  a 
rap  or  snap,  consequently  80  yards  was  termed  one  rap.  At  each 
rap  the  reel  was  moved  slightly  to  one  side,  so  that  the  next  rap  was 
wound  separately,  and  so  on  until  seven  raps  had  been  made,  then 
the  seven  raps  were  made  up  into  one  hank,  consequently  seven  raps 
of  80  yards  each  gives  560  yards  for  one  hank.  To  indicate  the 
counts  of  the  yarn,  as  many  hanks  of  560  yards  each  as  weigh  one 
pound  avoirdupois,  is  termed  the  counts,  thus  if  30  hanks  weigh  1 
pound  the  yarn  is  termed  3o's,  if  40  hanks  weigh  1  pound  the  yarn 
is  40 's,  and  so  on.  This  in  itself  is  not  a  very  difficult  system  of 
calculation  to  deal  with,  but  to  make  it  a  little  more  intricate, 
worsted  yarn  is  usually  sold  by  the  gross  (in  England).  The  gross 
consists  of  12  dozen  or  144  hanks,  so  that  on  purchasing  yarn  of  a 
given  count  by  the  gross  it  requires  a  little  calculation  to  find  what 
price  per  pound  you  are  paying  for  the  yarn. 

In  cotton  yarns,  a  similar  system  of  indicating  the  counts  of  the 
yarn  prevails,  but  instead  of  the  hank  of  cotton  being  560  yards  as 
in  worsted,  it  consists  of  840  yards.  The  length  of  the  cotton  hank 
is  determined  in  the  same  manner  as  the  worsted  hanks,  the  differ- 
ence in  the  length  of  the  hank  being  brought  about  by  the  differ- 
ence in  the  circumference  of  the  reel,  being  54  inches  or  i-J  yards  in 
circumference,  instead  of  1  yard  as  in  worsted.  The  same  number 
of  revolutions  make  one  rap,  and  the  same  number  of  raps  one 
hank.  Hence  the  cotton  hank  is  one  half  longer  than  the  worsted 
or  840  yards  instead  of  560.  The  number  of  hanks  per  pound  indi- 
cates the  counts,  so  that  if  we  take  the  same  counts  of  yarn  in  cot- 
ton and  worsted,  one  will  represent  half  as  many  more  yards  per 
pound  as  the  other. 

Spun  silks  are  calculated  on  the  same  basis  as  cotton,  the  same 
number  of  yards  per  hank,  and  the  hanks  per  pound  indicating  the 
counts.  There  is  one  important  difference  between  silk  and  the 
other  two  materials  I  have  named,  which  requires  to  be  borne  very 
carefully  in  mind  in  making  a  calculation.  This  difference  refers 
to  twofold  yarns.  When  speaking  of  twofold  cotton  or  worsted,  the 
actual  counts  of  the  yarn  is  only  half  of  what  it  is  termed,  thus  in 
speaking  of  twofold  6o's  cotton  or  worsted  the  actual  counts  of  the 
varn  is  30's,  simply  because  it  is  two  threads  of  6o's  put  together, 
making  one  thread  of  double  the  weight.  So  that  if  the  yarn  in  its 
original  or  single  state  required  60  hanks  to  weigh  1  pound,  when 
two  threads  are  put  together  only  30  hanks  would  be  required  to 
weigh  1  pound.     But  in  dealing  with  spun  silk  whatever  the  counts 


SPITZLI'S  MANUAL.  23 

of  the  yarn  is  called  whether  single  or  twofold,  it  requires  the  full 
number  of  hanks  per  pound.  Thus,  if  we  speak  of  6o's  silk,  whether 
single  or  twofold,  we  should  have  60  hanks  per  pound.  At  first  sight 
it  would  seem  rather  difficult  to  indicate  in  a  ready  manner  this  dif- 
ference, but  the  method  of  writing  the  counts  sufficiently  represents 
this,  at  least  to  those  who  are  acquainted  with  it.  In  writing  two- 
fold 6o's  in  worsted  or  cotton  it  is  usually  put  2|6o's,  thus  indicating 
that  the  yarn  is  two  threads  of  6o's,  but  in  silk  it  is  written  6o|2, 
showing  clearly  that  yarn  is  still  6o's  though  a  twofold  yarn.  Of 
course,  to  anyone  uninitiated,  this  difference  might  not  be  sufficiently 
clear,  and  one  can  easily  understand  numerous  mistakes  being 
made  by  anyone  not  perfectly  familiar  with  the  system.  Though  it 
may  be  difficult  to  understand  why  such  a  difference  of  system 
should  exist,  there  is  no  doubt  it  does  exist,  and  exists  as  one  of 
the  abuses  with  which  I  wish  to  deal. 

While  spun  silks  are  calculated  on  the  same  basis  as  cotton — with 
the  exception  I  have  pointed  out  in  twofold  yarns, — raw  silks  are 
calculated  on  a  totally  different  basis.  The  system  most  generally 
in  use  for  raw  silk  is  the  hank  of  1,000  yards,  and  the  number  of 
hanks  per  ounce  indicating  the  counts,  or  in  some  cases  the  number 
of  deniers  which  the  hank  weighs  indicates  the  number  of  counts. 
But  here  again  we  find  some  difficulty  in  determining  what  is 
meant  by  the  denier.  The  value  of  this  weight  has  been  variously 
estimated.  If  we  refer  to  the  "  Cabinet  Cyclopcedia  "  published  by 
Messrs.  Longman,  in  183 1,  we  shall  find  in  the  treatise  on  the  silk 
manufacture  that  in  reeling  silk  "  A  reel  so  constructed  as  that  the 
circumference  of  a  skein  wound  upon  it  shall  be  of  a  certain  known 
admeasurement,  is  made  to  perform  a  given  number  of  revolutions, 
usually  400,  when  the  skein  is  accurately  weighed.  The  comparative 
weights  of  silk  whereby  their  fineness  is  denoted,  are  estimated  in 
weights  called  deniers,  20  of  which  are  equal  to  16^  grains."  Here 
we  have  some  sort  of  data  for  the  value  of  the  denier,  but  nothing 
reliable  for  the  length  of  the  skein.  Mr.  B.  F.  Cobb,  the  Secretary 
of  the  Silk  Supply  Association,  does  not  enlighten  us  much  upon  this 
matter.  In  his  "  Treatise  on  Silk  "  in  the  "  British  Manufacturing 
Industries  "  series,  published  by  Stanford,  1876,  he  says,  "  Its  fine- 
ness is  not  entirely  judged  by  the  eye,  but  by  weighing  a  given 
length,  generally  400  revolutions  of  a  reel  made  for  the  purpose,  the 
weight  being  expressed  by  a  technical  weight  termed  "denier,"  200 
of  which  are  equal  to  16^  grains."  I  think  it  is  more  than  probable 
the  200  here  given  is  a  misprint  and  should  have  been  20.  In  that 
case  the  weight  of  the  denier  would  be  precisely  the  same  as  the 


24  SPITZLI'S  MANUAL. 

one  I  before  quoted.  But  Mr.  Cobb  does  not  give  us  the  circum- 
ference of  the  reel,  so  that  we  are  no  nearer.  Before  we  go  any 
further  in  the  matter  of  the  length,  we  might  examine  a  little  further 
into  the  value  of  the  denier.  The  weight  of  the  denier  as  given  by 
the  "  Cabinet  Cyclopedia,"  and  by  Mr.  Cobb  (assuming  that  the 
200  is  a  misprint  for  20),  would  be  equal  to  0.825  °f  an  English 
grain..  The  celebrated  Dr.  Ure  in  his  "  Philosophy  of  Manufacture," 
says,  he  understood  the  denier  to  be  equal  to  0.693  °f  an  English 
grain,  but  upon  testing  a  denier  weight  he  found  it  to  be  equal  to 
0.833  °f  a  grain.  Mr.  Simmonds,  in  his  Appendix  to  the  "  Philoso- 
phy of  Manufactures"  says,  "  The  custom  of  the  trade  is  to  reckon 
32  deniers  to  a  dram,  and  that  the  standard  of  silk  measure  is  about 
400  yards,  that  length  of  a  single  filament  of  China  Cocoons  will 
weigh  two  deniers,  and  of  French  or  Italian  about  2-g-."  Reckoning 
the  denier  on  the  basis  of  32  to  equal  one  dram  avoirdupois,  the 
weight  of  the  denier  would  be  0.854  of  a  grain,  or  a  little  heavier 
than  the  weight  found  by  Dr.  Ure,  and  that  given  by  the  "  Cabinet 
Cyclopedia  "  and  Mr.  Cobb. 

In  Macclesfield  530  deniers  are  equal  to  an  ounce,  and  530  yards 
the  standard  length  to  weigh.  If  we  take  the  Macclesfield  standard, 
that  will  give  us  the  weight  of  the  denier  as  equal  to  0,8245  of  a 
grain.  I  think  it  is  more  than  probable  that  this  will  be  the  correct 
weight  of  the  denier,  the  standard  of  length  reeled  and  the  standard 
of  weight  being  both  based  upon  530,  and  we  find  that  the  other 
weights  are  so  nearly  approximate  to  it.  Then  if  we  take  the  530 
yards  and  400  revolutions  of  the  reel  we  shall  find  the  circumfer- 
ence of  the  reel  to  be  as  nearly  as  possible  four  feet  (47yV  inches). 
This  seems  to  be  the  most  reliable  data  to  which  we  can  turn,  and 
although  our  conclusions  are  unsatisfactory,  we  have  no  means  of 
arriving  at  anything  better,  and  difficult  as  this  matter  is  to  deal 
with,  I  shall  show  you  that  difficulties  are  not  confined  to  the  silk 
trade  alone.  This  difficulty  in  silk  calculation  is  now  somewhat 
obviated  by  the  adoption  in  many  places,  of  the  system  of  counting 
by  the  number  of  1000  yards  per  ounce. 

The  Linen  Trade  is  the  only  one  which  is  regulated  by  law  in 
England,  and  that  regulation  only  refers  to  the  length  of  the  hank,  or 
cut;  the  circumference  of  the  linen  reel  is  90  inches,  and  120 
revolutions  makes  one  lea,  (or  what  is  termed  in  worsted  and  cot- 
ton "  rap,")  consequently  300  yards  make  one  lea,  generally  the 
number  of  leas  per  pound  indicates  the  counts,  but  I  shall  show  you 
presently  that  although  300  yards  is  always  taken  as  the  basis  there 
are  local  customs  in  this  material  as  well. 


SHTZLI'S  MANUAL.  25 

We  now  come  to  deal  with  the  material  in  which  perhaps  the 
greatest  diversity  exists,  vis.  :  Woolen.  If  we  take  all  the  woolen 
manufacturing  districts  of  England  and  Scotland,  we  shall  scarcely 
find  any  two  which  have  the  same  system  of  calculation,  and  the 
difference  of  systems  exists  not  only  between  district  and  district, 
but  in  some  cases  between  town  and  town,  or  village  and  village. 

It  would  be  impossible  for  me,  even  if  I  was  intimately  acquainted 
with  all  the  various  systems  to  enter  into  them  in  detail,  in  the  time 
at  my  disposal.  I  shall  therefore  select  a  few  for  the  purpose  of  com- 
parison. I  will  begin  with  those  near  home,  as  they  will  probably 
have  most  interest  for  you,  and  will  be  most  likely  to  be  useful. 

Generally  speaking  (in  England  at  least),  woolen  yarns  are  calcu- 
lated by  the  skein,  but  the  skein,  like  some  of  the  other  units  of  cal- 
culation I  have  shown  you,  is  a  variable  quantity,  representing  a  dif- 
ferent quantity  in  different  districts,  and  in  many  cases  only  very 
imperfectly  understood.  If  you  go  into  the  town  of  Huddersfield, 
and  ask  a  number  of  people  what  is  a  skein,  you  will  probably 
receive  a  variety  of  answers.  At  least  you  will  receive  two.  One 
will  say,  "  A  skein  is  one  yard."  Another  will  say,  "  A  skein  is 
1536  yards  "  And  if  you  ask  them  how  they  ascertain  the  counts 
of  the  yarn  the  answer  will  be  "  by  the  number  of  yards  in  one 
drachm."  In  one  sense  perhaps  we  might  say  that  both  the  answers 
to  the  first  question  are  correct.  As  a  matter  of  calculation  they 
would  both  give  the  same  result.  What  is  commonly  known  as  the 
Yorkshire  skein  system,  and  as  practised  at  Huddersfield  and  Leeds, 
is  based  upon  the  old  system  of  preparing  the  wool  for  spinning,  by 
what  is  known  as  the  "  Slubbing  Billy."  By  this  system  the  wool 
had  to  be  weighed  in  small  quantities,  and  each  weighing  was 
termed  a  "  Wartern  ;"  this  wartern  was  not  one  universal  weight,  but 
in  the  system  we  have  under  consideration  was  6  pounds,  thus  as 
each  pound  avoirdupois  contains  256  drachms,  6  pounds  contains 
1536  drachms.  Therefore,  the  number  of  yards  in  one  skein  equals 
the  number  of  drachms  in  one  "  wartern."  Thus  if  one  "  wartern  " 
makes  only  one  skein  of  yarn  the  counts  of  that  yarn  would  be  i's, 
but  if  one  wartern  makes  20  skeins  then  the  counts  of  the  yarn 
would  be  20's.  Consequently  there  being  the  same  number  of  yards 
in  one  skein  as  there  are  drachms  in  one  "  wartern,"  as  many  yards 
of  yarn  as  weigh  one  drachm,  so  must  the  same  number  of  skeins 
of  necessity  weigh  one  "  wartern."  This  being  the  case  no  matter 
what  we  may  take  as  the  weight  of  the  wartern,  if  we  keep  the  same 
number  of  yards  per  skein,  as  we  have  drachms  per  wartern,  the 
yards  per  drachm   must  always   indicate    the   counts  of  the   yarn. 


26  SHTZLI'S  MANUAL. 

The  weight  of  a  wartern  does  vary,  but  upon  this  principle  the 
counts  of  the  yarn  will  be  the  same. 

Sometimes  woolen  yarn  is  reckoned  by  the  hank  of  840  yards  in 
the  same  manner  as  cotton,  but  generally  when  this  is  done  the 
number  of  hanks  per  pound  does  not  indicate  the  counts,  but  one- 
third  is  added,  thus  if  there  are  20  hanks  per  pound  it  would  be 
termed  30's,  or  making  it  exactly  equal  to  worsted.  If  we  take  the 
west  of  England  system  of  woolen  calculation  we  find  it  different 
from  these.  There  the  calculation  is  based  upon  20  yards  per 
ounce,  or  320  yards  per  pound,  so  that  as  many  times  20  yards  as 
weigh  one  ounce,  that  is  termed  the  counts  of  the  yarn.  Thus,  if 
there  are  400  yards  (20  times  20  yards)  per  ounce,  it  would 
be  termed  20  skein  yarn.  Another  system  which  prevails,  and 
which  if  I  remember  right  is  known  as  the  "  Cumberland  bunch 
Count,"  determines  the  count  of  the  yarn  by  the  ounces  weight  of  a 
bunch  of  3,360  yards.  This  bunch  is  equal  to  four  cotton  hanks,  or, 
six  worsted  hanks,  and  originated  in  the  old  system  of  tying  up  the 
yarn  in  bunches  of  so  many  hanks  each.  Again,  nearer  home  we 
have  the  Dewsbury  system,  based  upon  the  number  of  yards  per 
ounce. 

If  we  go  to  Scotland  we  find  as  great,  if  not  greater,  diversity 
existing.  At  Galashiels  the  counts  is  based  upon  the  cut  of  300 
yards  each  in  a  pound  of  24  ounces,  or  384  drachms.  At  Hawick 
it  is  based  upon  the  pound  of  26  ounces,  or  416  drachms,  the  cut  of 
300  yards  being  the  standard  unit.  At  Alva  and  Stirling;  Dundee 
and  Aberdeen,  the  spindle  is  the  basis  of  calculation,  and  the 
pounds  weight  of  the  spindle  indicates  the  counts  of  yarn.  In  the 
spindle  as  in  all  the  other  units  of  calculation,  we  have  a  variable 
quantity.  The  Aberdeen  spindle,  as  used  for  the  woolen  and  linen 
trades  consists  of  14,400  yards,  or  equal  to  48  cuts  or  linen  leas  of 
300  yards  each.  The  reel  upon  which  the  yarn  is  reeled  is  90 
inches,  and  the  table  of  lengths  runs  as  follows  : 

120  Threads  (90  inches  each)  =  1  Cut  =      300  yards. 

2  Cuts =  1  Heer  =      600       " 

3  Heers... =  1  Slip  =  1,800       " 

2  Slips .-   =  1  Hank  =  3,600       " 

2   Hanks =  1  Hesp  =  7,200       " 

2  Hesps. =  1  Spindle  =14,400       " 

Or,  to  put  the  matter  briefly,  the  counts  of  the  yarn  is  the  pounds 
which  48  leas  of  300  yards  each  weigh,  so  that  i's  or  1  pound  yarn 
would  be  equal  to  48  leas  per  pound,  or  900  yards  per  ounce. 


SPITZLI'S  MANUAL.  27 

The  Dundee  spindle  (except  for  linen  yarns  when  it  is  the  same 
as  Aberdeen),  consists  of  15,120  yards,  and  the  weight  of  the 
spindle  indicates  the  counts  of  the  yarn,  and  is  expressed  in  similar 
terms  to  the  Aberdeen  counts,  as  so  many  pounds  yarn.  This 
spindle  is  made  up  of  18  hanks  of  840  yards  each,  so  that  1  pound 
of  yarn  would  be  equal  to  18  hanks  of  840  yards  each  per  pound. 

The  Alva  and  Stirling  spindle  consists  of  11,520  yards,  and  the 
counts  indicated  by  the  number  of  spindles  in  24  pounds,  or  480 
yards  per  pound. 

I  think  I  have  now  dwelt  sufficiently  on  the  different  systems,  I 
will  endeavor  to  put  the  matter  before  you  now  in  a  different  form, 
so  that  you  can  more  easily  make  a  comparison.  Most  of  you  are 
familiar  with  what  is  called  20's  yarn.  Of  course  20's  yarn  may 
exist  in  all  the  different  systems  I  have  shown  you.  Then  if  we 
take  20's  in  all  the  different  systems,  and  see  how  many  yards  per 
pound  we  should  have  in  each  case,  we  shall  have  a  fair  standard  of 
comparison.     The  list  is  as  follows  : 

Worsted .  ...  20's  =  11,200  yards  per  lb. 

Cotton "  =16,800  " 

Spun  Silk : "  =16,800  " 

Raw     "     "  =320,000 

Linen  (ordinary)  . "  =     6,000  "           " 

Woolen  (Yorkshire    Skein)  "  =     5,120  " 

"       (West  of  England)  "  =     6,400  " 

"       (Dewsbury) "  =        320  "          " 

(Bunch    Count)...  "  =     2,688  " 

Aberdeen... "  =        720  "           " 

Dundee "  =302, 400  "           " 

Alva  and  Stirling ._  "  =     9,600  "           " 

From  this  it  will  be  seen  that  by  the  12  different  systems  of 
counting  yarns  which  I  have  given  you,  for  a  yarn  which  is  known 
by  the  same  number,  the  weight  varies  from  320  yards  per  pound  to 
320,000  yards  per  pound.  If  that  is  not  an  absurdity  in  figures,  I 
am  afraid  it  would  be  difficult  to  find  one  in  existence,  either  in  the 
textile  trade  or  in  any  other  department  of  industry. 

Before  leaving  this  branch  of  the  subject,  I  will  make  one  more 
comparison.  I  will  again  take  20's  worsted  as  my  standard,  as  it 
will  be  most  familiar  to  you.  Taking  the  number  of  yards  in  one 
pound  of  20's  worsted,  let  us  see  what  counts  that  number  of  yards 
per    pound    would   represent   in   all   those   different   systems.     20's 


28  SPITZLI'S  MANUAL. 

worsted  is  equal  to  11,200  yards  per  pound,  that   number  of  yards 
per  pound  would  give  us  in 

Cotton Counts  13^ 

Spun  Silk "  131T 

Raw "  700     or  r\ 

Linen  (ordinary).. "  37^ 

Woolen  (Yorkshire  Skein).  "  42f 

(West  of  England)  "  24$ 

"       (Dewsbury) "  700 

(Bunch  Count) "  fi 

Aberdeen "  if  lb.  yarn. 

Dundee "  i^f 

Alva  and  Stirling "  174 

Galashiels -  "  44I 

Hawick.. "  48^ 

From  these  figures  we  see  at  once  the  relative  value  of  the  counts 
in  the  different  systems  of  calculation,  and  also  how  much  the  unit 
of  counts  varies  in  different  districts.  It  will  also  enable  you  to 
understand  in  some  degree  the  difficulty  of  speaking  of  counts,  unless 
the  number  of  the  yarn  is  accompanied  by  an  explanation  of  the 
system  by  which  the  counts  are  indicated.  If  I  was  to  speaks  of  20 
skein  woolen  in  Bradford,  only  a  comparative  few  would  under- 
stand what  was  meant.  Or  20  skein  woolen  Yorkshire  count  would 
be  unintelligible  to  a  great  many  west  of  England  manufacturers. 

There  is  one  other  branch  of  the  subject  to  which  I  must  call 
your  attention,  viz.,  the  reeling  or  testing  of  yarns.  Of  course  it 
must  be  obvious  that  in  ascertaining  the  counts  of  yarn  you  cannot 
always  have  at  hand  as  much  yarn  as  will  represent  the  standard 
unit  of  weight  by  which  the  yarn  is  indicated.  If  so  you  would 
always  require  1  pound  of  cotton,  worsted  or  silk,  and  6  pounds  of 
woolen  ;  whereas,  in  many  cases  only  a  very  small  quantity  is  avail- 
able. Then  some  small  weight  must  be  found  which  will  readily 
indicate  the  counts  of  the  yarn.  In  woolen  (Yorkshire  skein)  this 
is  quite  easy,  because  the  number  of  yards  in  one  drachm  indicates 
the  number  of  skeins  in  one  wartern,  so  that  only  one  drachm  need 
to  be  weighed.  But  in  worsted  and  cotton  this  is  not  quite  so  easy. 
The  readiest  method  is  to  reduce  the  pound  avoirdupois  to  Troy 
grains  and  divide  that  by  the  yard  in  one  hank,  thus  7,000  Troy 
grains  are  equal  to  1  pound  avoirdupois  ;  the  7,000  divided  by  560 
the  yards  in  one  hank  would  give  us  I2-J  grains,  consequently,  as 
many  yards  as  weigh   12^  grains,  so  many  hanks  of  560  yards  each 


SPITZLI'S  MANUAL.  29 

will  weigh  one  pound  avoirdupois.  If  we  require  a  weight  for  cot- 
ton or  spun  silk,  then  divide  7,000  by  840,  and  we  have  8^  grains  as 
a  standard  weight  for  testing  cotton.  This  is  perhaps  as  great  an 
absurdity  as  exists  in  the  whole  system  of  yarn  counting,  indicating 
the  counts  of  yarn  by  an  unit  of  avoirdupois,  and  testing  it  by 
Troy  weight.  Yet  it  is  the  method  most  generally  practised,  and  is 
certainly  under  existing  circumstances,  in  most  cases,  the  most  con- 
venient. 

In  dealing  with  twofold  yarns  a  somewhat  peculiar,  or  at  least 
what  appears  to  be  a  peculiar,  system  of  calculation  comes  into  use. 
If  the  two  threads  which  are  put  together  are  each  of  the  same  • 
thickness  the  calculation  is  quite  simple,  because  it  makes  a  thread 
of  double  the  weight,  and  consequently  would  be  termed  half  the 
counts;  thus  two -threads  of  6o's  would  make  a  30's  thread,  or 
equal  to  30  hanks  per  pound.  At  first  sight  it  would  seem  that  if 
two  threads  of  6o's  make  one  of  3o's  that  one  of  8o's  and  one  of 
40's  together  would  also  make  one  equal  to  30's,  but  in  point  of 
fact  that  is  not  the  case.  If  we  take  one  hank  of  8o's  worsted  we 
shall  find  it  weighs  3.2  drachms;  and  a  hank  of  40's  worsted  weighs 
6.4  drachms.  If  we  put  those  two  together  as  one  thread  we  have 
a  hank  weighing  9.6  drachms,  and  9.6  drachms  is  the  weight  of  a 
hank  of  yarn  which  would  be  equal  to  26f  hanks  per  pound.  Con- 
sequently the  counts  of  a  two-fold  thread  consisting  of  8o's  and 
40's  would  not  be  30's  but  26f's.  There  are  several  so  called  short 
methods  of  ascertaining  the  counts  of  two-fold  yarns  of  this  de- 
scription. One  is  to  divide  the  highest  by  itself,  and  by  each  of 
the  others  and  then  by  the  quotients  added,  and  the  last  quotient 
will  be  the  counts  of  the  doubled  yarn,  thus — 

8o-i-8o=i 
80 -5-40=2 

8o-r-3  =  26§  the  counts  of  the  two- 
fold yarn.  This  rule  will  answer  when  any  number  of  threads 
of  varying  counts  are  put  together  ;  and  in  many  cases  will  un- 
doubtedly prove  a  very  convenient  one,  because  it  is  easy  of  appli- 
cation.      Another  method    is    to   divide    the    product    of    the    two 

counts  by  their   sum,  thus- =26f.      This  will  answer  the  pur- 

80  +  40  r 

pose  quite  as  well  as  the  previous  one,  but  only  when  two  threads  are 

put  together.      It   will   perhaps   be   as  well   to  examine  this   a  little 

more  fully.     The  whole  question   resolves   itself  into   one  of  simple 

proportion.     When  we  put  two  threads  together  the  resulting  thread 


30  SPITZLI'S   MANUAL. 

bears  the  same  proportion  to  the  lowest  count  which  the  highest 
does  to  the  sum  of  the  two ;  or,  in  other  words,  we  have  in  the 
counts  of  each  thread  two  mean  proportionals  ;  the  sum  of  the  two 
is  one  extreme,  and  the  resulting  count  is  the  other  extreme  pro- 
portional, thus  taking  again  the  80  and  40  the  sum  of  the  two  is 
120,  then  as  120  :  80  "40  :  26§.  This  holds  true  of  any  material,  or 
of  any  method  of  counting.  As  a  proof  of  this  we  will  suppose 
two  threads  of  woolen  twisted  together,  say  a  20  and  a  30  skein 
(Yorkshire  count);  the  sum  of  those  two  would  be  50,  then 
50  :  30  ::  20  :  12,  or  12's  skein  would  be  the  counts  of  the  resulting 
thread.  Of  course  it  may  be  put  in  the  form  I  gave  it  before,  that 
is  divide  the  product  of  the  two  numbers  by  their  sum,  thus 

■zo  X  20 

6       ■         =12. 

3O  +  2O 

They  both  mean  the  same  thing ;  it  is  merely  a  different  way  of 
stating  the  question.  The  same  remark  also  applies  to  dividing  the 
highest  by  itself  and  by  the  other,  thus 

30-5-30=1 

30-7-20=1-^ 

30-j-2-g-=I2. 

I  should  prefer  putting  the  question  as  one  of  proportion  direct, 
because  it  is  easier  to  remember  and  bears  its  own  truth  on  the  face 
of  it.  But  to  prove  that  those  two  woolen  threads  I  have  given 
would  produce  one  equal  to  12  skein  we  will  take  the  smallest  con- 
venient unit  of  length  as  a  standard  of  test.  I  have  already  told 
you  that  the  number  of  yards  per  drachm  represents  the  count 
skein,  then 

20  yards  of  20's  would  weigh  1  drachm. 

20     "  30's  "  §         " 

20     "       of  the  double  thread  if       " 

Consequently  20  yards  weighing  if  drachms  would  be  exactly 
equal  to  12  yards  to  one  drachm;  therefore  the  counts  of  the 
doubled  yarn  must  be  12's.  If  we  have  a  greater  number  of  threads 
than  two  together  it  becomes  a  question  of  continued  proportion, 
but  perhaps  of  a  kind  which  will  appear  a  little  peculiar  to  many. 
For  instance,  when  we  are  dealing  with  two  threads  the  counts  of 
the  threads  produced  by  doubling  is  a  fourth  proportional  lower. 
If  we  put  three  threads  together  it  would  seem  as  if  the  resulting 
thread  would   be   a  fifth  proportional   lower,  or  that  the  sum  of  the 


SPITZLI'S  MANUAL.  3  I 

three  would  be  one  extreme,  and  the  results  of  the  counts  the  other 
extreme.  But  this  is  not  so  in  the  ordinary  sense  of  double  propor- 
tion, although  it  would  be  truly  a  double  proportion.  You  could 
not  multiply  the  three  numbers  together  and  divide  by  their  sum. 
I  will  give  you  an  example  of  this  :  Suppose  we  put  three  threads, 
one  each  of  80,  60  and  40  together,  we  should  have  a  yarn  equal  to 
18/3.  If  we  seek  this  result  by  proportion  we  shall  not  obtain  it  so 
readily  as  by  the  first  method  I  mentioned.  To  put  the  matter 
clearly,  I  will  find  the  result  of  the  first  two  threads,  thus  80  and 
60=140.  Then  140:  80  ::  60:  34^.  The  third  thread  40  and  34f= 
74f  ;  then  74!  :  40  "34f :  i8T6g  the  counts  of  the  three  threads 
together.  Before  we  proceed  further  we  will  prove  the  truth  of  this. 
One  hank  of  8o's  worsted  would  weigh  3.2  drachms,  one  hank  of  6o's 
would  weigh  4.26  drachms,  and  one  hank  of  40's  would  weigh  6.4; 
then  3  24-4.26  +  6.4=13.86  drachms  as  the  weight  of  one  hank  of 
the  three-fold  yarn. 

One  hank  weighing  13.86  drachms  would  be  18/3  counts,  or  there 
would  be  that  number  of  hanks  in  one  pound.  Then  let  us  see  how 
to  obtain  the  result  desired  by  the  short  method. 

80    divided   by   80=1 

80  "  6o=ii 

80  "  40=2 


80  "  4i=i8T63 

If  we  have  any  number  of  threads  to  put  together  we  may  obtain 
the  counts  resulting  by  either  of  these  methods,  but  generally  speak- 
ing the  last  will  be  found  the  most  convenient. 

In  all  the  calculations  I  have  given  I  must  ask  you  to  bear  in 
mind  that  I  have  made  no  allowance  for  waste  or  shrinkage.  That 
is  a  matter  which  can  only  be  determined  by  practice.  If  you  are 
making  a  calculation  for  the  quantity  of  material  in  a  piece  of 
fabric,  to  lay  down  a  fixed  proportion  to  allow  for  waste  and 
shrinkage  would  only  be  misleading,  because  it  would  vary,  not  only 
according  to  the  nature  of  the  material  but  also  according  to  the 
construction  of  the  fabric.  In  the  same  manner  on  twisting  two 
threads  together  there  is  a  certain  amount  of  shrinkage  caused  by 
the  threads  twisting  around  each  other.  Perhaps  a  fair  average 
allowance  might  be  fixed  upon,  but  it  could  never  be  anything  but 
an  approximate  calculation.  The  amount  of  shrinkage  or,  as  it  is 
generally  termed,  "  take-up"  in  twisting  two  threads  depends  in  no 
small  measure  upon  the  contiguity  of  the  axis  of  the  threads ;  for 
instance,  if  you  take  two  threads  of  soft  flexible  material   they  will 


32  SPITZLI'S  MANUAL. 

embed  themselves  in  each  other,  their  axes  will  be  nearly  close 
together,  and  there  will  be  very  little  loss  of  length  by  their  twisting 
round  each  other;  but  if  the  threads  are  of  a  hard  inflexible 
material  there  must  be  considerable  "  take-up,"  because  the  threads 
have  to  wind  round  each  other,  their  axes  cannot  come  near 
together,  and  the  result  is  a  proportionately  heavier  thread.  If  we 
put  a  thick  and  thin  or  fine  thread  together,  unless  the  thick  thread 
is  of  a  very  soft  material,  the  fine  thread  will  be  wound  upon  the 
thick  one  in  all  probability — they  will  not  twist  round  each  other. 
In  that  case  all  the  "  take-up"  would  be  in  the  fine  thread,  and  the 
thick  one  would  be  perfectly  straight,  so  that  in  making  a  calcula- 
tion the  circumstance  of  the  case  would  require  to  be  carefully  con- 
sidered, so  as  to  ensure  perfectly  accurate  results.  The  object  I 
have  had  in  view  has  been  to  show  the  readiest  method  of  arriving 
at  result,  and  to  point  out  some  of  the  absurdities  of  the  different 
systems  of  calculation.  It  would  be  difficult  to  estimate  the  amount 
of  time  that  is  wasted  in  making  calculations,  and  in  these  times  of 
severe  competition  it  is  of  the  utmost  importance  that  the  time  of 
both  employer  and  employed  should  be  utilized  to  the  utmost. 
Not  only  is  it  important  from  a  business  point  of  view  that  calcula- 
tions should  be  simplified  to  the  utmost,  but  I  apprehend  that  the 
man  who  can  go  through  his  work  with  the  least  labor,  mentally  as 
well  as  physically,  is  not  only  the  most  valuable  man  to  his  em- 
ployer, but  he  is  better  in  every  way,  because  by  simplifying  his 
labor  there  must  be  less  strain,  and  consequently  less  wear  and 
tear  of  the  human  system  ;  and  he  will  be  able  to  work  longer,  with 
more  comfort,  and  end  his  labor  with  more  pleasure  than  he  could 
otherwise  do. 

We  have  in  this  department  alone  a  wide  field  for  improvement. 
It  is  scarcely  conceivable  that  so  many  systems  could  exist;  and 
small  as  the  matter  may  seem  to  an  ordinary  observer,  yet  it  is  one 
of  great  importance.  If  a  manufacturer  in  one  district  should  find 
it  necessary  to  purchase  yarn  from  another  district,  he  has  to  deal 
with  a  system  of  calculating  that  yarn  which  is  quite  foreign  to  that 
which  he  is  accustomed  to.  If  a  workman  finds  it  desirable  or 
convenient  to  remove  from  one  town  to  another,  he  has  first  to 
learn  their  system  of  calculation.  Is  there  any  reason  for  this 
diversity  of  system  ?  Whatever  may  have  been  the  reason  or  the 
object  of  all  these  systems  when  they  originated,  surely  the  same 
reasons  cannot  have  much  weight  now ;  but  many  arguments 
might  be  adduced  in  favor  of  unformity.  It  would  not  be  a  diffi- 
cult   matter   to    find   a   great   deal    to  complain   of    in    our   whole 


SPITZLI'S  MANUAL.  $$ 

system  of  weights  and  measures ;  but  in  one  department  of  indus- 
try it  seems  almost  inconceivable  that  all  these  systems,  whatever 
may  have  been  their  origin,  can  be  allowed  to  exist.  There  can  be 
no  doubt  that  uniformity  would  do  a  great  deal  in  promoting  busi- 
ness intercourse  between  different  districts,  because  we  should  then 
know  how  to  estimate  the  value  of  the  article  in  which  we  were 
dealing.  There  is  little  doubt  that  this  uniformity  will  be  attained. 
Education  will  do  a  great  deal  towards  it ;  and  I  have  confident 
hopes  that  we  shall  see  the  day  when  we  shall  have  one  standard 
unit  by  which  to  reckon  all  our  yarns  ;  and  that  this  standard  will 
be  arranged  upon  some  intelligent  basis,  so  that  the  mystery  which 
has  usually  attended  textile  calculations  will  be  put  an  end  to,  and 
we  shall  have  it  so  simplified  that  every  one  whose  duty  it  may  be 
to  make  those  calculations  will  be  able  to  do  it  with  ease  and 
comfort. 

Scales. — Measuring  and  weighing  scales  are  needed  about  fac- 
tories in  great  variety.  Of  measuring  scales,  there  are  none  more 
important  than  a  finely  graduated  scale  which  may  be  used  to 
measure  patterns,  count  threads,  turns  of  twist,  &c,  &c,  with  the 
naked  eye.  For  many  purposes  a  common  pocket  rule  may  answer, 
but  for  others  a  much  more  convenient  gauge  or  scale  is  necessary 
to  make  sure  of  accurate  work.  Likewise  the  scales  necessary  to 
use  in  combination  with  magnifying  glasses  and  microscopes,  should 
be  well  adapted  to  the  many  kinds  of  work  to  be  done  with  them. 
Linen  provers,  with  or  without  lenses,  may  be  considered  in  this 
class.  Linen  provers  should  be  purchased  in  combination  with 
some  firm  and  convenient  contrivance  for  permitting  the  reflection 
of  strong  light  through  the  fabric  to  be  examined.  Many  thin  fab- 
rics can  be  examined  easily  with  such  an  improvement  to  linen 
provers,  whereas  without  them  they  would  be  as  difficult  as  any 
heavier  piece. 

Scales  for  weighing  should  be  very  delicately  constructed  to  meet 
the  designer's  requirements.  Of  scales  of  all  kinds  used  in  fac- 
tories, as  of  many  other  articles,  it  may  safely  be  asserted  that  the 
best  are  always  the  cheapest.  By  the  best  we  do  not  mean  the 
dearest,  although  very  good  and  fine  scales  are  expensive,  but  such 
as  may  be  depended  upon  for  accuracy  and  durability,  without  ex- 
tra or  unnecessary  ornamentation. 


15 


34 


SPTTZLI'S  MANUAL. 


Yorkshire. 

American. 

Roved, 

Double  Spun. 

Porties, 

Porters. 

Slay, 

Reed. 

Reed, 

Dent  or  Split. 

Heald, 

Heddles. 

Shafts, 

Harnesses. 

Picks, 

Picks. 

Gear, 

Neezes, 

Heddle  Eyes. 

Hopsack, 

Celtic. 

Scotch,  English  and  American  Terms. — 

South  of  Scotland. 

Twice  Drawn, 

Porters, 

Reed, 

Split, 

Heddle, 

Leaves, 

Shots, 

Caulm, 

Heddle  Eyes, 

Celtic, 

Table  of    Measures. — 
i   Cut=3oo  yards=io,8oo  inches. 
i   Slip=i2  cuts=36oo  yards, 
i   Ell,  relating  to  caulm  and  reed=37  inches. 

i   Ell,  relating  to  warp  yarns  in  warping  and  weaving=45  inches. 
1   Porter=4o  threads.     Hawick  knot=8o  threads, 
i    Porter,   2   in   split,   of  any  reed=2o  splits.      Originally  all  webs 

were  2  threads  in  split. 
1   Porter,  4  in  split,  of  any  reed=io    splits. 

1     "    3  "      "     ;       13*    " 

The  number  of  a  reed  is  the  number  of  porters  on  37  inches, 
thus  a  20  reed  is  20  times  20=400  splits  on  37  inches;  an  18 
reed  is  18  times  20=360  splits  on  37  inches;  and  soon  with 
all  the  other  numbers  of  reeds. 


Machine     Wool    Weight. 
1  oz.=i6  drachms. 
1  lb. =  16  oz.^256  drachms. 
1  stone=24lbs.=6i44  drachms. 


Yarn  Greasy    Weight. 

1  oz.=i6  drachms. 

1  lb. =24  oz.=384  drachms. 

1      lb.     Hawick      26     oz.  =  4i6 
drachms. 

Skein,  1520  yards=i  porty,  12  strings  long. 

Werturn,  6  lbs. =1536  drachms. 

String=i2o  inches. 

Porty==38  threads. 

Sett  in  slay  is  the  number  of  porties  of  19  reeds  in  9  inches.  The 
number  of  skeins  is  the  number  of  yards  in  a  drachm,  thus  10 
skein  of  yarn  is  10  yards  in  a  drachm,  12  skeins=i2  yards  in  a 
drachm,  and  so  on  ;  and  is  related  to  Galaxby  it4j  ;  but  the 
Yorkshire  skein  is  asXby  i¥7j,  being  a  slight  deviation  for 
convenience    in    calculation   by    the    werturn  of  6   lbs.=i536 


SPITZLI'S  MANUAL.  35 

drachms,  instead  of  1520   yards,  1   skein.     The  yarn   is,  there- 
fore, finer  or  longer  by  16  yards  in  a  werturn  than   it  is   given 
up  for. 
For  rules  to  find  equivalent  quantities,  in  various  English  sys- 
tems, see  Johnston's  "  Hand-Book  for  Designers." 

Sizing. — The  most  important  considerations  upon  which  success- 
ful sizing  depends  are : 

1.  The  quality  and  kind  of  the  ingredients. 

2.  The  mode  of  preparing  the  size. 

3.  The  method  and  extent  of  application. 

The  vegetable  ingredients  used,  such  as  flour,  potato  starch,  etc., 
are  valued  for  sizing  according  to  the  amount  of  gluten  they  con- 
tain, notwithstanding  starch  plays  the  most  important  part.  The 
following  table  shows  the  comparative  richness  in  gluten  and  starch 
of  five  kinds  of  grain  : 

Wheat. 

Gluten  and  Albumen.    19- 15 

Starch 65.68 

Febrine,  Gum,  Sugar.    14.09 
Saline  Matter  or  Ash.     0.70 

In  damaged  flour  the  gluten  may  be  only  deprived  of  its  elasticity, 
or  it  may  be  entirely  destroyed. 

Indian  corn  contains  more  fatty  matter  than  any  other  grain,  and 
rice  less. 

Tallow  must  be  used  for  some  purposes,  but  it  is  liable  to  induce 
mildew. 

Cocoa-nut  oil  is  inferior  to  tallow  on  account  of  its  liability  to 
become  rancid. 

Palm  oil  is  more  extensively  used  than  cocoa-nut  oil,  and  is  much 
better. 

China-Clay. — "  It  would  be  difficult  to  find  a  substitute  for  this 
important  ingredient  of  size,  or  one  that  possesses  the  same  com- 
bination of  useful  properties.  I  need  only  state,  for  the  benefit  of 
the  uninformed,  that  it  is  not,  as  they  generally  suppose,  a  quantity 
of  rubbish  introduced  solely  for  the  purpose  of  weighting,  but  its 
unctuous  and  soft  nature  is  taken  advantage  of  in  providing  what 
might  be  called  a  soapy  coating  to  the  warp  well  adapted  for  weav- 
ing ;  at  the  same  time  it  can  be  made  to  fulfil  the  other  require- 
ments in  a  very  efficient  manner,  filling  the  fibre  and  giving  a  "  feel  " 
to  the  cloth  hard  to  obtain  by  other  means.     In  this  it  acts  a  purely 


Indian 

Corn. 

Rice. 

Rye. 

Barley. 

12-3 

12.76 

9.48 

6. 24 

71- 

86.9 

6l  .07 

69-5 

O.4 

0-5 

3.28 



1.2 

0.9 





36  SPITZLI'S  MANUAL. 

mechanical  part  by  rendering  the  paste  of  the  flour  less  persistent, 
it  prevents  that  too  powerful  shrinking  of  the  size  when  dried  on 
hot  cylinders,  which  has  the  effect  of  contracting  the  yarn.  Its 
specific  gravity  also  better  adapts  it  for  use  than  many  of  the  heavier 
mineral  substances,  such  as  barytes,  &c,  which  have  been  recom- 
mended, as  it  is  less  liable  to  settle  or  cake,  stopping  up  the  holes 
in  the  boiling  pipes.  It  is  a  matter  of  very  considerable  importance 
to  select  a  good  quality  of  China-clay,  called  by  potters  '  fat  clay.'  " 
— E.   Webb,  in  Warp  Sizing. 

A  good  clay  for  sizing  will  yield  about  the  following  proportions 
in  analysis  : 

Silica _. 46.32 

Alumina 39-74 

Protoxide  of  Iron .27 

Lime .36 

Magnesia .44 

Water  and  some  Alkali 12.67 

Loss -20 


Chloride  or  Muriate  of  Zinc,  or  Zinc  Size. — When  properly  pre- 
pared possesses  properties  of  great  value  to  the  warp-sizer.  Igno- 
rance has  brought  it  into  disrepute,  but  for  some  classes  of  warp  siz- 
ing it  is  indispensable.  In  preparing  it,  however,  a  practical  knowl- 
edge of  chemistry  is  necessary.     (See  E.  Webb  on  Warp  Sizing.) 

Chloride  of  Magnesia. — The  use  of  this  salt  is  now  more  common 
than  formerly  when  covered  with  several  patents,  but  it  has  not, 
and  probably  cannot  afford,  all  the  benefits  expected  from  and 
claimed  for  it.  It  is  more  liable  to  mildew  than  chloride  of  zinc. 
The  mode  of  preparing  the  size  should  be  governed  largely  by  the 
ingredients  used,  and  result  desired.  The  application  of  sizing  is  a 
practical  question  varying  materially  in  the  many  uses  made  of 
sizing. 

Tests. — A  long  list  of  tests  should  be  in  possession  of  every 
manager  and  designer.  Without  pretending  to  give  such  a  list  a  few 
good  ones  will  not  be  objectionable. 

Soap  Tests  of  Water. — Dissolve  a  piece  of  good  soap  in  alcohol 
to  thickness  of  a  syrup  ;  drop  this  into  a  sample  of  water  ;  if  it 
curdles  the  water  is  hard  ;  which  means  that  there  are  present :  car- 
bonic acid,  carbonate  of  lime,  iron  sulphate  of  lime,  etc.,  etc.  If 
soft  it  may  contain  alkalies. 


SPITZLI'S  MANUAL.  37 

Acid  Test  of  Indigo  Colors. — Nitric  acid  will  turn  indigo  to  a  light 
lemon  yellow ;  logwood  to  red  orange  ;  Prussian  blue  to  green. 
Do  not  use  the  acid  too  strong. 

To  Distinguish  Dyes  in  Colored  Goods. — It  is  often  necessary  to 
know  with  what  coloring  matters  a  pattern  has  been  dyed.  In  some 
cases  an  experienced  dyer  can  soon  ascertain,  almost  at  a  glance,  or 
by  simple  methods,  which  dyestuff  has  been  employed  ;  but  with 
many  colors  this  is  sometimes  impossible.  Especially  is  this  the 
case  with  blue  dyed  fabrics,  in  which  it  is  not  easy  to  say  whether  a 
pattern  has  been  dyed  with  vat  indigo  alone,  or  has  been  topped 
with  cheaper  stuff.  This  detection  can  be  made  by  a  chemical 
analysis,  the  method  consisting  in  destroying  one  of  the  coloring 
matters  by  some  reagent,  and  thus  prove  its  existence  by  the  use  of 
the  destroying  medium.  To  ascertain  which  mordant  has  been 
used,  it  is  only  necessary  to  burn  a  certain  quantity  of  the  fabric, 
and  to  find  out  by  chemical  analysis  which  oxide  was  present  on 
the  fabric.  These  methods  are,  however,  only  of  use  to  chemists ; 
but  the  following  is  a  simple  method  that  may  be  employed  by  any- 
body to  determine  the  coloring  matter.  To  begin  with  blue 
dyed  fabrics.  Vat  blue,  in  the  first  place,  is  neither  affected  by 
alkalies  nor  acids  (with  the  exception  of  nitric  acid).  Only 
chlorine  and  chlorine  compounds  react  on  vat  blue.  A  blue  dyed 
with  sulphate  or  extract,  or  carmine  of  indigo,  is  readily  abstracted 
by  boiling  water,  and  even  more  so  by  caustic  alkalies.  Prussian 
blue  is  easily  recognized  by  using  alkalies  which  destroy  it,  while 
chlorine  and  acids  have  no  effect  upon  it.  However,  the  alkaline 
chlorine  compounds  of  commerce  (bleaching  powder,  etc.)  react 
upon  it.  Goods  dyed  with  logwood  give,  with  acids,  a  coloration 
more  or  less  yellowish.  In  case  there  is  another  color  associated 
with  logwood,  the  latter  may  be  extracted  with  a  large  quantity  of 
acid.  The  fabric  is  then  well  washed,  and  the  remaining  color 
examined.  The  red  colors  are  more  difficult  to  determine;  but 
these  colors  have  not  the  same  importance  as  the  blues.  Colors 
dyed  with  cochineal  and  Brazil  wood  (which,  however,  every  dyer 
can  easily  distinguish)  become  gooseberry  red  when  treated  with 
muriatic  acid.  If  it  is  washed,  and  then  passed  through  milk  of 
lime,  a  pretty  loose  violet  is  obtained.  Madder  red,  treated  exactly 
in  the  same  way,  and  after  the  milk  of  lime  bath  boiled  with  soap, 
acquires  a  more  intense  color.  Cochineal  red  and  Brazil  wood  red 
can  be  easily  distinguished  by  means  of  oxalic  acid,  cochineal  red 
becoming  brighter,  while  the  other  is  more  or  less  destroyed. 
Black,  which  is  generally  dyed  by  two  methods,  either  with  iron  or 


38  SPITZLI'S  MANUAL. 

chrome,  when  treated  with  chlorine,  is  destroyed  if  dyed  with  iron  ; 
but,  if  a  chrome  black,  resists  to  a  certain  extent,  only  becoming- 
chestnut  brown,  even  with  strong  treatment.  To  distinguish  other 
colors  there  are  many  methods,  which  are,  however,  too  complicated 
to  be  mentioned  here.  Aniline  colors  require  greater  chemical 
knowledge  to  distinguish  them  from  each  other. 

Character  of  Animal  Fibers. — "  Fibers  having  an  animal  origin  do 
not  burn,  like  those  of  the  vegetable  kingdom,  with  a  continuous 
flame,  but  ignite  with  a  sort  of  fusion,  and  exhale  a  nauseating 
odor,  similar  to  that  of  burning  horn,  while  forming  a  carbonized 
ball  on  the  extremity  of  the  thread.  Subjected  to  a  dry  distillation, 
animal  fibers  reject  some  tarry  composition  containing  carbonate  of 
ammonia,  which  can  be  recognized  by  its  peculiar  odor  and  by  its 
alkaline  property  of  bluing  litmus-paper.  It  is  a  gelatinous 
albuminious  compound,  containing  the  following  constituents  : 

Carbon 5°-75 

Hydrogen 7  -  °3 

Azote 17.71 

Oxygen  Sulphur 25.51=100.00 

Wool,  as  it  is  used  specially,  contains  a  notable  proportion  of  sul- 
phur, which  will  manifest  itself  under  proper  conditions.  Thus, 
subjected  to  1480  Centigrade,  wool  will  evolve  sulphur  readily;  also 
on  boiling  it  in  water. 

It  is  the  action  of  this  sulphur  which  blackens  the  wool  in  high 
temperature,  especially  if  brought  in  contact  with  some  metallic 
substance,  such  as  acetate  of  lead,  protochloride  of  tin,  or  with  any 
metallic  surfaces.  In  a  boiling  solution  of  nitrate  of  lead,  wool  gets 
covered  with  sulphate  of  lead,  and  becomes  instantly  black.  These 
facts  are  important  to  know  for  the  management  of  the  dyeing 
operations.  Alkali  can  remove  the  sulphur  in  the  wool.  In  the 
great  carpet  factory  of  the  Gobelins  all  the  wool  yarn  in  hanks  is 
subjected  for  twenty-four  hours  to  a  milk  of  lime  bath,  after  which 
to  a  chlorhydric  acid  bath,  followed  finally  by  a  water  washing. 
Animal  fibers  are  sensitive  to  the  action  of  caustic  alkali.  These 
agents  must  not  be  concentrated  for  wool.  Carbonate  of  soda  will 
not  injure  wool,  but  caustic  soda  will.  Sulphuric  acid  concentrated 
decomposes  silk  rapidly,  also  wool  and  hair  ;  but  diluted  with  water 
it  produces  some  interesting  effects.  For  instance,  any  wool  cloth 
saturated  in  a  sulphuric  acid  bath  at  20,  will  suffer  a  considerable 
contraction,  but  will  never  be  attacked  by  insects.  Nitric  acid 
produces  a  yellow  tinge  on  silk,  and  on   wool   generating  a   yellow 


SPITZLI'S  MANUAL.  39 

color  called  canthoproteic.  There  is  a  tendency  to  utilize  this  dye- 
ing property  in  the  trade,  but  it  should  be  rejected  as  injuring  the 
chemical  constitution  of  the  fiber.  The  weak  acids  act  well  enough 
on  animal  fibers  for  dyeing.  For  instance,  a  solution  of  fuchsin 
with  an  alkali  can  dye  red,  while  vegetable  fibers  could  not  give 
such  a  result. — Le  Jacquard. 

Tests  by  which  the  Mixture  of  Cotton,  Flax  or  Jute 
in  Woolen  and  Silk  Goods  may  be  Detected. — Boil  woolen 
or  silk  goods  in  ten  per  cent  of  caustic  soda  lye,  and  the  wool  or 
silk  will  be  dissolved,  leaving  the  cotton  or  any  other  vegetable  fiber. 
The  undissolved  portion  may  be  bleached  in  chlorine  water,  if  it  is 
colored,  and  then  dissolved  by  cupro-ammonia. 

Woolen  and  silk,  if  highly  colored,  may  also  be  treated  with  a 
mixture  of  two  parts  of  sulphuric  and  one  part  of  nitric  acid.  The 
wool,  silk,  and  coloring  matters  will  be  destroyed,  while  the  cotton 
will  be  turned  into  gun  cotton,  which  will  explode  by  being  struck 
with  a  hammer. 

If  the  woolen  or  silk  is  white,  an  easy  test  is  by  a  solution  of 
fuchsin.  This  will  dye  the  wool  or  silk,  but  not  the  cotton.  All 
sizing  must  be  removed  before  applying  this  test,  which  is  best 
accomplished  by  washing  in  a  weak  solution  of  carbonate  of  soda 
and  in  soap,  and  applying .  the  fuchsin  mixed  hot  with  some 
carbonate  of  soda. 

To  detect  wool  in  silk,  a  solution  of  oxide  of  lead  in  caustic  soda 
can  be  employed,  which  turns  woolen  goods  black,  owing  to  the 
sulphur  of  the  wool  combining  with  the  lead. 

Silk  in  wool  is  shown  by  its  solubility  in  a  cold  solution  of  cupro- 
ammonia — from  this  solution  acids  precipitate  the  silk  in  flocks. 

Wool  is  only  soluble  in  cupro-ammonia  by  aid  of  heat.  Concen- 
trated acids,  such  as  sulphuric,  nitric,  or  preferably  hydrochloric, 
act  in  the  cold  upon  silk,  but  not  on  wool.  The  dissolving 
properties  of  cupro-ammonia  on  all  vegetable  fibers  make  it  one  of 
the  most  useful  of  tests.  It  is  prepared  by  suspending  strips  of 
copper  in  concentrated  ammonia  in  a  large  flask,  tightly  corked,  and 
occasionally  shaken,  so  as  to  bring  the  metal  in  contact  with  the 
oxygen  of  the  air.  A  good  plan  is  to  transfer  the  contents  from 
one  flask  to  another.  By  degrees  a  tolerably  concentrated  solution 
of  oxide  of  copper  in  ammonia  is  obtained  which  dissolves  cotton, 
tow,  jute,  and  other  vegetable  fibers,  leaving  animal  fibers  un- 
touched.— From  a  German  work  on  "  The  Tests  of  Fibers"  by  Prof. 
Emil  Kopp. 


40  SPITZLI'S  MANUAL. 

Another  means  more  easily  accessible  than  resort  to  chemistry, 
for  which  few  than  professional  analysts  would  be  disposed,  is  the 
microscope.  There  is  necessarily  a  vast  difference  between  animal 
and  vegetable  fibers,  and  again  between  the  different  species  of  each 
of  these  classes.  This  difference,  however  they  may  be  inter- 
twined, will  become  at  once  apparent  on  the  application  of  powerful 
magnifying  lenses.  Yet  the  mere  natural  appearance  must  not  be 
wholly  relied  upon.  Years  since,  for  instance,  the  important  dis- 
covery was  made  of  the  influence  of  caustic  alkali  in  modifying  the 
fiber  of  cotton  By  steeping  the  fiber  in  a  cold  solution  of  caustic 
soda,  it  loses  its  flattened  ribbon-like  form  and  assumes  a  more  or 
less  cylindrical  shape.  This  change  gives  rise  to  three  remarkable 
effects  ;  the  fiber  becomes  smaller,  it  gains  in  strength  and  at  the 
same  time  it  acquires  increased  affinity  for  coloring  matter.  Then 
it  is  important  to  become  acquainted  with  the  varieties  of  different 
species  of  fiber.  Such  an  accomplishment,  in  connection  with 
chemical  and  microscopic  tests,  would  undoubtedly  be  of  great 
value  to  the  buyer,  especially  of  many  descriptions  of  continental 
goods.  As  to  durability,  the  effects  of  mordants  employed  should 
not  be  overlooked.  Many  of  the  German  fabrics,  now  competing  in 
the  home  market  with  our  own,  by  greater  apparent  cheapness,  have 
the  defect  of  being  perfectly  rotten  through  the  chemical  agents 
employed  to  fix  on  indifferent  material  brilliant  dyes,  especially 
those  with  a  mixture  of  tints.  It  is  thus  not  enough  that  the  colors 
are  fast.  It  must  be  seen  that  the  different  materials  employed  are 
not  destructive  of  the  filaments.  Many  a  draper  loses  his  customers 
on  this  score,  and  by  no  fault  of  his  own.  A  beautiful  fabric  falls 
to  pieces,  or  tears  at  the  slightest  twitch,  simply  because  the  dyeing 
materials  have  eaten  into  its  very  substance.  This  is  particularly 
the  case  with  mixed  fabrics  composed  in  whole  or  in  part  of  vegeta- 
ble fibers. — From  an  English  Journal. 

A  most  instructive  and  interesting  report  of  scientific  tests  of 
fabrics  may  be  found  in  No.  7,  Vol.  V.,  of  the  Bulletin  of  the 
National  Association  of  Wool  Manufacturers,  1875. 

Adulteration  of  Textile  Fabrics. — Mr.  Charles  Stodder  shows,  in  a 
recent  article  in  an  English  scientific  journal,  that  in  most  cases  the 
microscope,  is  an  infallible  detective  of  the  admixture  of  base  sub- 
stances in  textile  fabrics,  and  the  cases  are  few  in  which  it  fails  to 
be  of  service. 

The  Destruction  of  Dye-Tubs. — The  most  rapid  destruction  of 
wooden  dye-houses  and  dye-tubs  is  interestingly  illustrated  in  a  sim- 


SPITZLI'S  MANUAL.  4 1 

pie  test.  Take  separately,  in  test  tubes,  a  saturated  solution  of  chlo- 
rate of  lime,  potash,  soda  ash  or  chrome,  and  diluted  sulphuric  acid, 
say  3  parts  water,  i  part  acid. 

Next,  get  out  seven  small  sticks  (from  the  same  piece  of  wood), 
as  near  alike  in  size  and  condition  as  possible.  Number  the  sticks. 
Immerse  one  end  of  the  stick  No.  i  in  the  lime  water.  No.  2  in 
the  potash  liquor.  No.  3  in  the  acid.  No.  4,  change  daily  from  the 
lime  to  potash  and  back  again.  No.  5,  put  into  the  potash  and  acid 
alternately  in  like  manner.  No.  6,  into  the  lime  and  acid.  No.  7, 
alternately  into  all  three.  Noting  the  progress  of  the  influence  of 
the  chemicals  for  about  ten  days,  more  tubes  may  be  added  to  con- 
tain the  same  liquors  mixed. 

Boiler  Incrustation. — G.  E.  Davis,  in  dealing  with  this  subject 
in  a  recent  paper,  says  that  many  nostrums  had  been  brought  forward 
as  preventives  which  were  absolutely  worthless,  if  not  positively  in- 
jurious. After  many  trials,  he  was  convinced  that  as  all  boiler- 
scales  were  principally  composed  of  sulphate  of  lime,  tribasic  phos- 
phate of  soda,  the  "  tripsa"  of  commerce,  was  the  best,  as  it  absorbed 
the  carbonic  acid  in  the  water,  and,  acting  on  the  sulphate  of  lime, 
precipitated  it  with  the  mud  to  the  bottom  of  the  boiler,  whence  the 
deposit  can  be  removed  easily  by  frequent  blowing  off. 

Wet  Wool  Carding. — It  is  well  settled  that  it  is  possible  to 
card  and  spin  wet  wool ;  also,  that  in  many  cases  it  is  the  most 
economical  condition  of  the  wool  while  carding.  But  a  very  few 
experiments  will  satisfy  any  one  that  wet  wool  is  easily  strained,  and 
once  strained  can  never  return  to  its  normal  state  ;  also  that  it  is 
quite  unnatural  for  wet  wool  to  draw;  furthermore,  that  if  oil  be 
added  to  the  wet  wool  they  cannot  unite  but  will  separate,  some 
fibers  taking  the  moisture,  others  the  oil;  therefore,  however  even- 
ly the  separation  may  be  distiibuted  the  consequence  must  be  in- 
evitable to  a  greater  or  less  degree,  namely  twitty  yarn.  With  the 
very  best  machinery,  wool  that  is  oiled  while  wet,  will  not  make  a 
perfect  thread.  In  France  this  point  has  been  carefully  considered, 
and  different  methods  are  made  use  of  to  remedy  the  difficulty. 
First,  the  last  liquor  through  which  the  wool  passes  is  so  strong  that 
what  remains  of  it  in  the  wool  will  unite  more  readily  with  the  oil 
to  be  added  subsequently.  Second,  the  wool  is  run  through  an  oil 
composition  after  washing ;  this  composition  is  oil  and  water  thor- 
oughly united.  Third,  the  oil  is  not  added  to  the  wet  wool  clear, 
but  is  first  saponified  and  added  to  the  wool  in  the  form  of  a  com- 
position.    This  all  helps,  but  does  not  entirely  overcome   the  diffi- 


42  SPITZLI'S  MANUAL. 

culties  arising  from  water  upon  wool,  however  treated.  Back  wash- 
ing, of  course,  helps  the  worsted  spinner  in  this  respect,  if  the  stock 
is  treated  with  the  point  in  view.  The  substitute  for  oil  known  as 
"  Temperlana  "  in  England  is  a  great  help  also,  besides  having  other 
advantages  to  commend  it. 

Worsted. — The  term  "worsted"  is  generally  said  to  be  taken  from 
a  small  town  in  Norfolk,  England,  where  the  manufacture,  at  one  time, 
was  chiefly  conducted.  Ducange,  in  his  "  Glossarium  ad  Scrip- 
tores  media1  et  infimce  Zatinitatis,"  gives  the  following  etymology  : 
"  Worstede,  lana  texia,  ab  oppido  Worsted  in  comitatu  Norfolcienci, 
ejas  opificio  nobili,  sic  dicta.'"  But  the  probability  would  seem  to  be 
that  the  town  was  called  after  the  trade  rather  than  the  trade  after 
the  town,  for  in  the  oldest  documents  the  place  is  denominated 
"  Wolstede,"  the  place  of  wool. 

However  this  may  be,  the  rapid  growth,  in  Bradford  and  the 
district  which  it  embraces,  of  the  trade  indicated  by  the  word 
"  worsted"  has  been  remarkable,  and  indeed  almost  unprecedented. 
Wool  had  long  been  spun  by  hand  in  private  houses,  but  it  was  not 
till  the  end  of  last  century  that  spinning  by  steam-power  was  estab- 
lished in  Bradford.  The  first  steam-factory  in  the  town  was  built 
in  the  year  1800  by  Mr.  Henry  Ramsbotham,  father  of  the  present 
Mr.  H.  R.  Ramsbotham  of  Allerton  Hall,  near  Bradford. 

The  nature  and  processes  of  the  worsted  manufacture  may  next 
be  described. 

Wool  is  divisible  into  two  great  classes,  according  to  the  length 
of  its  fiber.  Speaking  generally,  we  may  say  that  "  long  "  wool  is 
coarser  in  fiber  than  "  short  "  wool ;  but  all  long  wool  is  not  neces- 
sarily coarse,  nor  all  short  wool  fine.  The  specific  difference 
between  them  has  been  held  to  be  somewhat  as  follows  :  Examined 
under  the  microscope,  "  short "  wool,  it  is  stated,  presents  the 
appearance  of  being  serrated  and  imbricated  ;  in  other  words,  its 
fibres  are  notched  like  a  saw,  and  bent  over  one  another,  like  tiles 
overlapping  at  the  edges.  In  a  fiber  of  merino  wool,  an  inch  in 
length,  there  are  said  to  be  2,400  of  these  serrations  ;  in  one  of 
Saxony,  2,700;  in  South  Down,  2,080;  in  Leicester,  only  1,860. 
In  "  long"  wool  these  saw-like  cusps  or  points  are  less  developed  ; 
indeed,  in  some  sorts  they  are  nearly  altogether  wanting.  For  the 
production  of  woolen  cloth  that  wool  is  most  suitable  which 
possesses  the  greatest  number  of  these  serrations,  because  it  is  by 
means  of  these  that  the  "  felting  "  process,  which  is  the  essence  of 
such  cloth,  is   accomplished.     On  the  other  hand,  the   specialty  of 


SPITZLI'S  MANUAL.  43 

worsted  fabrics  is,  that  in  them  this  felting  operation  is  avoided,  or 
takes  place  only  to  a  very  limited  extent.  Instead  of  the  end  to  be 
attained  being  the  uniform  matting  and  interlacing  of  the  fibers,  the 
object  is  just  the  opposite,  that  is  to  say,  the  fibers  are  required  to 
be  drawn  and  spread  out  separately  and  evenly.  This  is  done  by 
means  of  the  comb,  which,  in  all  its  forms,  aims  at  disjointing  each 
separate  lock  or  ringlet  of  wool,  and  arranging  the  fibers  longi- 
tudinally. 

English  wool  comes  to  Bradford  in  large  bags  packed  compara- 
tively loosely.  Colonial  wool,  to  save  freight  by  lessening  bulk,  is 
made  up  before  shipment  in  small  square  bales,  packed  by  hydraulic 
presses  of  considerable  power,  and  the  wool,  subjected  to  such  com- 
pression, becomes  matted  so  closely  that  it  cannot  easily  be  opened 
out.  The  wool  is  therefore  placed  in  a  sort  of  oven  heated  by 
steam  ;  speedily  the  tenacious  fibers  relax  their  hold,  and  the  mass 
is  then  easily  spread  out  into  the  form  of  the  original  fleece. 

This  fleece  is  passed  on  to  the  wool-sorter's  board.  It  need 
scarcely  be  said  that  all  the  wool  on  a  sheep's  back  is  not  of  the 
same  quality,  but  varies  greatly  in  length,  in  fineness  and  in  softness 
of  fibre.  The  practiced  eye  of  the  wool-sorter  instantly  perceives, 
and  his  nimble  fingers  deftly  separate,  these  varieties,  which  are 
thrown  into  "  skeps,"  or  large  open  wicker  baskets,  provided  for 
each  sort. 

The  wool,  thus  "  sorted,"  must  next  be  washed.  Iron  tanks  are 
provided,  full  of  soap  and  water,  kept  by  steam  constantly  at  a 
high  temperature.  Into  these  the  wool  is  thrown,  and  repeatedly 
drawn  through  the  liquid  by  iron  rakes,  which,  moved  by  machinery 
above,  expose  it  completely  to  the  action  of  the  detergent  mixture. 
The  water  is  then  squeezed  out  by  passing  the  wool  between  rollers 
heavily  weighted,  and  the  drying  process  is  completed  by  quickly- 
revolving  fans,  or  drawing  the  atmosphere  through  it. 

The  raw  material  is  now  white  and  clean.  It  has  next  to  go 
through  what  are  called  "  preparing  boxes,"  in  order  to  separate 
the  fibres  and  lay  them  parallel.  "Short  "  wool  passes  through  the 
carding-machine  ("  carduus,"  a  thistle,  a  teazle,  was  first  employed — 
now,  iron  wire);  "long  "wool  through  "  screw-gills,"  or  revolving 
leather  straps  armed  with  fine  iron  teeth.  It  is  thus  made  ready 
for  "  combing." 

It  is  needful  for  the  production  of  "  yarn  "  that  all  the  fibers  of 
which  each  lock  or  ringlet  of  wool  is  composed  should  be  drawn 
out  and  laid  down  smooth  and  distinct;  that  the  shorter  fibers 
(which  are  to  be  found  even  in  the  longest  wool)  should  be  removed, 


44  SPITZLI'S  MANUAL. 

and  that  all  extraneous  matters — "bits  and  nibs  "  the  comber  calls 
them — should  be  got  rid  of.  The  operation  which  accomplishes 
these  ends  is  appropriately  called  "  combing."  It  was  formerly 
performed  in  the  houses  of  the  operatives — generally,  indeed,  in 
their  bed-chambers — and  was  all  done  by  hand.  It  was  necessary 
that  the  combs  should  be  heated,  and  for  this  purpose  they  were 
placed  in  an  earthen-ware  stove,  or  "pot,"  as  it  was  called,  which 
was  kept  at  a  high  temperature  by  burning  charcoal  in  it.  The 
wool  was  oiled  to  render  it  more  pliable.  The  vapors  generated  by 
the  charcoal  were  deleterious  in  the  extreme.  Nor  was  the  occupa- 
tion hurtful  to  the  bodily  health  merely.  Dirt  and  stench  produced 
moral  as  well  as  physical  degeneracy,  and  the  men  sought  relief 
from  the  nausea  of  their  work-rooms  in  the  excesses  of  the  ale- 
house. The  feeling  that  there  was  something  essentially  wrong  in 
the  existence  of  such  a  state  of  things  led  many  of  the  workers  to 
give  a  willing  ear  to  agitators,  who  increased  their  discontent,  and 
riots  occurred  on  two  or  three  occasions,  which  rendered  it  neces- 
sary to  call  in  military  aid. 

So  far  as  wool-combing  is  concerned,  this  source  of  demoraliza- 
tion, happily,  no  longer  exists,  and  that  operation,  which  was  for- 
merly the  disgrace,  is  now  the  glory  of  the  trade.  The  combing 
machines  are  marvels  of  ingenuity  and  even  of  elegance.  Their 
introduction  into  Bradford  is  mainly  due  to  S.  C  Lister,  Esq.  It 
is  necessary  that  the  carded  short  wool  and  the  long  wool  not  re- 
quiring carding  should  be  opened  out  in  the  direction  of  the  length 
of  their  fibers,  and  so  formed  into  a  "sliver"  or  ribbon,  and  that 
the  "  noil "  or  shortest  fibers  not  available  for  worsted  yarn  should 
be  taken  out.  Lightly  and  gently  this  operation  is  effected.  Passed 
under  the  action  of  the  long  thin  spikes  of  the  comb,  the  locks  of 
wool  are  drawn  out  in  perfectly  parallel  lines,  each  "  particular  hair  " 
not  "  standing  on  end,"  but  laid  down  smooth,  sleek  and  shining,  and 
the  "  noil "  is  quietly  passed  over  into  its  appointed  receptacle. 
And  as  no  mechanical  contrivance  in  the  worsted  trade  is  more 
curious  and  beautiful,  so  none  has  been  more  beneficent  in  its  moral 
influence;  for,  instead  of  the  co-operation  of  the  workman  being 
accompanied,  as  formerly,  by  that  loss  of  self-respect  which  too 
frequently  results  from  dirty  and  deleterious  labor,  it  is  now  ren- 
dered by  him  as  the  controller  of  an  apparatus  thoroughly  cleanly 
and  inoffensive  in  its  working,  and  marvelous  in  its  results.  And 
although  the  temperature  of  the  combing-shed  is  still  high — 
averaging  seventy  degrees — yet  the  apartment  is  large  and  lofty, 
and  ventilation,  for  the  most  part,  is  amply  provided  for. 


SPITZLI'S  MANUAL.  45 

The  wool,  thus  combed,  is  made  up  into  balls  called  "  tops" — a 
sort  of  round  "  heads."  It  has  now  to  be  "  prepared  "  for  spinning. 
This  process  consists  in  passing  the  "  slivers,"  or  ribbons,  of  combed 
wool  between  a  series  of  pairs  of  rollers,  moving  with  regulated  and 
gradually  increasing  degrees  of  velocity,  and  brought,  with  cor- 
responding gradations,  closer  to  each  other,  thus  diminishing  the 
space  between  them  through  which  the  wool  has  to  move.  The 
result  is  to  draw  out  the  fibers  more  completely.  This  is  repeated 
from  six  to  ten  times.  The  strips  of  slightly-cohering  wool  thus 
gain  length  at  the  expense  of  thickness,  and  are  called  "  rovings  ;  " 
the  word  is  probably  cognate  with  the  sailors' "  reefing,"  from  the 
Anglo-Saxon  "  reafian,"  to  pull.  The  bobbins  on  which  these 
rovings  are  wound  whilst  revolving  impart  a  slight  amount  of  twist- 
ing to  the  wool,  and  a  sort  of  light  woolen  rope  is  produced  with  the 
smallest  possible  amount  of  strain.  It  is  immediately  from  these 
"  rovings  "  that  "yarn  " — literally,  "  prepared  "  wool  (Anglo-Saxon, 
"  gyrnan,"  to  make  ready) — is  produced. 

The  yarn  varies  according  to  the  quality  of  the  wool  from  which 
it  is  produced,  and  according  to  the  fineness  of  thread  to  which  it  is 
spun.  In  what  is  called  the  "  fly-frame,"  for  spinning  long  wool, 
the  spindles  have  a  velocity  of  2,500  revolutions  per  minute.  In 
the  "  cap-frame  "  they  attain  the  almost  incredible  speed  of  6,000 
per  minute,  or  100  revolutions  per  second.  The  tenuity  of  the 
yarn  is  indicated  by  the  "  number,"  which  represents  how  many 
skeins,  or  "  hanks  " — bundles  that  one  may  "  hang  "  up — go  into  a 
pound.  Thus,  "40's"  yarn  means  that  in  one  pound  weight  there 
are  forty  hanks,  each  measuring  560  yards  ;  "  8o's  "  means  that  in 
the  same  weight  there  are  twice  as  many  yards,  which  must,  there- 
fore, be  a  yarn  twice  as  fine. 

Cotton  warps  were  introduced  into  Bradford  in  A.  D.  1834,  and 
produced  a  revolution  in  the  manufacture  of  the  district.  From 
this  point  may  be  dated  the  most  rapid  growth  both  of  the  trade 
and  the  town.  Cotton  has  some  great  advantages  over  wool  in  its 
employment  as  warp  ;  it  is  stronger,  and  therefore  better  fitted  to 
bear  the  stress  of  looms  worked  by  steam-power ;  it  is  ordinarily 
spun  to  a  finer  thread,  and,  above  all,  it  is  less  costly.  Its  use 
increased  with  great  rapidity,  and  probably  seven-eighths  of  the 
pieces  now  produced  are  made  with  cotton  warp.  For  some  of  the 
finest  goods  silk  warps  are  used. 

Weaving,  like  combing  and  spinning,  was  originally  a  domestic 
operation,  and  during  the  time  of  transition  from  hand-looms  to 
power-looms  there  was  a  good  deal  of  suffering.     The  work  is  now 


46  SPITZLI'S  MANUAL. 

all  but  universally  carried  on  in  the  factories,  and  at  least  two-thirds 
of  the  weavers  are  females.  The  mere  manual  labor  is  in  itself 
quite  light.  Steam  supplies  the  motive  power  ;  what  the  operative 
has  to  do  is  to  watch  the  web  in  its  progress,  see  that  the  shuttle  is 
kept  supplied  with  the  right  yarn,  pick  out  any  knots  occurring  in 
defective  weft,  and,  if  any  thread  breaks,  join  it  together  again.  A 
very  ingenious  contrivance,  called  the  weft-fork,  which  stops  the 
motion  of  the  shuttle  the  instant  the  weft  breaks,  has  rendered  it 
possible  for  one  weaver  to  attend  to  two,  and  even  three,  looms 
with  no  more  trouble  than  one  required  formerly.  The  inventor  is 
a  Lancashire  operative.  In  looms  for  the  weaving  of  yarn-dyed, 
figured  or  "  fancy  "  goods,  where  a  variety  of  colors  has  to  be  intro- 
duced in  the  weft,  a  number  of  shuttle-boxes  are  required,  each 
supplying  a  different-colored  thread ;  the  action  of  all  these  is 
automatic.  In  plain  fabrics  each  weaver  generally  attends  to  two 
looms ;  in  figured  goods,  for  the  most  part,  to  one  only.  The 
faculties  demanded  of  the  weaver  are  sharp  eyes  and  nimble 
fingers,  and  it  is  patience  rather  than  strength  that  first  becomes 
exhausted.  From  the  beam  on  which  the  piece  has  in  weaving 
wound  itself  it  is  now  taken,  examined  by  the  overlooker  and 
passed  into  the  hands  of  the  salesman  in  the  warehouse,  by  whom  it 
is  disposed  of  to  the  merchant.  Pieces  undyed  are  called  "  gray 
goods."  The  dyeing  is  performed  according  to  the  requirements 
and  instructions  of  the  merchants  purchasing. 

The  manufactured  goods  produced  by  the  operations  that  have 
thus  been  indicated  are  of  great  variety.  The  world  is  the  market 
for  them  ;  there  is  scarcely  a  corner  of  the  globe  open  to  British 
products  where  they  have  not  penetrated.  Speaking  generally,  they 
may  be  divided  into  two  classes,  distinguishable  according  to  the 
"  luster  "  of  their  surface,  or  to  the  "  softness  "  of  their  "  handle." 
Most  of  them  are  used  for  the  dresses  of  women  and  children ; 
some  for  the  lining  of  woolen  garments  and  for  men's  light  sum- 
mer coats;  others  for  window-hangings  and  domestic  furniture. 
Many  of  the  names  by  which  the  different  articles  are  distinguished 
were  given  by  the  mere  fancy  or  whim  of  the  salesman ;  others  are 
corruptions  of  the  names  of  places  where  the  particular  goods  were 
first  produced.  The  best  names  indicate  the  material  employed  or 
the  specialty  of  the  fabric  itself. — Extract  from  an  Essay  on  Brad- 
ford and  the  Worsted  Manufacture,  by  George  Taylor. 

Yarn  Reels. — These  machines  are  very  simple,  but  they  may  be 
too  simple.     There  are  reels   running  in   mills  at   this  present  time 


SPITZLI'S  MANUAL.  47 

which  cause  fully  three  times  more  waste  in  spooling  than  some 
others.  The  writer  knows  of  such  reels,  working  on  yarn  every 
pound  of  which  is  worth  more  than  one  dollar  and  ten  cents;  in- 
deed, yarn  double  that  sum  in  value  has  often  been  tangled  on  these 
reels.  This  may  be  an  exceptional  case,  but  it  is  more  likely  to  be 
a  fair  example  of  many  others.  The  difficulty  with  these  reels  is 
that  they  are  exactly  the  same  as  those  built  twenty  years  ago  for 
very  ordinary  yarn.  There  is  no  automatic  guide  motion  and 
movable  section  bar;  one  bobbin  is  run  into  a  skein,  or  at  best,  into 
one-half  a  skein.  So  imperfect  is  the  reel  and  guide  that  between 
the  wabble  of  the  former  and  the  stationary  position  of  the  other 
the  skein  is  a  tangled  instead  of  a  free  open  coil,  which  may  be  un- 
wound freely  even  after  dyeing.  The  most  perfect  reels  can  be 
purchased  for  less  money  than  the  value  of  the  yarn  unnecessarily 
wasted  by  a  poor  reel,  in  less  than  one  year  of  steady  work. 

Yarn  Stretching. — Many  kinds  of  yarn,  especially  worsted, 
should  be  subjected  to  a  reasonable  strain  while  drying.  When 
worsted  yarn  is  hung  up  loose  to  dry,  it  loses  its  luster,  and  if  a  lit- 
tle uneven  before  washing  or  drying,  or  both,  it  becomes  more  so 
by  the  slack  way  of  drying.  For  the  heavier  kinds  of  worsted 
goods,  which  should  have  a  cloth  feel  and  appearance,  this  point  is 
of  paramount  importance.  When  yarn  has  been  kept  out  tight 
while  drying,  the  goods  may  be  laid  out  wider  in  the  loom,  as  they 
will  shrink  considerably  more  than  if  made  of  yarn  dried  slack,  but 
not  quite  so  much  as  goods  made  of  raw  yarns.  It  is  the  gain  of 
weight  and  softness  obtained  in  this  way  which  gives  some  European 
goods  their  special  peculiarity.  Care  must  be  taken  to  avoid  over- 
doing. When  yarn  is  wet  it  is  an  easy  matter  to  overstrain  and 
weaken  it. 


48 


SPITZLI'S  MANUAL. 


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SPITZLI'S  MANUAL. 


49 


Table  Showing  Threads  per  Inch,  Width  of  Warp  in  Reeds,  and  Total  Number 

of  Threads. 


Width 

Width 

Width 

Width 

Width 

Width 

Width 

Width 

Width 

Width 

Thds. 

in 

in 

in 

in 

in 

in 

in 

in 

in 

in 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

per 
Inch. 

6o  Ins. 

6i  Ins. 

62  Ins. 

63  Ins. 

64  Ins. 

65  Ins. 

66  Ins. 

67  Ins. 

68  Ins. 

69  Ins. 

Thds. 

Thds. 

732 

Thds. 
744 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

12... 

720 

756 

768 

780 

792 

804 

816 

828 

14... 

840 

854 

868 

882 

896 

910 

924 

938 

952 

966 

15... 

900 

915 

930 

945 

960 

975 

990 

1005 

1020 

1035 

16. 

960 

976 

992 

1008 

1024 

1040 

1056 

1072 

1088 

1104 

18... 

1080 

1098 

1116 

1134 

1152 

1170 

1188 

1206 

1224 

1242 

20... 

1200 

1220 

1240 

1260 

1280 

1300 

1320 

1340 

1360 

1380 

21.. 

1260 

1281 

1302 

1323 

1344 

1365 

1366 

1407 

1428 

1449 

22.. 

1320 

1342 

1364 

1386 

1408 

1430 

1452 

1474 

1496 

1518 

24.. 

1440 

1464 

1488 

1512 

1536 

1560 

1584 

1608 

1632 

1656 

25... 

1500 

1525 

1550 

1575 

1600 

1625 

1650 

1675 

1700 

1725 

2(3... 

1560 

1586 

1612 

1638 

1664 

1690 

1716 

1742 

1768 

1794 

27.. 

1620 

1647 

1674 

1701 

1728 

1755 

1782 

1709 

1836 

1863 

28... 

1680 

1708 

1736 

1764 

1792 

1820 

1848 

1876 

1904 

1932 

80... 

1800 

1830 

1860 

1890 

1920 

1950 

1980 

2010 

2040 

2070 

'32... 

1920 

1952 

1934 

2016 

2048 

2080 

2112 

2144 

2176 

2208 

•63.. 

1980 

2013 

2046 

2079 

2112 

2145 

2178 

2211 

2244 

2277 

34... 

2040 

2074 

2108 

2142 

2176 

2210 

2244 

2278 

2312 

2346 

35.  . 

2100 

2135 

2170 

2205 

2240 

2275 

2310 

2345 

2380 

2415 

36.  . 

2160 

2196 

2232 

2268 

2304 

2340 

2376 

2412 

2448 

2484 

38.. 

2280 

2318 

2356 

2394 

2432 

2470 

2508 

2546 

2584 

2622 

39.. 

2340 

2379 

2418 

2457 

2496 

2535 

2574 

2613 

2652 

2691 

40.. 

2400 

2440 

2480 

2520 

2560 

2600 

2640 

2680 

2720 

2760 

42.. 

2520 

2562 

2604 

2646 

2688 

2730 

2772 

2814 

2856 

2898 

44.. 

2640 

2684 

2728 

2772 

2816 

2860 

2904 

2948 

2992 

3036 

45.. 

2700 

2745 

2790 

2835 

2880 

2925 

2970 

3025 

8060 

3105 

46. 

2760 

2806 

2852 

2898 

2944 

2990 

3036 

3082 

3128 

3174 

48.  . 

2880 

2928 

2976 

3024 

3072 

3120 

3168 

3216 

3264 

3312 

49.. 

2940 

2989 

3038 

3087 

8136 

3185 

3234 

3283 

3332 

3381 

50.. 

3000 

3050 

3100 

3150 

3200 

8250 

3300 

3350 

3400 

3450 

52.. 

3120 

3172 

3224 

3276 

3328 

3380 

3432 

3484 

3536 

3588 

54.. 

3240 

3294 

3348 

3402 

3456 

3510 

3564 

3618 

3672 

3726 

55. 

3300 

8355 

3410 

3465 

3520 

3575 

3630 

8685 

3740 

3795 

56.. 

3360 

3416 

3472 

3528 

3584 

3640 

3696 

3752 

3808 

8864 

58.. 

3480 

3538 

3596 

3654 

3712 

3770 

3828 

3886 

3944 

4002 

GO.. 

3600 

3660 

3720 

3780 

8840 

3900 

3960 

4020 

4080 

4140 

62.. 

3720 

3782 

3844 

3906 

3968 

4030 

4092 

4154 

4216 

4278 

63.. 

3780 

3843 

3906 

8969 

4032 

4095 

4158 

4221 

4284 

4347 

64.. 

3840 

3904 

3968 

4032 

4096 

4160 

4224 

4288 

4352 

4416 

65.. 

3900 

3965 

4030 

4095 

4160 

4225 

5290 

4355 

4420 

4485 

66.. 

3960 

4026 

4092 

4158 

4224 

4290 

4356 

4422 

4488 

4554 

68.. 

4080 

4148 

4216 

4284 

4352 

4420 

4488 

4556 

4624 

4692 

70.. 

4200 

4270 

4340 

4410 

4480 

4550 

4620 

4690 

4760 

4830 

72.. 

4320 

4392 

4464 

4536 

4608 

4680 

4752 

4824 

4896 

4968 

74.. 

4440 

4514 

4588 

4662 

4736 

4810 

4884 

4958 

5032 

5106 

16 


5o 


SriTZLI'S  MANUAL. 


Table  Showing  Threads  per  Inch,  Width  of  Warp  in  Reed,  and  Total  Number 

of  Threads. 


Width 

Width 

Width 

Width 

Width 

Width 

Width 

Width 

Width 

Width 

Thds. 

in 

in 

in 

in 

in 

in 

in 

in 

in 

in 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Inch. 

70  Ins. 

72  Ins. 

74  Ins. 

76  Ins. 

78  Ins. 

80  Ins. 

82  Ins. 

SS  Ins 

87  Ins 

90  Ins. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

12... 

840 

864 

888 

912 

936 

960 

984 

1020 

1044 

1080 

14... 

980 

1008 

1036 

1064 

1092 

1120 

114t 

1190 

1218 

1260 

15... 

1050 

1080 

1110 

1140 

1170 

1200 

1230 

1275 

1305 

1350 

16... 

1120 

1152 

1184 

1216 

1248 

1280 

1312 

1360 

1392 

1440 

18... 

1260 

1296 

1332 

1368 

1404 

1440 

1476 

1530 

1566 

1620 

20... 

1400 

1440 

1480 

1520 

1560 

1600 

1640 

1700 

1740 

1800 

21... 

1470 

1512 

1554 

1596 

1638 

1680 

1722 

1785 

1827 

1890 

22... 

1540 

1584 

1628 

1672 

1716 

1760 

1804 

1870 

1914 

1980 

24... 

1680 

1728 

1776 

1824 

1872 

1920 

1968 

2040 

2088 

2160 

25... 

1750 

1800 

1850 

1900 

1950 

2000 

2050 

2125 

2175 

2250 

26... 

1820 

1872 

1924 

1976 

2028 

2080 

2132 

2210 

2262 

2340 

27... 

1890 

1944 

1998 

2052 

2106 

2160 

2214 

2295 

2349 

2430 

28... 

1960 

2016 

2072 

2128 

2184 

2240 

2296 

2380 

2436 

2520 

30... 

2100 

2160 

2220 

2280 

2340 

2400 

2460 

2550 

2610 

2700 

32... 

2240 

2304 

2368 

.2432 

2496 

2560 

2624 

2720 

2784 

2880 

33... 

2310 

2376 

2442 

2508 

2574 

2640 

2706 

2805 

2871 

2970 

34... 

2380 

2448 

2516 

2584 

2652 

2720 

2788 

2890 

2958 

8060 

35... 

2450 

2520 

2590 

2660 

2730 

2800 

2870 

2975 

3045 

8150 

36... 

2520 

2592 

2664 

2736 

2808 

2880 

2952 

3060 

8132 

8240 

38... 

2660 

2736 

2812 

2888 

2964 

3040 

3116 

8230 

3306 

3420 

39... 

2730 

280b 

2886 

2964 

8042 

3120 

8198 

3315 

8398 

3510 

40... 

2800 

2880 

.2960 

3040 

8120 

3200 

8280 

3400 

3480 

8600 

42... 

2940 

3024 

3108 

8192 

8276 

3360 

8444 

3570 

8654 

3780 

44... 

3080 

3168 

3256 

3344 

3432 

3520 

3608 

3740 

8828 

3960 

45... 

3150 

3240 

3330 

8420 

8510 

3600 

8690 

3825 

8915 

4050 

46... 

3220 

3312 

3404 

8496 

3588 

86S0 

8772 

3910 

4002 

4140 

48... 

3360 

3456 

3552 

3648 

8744 

3840 

8936 

4080 

4176 

4320 

49... 

3430 

3528 

3626 

3724 

3822 

3920 

4018 

4165 

4263 

4410 

50... 

3500 

3600 

3700 

3800 

8900 

4000 

4100 

4250 

4350 

4500 

52... 

3640 

3744 

3848 

3952 

4056 

4160 

4264 

4420 

4524 

4680 

54... 

3780 

3888 

8996 

4104 

4212 

4320 

4428 

4590 

4698 

4860 

55  .. 

3850 

3960 

4070 

4180 

4290 

4400 

4510 

4675 

4785 

4950 

56... 

3920 

4032 

4144 

4256 

4368 

4480 

4592 

4760 

4872 

5040 

58... 

4060 

4176 

4292 

4408 

4524 

4640 

4756 

4930 

5046 

5220 

60... 

4200 

4320 

4440 

4560 

4680 

4800 

4920 

5100 

5220 

5400 

62... 

4340 

4464 

4588 

4712 

4836 

4960 

5084 

5270 

5394 

5580 

63... 

4410 

4536 

4662 

4788 

4914 

5040 

5166 

5355 

5481 

5670 

64... 

4480 

4608 

4736 

4864 

4992 

5120 

5248 

5440 

5568 

5760 

65... 

4550 

4680 

4810 

4940 

5070 

5200 

5330 

5525 

5655 

5850 

66... 

4620 

4752 

4884 

5016 

5148 

5280 

5412 

5610 

5742 

5940 

68... 

4760 

4896 

5032 

5168 

5304 

5440 

5576 

5780 

5916 

6120 

70... 

4900 

5040 

5180 

5320 

5460 

5600 

5740 

5950 

6090 

6300 

72... 

5040 

5184 

5328 

5472 

5616 

5760 

5904 

6120 

6264 

6480 

74... 

5180 

5328 

5476 

5624 

5772 

5920 

6068 

6290 

6438 

6660 

SPITZLI'S  MANUAL. 


51 


Table  Showing  Threads  per  Inch,  "Width  of  Warp  in  Reeds,  and  Total  Number 

of  Threads. 


Width 

Width 

Width 

Width 

Width 

Width 

Width 

Width 

Width 

Width 

Thds. 

in 

in 

in 

in 

in 

in 

in 

in 

in 

in 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Inch. 

60  Ins. 

61  Ins. 

62  Ins. 

63  Ins. 

64  Ins. 

65  Ins. 

66  Ins. 

67  ins. 

€8  Ins. 

(9  Ins. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

4950 

Thds. 

Thds. 

Thds. 

75.. 

4500 

4575 

4650 

4723 

4800 

4873 

5025 

5100 

5175 

76.. 

4560 

4636 

4712 

4788 

4864 

4940 

5010 

5092 

5168 

5244 

78.. 

4680 

4758 

4836 

4914 

4992 

5070 

5148 

5226 

5304 

5382 

80.. 

4800 

4880 

4960 

5040 

5120 

5200 

5280 

5360 

5440 

5520 

81.. 

4860 

4941 

5022 

5103 

5184 

5265 

5343 

5427 

5508 

5589 

82.. 

4920 

5002 

5084 

5166 

5248 

5330 

5412 

5494 

5576 

5658 

84. 

5040 

5124 

5208 

5292 

5376 

5460 

5544 

5628 

5712 

5796 

85.. 

5100 

5185 

5270 

5355 

5440 

5525 

5610 

5695 

5780 

5865 

86.. 

5160 

5246 

5332 

5418 

5504 

5590 

5676 

5762 

5848 

5934 

88.. 

5280 

5368 

5456 

5544 

5632 

5720 

5808 

5896 

5984 

6072 

90.. 

5400 

5490 

5580 

5670 

5760 

5850 

"5940 

6030 

6120 

6210 

92.. 

5520 

5612 

5704 

5796 

5888 

5980 

6072 

6164 

6256 

6348 

.93... 

5580 

5673 

5766 

5859 

5952 

6045 

618£ 

623: 

6324 

6417 

94... 

5640 

5734 

5828 

5922 

6016 

6110 

620-. 

6298 

6392 

6486 

95... 

5700 

5795 

5890 

5985 

6080 

6175 

6271 

6365 

6460 

6555 

96.. 

5760 

5856 

5952 

6048 

6144 

6240 

633C 

6432 

6528 

6624 

98... 

5880 

5978 

6076 

6174 

6272 

6370 

6468 

6566 

6664 

6762 

99... 

5940 

6039 

6138 

6237 

6336 

6435 

6534 

6633 

6732 

6831 

100... 

6000 

6100 

6200 

6300 

6400 

6500 

6600 

6700 

6800 

6900 

102... 

6120 

6222 

6324 

6426 

6528 

6630 

6732 

6834 

6936 

7038 

104. . . 

6240 

6344 

6448 

6552 

6656 

6760 

686-a 

6968 

7072 

7176 

105... 

6300 

6405 

6510 

6615 

6720 

6825 

6930 

7035 

7140 

7245 

106.. 

6360 

6466 

6572 

6678 

6784 

6890 

6996 

7102 

7208 

7314 

108... 

6480 

6588 

6696 

6804 

6912 

7020 

7128 

7236 

7344 

7452 

110.. 

6600 

6710 

6820 

6930 

7040 

7150 

7260 

7370 

7480 

7590 

112.. 

6720 

6832 

6944 

7056 

7168 

7280 

7392 

7504 

7616 

7728 

116... 

6960 

7076 

7192 

7308 

7424 

7540 

7656 

7772 

7888 

8004 

120... 

7200 

7320 

7440 

7560 

7680 

7800 

*  7920 

8040 

8160 

8280 

122... 

7320 

7442 

7564 

7686 

7808 

7930 

8052 

8174 

8296 

8418 

124..- 

7440 

7564 

7688 

7812 

7936 

8060 

8184 

8308 

8432 

8556 

126... 

7560 

7686 

7812 

7938 

8064 

8190 

8316 

8442 

8568 

8694 

128... 

7680 

7808 

7936 

8064 

8192 

8320 

8448 

8576 

8704 

8832 

130.. 

7800 

7930 

8060 

8190 

8320 

8450 

8580 

8710 

8840 

8970 

132... 

7920 

8052 

8184 

8316 

8448 

8580 

8712 

8844 

8976 

9108 

133.-. 

7980 

8113 

8246 

8379 

8512 

8645 

8778 

8911 

9044 

9177 

135.  • 

8100 

8235 

8370 

8505 

8640 

8775 

8910 

9045 

9180 

9315 

136  •• 

8160 

8296 

8432 

8568 

8704 

8840 

8976 

9112 

9248 

9384 

140... 

8400 

8540 

8680 

8820 

8960 

9100 

9240 

9380 

9520 

9660 

144. • ■ 

8640 

8784 

8928 

9072 

9216 

9160 

9504 

9648 

9792 

9936 

148... 

8880 

9028 

9176 

9324 

9472 

9620 

9768 

9916 

10164 

10212 

150.- 

9000 

9150 

9300 

9450 

9600 

9750 

9900 

10050 

10200 

10350 

160.- 

9600 

9760 

9920 

10080 

10240 

10400 

10560 

10720 

10S80 

11040 

180.- 

10800 

10980 

11160 

11340 

11520 

11700 

11880 

12060 

12240 

12420 

200.- 

12000 

12200 

12400 

12600 

12800 

13000 

13200 

13400 

13600 

13800 

52 


SPITZLI'S  MANUAL. 


Table  Showing  Threads  per  Inch,  Width  of  Warp  in  Reed,  and  Total  Number 

of  Threads. 


Width 

Width 

Width 

Width 

Width 

Width 

Width 

Width 

Width 

Width 

Thds. 

in 

in 

in 

in 

in 

in 

in 

in 

in 

in 

per 
Inch. 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

Reed, 

70  Ins. 

72  Ins. 

74  Ins. 

76  Ins. 

78  Ins. 

80  Ins. 

82  Ins. 

85  Ins. 

87  Ins. 

90  Ins. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

Thds. 

75... 

5250 

5400 

5550 

5700 

5850 

6000 

6150 

6375 

6525 

6750 

76... 

5320 

5472 

5624 

5776 

5928 

6080 

6232 

6460 

6612 

6840 

78... 

5460 

5616 

5772 

5928 

6084 

6240 

6396 

6630 

6786 

7020 

80  .. 

5600 

5760 

5920 

6080 

6240 

6400 

6560 

6800 

6960 

7200 

81... 

5670 

5832 

5994 

6156 

6318 

6480 

6642 

6885 

7047 

7290 

82... 

5740 

5904 

6068 

6232 

6396 

6560 

6724 

6970 

7134 

7380 

84... 

5880 

6048 

6216 

6384 

6552 

6720 

6888 

7140 

7308 

7560 

85... 

5950 

6120 

6290 

6460 

6630 

6800 

6970 

7225 

7395 

7650 

86... 

6020 

6192 

6364 

6536 

6708 

6880 

7052 

7310 

7482 

7740 

88... 

6160 

6336 

6512 

6688 

6864 

7040 

7216 

7480 

7656 

7920 

90.  . 

6300 

6480 

6660 

6840 

7020 

7200 

7380 

7650 

7830 

8100 

92... 

6440 

6624 

6808 

6992 

7176 

7360 

7544 

7820 

8004 

8280 

93... 

6510 

6696 

6882 

7068 

7254 

7440 

7626 

7905 

8091 

8370 

94... 

6580 

6768 

6956 

7144 

7332 

7520 

7708 

7990 

8178 

8460 

95... 

6650 

6840 

7030 

7220 

7410 

7600 

7790 

8075 

8265 

8550 

96... 

6720 

6912 

7104 

7296 

7488 

7680 

7872 

8160 

8352 

8640 

98.. 

6860 

7056 

7252 

7448 

7644 

7840 

8036 

8330 

8526 

8820 

99... 

6930 

7128 

7326 

7524 

7722 

7920 

8118 

8415 

8613 

8910 

100... 

7000 

7200 

7400 

7600 

7800 

8000 

8200 

8500 

8700 

9000 

102... 

7140 

7344 

7548 

7752 

7956 

8160 

8364 

8670 

8874 

9180 

104... 

7280 

7488 

7696 

7904 

8112 

8320 

fc>528 

8840 

9048 

9360 

105... 

7350 

7560 

7770 

7980 

8190 

8400 

8610 

8925 

9135 

9450 

106... 

7420 

7632 

7844 

8056 

8268 

8480 

8692 

9010 

9222 

9540 

108... 

7560 

7776 

7992 

8208 

8424 

8640 

8856 

9180 

9396 

9720 

110... 

7700 

7920 

8140 

8360 

8580 

8800 

9020 

9350 

9570 

9900 

112... 

7840 

8064 

8288 

8512 

8736 

8960 

9184 

9520 

9744 

10080 

116... 

8120 

8352 

8584 

8816 

9048 

9280 

9512 

9860 

10092 

10440 

120... 

8400 

8640 

8880 

9120 

9360 

9600 

9840 

10200 

10440 

10800 

122. . 

8540 

8784 

9028 

9272 

9516 

9760 

10004 

10370 

10614 

10980 

124.'!! 

8680 

8928 

9176 

9424 

9672 

9920 

10168 

10540 

10788 

11160 

126... 

8820 

9072 

9324 

9576 

9828 

10080 

10332 

10710 

10962 

11340 

128... 

8960 

9216 

9472 

9728 

9984 

10240 

10496 

10880 

11136 

11520 

130... 

9100 

9360 

9620 

9880 

10140 

10400 

10660 

11050 

11310 

11700 

132... 

9240 

9504 

9768 

10032 

10296 

10560 

10824 

11220 

11484 

11880 

133... 

9310 

9576 

9842 

10108 

10374 

10640 

10906 

11305 

11571 

11970 

135... 

9450 

9720 

9990 

10260 

10530 

10800 

11070 

11475 

11745 

12150 

136... 

9520 

9792 

10064 

10336 

10608 

10880 

11152 

11560 

11832 

12240 

140... 

9800 

10080 

10360 

10640 

10920 

11200 

11480 

11900 

12180 

12600 

144... 

10080 

10368 

10656 

10944 

11222 

11520 

11808 

12340 

12628 

12960 

148.. 

10360 

10656 

10952 

11248 

11544 

11840 

12136 

12580 

12876 

13320 

150... 

10500 

10800 

11100 

11400 

11700 

12000 

12300 

12750 

13050 

13500 

160... 

11200 

11520 

11840 

12160 

12480 

12800 

13120 

13600 

13920 

14400 

180... 

12600 

12960 

13320 

13680 

14040 

14400 

14760 

15300 

15660 

16200 

200... 

14000 

14400 

14800 

15200 

15600 

16000 

16400 

17000 

17400 

18000 

Pi 

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SPITZLI'S  MANUAL. 


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SPITZLi'S  MANUAL. 

57 

Table  of  Warp  or  Filling  Yarn  Required  for  One 

Yard  of  Cloth  w 

th  No.  1  Yarn,  in  Yards 

Hanks,   Pounds  and 

Ounces 

.—For  Worsted  \ 

arn. 

Width  of  Goo( 

is, 

Width  of  Goods, 

Width  of  Goods, 

Width  of  Good 

s, 

Th'ds 

27  Inches. 

28  Inches. 

29  Inches. 

30  Inc 

hes. 

per 
Inch. 

Yards. 

H'nks 

Lbs 

Oz. 

Yards. 

H'nks 

Lb; 

Oz. 

Yards. 

H'nks 

Lbs. 

Oz. 

Yards. 

H'nks 

Lbs. 

Oz. 

20 

540 

2  7 
2  8 

154 

560 

1 

580 

Hs 

4 
7 

600 

ItV 

H 

24 

648 

111 

m 

672 

n 

^>  1 

696 

in 

70 

3§-f 

720 

if 

44 

25 

675 

1_23 

-•■lis 

34 

700 

H 

4 

725 

1  33 

"l112 

44 

750 

Ht 

5-3- 

28  ■ 

756 

1  JL- 

1  2  0 

5I 

784 

H 

Gf 

812 

l-9- 

2  0 

7i 

840 

H 

8 

30 

810 

115. 
L7>6 

74 

7 

840 

l* 

8 

870 

141 

5  6 

9irV 

900 

m 

94 

32 

864 

1 -*--§• 

8-|i 
3  0 

896 

11 

Q3 

928 

1  2  3 

L3  5 

1014 

0  0 

960 

H 

174 

35 

945 

ill 

1  1  6 

11 

980 

if 

12 

1015 

1_91. 

112 

13 

1050 

11 

14 

36 

972 

110  3 

M4I) 

11M 

3  a 

1008 

H 

12* 

1044 

112.1 

14  0 

I3!! 

1080 

113 

14 

141 

40 

1080 

113. 
14 

144 

1120 

2 

2 

1160 

2-JL 
1  4 

2 

H 

1200 

2i 

T 

2 

92 

44 

1188 

on 

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2 

133 
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1232 

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2 

31 

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140 

2 

41  6 
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1320 

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2 

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1450 

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1500 

21  a 

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2 

104 

55 

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104 

1540 

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12 

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2 

131 

1650 

213 
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1620 

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3 

3 

1740 

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3 

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1800 

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1950 

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3 

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3 

12 

2175 

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3 

141 

2250 

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4 

2 
7 

80 

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135 

2240 

4 

4 

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4     45 

112 

4 

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64 

104 

2400 

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7 

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2850 

5  5 
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100 

2700 

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4 

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5 

5 

2900 

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2  8 

5 

2e 

7 

3000 

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1 4 

5 

54 

105 

2835 

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511 

5 

1 

2940 

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5 

4 

3045 

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5 

7 

3150 

535. 

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5 

10 

110 

2970 

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46 

3080 

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5 

8 

3190 

5 

111 

3300 

5 

144 

5  6 

7 

5  6 

7 

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7 

115 
120 

3105 
3240 

5  61_ 

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5 
5 

84 
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3220 
3360 

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6 

5 

6 

12 

3335 

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3450 
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6 

24 
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125 

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7 

5« 


SPITZLI'S  MANUAL. 


Table  of  Warp  or  Filling  Yarn  Required  for  One  Yard  of  Cloth  with  No.  1  Yarn,  Single,  in 
Yards,   Hanks,   Pounds  and  Ounces.— For  Worsted  Yarn. 


Width  of  Goods, 

Width  of  Goods, 

Width  of  Goo 

ds, 

Width  of  Goods, 

Th'ds 

31  Inches. 

32  Inches. 

33  Inches. 

34  Inches. 

Inch. 

Yards. 

H'nks 

Lbs. 

Oz. 

Yards. 

H'nks 

Lbs. 

Oz. 

Yards 

H'nks 

Lbs 

Oz. 

Yards. 

H'nks 

Lbs. 

Oz. 

20 

620 

1  3 

r2¥ 

1£ 

640 

H 

24 

660 

1  s 

1 

24 

680 

1-3- 

■"•14 

34 

°7 

24 
25 

28 
30 

744 

775 
868 
930 

12  3 

10 

IJJL 

112 

11-1 

12U 

iff 

5^ 

104 

768 
800 
896 
960 

m 

H 

H 

14 

64 

03 

Js 

114 

792 
825 
924 
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1  1  1  3 

1_8_1_ 

14  0 
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1 
1 

1 
1 

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816 

850 

952 

1020 

144 

3  5 
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h\ 

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101 

32 

35 

992 
1085 

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1024 
1120 

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SPITZLI'S  MANUAL. 

/ 

59 

Table  of  Warp  < 

)r  Fillin 

g  Yarn  Required 

for  One  Yard  of  Cloth  w 

th  No.  1  Yarr 

1,  Single,  in 

Yards 

Hanks,  Pounds 

and  Ounces. — For  Worsted  Yarn. 

Th'ds 
per 
Inch. 

Width  of  Go 
35  Inchts. 

His, 

Width  of  Goods,, 
36  Inches. 

Width  of  Goods, 
37  Inches. 

Width  of  Goods, 
38  Inches. 

Yards. 

links 

Lb; 

.   Oz. 

Yards. 

M'nks 

Lbs 

Oz. 

Yards. 

H'nks 

Lbs 

Oz. 

Yards. 

H'nks 

Lbs 

Oz. 

20 

700 

4 

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740 

1-8- 

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912 

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32 
35 

875 

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7 

7f 
12i 

120 

1200 

~1  6 

7m 

7 

8 

4320 

7.5 

7 

hi 

4440 

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7 

l4 

4500 

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8 

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125 

4375 

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13 

4500 

81 

8 

7 
4 

4625 

8^9 

8 

41 

4750 

821 

8 

7l 

130 
135 

4550 
4725 

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8_T 

8 
8 

2 
7 

4080 
4860 

8VS 
8it 

8 
8 

4 

10i 

4810 
4995 

8ls~ 

8103 

8 
8 

9l 
14l 

4940 
5130 

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8 
9 

l4 

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1  140 

4900 

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8 

12 

5040 

928 

9 

7 

5180 

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oil2 

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41 

5320 

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9ai 

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9 

87 

145 

!  150 

5075 
5250 

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9 
9 

1 
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5220 
5400 

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7 

5365 
5550 

9 
9 

92 
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5510 

5700 

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10 

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7 

6o 


SPITZLI'S  MANUAL. 


Table  of  Warp  or  Filling  Yarn  Required  for  One  Yard  of  Cloth  with  No.   1  Yarn,  Single,  in 
Yards,   Hanks,   Pounds  and  Ounces. — For  Worsted  Yarn. 


Th  Vis 
per 

Width  of  Goods, 
39  Inches. 

Width  of  Goods, 
40  Inches. 

Width  of  Goods, 
41  Inches. 

Width  of  Goods, 
42  Inches. 

Inch. 

Yards. 

700 

Hanks 

Lbs.    Oz. 

Yards. 

II  'nks 

Lbs 

Oz. 

Yards. 

Hanks  Lbs.    Oz. 

Yards. 

840 

H'nks 

Lbs. 

Oz. 

20 

1  H 

1  2  8 

1  Cf 

800 

If 

1 

G-S- 

"7 

820 

113 

2  8 

1     74 

H 

1 

8 

24 
25 

28 

936 
975 

1092 

141 

1  7  0 
1  8  3 
1  1  1  J 
113  3 
14  0 

i  nf 

1  154 

960 
1000 
1120 

H 

in 

1  14 

2 

1 
1 

2 

11^ 

104 

1  -^"T" 

984 
1025 
1148 

153 
1  7  0 

1  9  3 
Al  1  2 

2  1 

1  1234, 
1   1^2 
1   lo-if 

2      4 

1008 
1050 
1170 

H 
H 

9_1 

"10 

1 
1 

2 

124, 
14 
If 

30 

L170 

9  5 

2  If 

1200 

24 

2 

24 

1230 

2 i 1   2  3i 

1260 

2i 

2 

4 

32 

1248 

2-8 

2  3!f 

1280 

2f 

2 

44 

1312 

244 

2    BH 

1344 

2! 

2 

6| 

35 

1365 

<)4  9 
"*1  1  2 

2  7 

1400 

2* 

2 

8 

1435 

2  9° 

2  9 

1470 

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2 

10 

36 

1404 

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2   8345- 

1440 

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1 

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1476 

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2  10A 

1512 

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1  u 

2 

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40 

1560 

211 

14 

2  121 

1600 

2-2- 

7 

2 

134 

1640 

913 
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2  141 

1680 

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3 

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1716 

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1760 

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3  3i| 

1848 

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45 

48 
50 

1755 

1872 
1950 

°1  12 
81.9 
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3|i 

5  6 

3  24 
3  41? 
3  74 

1800 
1920 

2000 

3_3_ 

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31 
7 

3 
3 
3 

34 

64 

1845 
1968 
2050 

3T3f32 
3|i 

3  4T*¥ 

3  8/, 
3  10|f 

1890 
2016 
2100 

H 

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3 
3 
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6 
12 

55 

2145 

3-0_ 
112 

3  13f 

2200 

311 

14 

0 
0 

144 

2255 

4_3_ 

1  lY 

4     3 

2310 

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4 

2 

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2340 

4JL 

2  8 

4  24 
4  84 

2100 

42 
7 

4 

44 

2460 

411 

2  8 

4  6f 

2520 

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8 

65 

2535 

4  6  9 
112 

2600 

4„9_ 
14 

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104 

2665 

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4  121 

2730 

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14 

70 

27,10 

44  9 

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51 
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4  14 

2800 

5 

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2870 

51 

5  2 

2940 

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5 

4 

75 
80 

2925 
3120 

5  34 

5  94 

3000 
3200 

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5 
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114 

3075 
3280 

5t5t52 
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3150 
3360 

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3600 
3800 
4000 

64 

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124 

24 

3690 
3895 
1100 

A3  3 
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6     94 

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7  54 

3780 
3990 
4200 

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105 

4095 

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7-K 

7  5 

4200 

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4305 

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112 

7  11 

1410 

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14 

110 

4290 

1  6 

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7  lOi 

4400 

76 

7 

7 

134 

4510 

8  3 

8   4 

7 

4620 

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8 

4 

115 
120 

4485 

4680 

8   1 
8     54 

4600 

4800 

8t34 
84 

8 
8 

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91 

1715 

4920 

8-4  7 
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811- 

14 

8  64 
8  124 

4830 
5040 

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9 

8 
9 

10 

125 

130 

1875 
5070 

1  4: 

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9-3- 

8  Hi 

9  1 

5000 
5200 

84f 
9* 

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141 
44 

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5330 

Q  1  7 

yTl2 
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f  "6" 

9  24 

9  84 

5250 
5460 

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9 

6 
12 

135 
140 

5265 

5460 

5  6 
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9  64 
9  1-2 

5400 
5600 

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10 

9 
10 

104 

5535 

5740 

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,  lTTf 

9  144 

10  4 

5670 

5880 

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10i 

10 
10 

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145 
150 

5655 

5850 

10-UUlO   14 

1121A      7 

1014  io    71 

5800 
6000 

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104 

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114 

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l0y6A 

10  94 

10  154 

3090 
6300 

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11 

14 
4 

SPITZLI'S  MANUAL. 


6l 


Table  of  Warp  or  Filling  Yarn  Required  for  One  Yard  Square  of  Cloth  with  No.  i  Yarn,  in  Yards, 
Hanks,   Pounds  and  Ounces. —  For  Cotton  Yarn. 


Width  o 

Goo 

ds, 

Width  of  Goods, 

Width  of  Goods, 

Width  of  Goods. 

Th'ds 
per 
Inch. 

27  Inches. 

2I   Inches. 

29  Inches. 

30  Inches. 

Yards. 

H'nks 

9 
14 

Lbs 

Oz. 

Yards. 

H'nks 

Lbs 

Oz. 

Yards. 

H'nks 

Lbs.   Oz. 

Yards. 

H'nks 

Lbs 

Oz. 

20 

540 

lC-f 

560 

lOf 

580 

2  9 
4  2 

HA 

600 

5 
1 

llf 

24 

648 

27 
3j 

1<M  2 

1  -3  5 

072 

4 

12-f 

696 

2  9 
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1339T 

720 

6 

7 

13f 

25 

675 

4  5 
T6 

12f 

700 

5 
6 

1  ^' 

lo3 

725 

14  5 
16  8 

13^ 

750 

25 
2  8 

14f 

28 

756 

1  0 

14| 

784 

14 
1  5 

14|| 

812 

29 
30 

10TT 

840 

I 

I 

30 

810 

27 
2  8 

15* 

840 

1 

870 

H-e 

1    A 

7 

900 

l-Ar 

L 

If 

32 

864 

1A 

1  6 

890 

m 

iiV 

928 

ItVi 

1     ItVs 

900 

H 

I 

2f 

35 

945 

H 

2 

980 

H 

02 

1015 

I-5- 

*24 

1  3* 

1050 

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1 

4 

36 

972 

in 

x70 

93  6 

1008 

i| 

31 

1044 

117 

1  7  0 

1    33  ! 

1  °II 

1080 

if 

1 

41 

40 

1080 

1^ 

44 

7 

1120 

1* 

^i 

1160 

I-8- 

L2  1 

1   6-a- 

u2  1 

1200 

1^     1 
7 

6f 

44 

1188 

129 

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0  5 

1232 

h\ 

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1276 

110  9 
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1  8-3-3- 

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1320 

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45 

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1  25 

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7i 

7 

1260 

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8 

1305 

1  31 

1  8f 

1350 

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48 

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1  1  9 
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1344 

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1392 

1138 
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1440 

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1400 

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1450 

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1500 

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194 

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1540 

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1595 

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1650 

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1620 

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7 

1680 

2 

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1740 

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1800 

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65 

1755 

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2 

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1820 

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1885 

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T6  ~8 

2  3*| 

1950 

9_9„  2 

2  8  1 

51 

70 

1890 

a* 

2 

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1960 

H 

2 

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2030 

9  5 

"12 

2  6f 

2100 

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2250 

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2160 

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2240 

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2320 

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2610 

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2565 

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2660 

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2755 

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3  41-2- 
2  1 

2850 

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100 

2700 

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2800 

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2900 

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3  7-5™ 
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3000 

31    3 

91 

105 

2835 

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3 

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2940 

H 

3 

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3045 

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3  10 

3150 

3f 

3 

12 

110 

2970 

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2  8 

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3080 

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3190 

317 

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115 

3105 

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3220 

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3335 

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3  1511 

3450 

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120 

3240 

3-S- 

3 

13f 

3360 

4 

4 

3480 

4+ 

4  2f 

3000 

4f 
413 

2  8 

4 

41 

125 

3375 

4JL 

4 

2 

7 

3500 

H 

4 

2f 

3625 

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1  6  0 

4   % 

3750 

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130 

3510 

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3640 

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3770 

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3900 

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135 
140 

3045 

3780 

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5-3- 

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3915 

4060 

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4  101 
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4050 
4200 

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104 

4060 

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150 

4050 

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131 

4200 

5 

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4350 

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5  2f 

4500 

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5 

62 


SPITZLI'S  MANUAL. 


Table  of  Warp  or  Filling  Yarn  Required  for  One  Yard  Square  of  Cloth  with  No.   1  Yarn,  in  Yards, 
Hanks,  Pounds  and  Ounces. — For  Cotton  Yarn. 


Th  Ms 
per 

Inch. 


20 
24 

25 

28 

30 

32 

35 

36 

40 

44 

45 

48 

50 

55 

60 

65 

70 

75 

80 

85 

90 

95 

100 

105 

110 

115 

120 

125 

130 

135 

140 

145 

150 


Width  of  Goods, 
31  Inches. 


Yards.  H  'nks    Lbs 


020 
744 
775 
868 
930 
992 
1085 
1116 
1240 
1364 
1395 
1488 
1550 
1705 
1860 
2015 
2170 
2325 
2480 
2635 
2790 
2945 
3100 
255 
3410 
3565 
3720 
3875 
4030 
4185 
4340 
4495 
4650 


117 
lliii 

laV 
1    3 

1"2~8 

1  1  0  J 
1* 


1  1.0 

la  1 

1 1.31 

14-L1 

1  1;  s 

m 

2     5 

v16  8 

2-3- 

1  4 

2  6  7 

1  6  8 

2  TL 

1  2 

}4  3 
T6 
>2  0 
"3T 
3_23 

3  9_ 

¥"8 

10s 

48*4 

4JLi 
16^ 

4f 

41  03 


Oz. 


16  8 
46JL 

84 
4  16  5 

1  6  8 

54 

O  5  3 

10  8 


iH4 

1436o 

14  21 

X^2  8 

_8 
13 

1^ 
x7 

4f 

5o9-. 

0  a 

71  3 

94-44 

1  0  a 
104 

1244 

3  5 

13ii 
±eJg  1 

1 0 

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O-i 

62°T 

»i 

12f 

15  s 

2ir4r 

8A 
"A 

14 

2 1 
3-V»- 

»!! 

121  6 

2  1 

151 

n 

84 


Width  of  Goods, 
32  Inches. 


Yards.  H  'nks   Lbs 


640 
768 
800 
896 
960 
L024 
1120 
1152 
1280 
1408 
1440 
1536 
1600 
1760 
1920 
2080 
2240 
2400 
2560 
2720 
2880 
040 
200 
3360 
3520 
3680 
3840 
4000 
4160 
4320 
4480 
4640 
4800 


16. 
21 
.32 

3o 
20. 
¥l 

1_2  3 

ll  0  a 

H 

m 
141 

x2  1 

lit; 
STo 

if 

H 

2-2- 

Z2 1 

2f 

OJLO 
2F 

2l 

7 

3A 

3 

317 

421 

A 
J* 

20 

51 

7 


12/r 

1411 

ISA 

liV 
24 

■*7 
3-53 

"10  5 

°"3" 

PL  3  3 
°3T 

ft  s 
°2T 

IOtVo 
114 

124 

141-0 

A^2  1 

1 1 1 
44 

^7 

71  1 

'  2  1 

10| 

134 

11 

2  1 

311 
°21 

61^. 

v2  1 
Ql  9 

*■*%  1 


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91 

12/T 
15jsT 

4 
ft s 

°2T 

111 


Width  of  Goods, 
33  Inches. 


Yards.  H  'nks    Lbs, 


660 
792 
825 
924 
990 
1056 
1155 
1188 
1320 
1452 
1485 
1584 
1650 
1815 
1980 
2145 
2310 
2475 
2640 
2805 
2970 
3135 
3300 
3465 
3630 
3795 
960 
4125 
4290 
4455 
4620 
1785 
4950 


1  3 
4  2 
3  3 
3  5" 
16  f 
16  8 


*A 

if 

129 
1  7  0 
If 
111 

Mo 

113J 

1  I!  8 

i-fW 

m 

2  9- 

5  6 

n 

^53 

"36" 


3  5  7 

1  CT 

3n 
4i 

4-i>_ 

2  8 
42  1 

41 

71 

45 1 

5V 
W 


124. 

15^, 

3  u 

154 
If 

n 


6 

1123 

1211 
143- 

15iJ 

n 

54 


12 

154 

n 

5f 

87 

HI 

'  7 

141 

2 

84 
114 
144 

If 

44 


114 
144 


Width  of  Goods. 
34  Inches. 


Yards.  H  'nks    Lbs 


680 
816 
850 
952 
1020 
1088 
1190 
1224 
1360 
1496 
1530 
1632 
1700 
1870 
2040 
2210 
2380 
2550 
2720 
2890 
3060 
3230 
3400 
3570 
3740 
3910 
4080 
4250 
4420 
4590 
4760 
4930 
5100 


34 

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219 

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24 

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84 

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4i 
419 
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411 
8  4 

41 

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Oz. 


12H 

15H 

4 
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34 

4tVV 
61 

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94 

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134 
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64 

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1 
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7  5 

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73 

1°1 
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SPITZLI'S  MANUAL. 


63 


Table  of  Warp  or  Filling  Yarn  Required  for  One  Yard  Square  of  Cloth  with  No.  1  Yarn,  in  Yards, 
Hanks,  Pounds  and  Ounces. — For  Cotton  Yarn. 


Width  of  Goods, 

Width  of  Goods 

Width  of  Go 

ods, 

Width  of  Goods, 

Th'ds 

35  Inches. 

36  Inches 

37  Inches 

38  Inches 

per 
Inch. 

Yards. 

H'nks 

5 
6 
1 

Lbs.   Oz. 

Yards. 

H'nks 

6 

7 

Lb 

s.  .  Oz. 

Yards. 

H'nks 

Lb 

s.   Oz. 

Yards. 

H'nks 

Lbs.   Oz. 

20 

700 

13* 

720 

13f 

740 

3  7 

4  2 

14_2_ 

"2  1 

760 

1  9 

2  1 

1 412- 

L^2  1 

24 

840 

864 

lit 

1 

1  6 
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888 

1  2 

1 

32 
3T 

912 

1-A- 

1  3? 

113 

13T 

25 

875 

^ 

1         2. 

900 

Hi 

I 

H 

925 

M  6  8 

I 

HI 

950 

Ill 

X84 

2/f 

28 

980 

1* 

1* 

1   2f 

1008 

H 

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135 
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1900 

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4860 
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5550 

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5700 

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124 

64 


SPITZLI'S  MANUAL. 


Table  of  Warp  or  Filling  Yarn  Required  for  One  Yard  of  Cloth  with  No.  I  Yarn,  in  Yards, 
Hanks,   Pounds  and  Ounces. — For  Cotton  Yarn. 


Th  'd: 

per 
Inch. 


20 

24 

25 

28 

30 

32 

35 

36 

40 

44 

45 

48 

50 

55 

60 

65 

70 

75 

80 

85 

90 

95 

100 

105 

110 

115 

120 

125 

130 

135 

140 

145 

150 


Width  of  Goods, 
39  Inches. 


Yards.  H'nks     Lbs 


780 
93G 
975 
1092 
1170 
1248 
1365 
1404 
1560 
1716 
1755 
1872 
1950 
^145 
2340 
2535 
2730 
2925 
3120 
3315 
3510 
3705 
3900 
4095 
4290 
4485 
4680 
4875 
5070 
5265 
5460 
5655 
5850 


1-4 

l-3- 

■M0 

m 

IB 

11 

1  1  0 
1-6 

2-3- 

1  o 

2-5- 

~5G 

2-8 

2-8- 

28 
931 

2n 

If 
w 
J* 

4-5- 

,28 

444 

A    0  6 

4£ 

5-3_ 

r38 

5.41 

cAl 

2  8 

Oil 


64  1 

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S  8 


144 

H! 

2f 

4f 
6f 

10 

13| 

2.4 
13 

m 

H 

8-S. 
i 

12a 

7 
2 

4T 
7f 

15i 

2f 
6a 

10I 

15 

"5l 

9i 

12l 

1 
4. 

4l 

n1 


Hi 

loi 

1 


Width  of  Goods 
40  Inches. 


Yards.  H'nks    Lbs.        Oz. 


800 

960 
1000 
1120 
1200 
1280 
1400 
1440 
1600 
1760 
1800 
1920 
2000 
2200 
2400 
2600 
2800 
3000 
3200 
3400 
3600 

800 
4000 
4200 
4400 
4600 
4800 
5000 
5200 
5400 
5600 
5800 
6000 


20 
2 1 

H 

h\ 

4 

H 

n-\ 

if 
11 

14-9 

2  1 

2-3_ 
Z.21 
21 
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23- 

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3i 

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41 

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6il 
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61 

8-8- 

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II  i 

1412 

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2f 

44 

6-3- 

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91 
131 

111 

1  2  1 

91 

1O20 

x,~21 
1  6 
21 
44 

8  8 

12,4 

l^l 


311 

°2  1 

'  21 

111 
1  i7 

15-/T 

61 
lOf 

1410 

A   2 1 

02 


Width  of  Goods, 
41   Inches. 


Yards.  H'nks     1 


820 
984 

1025 
1148 
1230 
1312 
1435 
1476 
1640 
1804 
1845 
1968 
2050 
2255 
2460 
2665 
2870 
3075 
3280 
3485 
3690 
3895 
4100 
4305 
4510 
4715 
4920 
5125 
5330 
5535 
5740 
5945 
6150 


2  8 

5  0 

ToT 

i24 

2-3.1- 
2  1  0 

2i  1 

*H 

2M 
2441 


4  2 

1    6 
1  JL 

1  1  0  8 

1   '    ' 


168 
2.31 

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3  20 

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1  2 

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5  6 
19. 

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444 

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311 
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15WV 

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141 

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2-8- 
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10/T 
14-3- 

1^2  1 

2 

p;i  9 

°2T 

9i| 
131 

113 
121 

5H 

u2  1 

111 


51 


Width  of  Cood.i, 
42  Inches. 


Yards.  H'nks     Lbs.       Oz 


840 

1008 
1050 
L170 
1260 
1344 
1470 
1512 
1680 
1848 
1890 
•2016 
2100 
2310 
2520 
2730 
2940 
3150 
3300 
#570 
3780 
3990 
4200 
4410 
4620 
4830 
5040 
5250 
5460 
5670 
5880 
6090 
0300 


1 

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71 


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12 

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4 

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2  12 


3  12 
4 

4  4 
4  8 
4 
5 
5 
5 
5 
6 

6  4 
6  8 
6     12 


12 


12 


SPITZLI'S  MANUAL. 


65 


Table  of  Warp  or  Filling  Yarn  Required  to  Make  One  Yard  of  Cloth  with  No.  I  Yarn,  in 

Yards,   Runs,   Pounds  and  Ounces. — For  Woolen  Yarn. 


20 

24 

25 

28 

30 

32 

35 

36 

40 

44 

45 

48 

50 

55 

GO 

65 

70 

75 

80 

85 

90 

95 

100 

105 

110 

115 

120 

125 

130 

135 

140 

145 

150 


Width  of  Goods, 
27  Inches. 


Yards.  Runs.  Lbs.   Oz. 


540 

648 

675 

756 

810 

864 

945 

972 

1080 

1188 

1215 

1296 

1350 

1485 

1620 

1755 

1890 

2025 

2160 

2295 

2430 

2565 

2700 

2835 

2970 

3105 

240 

3375 

3510 

3645 

3780 

3915 

4050 


80 
8  1 

2  "  0 
2.1 
64 
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4  0  0 

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50 

1  8  0 

32  0 
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4  0  0 

27 
40 
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4  0  0 

2.4  :: 

3  20 
8  1 

10  0 
2.1 
32 
2.9.1 
32  0 

I-1- 

180 
1  _3_1_ 

1  ■-:  •»  11 


6  0 
111 
1  64 
ILL 

12  0 
113  9 
1  3  2"  0 
1  8  3 
XT"60 
1  J  0  3 
X32  0 

111 

xl  6 

124  7 
32  0 

113.1 
1  6  0 

13  0  1 
1  3  2  0 

2-L 
4  0 

2-V 

64 

*160 

2_s  0 

^3  2  0 

0  2  9. 

80 

2143 

3  2  0 

211 
^32 


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1 

T 

111 

120 
"*1  0 

619- 


013 

11 

12-1- 


15^0 

2 
T 

If 

4_£L 

^2  0 


Width  of  Goods, 
28  Inches. 


Yards.    Runs     Lbs 


560 

672 

700 

784 

840 

896 

980 

1008 

L120 

1232 

1200 

1344 

1400 

1540 

1680 

1820 

1960 

2100 

2240 

2380 

2520 

2660 

2800 

2940 

3080 

220 

360 

3500 

640 

3780 

3920 

4060 

4200 


Oz. 


2  0 

¥0 
_1_ 

1  6 

-4_9_ 
1  0  u 
.21 
4  0 
14 
2J 
49 
80 
J5_3_ 
10  0 
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1  0 

JUL 
100 

6.3 
80 
2.1 

2T 


11 

80 

1  JL 

l2  0 

111 

1  80 

l-9- 
£4  0 

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xl  6 

If 

119 
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1.2  3 
14  0" 
15. 3 
a80 

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16.1. 

1  80 
111 

14  0 

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2-1 

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0  3 

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4  0 

029 

'80 


24  3. 

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P.3 
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721 
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12-8 
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13H 
14 

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21 
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5 

6f 

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»1 

10| 

12 

13f 

144 
5 
1 

"5" 
If 

3 

4-| 

H 

n 

83 
5 

10 


Width  of  Goods, 
29  Inches. 


580 
696 
725 
812 
870 
928 
1015 
1044 
1160 
1276 
1305 
1392 
1450 
1595 
1740 
85 
2030 
2175 
2320 
2465 
2610 
2755 
2900 
3045 
190 
3335 
3480 
3625 
3770 
3915 
4060 
4205 
4350 


2-9. 
80 
_8_7„ 
2  0  0 
29 
64 
2  0  3 
4  0  0 
-_8_7_ 
16  0 
2.9. 
50 

2  0  3 

3  2  0 
2._6  1 

4  0  0 
2.9 

4  0 
1L9 
400 
2.6  1 
3  '2'  0 
_8_7_ 
10  0 
2  9. 


1_1_ 

1  8  0 
1    5  7 
1  3  2  0 
1  _43_ 

Xl  0  0 

HI 

I-9- 
x20 
1113 
1  3  2  0 
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1  1  6  0 
1  2.3.1 
1  32  0 
113. 
116 
1  2  S  'J 
1  32  0 

1  15.  9 
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911 
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16  0 
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"3  2  0 
0  4  3. 
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02  3 


Lbs 


Oz 


°~5~ 

A3  4 
°2"5" 
71 

ft   3 

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9-1 

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6* 

8it 

uu 

13 

14^ 

15tV 

1-1- 

4° 
4 

5j_ 

7-3- 

4° 

loi- 


Width  of  Goods, 
30  Inches. 


Yards.    Runs.    Lbs.      Oz 


600 
720 
750 
840 
900 
960 
1050 
1080 
1200 
1320 
1350 
1440 
1500 
1650 
1800 
1950 
2100 
2250 
2400 
2550 
2700 
2850 
3000 
3150 
3300 
3450 
3600 
3750 
3900 
4050 
4200 
4350 
4500 


f 
9 

2  0 

15. 

32 

2.1 

40 

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16" 

3 

1 

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40 

3 

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2.3, 

4  0 

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3  2 
9 

1  0 
1  5 
16 

1-1- 

I  32 

H 

1_3_5_ 

II  6  0 

1  16 
113. 
1  33 

H 

HI 
in 

Al  (5 
HI 
11 
Hi 

2TV 


2-5 

2^ 

211 

^3  2 
9_7_ 
"1  6 

21-1 

223 
01  3 


6 

9 

03 

*T 
104 

10f 

12 

134, 

131 

14| 

15 


2 

34 


11 
121 
14 
15J 
1 

2i 
4 

^1 

7 


10 

Hi 

13 


17 


66 


SPITZLl'S  MANUAL. 


Table  of  Warp  or  Filling   Yarn  Required  to  Make  One  Yard  of  Cloth  with  No.  I  Yarn,  in 
Yards,   Runs,  Pounds  and  Ounces. — For  'Woolen  Yarn. 


Th'ds 
per 
Inch. 

20 

24 

28 

30 

32 

35 

36 

40 

44 

45 

48 

50 

55 

60 

65 

70 

75 

80 

85 

90 

95 

100 

105 

110 

115 

120 

125 

130 

135 

140 

145 

150 


Width  of  Goods, 
31  Inches. 


Yards 


620 
744 

868 
930 
992 
1085 
1116 
1240 
1364 
1395 
1488 
1550 
1705 
1860 
•2015 
2170 
2325 
2480 
2635 
2790 
2945 
3100 
3255 
3410 
3565 
3720 
3875 
4030 
4185 
4340 
4495 
4050 


3  1 

8  0 
9_3_ 
200 
JJ-11 

4  0  0 
_9_3_ 

160 

41 

50 

2.11 
32  0 
2.3  9 
4  0  0 
31 
¥0 
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4  0  0 
2.11 
32  0 
_9_3_ 
10  0 
3.1 

iS_ 

320 
111 

8(1 
1_83_ 
,  320 
1_5_3_ 
,160 
111 

20 
1  2  0  7 

320 

L 1  1 1> 

]  2  6  !i 
,  3  2  0 
111 
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2_1JL 
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2_2l_ 
9 


.16  0 


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22  7 

-.64 
2  8_3_ 

-.10  0 

2 1  o  7 

,  3  2  0 
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o8  0 

-.  3  2  0 

22  9 
32 


Lbs.   Oz 


71 1 

'  2? 
Ql  7 
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q  3 

Q2  3 

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11  h 

12| 

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13-1-9- 

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io20 

15 

11 

20 

^1 0 

3iA 

20 

51 
6f 

8-3- 
°i  0 

m 
hi 

1919 

2  0 

141- 


Width  of  Goods, 
32  Inches. 


Yards.    Runs     Lbs 


640 
768 
896 
960 
1024 
1120 
1152 
1280 
1408 
1440 
1536 
1600 
1760 
1920 
2080 
2240 
2400 
2560 
2720 
2880 
3040 
3200 
3360 
3520 
3680 
3840 
4000 
1160 
1320 
1480 
4640 
4800 


2 

1  2 

3T 
1  4 
2~S 
3 
f 
1  6 

JJL 
1  0 
1  8 
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4 
$ 

22 
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1  0 
24 

fr 
1 

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1-3- 


1* 
if 

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21 

1 0 

22 
^"5" 

24- 

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2-i 
T  0 
94 

2^ 

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3 


Oz. 


6| 

7« 

8|f 
9| 

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n| 

nil 

12f 
14  2 

14| 
15^ 


If 

H 

4-1 
6| 


HI 
12* 
144 


1-! 


41 
6f 


9| 

HI 
121 
14f 


Width  of  Goods 
33  Inches. 


Yards.    Runs.    Lbs 


660 
792 
924 
990 
1056 
1155 
1188 
1320 
1452 
1485 
1584 
1650 
1815 
1980 
2145 
2310 
2475 
2640 
2805 
2970 
3135 
3300 
3465 
3630 
3795 
3960 
4125 
4290 
4455 
4620 
4785 
4950 


^3 

9_9_ 
2"0  0 
231 
40  0 

9  9 
16  0 

3  3 
TO" 
2.3.1 
320 
297 

4  0  0 
3.3 
40 

3  63 

4  0  0 
2._9_7 
320 

9  9 
100 

I3V 

x320 
11_9 

l80 
1109 

1320 

1-3-JL 
J  160 
1.35 
M6 
113. 
A20 
1  2.41 
1  3  2  0 
1111 
1160 
130  7 
^320 

2TV 

9_5_3_ 

~320 
9  43 
■*1  6  0 
91  1  9 
nil 
21-9- 
~4  0 
93  7 
^6T 

2101 

*160 

2211 

320 

211 

80 

•>:;  1  7 

~:;  ■:  11 

3-15. 

160 


6f 

m 

q  6 

9-9- 

yio 

10il 

Hil 

11  If 

131 
I41  3 

1411 

±^20 
152  1 

1 
2 

2-3- 
20 

5^r 

V* 
8| 

102 

EST 

!^ 

1¥V 

211 

2"0 

4JL- 

71 

1°tV 

141 

15  K 

4 


Width  of  Goods, 
34  Inches. 


Yards. 


680 

816 
952 
1020 
1088 
1190 
1224 
1360 
1496 
1530 
1632 
1700 
1870 
2040 
2210 
2380 
2550 
2720 
2890 
3060 
3230 
3400 
3570 
3740 
3910 
4080 
4250 
4420 
4590 
4760 
4930 
5100 


Runs 


4-i 
4  0 

~5  1 

10  0 

111 
-ga  0 
11 

8  0 

n 

2~S 
119 
16  0 
113 

"2"0  0 

■1-3- 

lo 

18  7 
2"  oil 
15.3 
10  0 
1     1 

^0 

ItV 

1  _2!_ 

illiO 

L4  0 
1  _6JL 

Xl  6  0 
119. 
1  80 

HI 

ItV 

112  9 
16  0 

111 

1  80 

9     3 

"^6  0 

Ol 

^8 

9_31_ 
1  6  0 

2-21 
80 

2-UL 

16  0 

2ii 

"20 

2-21 
32 

211 

"s  11 

21 3  n 

1  6  0 
O3  ft. 
~4  0 

°tV 


Lbs.       Oz 


61 

82V 

Oil 

101 
10ff 

ll-9- 

IO   6 
1  °  3 

1424 
15-3- 

8 

1 

2  1 

^To" 

4f 
6TV 

n 

hi 
12 9- 

14-6- 

X^l  0 

3_ 

10 

2 

«A 

5| 
Vo 

104 

12| 

l^o 

15f 

ItV 


SPITZLI'S  MANUAL. 


67 


Table  of  Warp  or  Filling  Yarn  Required  for  One  Yard  of  Cloth  with  No.  1  Yarn,  in 
Yards,  Runs,  Pounds  and  Ounces. — For  Woolen  Yarn. 


Width  of  Goods, 

Width  of  Goods, 

Width  of  Goods, 

Width  0 

:  Goods, 

Th'ds 
per 
Inch. 

35  In 

:hes. 

36  Inches. 

37  In 

ches. 

38  Inches. 

Yards. 

Runs. 

Lbs.    Oz. 

Yards. 

Runs. 

Lbs.   Oz. 

Yards. 

Runs. 

Lbs.    Oz. 

Yards. 

Runs. 

Lbs 

Oz. 

20 

700 

tV 

7 

720 

9 
20 

n 

740 

37 
80 

** 

760 

1  9 
40 

73 
'  5 

24 

840 

21 

40 

81 

864 

« 

m 

888 

111 

20  0 

m 

912 

57 
10  0 

»A 

25 

875 

35 
6  4 

8f 

900 

9 
1  6 

9 

925 

37 
6  4 

n 

950 

1  9 
3  2 

9i 

28 

980 

49 

80 

n 

1008 

6  3 
10  0 

10  2 

1U2T 

1036 

2  5  9 
4  0  0 

i°A 

1064 

133 

2  0  0 

10M 

30 

1050 

21 
3  2 

10* 

1080 

27 
4  0 

10| 

1110 

111 
16  0 

11 1\ 

1140 

5  7 
8  0 

uf 

32 

1120 

7 
1  0 

Hi 

1152 

1  8 

1113 

1184 

37 

^"0 

"ft 

1216 

1  9 

2~3" 

19  * 

1<J2I 

35 

1225 

49 
64 

12£ 

1260 

63 
80 

123 

1295 

25  9 
320 

1211 

20 

1330 

1  3  3 

16  0 

13-3- 

i0l  0 

36 

1260 

6  3 

80 

12f 

1296 

81 
10  0 

12fi 

1332 

333 

4  0  0 

13A 

1308 

171 

2  0  0 

18ft 

40 

1400 

1 

14 

1440 

9 
1  0 

14f 

1480 

37 

4  0 

14| 

7 

2T 

1520 

1  9 

2  0 

15l 

44 

1540 

8  0 

15f 

1584 

99 
100 

i«H 

1628 

1-3- 

4  0  0 

1672 

1.9 

1  2  0  0 

1  8 

2  5 

45 

1575 

63 
"6~4 

15| 

1620 

1-1- 

1  8  0 

1      1 

1665 

1-1-3- 
320 

1  3 

2  0 

1710 

1  '  1 
1  1  6  0 

ItV 

48 

1680 

1-1- 

20 

1    * 

1728 

1* 

1     i* 

1776 

1-1-1 

10  0 

1      119 
"2~5" 

1824 

1  3 

2  6 
■*25~ 

50 

1750 

1_3_ 

32 

1   1* 

1800 

H 

1     2 

1850 

1-5- 
32 

1    2i 

1      4r% 

1900 

iA 

3 

55 

1925 

113 

64 

1     H 

1980 

119. 
8  0 

1     3i 

2035 

187 
320 

1    4-3- 
2  0 

2090 

1  49 

1  1  6  0 

4tV 

60 

2100 

1-5- 

16 

1     5 

2160 

20 

1     5| 

2220 

1-31 

80 

1   64 

2280 

111 

1-4  0 

n 

65 

2275 

111 

64 

1   61 

1    u4 

2340 

13.1 

8  0 

1     72 

2405 

1  1  61 

32  0 

1   8Ar 

2470 

187 
1  1  6  0 

8tV 

70 

2450 

111 

I   81 

2520 

]  23 

1     94 

2590 

1-M- 

1     9-9- 

2660 

111 

1  80 

Hi 

10| 

12i 

75 

2625 

32 

lil 

1     10± 

2700 

40 
1J-1 

1    113 

2775 

16  0 
111 
164 
1  1  7 

20 
1309 

,,10 
1   llf 

2850 

80 

2800 

_  6  4 

1  12 

2880 

,  1  6 

!* 

in 

1    124 

1    143 

2960 

1  13| 

1  15A 

3040 

6  6 

I-9- 

1 1  0 

2—2- 

14| 

85 

2975 

115. 

1  13f 

3060 

3145 

3230 

2 

3 
1  0 

90 

95 

100 

3150 
3325 
3500 

6  4 
111 
,32 
1-5- 

2-3- 

1  15* 

1  1* 

2  3 

3240 
3420 
3600 

„  8  0 

24- 

4  0 

2i 

^80 
91  9 
^40" 

2ii 

~8° 

2-3- 

*10 

2H 

^16 

■*4  0 

3-3- 

"80 

3-3- 
°27 

"80 

3-§- 

°16 

2      I 

2   2{ 
2   4° 

3330 
3515 

3700 

3  2  0 

2-1-3- 
16  0 

2-6JL 
320 
2-5_ 

2   123° 

10 

2   3  3 
2  0 
2   5 

3420 
3610 

3800 

16  0 

211 

^80 
9  41 
~1  6  0 

21 

979 

"*1  60 
949 
A8(f 
Ol  1  7 
~1  6  0 
91  7 

93  1 

3-1 

J8  0 

3-3-3- 
°1  6  0 

313- 
"4  0 

3-3-1- 
°160 

3-9- 
ul  6 

2 

2 
2 

4-i- 

^10 

6 

105 
110 
115 
120 
125 
130 
135 
140 
145 
150 

3675 
3850 
4025 
4200 
4375 
4550 
4725 
4900 
5075 
5250 

~  1  6 
212- 
~64 

m 

m 

n 
211 

64 

911 

06  1 

^64 

2   4f 
2   6| 
2   81 
2  10 
2  Uf 
2  13| 

2  151 

3  1 
3   2| 
3   4i 

3780 
3960 
4140 
4320 
4500 
4680 
4860 
5040 
5220 
5400 

2   5|. 

2   73 

2   9-8- 
*   ^20 

2  1H 
2  13 

2  144 

3  I 
3   2| 

3  4 

3   6^ 

3885 
4070 
4255 
4440 
4625 
4810 
4995 
5180 
5365 
5550 

^  1  t> 

21  3  7 
320 

2-8-3- 
16  0 

2H1 
^320 
931 

*40 
95  7 
^64 

hh 

°80 

311  3 
°320 

31-5 
°32 

2     2H 

2    ^ 

2     10ii 
2  12| 

2  li19 

3  si* 

3   5ia 
3   7|° 

3990 
4180 
4370 
4560 
4750 
4940 
5130 
5320 
5510 
5700 

2 
2 
2 
2 
2 
3 
3 
3 
3 
0 

*A 

llii 

iA20 
133 

151 
11 

»A 

5i 
Vo 

9 

68 


SPITZLI'S  MANUAL. 


Tab      of  Warp  or  Filling  Yarn  Required  to  Make  One  Yard  of  Cloth  with  No.  1  Yarn,  in 
Yards,  Runs,  Pounds  and  Ounces. — For  Woolen  Yarn. 


Inch 

20 

24 

25 

28 

30 

32 

35 

36 

40 

44 

45 

48 

50 

55 

GO 

(55 

70 

75 

80 

85 

90 

95 

100 

105 

110 

115 

120 

125 

130 

135. 

140 

145 

150 


Width  of  Goods, 
39  Inches. 


Yards.   Runs.    Lbs. 


780 
936 
975 
1092 
1170 
1248 
1365 
1404 
1560 
1716 
1755 
1872 
1950 
2145 
2340 
2535 
2730 
2925 
3120 
3315 
3510 
3705 
3900 
4095 
4290 
4485 
4680 
4875 
5070 
5265 
5460 
5655 
5850 


3.9. 

8  0 

11.3 

SOU 

3.9. 

64 

2.1.3 

4  0  0 

111 

16  0 

39 

If 

2.13 

3  3V 
3.5.1 

4  0  0 
39. 

To 

1  _2_9_ 
l400 
1    3JL 

1  320 

1JL3L 

10  0 

1  32 

110.9. 
3  2  0" 

1-3-1 

80 
1 183 

320 
1113. 

16  0 
15.3 

64 
119. 

20 

2  23 
'320 
9  31 
'16  0 
O  1  0.1 
-320" 

2-1- 

*1  6 

ono 

~"3"2~0 

o  i  .o  it. 

1  6  o 
■)  2  5  7 
"32  0 
93  7 

3-3- 
°64 
•A   2  7 

'  ]  i;  ii 

'  3  2  I) 
3-3-3 

u80 

HU 

m 


Oz 


9f 
10|| 

HtV 

lo20 

1    4 

12"5- 
111 

2M 

^20 

9-1- 

2  0 

¥0 
^0 

7 

«M 

10iV 

]9l7 

2  0 

144 

5 
iL 
4 

2-1. 

413 

^2"0 

6J 

8ll 

2  0 

10J- 


Width  of  Goods, 
40  Inches. 


Yards.    Runs.     Lbs. 


800 
960 
1000 
1120 
1200 
1280 
1400 
1440 
1600 
1760 
1800 
1920 
2000 
2200 
2400 
2600 
2800 
3000 
3200 
3400 
3600 
3800 
4000 
4200 
4400 
4600 
4800 
5000 
5200 
5400 
5600 
5800 
6000 


2 
3 

"5" 
5 
f 

_3_ 
10 
it 
4 


_9_ 
10 
1 

H 
H 
H 

H 
H 

if 
if 

114 
xl  6 

2 

2-1 

2J- 

2i 
2f 
2^ 

2i 

3 
3* 

3^ 

8} 


Oz. 


03 
10 

1H 
12 
12* 
14 

14| 

If 
2 

»t 

4 

6 

8 
10 
12 
14 

2 
4 


10 
12 
14 

2 
4 
6 
8 
10 
12 


Width  of  Goods, 
41   Inches. 


Yards.    Runs.    Lbs 


820 
984 
1025 
1148 
1230 
1312 
1435 
1476 
1640 
1804 
1845 
1968 
2050 
2255 
2460 
2665 
2870 
3075 
3280 
3485 
3690 
3895 
4100 
4305 
'4510 
4715 
4920 
5125 
5330 
5535 
5740 
5945 
6150 


4  1 

8  0 
12  3 
2"""0  0" 
41 
6  4 
2.8  7 
4  Oi) 
1.2  3 
16  0 
4  1 

To 

2.1 7 

3  20 
3.19 

4  0  0 

I4V 
1_5_1. 
1  4  0  0 
149 
J  32  0 
1_2_3_ 
1  1  0  0 

H92 
1131 
1  3  2  0 
1-4-3- 

-1  80 

1  2  13 

1  3  2  0 

1  1  21 

1  1  6  0 
119. 

1  64 

2i- 

2  0 

2  61 

3  2  0 
9_4  9_ 

1  6  0 
■>  1  3  9 
"  3  2  0 
2-9- 

1  6 
•>  2  2  1 

3  2  0 
9131 

f  (f  0 

311 

64 
3_S3_ 

16  0 

31-4-1 

-  3  2  (I 
811 

80 

'>  2  2!) 
'  3  2  0 

m 


Oz. 


Width  of  Goods, 
42  Inches. 


Yards.  Runs.  Lbs. 


°t 

Q2  1 

nil 

14J- 

2  0 
1419 

2 
S 

2/o 

Hi 

4-J- 

8I 

12J- 

^1U 

143 

4 

IT 

911 

2"0 

4-9- 
1  0 

619 


1]2V 

18tV 

15-3 

2  U 

11 


9f 
131 


840 
1008 
1050 
1176 
1260 
1344 
1470 
1512 
1680 
1848 
1890 
2016 
2100 
2310 
2520 
2730 
2940 
8150 
3360 
3570 
3780 
3990 
4200 
4410 
4620 
4830 
5040 
5250 
5460 
5670 
5880 
6090 
6300 


Oz. 


2  1 
■1  11 
1;  :; 

1  11  11 

2  1 

3  2" 

1  J  7 

2  II  0 
6  3 
80~ 
21 
2T 

14  7 

1  60 
18  9 

2  0  0 

I2V 

1  2  0  0 
l_2_9 
1  1  6  0 

Hi 

•it 

l_UL 

1  1  6  0 
I  2.3 
l4  0 
111  3 

1  6"0 

'W 

2-i 

10 

2-3-1. 

"16  0 

2-2-9 
80 

2-1-9- 
161) 

2i 

912  1 

16  0" 

211 

~80 
3-3- 

1  1;  II 

32V 

h\ 

3  3. 

8  11 

16  0 
321 

4  0 

3 

3-1-5- 
1  6 


0*4 


H 

102- 

12-1 

131  ! 
1,3  2  5" 

14TV 

I 

213 

'  1 0 
94 

I'to 

iy! 

15^ 

14 

5 

3TV 

5 
7-9- 

1 0 
10 

12tV 

^"10" 
92 

7s 

H- 

6J 
®- 

10-4 

12  °9 
10 

15 


SPITZLI'S  MANUAL.  69 


EXPLANATION  OF  THE  TABLES. 


Loom  Table. — On  pages  142  and  143  there  is  a  Loom  Table, 
most  convenient  for  all  manner  of  calculations  relative  to  the  pro- 
duct of  looms.  The  quantity  of  goods  given  in  this  table  being  the 
greatest  possible  product  for  a  loom  running  ten  hours  without  stop- 
ping, it  will  be  necessary  always  to  include  in  all  calculations  a  due 
allowance  for  stoppage,  which  is  unavoidable.  This  varies  accord- 
ing to  the  work,  from  20  to  50  per  cent,  for  good  work ;  while  for 
bad  work,  such  as  will  cause  many  extra  stoppages,  one  must  some- 
times allow  from  40  to  70  per  cent.  Some  judgment  is  here  needed. 
The  table  will  afford  every  manufacturer  a  source  of  profit,  if  he 
will  compare  the  actual  product  of  each  loom  with  the  greatest  pos- 
sible product,  at  stated  times,  say  weekly.  Thus  he  will  ascertain 
when  and  where  unnecessary  stoppages  occur,  and  managers  may 
thus  produce  the  best  results  as  regards  product. 

Reed  Tables. — On  page  141  may  be  found  a  Reed  Table,  which 
gives  at  once  all  the  particulars  of  a  reed,  excepting  the  total  num- 
ber of  threads  per  warp. 

This  table  is  especially  useful  where  a  certain  fabric  is  repro- 
duced, only  a  small  sample  being  at  hand  upon  which  to  base  cal- 
culations. The  threads  per  inch  being  known,  the  total  number  of 
threads,  also  the  width  of  the  warp  in  the  reed,  are  easily  found  in 
the  tables  on  pages  49,  50,  51,  52,  of  the  Appendix. 

Yarn  Table. — One  of  the  most  important  Yarn  Tables  to  be 
found  is  that  on  page  48  of  the  Appendix,  where  the  cornmon 
methods  of  numbering  yarn  in  this  country  are  so  exhibited  as  to 
afford  a  convenient  means  of  making  quick  and  accurate  compari- 
sons between  them  all,  or  in  other  words,  of  finding  the  equivalent 
of  either  system  in  all  the  others. 

On  pages  53,  54  and  55  of  the  Appendix  are  the  Tables  showing 
the  Weight  of  One  Hundred  Yards  of  Warp  Yarn  in  Pounds  and 
Ounces,  for  warps  of  one  thread  to  warps  of  ten  thousand  threads. 
This  table  was  based  upon  one  hundred  yards  to  avoid  small  frac- 
tions, which  cause  inaccuracies,  some  being  necessarily  dropped, 


JO  SPITZLI'S  MANUAL. 

while  others  must  be  retained  at  a  great  inconvenience.  To  find 
the  desired  quantity  for  less  than  one  hundred  yards  is  very  simple, 
as  the  fractions  are  decimals,  and  to  divide  by  ioo  one  has  only  to 
move  the  decimal  point.  On  page  56  is  a  table  similar  to  the 
above  mentioned,  but  it  is  intended  for  calculations  of  the  filling. 
In  this  the  weight  given  being  for  one  yard  of  cloth  only,  it  is  self- 
evident  that  for  more  yards  the  multiplication  of  the  full  number  of 
yards  by  the  weight  of  yarn  in  one  yard,  will  give  the  desired  result. 
Also,  as  the  table  is  all  for  No.  1  yarn,  having  found  the  quantity 
that  would  be  necessary  if  No.  1  yarn  were  used,  this  quantity  must 
be  divided  by  the  actual  yarn  number,  to  ascertain  the  quantity 
necessary  of  that  size  of  yarn  —  excepting  grain  numbers  of  woolen 
yarn,  which  are  in  inverse  ratio  to  the  basis,  or  unit,  No.  1  yarn. 

By  the  use  of  this  table  the  number  of  calculations  for  ascertain- 
ing the  amount  of  filling  yarn  in  any  quantity  of  cloth,  are  reduced 
to  two. 

For  yet  other  calculations  of  a  similar  nature,  there  are  four 
tables  for  each,  woolen,  cotton  and  worsted ;  all  so  clear  and  con- 
venient as  to  need  no  explanation,  except  to  those  who  have  never 
seen  the  tables. 

The  threads  per  inch  and  the  width  of  the  goods  being  known, 
this  table  will  show  at  once  the  quantity  of  yarn  in  one  yard  of  the 
goods,  in  yards,  hanks  or  runs,  and  in  pounds  and  ounces,  alike  for 
warp  or  filling. 

Being  in  sets  for  cotton,  woolen  and  worsted,  they  also  serve  to 
show  the  difference  in  the  yarns  required  for  the  same  number  of 
threads  in  the  different  materials. 

All  told,  these  tables  aid  the  inexperienced  in  making  intricate 
calculations  easy ;  they  save  labor  for  all,  since  by  using  them  seve- 
ral calculations  are  avoided  in  every  instance.  They  also  serve  as 
most  excellent  means  of  comparison. 


CONTENTS  OF  APPENDIX. 


Thirty  very  important  subjects,  alphabetically  arranged I  to  47 

Thirty-five  Practical  Recipes,  needed  in  every  factory 6  to  17 

Thirty-five  Rules  and  Examples,  for  Calculations  and  Estimates  of  Yarns, 

Stock,  &c,  &c 18  to  21 

An  Article  on  the  Importance  of  universal  Uniformity  of  Terms,  by  Thos. 

R.  Ashenhurst 21  to  33 

Scotch,  English  and  American  Terms 34 

Tables  of  Measures 34 

Twelve  very  Important  Tests 36  to  40 

An  instructive  article  on  the  Worsted  Manufactures  of  Bradford,  England. 42  to  47 
Table  showing  the  Equivalent  Numbers  for  the  Grain  System,  in  Runs  and 

Worsted  Numbers 48 

Table  showing  the  Equivalent  Numbers  for  the  Run  System,  in  Grain, 

Cotton  and  Worsted  Numbers 48 

Table  showing  the  Equivalent  Numbers  for  the  Worsted  System,  in  Run 

and  Cotton  Numbers 48 

Table  showing  Threads  per  Inch,  Width  of  Warp  in  Reed,  and  Total 

Number  of  Threads 49  to  52 

Table  showing  the  Weight  of  One  Hundred  Yards  of  Woolen  Warp  Yarn, 

in  pounds  and  ounces,  for  warps  of  1  to  10,000  threads 53  to  55 

Table  showing  the  Weight  of  Filling  Yarn  per  Yard  of  Cloth,  in  ounces. .  56 

Table  of  Warp  or  Filling  Yarn  Required  for  One  Yard  of  Cloth,  with  No. 

1  Yarn,  in  yards,  hanks,  pounds  and  ounces,  for  Worsted  Yarn. ...  57  to  60 
Table  of  Warp  or  Filling  Yarn  Required  for  One  Yard  of  Cloth,  with  No. 

1  Yarn,  in  yards,  hanks,  pounds  and  ounces,  for  Cotton  Yarn. .  .  .  .61  to  64 
Table  of  Warp  or  Filling  Yarn  Required  for  One  Yard  of  Cloth,  with  No. 

1  Yarn,  in  yards,  hanks,  pounds  and  ounces,  for  Woolen  Yarn 65  to  68 

Explanations  of  Tables 69  to  70 


OPINIONS  OF  THE  PRESS. 


A  Manual  for  Designers,  Managers,  Weavers,  and  all  Others  Connected  with 
the  Manufacture  of  Textile  Fabrics.  By  Alfred  Spitzli.  A.  &  A.  F.  Spitzli,  publishers, 
West  Troy,  N.  Y.     1881.     Price  in  paper,  $1  ;  cloth,  $2. 

This  is  an  elegantly  printed  book  of  nearly  two  hundred  pages,  large  8vo.,  tinted  paper,  and 
contains  an  amount  of  practical  information  which  is  modern  and  useful.  The  subjects  are 
arranged  in  the  style  of  a  cyclopedia,  in  alphabetical  order,  and  many  of  them  are  in  themselves 
able  and  comprehensive  articles.  The  subjects  treated  upon  are  directly  connected  with  the  tex- 
tile manufacturing  interests.  The  articles  upon  draughting  patterns  for  fancy  goods  are  the 
clearest  of  anything  we  have  ever  seen,  and  directions  of  a  separate  nature  are  given  in  many 
places,  and  it  is  a  book  that  will  be  of  real  value  to  any  one  who  is  interested  especially  in  the 
manufacture  of  fancy  goods,  whether  made  of  cotton,  wool  or  mixed  stock. — Boston  Journal  of 
Commerce. 

Spitzli's  Manual  and  Illustrated  Catalogue  of  Instruments  and  Accessories  for 
those  Connected  with  the  Manufacture  of  Textile  Fabrics.  Second  Edition.  A.  &  A. 
F.  Spitzli,  publishers,  West  Troy,  N.  Y.     1881. 

This  book,  of  which  we  made  casual  mention  a  few  weeks  since,  has  now  been  issued  from 
the  press  complete,  and  our  further  acquaintance  with  it  is  very  pleasant  as  well  as  instructive. 
Its  suggestions  to  beginners  contain  some  very  condensed  common  sense.  The  body  of  the  Manual 
is  of  the  encyclopedia  form  or  arrangement,  and  the  author  has  very  sensibly  stripped  it  of  every- 
thing technical,  so  far  as  he  could.  The  items  are  many  articles  complete  in  themselves.  The 
Sorting  of  Stock,  Balance  of  Cloth,  and  many  similar  matters  are  quite  extensively  treated. 
Backing  Fabrics  is  illustrated  by  pattern  drafts.  Boilers  are  extensively  treated,  and  with  a 
great  many  directions  that  are  useful.  Dye  Woods,  Drugs,  Calculations,  Recipes,  are  all  carried 
through  the  body  of  the  work.  The  articles  on  Color  and  Cross  Drawing  are  particularly  com- 
mendable. Many  of  the  articles  in  this  book  are  treatises  in  themselves,  while  the  directions  for 
dissecting  and  getting  up  patterns  are  the  clearest  and  cleanest  we  have  ever  seen  printed.  A 
reed  table  and  other  useful  tables  are  embodied  in  the  work.  It  treats  of  cotton,  wool,  worsted 
and  other  matters  to  the  extent  of  one  hundred  and  eighty  pages,  and  has  also  embodied  with  it 
a  catalogue  of  instruments,  stationery,  and  books  for  designers  and  others,  together  with  a  great 
many  incidental  matters  very  desirable,  and  is  one  of  the  best  works  published.  The  prices  range 
from  one  to  two  dollars,  according  to  binding.  Address  P.  O.  Box  530,  West  Troy,  N.  Y. — Boston 
Journal  of  Commerce. 

Messrs.  A.  &  A.  F.  Spitzli  having  advertised  their  Manual  extensively  in  advance  of  its 
publication,  have  been  overwhelmed  with  orders,  and  are  very  much  mortified  by  their  inability 
to  fill  them  promptly  in  consequence  of  the  failure  of  their  printers  to  issue  the  book  with  the 
promptness  they  had  promised.  We  are  in  receipt  of  sample  pages  of  the  work,  which  clearly 
indicate  the  great  value  of  the  completed  book.  The  Messrs.  Spitzli  are  pressing  the  work  as 
rapidly  as  possible. —  The  Manufactzirers1  Review  and  Industrial  Record. 


Spitzli's  Manual  and  Illustrated  Catalogue.  A  Catalogue  of  Instruments,  Access- 
ories, Stationery,  and  Books  for  Managers,  Weavers,  and  all  others  in  any  way  connected  with 
the  Manufacture  of  Textile  Fabrics. 

This  valuable  Manual  is  issued  in  a  second  edition  of  182  pages,  and  118  pages  of  Catalogue 
proper.  The  most  interesting  part  of  this  publication  is  the  condensed  description  which  is  given 
of  the  several  processes  required  in  actual  manufacture  through  the  entire  list  of  fabrics.  A 
descriptive  list  of  all  the  appliances  of  manufacture  is  also  given,  and  the  whole  forms  an  excel- 
lent work  of  reference  for  all  engaged  in  textile  industries. —  The  Textile  Record  of  America. 


We  have  just  received  Spitzli's  Manual  and  Illustrated  Catalogue,  and  find  it  to  contain  a 
great  amount  of  practical  information  on  all  branches  of  textile  manufacture.  Although  the 
author  is  eminently  qualified  by  practical  personal  experience  to  write  a  work  of  the  kind,  we  are 
glad  to  find  the  work  not  confined  to  one  man's  knowledge,  but  constantly  quoting  the  highest 
authorities  on  the  subjects  treated,  and  forming  a  condensed  encyclopedia  of  technical  definitions, 
tables,  processes,  receipts,  illustrations,  designs,  etc.,  connected  with  the  manufacture  of  textile 
goods. —  The  Textile. 


(one-third  actual  size.) 

The    International"  Improved  Large  Best  Microscope  Stand.    See  Page  9. 


M  ILLUSTRATED  CATALOGUE 

OF 

INSTRUMENTS, 

ACCESSORY  APPARATUS 

STATIONER!  AND  BOOKS, 


FOR 


IDESIGrlsriERS    ^ISTID    OTKERS. 


ENGAGED  IN  THE  MANUFACTURE  OF 


TEXTILE    FABRICS. 


A.  &  A.  F.  SPITZLI, 


P.  O.  BOX  530, 


WEST  TROY,  N.  Y. 


TROY,    N.  Y.  : 

"V^nVL.     H.     YOTJ3JTC3-,    8     &     9     FIRST    STREET, 

1881. 


NOTICE. 


The  prices  in  this  Catalogue  are  adhered  to  as  nearly  as  possible,  but  owing  to 
frequent  fluctuations  in  the  value  of  many  articles,  alterations  may  be  necessary 
from  time  to  to  time. 

In  ordering,  give  the  number  with  price  of  the  article. 

Terms  Cash,  at  the  prices  stated.  Discounts  cannot  be  given  excepting  on  large 
orders,  and  to  Dealers,  Colleges  and  Schools.  A  large  order  means  many  articles 
not  always  a  large  sum. 

When  the  party  ordering  goods  is  unknown  to  us,  the  money  should  accompany 
the  order,  either  by  bank  draft  or  postal  money  Order.  Money  should  never  be  sent 
throttgh  the  mails. 

If  money  or  checks  are  sent  by  mail  the  letters  should  be  registered. 

Where,  however,  this  is  not  done  goods  will  be  sent  C.  O.  D.,  provided  a  re- 
mittance accompanies  the  order  to  insure  the  prompt  taking  up  of  the  package  on 
receipt. 

The  express  company's  charges  for  collecting  and  returning  money  on  C.  O.  D. 
bills  must  be  paid  by  the  party  ordering  the  goods. 

Small  articles  may  be  sent  by  mail  in  open  packages  at  one  cent  per  ounce. 
Pointed  tools  and  glassware  have  to  pay  full  letter  rates,  six  cents  per  ounce. 
Liquids  cannot  be  sent  by  mail. 

Articles  of  Glass,  such  as  Spectacles,  Eye-glasses  and  Microscope  Slides,  can 
now  be  sent  by  mail  at  Merchandise  Rates,  but  only  in  metallic  boxes,  as  ap- 
proved by  the  department.  These  will  be  furnished  at  cost,  and  are  very  cheap. 
Postage  must  be  prepaid,  and  the  necessary  amount  must  be  included  in  the  re- 
mittance accompanying  the  order. 

All  packing  boxes  will  be  charged  for  at  cost  prices,  and  all  goods  will  be 
packed  with  the  utmost  care  ;  but  no  responsibility  will  be  assumed  by  us  for 
breakage  or  other  damage,  after  a  package  leaves  our  premises,  except  upon  special 
contract. 

Such  articles  as  are  needed  by  a  considerable  number  of  our  customers  we  shall 
endeavor  to  keep  in  store.  Orders  which  require  alterations  or  additions,  and 
those  for  which  the  goods  must  be  manufactured,  we  are  prepared  to  fill  with  the 
utmost  promptness,  avoiding  the  vexatious  delays  formerly  so  common. 

A.  &  A.  F.  SPITZLI. 
West  Troy,  April  i,  1881. 


PREFACE. 


The  necessity  of  instruments  thoroughly  adapted  to  the  requirements  of  those 
who  are,  or  hope  to  be,  entrusted  with  the  responsibility  of  regulating  the  cost, 
value,  character  and  attractions  of  textile  fabrics,  has  been  exceedingly  great.  As 
every  advancing  step  of  any  art  or  science  entails  new  and  more  exacting  duties 
upon  those  who  endeavor  to  keep  apace,  the  necessity  must  become  more  and  more 
imperative.  The  delay  in  meeting  this  demand  has  resulted  in  the  use  of  many 
crude,  inconvenient  and  unsatisfactory  implem'ents  in  great  and  needless  variety  ; 
also  a  diversity  of  opinions  and  prejudices  which  of  course  will  follow  some  to  their 
graves.  With  an  available  supply  of  the  needful,  open  to  all,  the  more  progressive 
will  no  doubt  desire  to  be  properly  equipped.  In  a  very  short  period  the  un- 
couth and  imperfect  instruments  must  give  place  to  the  neat  and  complete,  in  re- 
sponse to  the  demands  of  science  and  employers.  Indeed  to-day  the  successful 
applicant  who  brings  to  his  new  position  a  really  complete  outfit,  and  can  show  by 
their  condition,  manner  of  using  and  keeping  them,  that  he  is  a  workman  of  the 
higher  order,  at   once  commands  respect  and  confidence  not  easily  dissipated. 

In  publishing  this  catalogue  we  do  not  aim  to  advertise  a  confusing  profusion  ; 
on  the  contrary  our  selections  of  instruments,  etc.,  have  been  conducted  from  a 
practical  standpoint,  although  covering  an  enormous  field  of  inquiry.  At  present 
we  desire  to  furnish  only  the  simplest  and  best  articles  applicable  to  the  many  va- 
rieties of  work,  avoiding  all  that  is  needless  or  objectionable.  All  these  the  cata- 
logue enumerates  in  such  a  form  that  those  who  know  their  requirements  may  make 
a  satisfactory  selection,  and  that  beginners  and  others  who  can  not  have  such 
knowledge,  may  be  easily  and  wisely  aided  and  advised.  The  explanations  of  the 
instruments  herein  contained  suffice  to  afford  the  purchaser  a  proper  guarantee  ; 
more  explicit  instructions  will  accompany  the  instruments  or  be  furnished  on  ap- 
plication. Later  improvements,  accessories  and  novelties  will  be  published  either 
in  supplementary  pages  or  in  new  editions.  Any  specialties  not  enumerated  in 
our  catalogues  or  so  published,  will  be  procured  or  manufactured  by  us  and  supplied 
with  the  greatest  possible  dispatch  at  prices  to  defy  competition. 

Inquiries  are  therefore  always  in  order.  We  hope  to  gain  much  from  new  in- 
ventions which  must  follow  the  introduction  of  first-class  instruments  to  so  many 
who  have  never  had  the  advantages  of  them,  and  we  shall  endeavor  to  render  every 
aid  and  encouragement  to  inventors  of  improvements  which  we  deem  a  decided 
advantage  to  any  number  of  our  customers,  to  the  uttermost  extent  permissible  by 
a  trade  distinctly  in  specialties  which  are  required  by  such  a  limited  number. 

To  select  suitable  outfits  with  fixed  prices,  for  the  many  kinds  of  work  to  be  pro- 
vided for,  would  entail  a  loss  to  our  customers  or  ourselves  and  prove  unsatisfactory  ; 
yet  when  a  purchaser  orders  a  large  number  of  smaller  articles  upon  which  the  mar- 
gin is  greater  in  proportion  to  the  price  than  of  larger  ones,  we  wish  to  make  an  ad- 
equate allowance  similar  to  that  made  by  those  who  are  enabled  to  select  sets  or 
outfits  suitable  to  their  customers'  wants.  Our  outfit  reduction  is  certainly  liberal 
and  intended  to  afford  the  liberty  to  order  just  what  is  needed.  If  too  liberal  we 
shall  soon  discover  it,  and  correct  the  failing  ;  but  only  when  absolutely  obliged  to, 
for  we  shall  make  strenuous  effort  to  make  as  few  changes  as  possible  ;  alio  to  serve 
our  patrons  in  a  just  and  liberal  manner,  hoping  in  these  and  every  other  particular 
to  give  perfect  satisfaction. 


A.  &   A.  F.  SPITZLI'S 


INTRODUCTION 


Designers  who  are  fortunate  enough  to  need  no  optical  aid  in  dissecting  a  pat- 
tern should  not  pass  us  by  or  peruse  these  pages  thinking  they  were  prepared  for 
others  ;  they  will  find  many  things  enumerated  which  they  constantly  need.  The 
best  course  by  far  even  in  regard  to  optical  instruments  is  to  provide  them  before 
the  emergency  compels  it.  By  so  doing  the  eyes  are  preserved  in  their  full  strength 
much  longer,  and  a  familiarity  with  instruments  is  attained  before  they  become  an 
absolute  necessity.  Dissecting  the  pattern  is  by  no  means  dissecting  in  its  entirety, 
which  fact  is  our  reason  for  asserting  that  no  designer  and  no  textile  factory  should 
be  without  a  microscope  and  many  of  the  accessories  thereto. 

Of  the  drawing  materials,  stationery  and  books,  sufficient  remarks  precede  the  re- 
spective lists  ;  we  would  in  this  place  add  only  one  more  suggestion  to  amateurs. 
Ttie  possession  of  a  complete  outfit  should  be  a  beginner's  first  ambition.  In  pro- 
curing it  he  should  be  governed  by  two  facts,  viz.:  expensive  ornamentation  is  un- 
necessary, but  the  possession  of  implements  which  reflect  credit  upon  the  owner's 
taste  and  judgment  are  an  advantage  to  every  workman. 


ILLUSTRATED*  CATALOGUE. 


OUTFITS. 


Almost  every  mail  brings  inquiries  about  outfits. 

"  What  kind  of  outfits  do  you  furnish  ?  " 

"  How  much  does  a  good  outfit  cost?  " 

"  Do  you  take  pay  by  installments  ?  " 

We  answer :  Our  outfits  consist  of  Instruments,  Books  and  Stationery,  in  col- 
lections selected  from  our  catalogue  by  the  purchaser  or  ourselves.  It  is  impossible 
to  select  beforehand  outfits  for  the  many  branches  in  which  our  goods  are  required 
without  injustice  to  our  patrons  and  ourselves,  therefore  Designers,  Superintendents, 
Overseers  or  Learners  may  select  their  outfits  to  suit  their  needs,  or  entrust  the 
selection  to  us  (in  which  case  we  need  full  particulars  of  the  kind  of  work  to  be 
done  with  the  instruments,  &c,  &c.)  In  either  case  if  the  selection  will  permit,  we 
make  the  price  for  the  whole  5  to  15  per  cent,  less  than  the  sum  of  the  separate  cat- 
alogue prices. 

When  we  are  entrusted  with  the  selection  we  shall  take  great  pains  to  send  only 
such  articles  as  are  necessary,  unless  otherwise  instructed,  and  in  no  case  will  we 
send  goods  the  value  of  which  exceeds  the  remittance  received. 

As  regards  installments,  we  would  now  answer  that  we  shall  take  orders  from 
parties  who  do  not  wish  to  pay  all  at  once,  but  with  the  understanding  that  our 
business  and  our  profits  are  such  that  we  can  not  send  goods  and  collect  afterwards. 
A  retainer  of  10  per  cent,  of  the  sum  to  be  expended  on  an  outfit  must  be  sent  with 
the  order.  This  retainer  will  be  kept  until  the  last  payment  has  been  made,  at 
which  time  we  will  deliver  for  the  last  payment,  for  the  retainer  and  for  the  regular 
reduction  (the  same  as  that  made  to  cash  customers  on  outfits).  Not  less  than  $5.00 
will  be  taken  as  a  single  payment,  excepting  the  last,  which  is  to  be  equal  to  the 
balance  due.  Not  less  than  $2.00  will  be  accepted  as  a  retainer,  although  the  price 
of  the  outfit  wanted  be  less  than  $20.00. 

To  aid  beginners  in  selecting  outfits,  we  give  below  an  enumeration  of  the  princi- 
pal parts  of  a  complete  outfit,  to  be  used  as  a  guide  in  ordering  ;  we  have  numbered 
it,  as  well  as  the  parts,  but  omitted  Catalogue  numbers,  which  should  always  be 
given  in  ordering. 

OUTFIT  NO.   1  . 

Part  I.  A  Compound  Achromatic  Microscope  for  the  examination  of 
fibers  and  microscopic  particles.  The  Binocular  Economic  Micro- 
scope, No.  102,  with  the  best  assortment  of  accessories $  85  00 

II.  A  Single  Dissecting  Microscope,  No.  152,  with  all  the  latest 

devices  to  make  it  The  Dissecting  Microscope  for  designers 25  00 

III.  A  Fine  Scale  in  a  Glass  Case  to  keep  it  free  from  dust  and  the 
consequent  injuries  to  the  appearance  and  accuracy 12  00 

A  Set  of  Weights,  including  Apothecaries,  Avordupois,  Troy, 
Gram  and  Grain  Weights S  00 

IV.  Two   Dies    for   Cutting   Samples   to   exact  measure  for  test 
weighing 7  00 

V.  A  Twist  Counter  for  ascertaining  the  amount  of  twist  in   any 

sample  of  yarn 10  00 

VI.  A  Simple  Collection  of  Chemical  Apparatus,  adequate  for  all 

necessary  tests iS   50 


o  A.  &  A.   F.  SPITZLI'S 

VI  I.   Two  LlNEN  PROVERS,  one   £x£  inch  and  one  i  inch 5  uo 

VIII.   A   Set  OF   DISSECTING   NEEDLES,   Scissors,   Forceps,   Brush,    &c, 

&c.     In  elegant  case • 8  00 

IX.  A  Simple,  but  Efficient  Set  of  Draughting  Tools.    In  case.     15  00 
X.  A  First-class  Lamp,  with  condensers  and  necessary  accessories 
to  make  dissecting  patterns  at   night  practical  without  destroying 

the  eyes 2000 

XI.  A  Complete  Assortment  of  Pens,  including  all  kinds  used  by 
designers    in   general  ;  several   varieties    of   Common    Steel    Pens, 

Shading,  Drawing,  Lettering  and  Ruling  Pens 10  00 

XII.  Six  Colors  of  Indelible  Drawing  Inks 2  50 

XIII.  A  Box  of  Crayons  in  12  colors 2  50 

XIV.  An  Assortment   of  Lead  Pencils  for  common  use  and  for  de- 
signing        3  00 

XV.  A  Complete  Assortment  of  Design  Paper,  5  quires  in  6  kinds,       2  50 
XVI.  A  Cheap  Scrap  Book,  to  serve  as  a  receptacle  of  samples  picked 
up  here  and  there,  to  be  dissected  and   subsequently  put  in  a  better 

book 3  00 

XVII.  A  First-class  Pattern  Book  for  samples  of  goods  manufactured 

under  personal  supervision.  ...    6  00 

XVIII.  A  First-class  Pattern  Book   for  samples  of  goods  made  by 

others,  which  have  been  dissected 6  00 

XIX.  A  Design  Book  for  use  at  mill 6  00 

XX.  A  Design  Book  for  designs  gotten  from  dissected  samples   ....       6  00 
XXI.  A  Color  Book  in  which  to  keep  specimens  of  colors  taken  from 
samples  or    otherwise    procured.     Space    for    receipts  beside   each 

sample  and  a  "  mat  "  leaf  over  all  10  00 

Few  young  men  keep   such  a  book,  and  yet  in   a  few  years    one  of  inestimable 
value  can  be  gotten  together. 
XXII.  Two  Record  Books,  one  for  a  record  of  general  facts  pertaining 
to  manufacturing  ;   one   strictly  for    patterns   or  the  memorandums 
they  call  for  (convenient  reference  marks  to  be  used)   3  00 

XXIII.  A  Manual  for  Designers 2  00 

XXIV.  Some  other  Standard  Work  on  Weaving 10  00 

Total $285  50 

Reduction 35  50 

Price  of  this  Complete  Outfit $250  00 

It  must  not  be  understood  that  we  claim  this  to  be  the  only  complete  outfit,  or 
that  we  confine  anyone  to  it.  It  will,  however,  serve  as  a  guide  to  some.  For 
instance,  instead  of  a  Compound  Microscope  for  $85.00  and  a  Single  Microscope 
for  $25.00,  an  instrument  which  will  serve  for  both  purposes  can  be  furnished  for 
$40.00  to  $50.00,  according  to  the  accessories  taken  with  it.  Again  some  of  these 
parts  may  already  be  supplied  in  part  or  entire,  or  may  not  be  needed  at  all,  in 
which  case  another  saving  can  be  effected. 


ILLUSTRATED  CATALOGUE. 


OPTICAL  INSTRUMENTS. 


We  are  prepared  to  furnish  almost  any  kind  of  Optical  Instruments,  as  our  con- 
nections afford  us  the  very  best  advantages,  and  we  will  do  so  to  accommodate  our 
customers  at  any  time.  But  for  the  present  we  intend  to  confine  our  energy  en- 
tirely to  the  development  of  instruments  required  by  the  textile  interests,  trusting 
to  meet  with  such  success  that  additional  branches  in  the  future  will  not  detract 
from  the  benefits  we  hope  to  extend  to  our  present  class  of  patrons.  For  the  same 
reason  do  we  omit  in  this  catalogue  the  microscopes  of  the  highest  order,  except  to 
mention  here  that  we  will  furnish  at  makers'  prices  any  instrument  from  the  one 
represented  upon  the  frontispiece  of  this  work  down  to  those  which  have  been 
selected  as  being  much  lower  in  price  and  still  sufficiently  nice  in  detail  to  meet 
any  ordinary  factory  requirements.  Our  Instruments  are  purchased  from  the  most 
reliable  manufacturers  when  not  made  by  ourselves,  and  we  feel  that  we  are  justi. 
fied  in  claiming  that  they  are  the  best  that  can  be  procured  for  the  prices  herein 
published.  Should  the  market  values  change  materially  before  we  can  issue  our 
next  edition,  the  change  will  not  be  made  in  our  prices  without  notice  to  the 
purchaser. 


'  Tie  International"  Improved  Large  Best  Microscope  Stand. 

(See  Frontispiece.) 

Price  $325.00.     With  all  the  Latest  Additions,  Complete,  $1,600.00. 

In  these  Instruments  the  Stands,  the  Object-Glasses,  the  Illuminating,  and  all 
accessory  apparatus  are  carried  to  the  highest  possible  perfection. 


Mode  of  Packing  First-Class  Microscopes  and  Apparatus. 


ILLUSTRATED  CATALOGUE. 


I  I 


iBBlli 


||Ba    1*11 


iigj 


stiaJL  *  at  *  i    Mil 

Mode  of  Packing  First-Class  Accessories. 


1B9&4IESIHI 


JfilJ/fl(ffJli/l//li)ll////jtiMil^ 


Mode  of  Packing  First-Class  Accessories, 


12  A.  &  A.  F.  SPITZLI'S 

THE  ECONOMIC   MICROSCOPE, 

The  Microscope  is  now  such  an  absolute  necessity  for  the  Designer,  to  enable 
him  satisfactorily  to  carry  on  his  investigations,  that  it  is  more  than  ever  incum- 
bent on  the  optician  to  construct  a  sound  economic  instrument,  adapted  to  the 
special  requirements  of  this  large  and  increasing  class. 

For  ordinary  investigations,  many  of  the  delicate  adjuncts  applied  to  the  higher 
priced  instruments  are  unnecessary,  and  tend  rather  to  confuse  than  to  assist  the 
beginner. 

A  firm  Stand  and  well  corrected  Object-glasses  are,  however,  indispensable  ;  and, 
with  a  view  to  meet  this  want,  we  now  introduce  to  the  special  attention  of  de- 
signers the  "  Economic  Microscope." 

The  description  following  will  fully  explain  both  the  construction  and  the  mode 
of  using  this  instrument,  while  the  scale  of  prices  at  the  conclusion  will,  we  trust, 
convince  all  who  peruse  them  that  we  are  able  to  offer  those  who  do  not  desire  to 
spend  a  large  sum  on  a  microscope,  an  instrument  thoroughly  adapted  to  their 
necessities,  at  a  very  moderate  outlay. 

A  Compound  Achromatic  Microscope  consists  essentially  of  two  parts — an  Object- 
glass  and  an  Eyepiece — so  called  because  they  are  respectively  near  the  object  and 
the  eye  when  the  instrument  is  in  use.  The  object-glass  screws,  and  the  eyepiece 
slides,  into  opposite  ends  of  a  tube  termed  the  Body,  and  upon  the  union  of  the 
two  the  magnifying  power  depends.  The  Microscope  Stand  is  an  arrangement  for 
carrying  the  body,  and  is  combined  with  a  Stage  for  holding  or  giving  traverse  to 
an  object,  and  a  Mirror  or  some  other  provision  for  illumination. 

The  Stand  of  the  Economic  Microscope  is  made  in  two  forms — the  one  with  a 
s/iding  coarse  adjustment  for  focussing  the  object,  and  the  other  where  the  quick 
movement  is  produced  by  a  rack  and  pinion.  On  both  stands  the  fine  adjustment 
is  given  by  means  of  a  milled  head  at  the  top  of  the  stem.  The  Object-glasses 
are  attached  to  the  stand  with  the  Universal  or  Society  Screw. 

Description  of  the  Stand  (No.  99)  and  Apparatus  as  Supplied  for  $40.00. 

The  foundation  of  the  stand  (No.  99)  is  a  heavy  horse-shoe  base,  at  the  bend  of 
which  is  a  firm  pillar,  having  at  its  top  a  hinge  joint,  which  allows  the  body  to  be 
inclined  at  any  angle,  and  is  sufficiently  firm  to  permit  of  its  being  placed  hori- 
zontal for  use  with  the  Camera  Lucida. 

At  this  price  the  instrument  includes  one  Eyepiece  and  two  Object-glasses,  called 
the  i-inch  and  ^-inch,  from  their  magnifying  power  being  nearly  the  same  as  single 
lenses  of  such  focal  lengths,  a  condensing  lens  for  the  illumination  of  opaque 
objects,  a  glass  plate  with  ledge,  for  examination  of  fluids,  and  a  pair  of  brass 
pliers.     The  whole  packed  in  a  neat  Mahogany  case,  with  lock  and  key. 

Its  Linear  Magnifying  powers  are  nearly  as  under : 

Draw-tube  closed.  Draw-tube  pulled  out. 

i-inch ,  63  93 

J-inch 200  290 

The  Body  is  supplied  with  a  draw,  or  lengthening  tube,  which  must  be  pulled 
out  to  give  the  full  power  to  the  object-glass. 

The  Quick- focussing  movement  is  produced  by  sliding  the  body  up  and  down  in 
the  tube,  and  the  slow  motion  is  given  by  the  tube  sliding  over  the  inner  stem  with 
a  spring  inside,  and  adjusted  by  the  milled  head. 


ILLUSTRATED  CATALOGUE. 


13 


The  Stage,  upon  which  the  ohject  is  placed,  has  two  springs,  the  pins  attached 
to  which  may  be  inserted  in  any  of  the  four  holes  on  the  stage,  and  by  their  pres- 
sure (which  can  be  varied  by  pushing  them  more  or  less  down)  they  will  hold  the 
object  under  them  or  allow  it  to  be  moved  about  with  the  greatest  accuracy. 

The  Mirror,  besides  swinging  in  the  rotating  semicircle  is  attached  to  a  bar, 
with  a  joint  at  each  end  allowing  a  lateral  movement,  so  as  to  throw  oblique  light 
on  the  object ;  and  for  this  purpose  the  tube  beneath  the  stage,  carrying  the  Dia- 
phragm, is  attached  by  bayonet  catches,  and  can  be  instantly  removed,  leaving  a 
clear  and  very  thin  stage,  allowing  the  utmost  obliquity  of  illumination.  This 
tube  also  carries  the  Polariscope,  etc.,  etc. 

The  Diaphragm,  slides  in  the  substage-fitting,  and  consists  of  a  tube  containing 
two  caps,  furnishing  two  sizes  of  openings  immediately  in  contact  with  the  under 
surface  of  the  slide  to  be  examined,  and  also  completely  cutting  off  all  light  from 
the  mirror  when  opaque  objects  are  to  be  viewed. 

DIRECTIONS    FOR    USE. 

To  adjust  the  focus  of  the  Object-glass — 

In  No.  99,  for  the  quick  adjustment,  slide  the  tube  up  or  down  in  the  fitting.  If 
a  slight  spiral  movement  is  given  to  the  tube  by  the  finger  and  thumb,  the  motion 
may  be  made  very  gradual. 

In  No.  100  the  same  adjustment  is  made  by  turning  the  milled  head  backward 
or  forward. 

In  both,  turning  the  milled  head  gives  the  slow  or  fine  adjustment. 

The  light  (which  for  transparent  objects  is  reflected  from  the  mirror,  and  for 
opaque  objects  is  condensed  by  means  of  the  lens,)  should,  in  general,  be  upon  the 
left  of  the  observer  if  the  microscope  body  is  inclined,  but  in  front  if  the  Instru- 
ment is  used  in  a  vertical  position.  The  best  is  that  from  a  white  cloud  on  a 
bright  day  ;  but  a  very  satisfactory  effect  can  be  produced  by  means  of  a  petroleum 
oil  or  gas  lamp,  provided  it  is  placed  not  more  than  10  or  12  inches  from  the 
Instrument. 

For  the  examination  of  minute  stria?,  side  light  is  necessary  ;  for  this  purpose 
the  Mirror  must  be  used  obliquely,  the  diaphragm  with  its  fitting  removed,  which 
will  then  allow  the  light  to  impinge  on  the  object  at  a  sufficiently  oblique  angle. 

With  the  i-inch  Object-glass  the  light  is  generally  in  excess,  and  has  to  be 
lessened  by  means  of  the  diaghragm  fitting  under  the  stage  ;  this  can  be  slid  up 
and  down,  thereby  increasing  or  decreasing  the  cone  of  admitted  rays  of  light. 

To  illuminate  opaque  objects  the  light  is  thrown  upon  them  from  above.  A  small 
condensing  lens,  fitting  into  the  stage,  is  used  for  this  purpose  ;  its  focus  for  a  lamp 
or  candle,  4  inches  from  it,  is  about  3  inches  ;  for  daylight  2  inches.  A  large 
object  can  be  placed  upon  the  stage,  but  small  ones  are  generally  either  laid  on  a 
slip  of  glass  or  held  in  the  forceps.  When  viewing  opaque  objects,  the  diaphragm 
should  be  placed  in  position  and  the  solid  cap  attached,  so  as-  to  exclude  all  light 
from  below  the  stage. 

A  glass  plate,  with  a  ledge  and  some  pieces  of  thin  glass,  are  applicable  for  many 
purposes,  but  are  specially  intended  for  objects  in  jluid.  Thus  a  drop  is  placed 
upon  the  plate  and  covered  by  a  piece  of  thin  glass,  or,  the  object  being  put  upon 
the  plate  and  the  thin  glass  over  it,  the  fluid  is  applied  near  one  side  and  runs  un- 
der by  capillary  attraction. 


14  A.  &  A.  F.  SPITZLI'S 

Glass  of  any  kind  requires  occasional  cleaning  ;  a  piece  of  soft  wash-leather  is  the 
best  for  the  purpose. 

The  fronts  of  the  Object-glasses  may  be  carefully  wiped  ;  but  if  they  require  any- 
thing more,  it  must  be  done  by  the  makers. 

When  cleaning  the  Eye-pieces,  which  should  be  done  frequently,  the  cells  con- 
taining the  glasses  must  be  unscrewed,  and  replaced  one  at  a  time,  so  that  they  may 
not  be  mixed. 

Any  dirt  upon  the  Eye-pieces  may  be  detected  by  turning  them  round  whilst 
looking  through  the  Instrument ;  but  if  the  Object-glasses  are  not  clean,  or  are  in- 
jured, it  will  for  the  most  part  only  be  seen  by  the  object  appearing  misty. 

The  whole  or  any  part  of  the  extra  apparatus  described  in  the  following  pages 
may  be  added  to  the  instrument  at  any  time,  without  its  being  sent  back  to  the 
makers. 

ADDITIONAL  APPARATUS. 

Although  the  Instrument,  as  already  described,  may  be  considered  complete  and 
probably  sufficient  for  many  observers,  yet  the  following  additions  can  be  made,  all 
of  which,  packed  in  a  small  tray,  will  fit  into  the  case  which  contains  the  Micro- 
scope. 

When  the  light  from  the  concave  mirror  proves  insufficient  for  any  object  re- 
quiring an  intense  transmitted  light,  the  Achromatic  Condenser  may  be  employed 
with  advantage  ;  this  slides,  by  its  tube,  into  the  fitting  under  the  stage  of  the  In- 
strument, in  which  it  has  to  be  moved  up  or  down  until  the  focus  of  its  lenses  falls 
upon  the  object,  the  light  having  been  previously  reflected  in  the  proper  direction 
by  the  mirror. 

The  Illumination  of  Opaque  Objects,  already  described,  must  be  more  or  less 
one-sided  ;  and  in  most  cases  it  is  desirable  that  it  should  be  so.  An  illumination 
on  any  or  every  side,  however,  is  easily  obtained,  provided  the  object  is  not  too 
large,  by  means  of  a  Lieberkuhn.  This  is  a  silvered  cup,  which  slides  or  screws 
upon  the  front  of  the  object-glass  ;  and  light  thrown  upwards  by  the  mirror  will  be 
reflected  by  it  down  upon  the  object  ;  it  will  then  be  found  that,  by  slightly  vary- 
ing the  inclination  of  the  mirror,  every  necessary  alteration  in  the  direction  of  the 
illumination  can  be  obtained. 

It  is  in  most  cases  necessary,  when  using  the  Lieberkuhn,  to  slide  a  Dark  Well 
under  the  stage  to  prevent  any  light  entering  the  Object-glass  direct  from  the 
Mirror.  > 

Dark-Field  Illuminatiott  is,  to  appearance,  a  means  of  seeing  a  transparent  ob- 
ject as  an  opaque  one.  The  principle,  however,  is  that  all  the  light  shall  be  thrown 
under  the  object,  but  so  obliquely  that  it  can  not  enter  the  Object-glass  unless  in- 
terrupted by  the  object  ;  this  is  best  accomplished  by  Wenham's  Parabolic  Re- 
flector. 

In  this  Microscope,  the  Parabolic  Reflector  fits  under  the  stage  in  the  same  fitting 
as  the  achromatic  condenser,  and  the  adjustment  of  its  focus  upon  the  object  (which 
is  when  its  apex  almost  touches  it)  is  made  by  giving  it  a  spiral  motion  in  the  fit- 
ting— that  is,  carefully  pushing  it  up  or  down  at  the  same  time  that  it  is  turned 
round  by  the  milled  edge.  As  the  rays  of  light  must  be  parallel  when  they  enter 
it,  the  Flat  Mirror  is  generally  used  ;  daylight  will  then  require  only  direct  reflec- 
tion, but  the  rays  from  an  artificial  source  will  have  to  be  made  parallel  by  putting 
the  Condenser  between  the  light  and  the  mirror,  about   if  inches  from  the  former 


ILLUSTRATED  CATALOGUE.  I  5 

and  4-J  inches  from  the  latter.  Nearly  the  whole  surface  of  the  mirror  should  be 
equally  illuminated,  which  may  be  tested  by  temporarily  placing  upon  it  a  card  or 
piece  of  white  paper. 

Polarized  Light,  a  beautiful  appliance  by  which  many  objects  otherwise  almost 
invisible  are  shown  in  every  imaginable  color,  can  here  only  be  treated  of  by  de- 
scribing the  way  in  which  it  is  applied  to  this  Microscope  by  the  following  appa- 
ratus :  A  Nicol's  prism  as  a  polarizer  fits,  and  can  be  turned  round,  in  the  fitting 
under  the  stage  ;  another  prism  is  fitted  to  an  adapter  which  screws  above  the  Ob- 
ject-glass, and  also  revolves.  When,  only  alternate  black  and  white  images  are 
given  by  the  prisms  alone,  a  film  of  selenite,  fitted  in  a  cap  which  slips  over  the 
Polarized  prism,  will  produce  colored  ones. 

To  draw  an  object,  the  Camera  Lucida  is  used.  It  slides  on  in  the  place  of  the 
cap  of  either  Eyepiece,  with  its  flat  side  uppermos,.  The  body  of  the  Micro- 
scope must  be  in  a  horizontal  position,  and  the  whole  instrument  has  to  be  raised 
until  the  edge  of  the  prism  is  exactly  10  inches  from  a  piece  of  paper  placed 
upon  the  table.  The  light  must  be  so  regulated  that  no  more  than  is  really  neces- 
sary is  upon  the  object,  whilst  a  full  light  should  be  thrown  upon  the  paper.  Only 
one  eye  is  to  be  used  ;  and,  if  one-half  of  the  pupil  be  directed  over  the  edge  of 
the  prism,  the  object  will  appear  upon  the  paper,  and  can  be  traced  on  it  by  a 
pencil,  the  point  of  which  will  also  be  seen.  Should  any  blueness  be  visible  in  the 
field  the  prism  is  pushed  too  far  on,  and  should  be  drawn  back  till  the  color  dis- 
appears. 

Substituting  in  the  place  of  the  object  a  piece  of  glass  ruled  into  iooths  and 
ioooths  of  an  inch,  termed  a  Micrometer,  its  divisions  can  be  marked  on  the  same 
or  another  piece  of  paper,  and,  by  comparing  them  with  the  sketch,  the  object  can 
be  most  accurately  measured.  These  divisions,  also,  if  compared  with  a  rule 
divided  into  inches  and  tenths,  will  give  the  magnifying  power  ;  thus,  supposing 
iooths  of  an  inch  when  marked  on  the  paper  measured  1  inch  and  3-ioths,  the 
magnifying  power  would  be  130. 

The  Live-box  hardly  needs  description  ;  the  object  is  confined  between  the  glass 
of  the  lower  part  and  that  of  the  cap  ;  the  distance  between  them  can  be  varied 
by  sliding  the  latter  more  or  less  on.  As  the  thin  glass  is  only  dropped  into  a 
slight  recess  in  the  top  of  the  cap,  and  is  held  there  by  the  heads  of  the  two  screws, 
it  can  be  easily  taken  out  for  wiping  or  be  replaced  by  another  when  broken. 

The  Glass  Trough  for  larger  objects  in  water  must  be  used  with  its  thinner  plate 
of  glass  in  front.  The  modes  of  confining  such  objects  and  keeping  them  near  the 
front  surface  must  vary  according  to  the  occasion.  For  many  it  is  a  good  plan  to 
place  a  piece  of  glass  diagonally  in  the  trough,  its  lower  edge  being  kept  in  its 
place  by  a  strip  at  the  bottom  ;  then,  if  the  object  introduced  is  heavier  than  water, 
it  will  sink  till  stopped  by  the  sloping  plate.  Sometimes  a  very  slight  spring  may 
be  applied  behind  this  plate  to  advantage,  with  a  wedge  in  front  to  regulate  the 
depth. 

Arrangements  are  made  for  all  those  parts  which  may  require  cleaning.  Thus, 
the  Parbolic  Reflector  unscrews  from  the  table,  the  Nicol's  Prisms  will  push  out  of 
their  fittings,  and  the  Camera-Lucida  Prism  can  be  taken  out  by  turning  aside  the 
plate  that  covers  it. 


I  6  A.  &  A.  F.  SPITZLI'S 

PRICES    OF   THE    ECONOMIC  MICROSCOPE    AND  APPARATUS. 

No.  Price. 

99.  The  Monocular  Economic  Microscope,  with  sliding  coarse  ad- 
justment, i-inch  and  J-inch  Object-glasses,  one  Eye-piece,  Concave 
Mirror,  Condensing  Lens,  glass  plate  with  ledge,  brass  pliers,  and 
Diaphragm,  in  Mahogany  Case $40  00 

100.  The    Monocular    Economic    Microscope,  with    Rack-and-pinion 

coarse  adjustment,  with  i-inch  and  £-inch  Object-glasses,  two  Eye- 
pieces, Concave  and  Plane  Mirrors,  side  Condensing  Lens,  Dia- 
phragm, Stage-Forceps,  pliers,  glass  slip  with  ledge,  in  Mahogany 
Case 55  00 

101.  The  Monocular  Economic  Microscope,  with  glass  stage,  and  the 

same  Object-glasses  and  accessories   as   are  furnished  with  No.  100, 

in   fine  Upright  Mahogany  Case 65  00 

102.  The  Binocular  Economic  Microscope,    with    i-inch  and  J-inch 

Object-glasses,  two  pairs  of  Eye-pieces,  Concave  and  Plane  Mirrors, 
side  Condensing  Lens  for  the  illumination  of  opaque  objects,  mova- 
ble glass  stage,  stage-forceps,  pliers  and  glass  plate  with  ledge,  in 
Mahogany  Case 85  00 


THE  NEW  BINOCULAR  NATIONAL  MICROSCOPE. 

103.  The  New  Binocular  National  Microscope,  with  Concentrically 
Rotating  Glass  Stage,  and  i-inch  (No.  695)  and  £-inch  (No.  698) 
Object-glasses,  having  the  respective  apertures  of  19  and  75  de- 
grees, and  magnifying  from  about  47  to  450  diameters  ;  2  pairs  of 
Eye-pieces,  Stage-forceps,  Condensing  Lens  on  stand  (No.  691),  a 
glass  plate  with  ledge  for  the  examination  of  objects  in  fluid,  and  a 
pair  of  pliers  ;  the  whole  packed  in  an  elegant  French  polished  Ma- 
hogany Case,  with  good  brass  handle  and  lock,  and  a  drawer  for  the 
accessories 1 10  00 

DESCRIPTION. 

The  Stand,  which  is  15  inches  in  height,  is  constructed  entirely  of  brass,  of  the 
highest  finish  and  best  workmanship,  having  a  broad,  heavy  tripod  base.  From 
the  centre  of  this  base  rises  a  stout  column,  to  the  top  of  which  is  attached,  by  a  firm 
joint,  the  Jackson  model  arm,  carrying  the  compound  body,  by  which  the  inclina- 
tion can  be  varied  to  any  degree,  from  vertical  to  horizontal,  the  whole  instrument 
being  perfectly  steady  and  free  from  tremor  in  any  position.  The  very  highest 
powers  may  be  used  with  it,  as  the  body,  being  supported  by  the  arm  throughout  its 
entire  length,  can  not  have  any  unsteadiness  or  motion  of  its  own. 

The  quick  Adjustment  of  Focus  is  effected  by  means  of  Rack  and  Pinion,  with 
large  Milled  Heads,  which  works  so  smoothly  that  there  is  no  need  to  use  the  Fine 
Adjustment  for  any  power  lower  than  \  of  an  inch.  The  latter  adjustment  is  by 
means  of  a  delicate  Micrometer  screw  and  lever  attachment,  working  with  absolute 
freedom  from  all  motion,  and  by  which  the  very  highest  powers  may  be  focused 
with  the  greatest  exactness. 


ILLUSTRATED  CATALOGUE.  I  J 

The  Stage  is  of  glass,  with  a  complete  rotation  in  the  Optic  Axis,  upon  the  top 
of  which  is  a  sliding  object-holder,  very  thin,  and  with  a  spring  clip  for  holding  the 
object  in  place  during  rotation.  This  clip  is  removable,  in  an  instant,  and  the  Stage 
forceps  can  be  inserted  in  its  place,  thus  allowing  the  latter  to  be  moved  about  with 
the  object-carrier.  Beneath  the  Stage  is  a  tube  carrying  all  the  sub-apparatus,  as 
the  Achromatic  Condenser,  Wenham's  Parabola,  Polarizing  Apparatus,  etc.,  etc. 
This  is  securely  attached  to  the  Stage  by  a  bayonet  catch,  and  can  be  instantly  de- 
tached, leaving  a  very  thin  and  unobstructed  Stage  for  Oblique  Illumination.  The 
Shutter  Diaphragm  is  of  novel  construction,  with  the  various  sized  openings  almost 
in  contact  with  the  underside  of  the  object  under  examination,  a  great  improve- 
ment upon  the  old  revolving  disk  Diaphragm.  A  Double  Mirror  Concave  and 
Plane  is  hung  upon  a  swinging  bar,  and  arranged  with  every  possible  motion  for 
Direct  and  Oblique  Illumination. 
No.  Price. 

134.  The  New  National  Monocular  Microscope,  with  Concentrically 

Rotating  Glass  Stage,  and  i-inch  (No.  695)  and  J-inch  (No.  698) 
Object-glasses,  having  the  respective  apertures  of  19  and  75  degrees, 
and  magnifying  from  about  47  to  450  diameters  ;  2  Eye-pieces,  Stage- 
forceps,  Condensing  Lens  on  stand  (No.  691),  a  glass  plate  with 
ledge  and  a  pair  of  pliers  ;  the  whole  packed  in  an  elegant  French 
polished  Mahogany  Case,  with  good  brass  handle  and  lock,  and  a 
drawer  for  accessories , $85  00 

135.  The  New  Binocular  National  Microscope,  with  i-inch  (No.  695) 

Object-glass,  1  pair  of  Eye-pieces,  Nos.  1  or  2,  as  desired,  Stage- 
forceps,  Condensing  Lens  on  stand  (No.  691),  glass  plate  and  pliers, 
in   Mahogany    Case 95  00 

136.  The   New  Monocular  National   Microscope,  with   1  Eye-piece, 

Nos.  1  or  2,  as  desired,  and  the  same  Object-glass  and  fittings  as 

with  No.  135.       In  Mahogany  Case 70  00 

137.  The  New  Binocular  National  Microscope  Stand,  with   1  pair 

of  Eye-pieces,  Concave  and  Plane  Mirrors,  Diaphragm,  Stage- 
forceps,  glass  plate  and  pliers 75  00 

138.  The  New  Monocular  National  Microscope  Stand,  with  1  Eye- 

piece, Concave  and  Plane  Mirrors,  Diaphragm,  Stage-forceps,  glass 

plate  and  pliers •. 50  00 


i8 


A.  &  A.   F.  SPITZI.I'S 


THE  NEW  HISTOLOGICAL  DISSECTING  MICROSCOPE, 


fUM 


No.  140.  No.  140. 

No.  Price. 

140.    The  New  Histological  Dissecting  Microscope,   with  outfit  as 


described  below 


This  instrument  combines  a  Compound  Microscope  with  a  Single  and  Dissecting 
one  in  a  very  compact,  practical  and  economical  form.  The  stout  immovable  arm 
carrying  the  lens  when  used  as  a  Single  Microscope  is  so  arranged  that  a  compound 
body  with  Eye-piece  and  draw-tube  may  be  attached  to  its  upper  surface,  whilst 
beneath  it  is  fitted  with  the  Society  Screw,  whereby  any  objective  may  be  used  with 
it.  The  Rack-and-Pinion  adjustment  works  so  smoothly  that  a  |-inch  objective 
may  be  focused  with  the  utmost  exactness.  The  Mirror  beneath  the  stage  is  so 
adjusted  upon  a  swinging  arm  that  it  may  be  turned  up  over  the  stage  for  the 
illumination  of  an  opaque  object.  A  revolving  diaphragm,  with  various  sized 
openings,  is  attached  to  the  under  side  of  the  stage.  The  outfit  consists  of  a  single 
lens  of  i-inch  focus  for  dissecting  and  botanical  work,  and  an  achromatic  objective 
of  J-inch  focus,  the  same  as  furnished  with  the  Economic  Microscopes,  and  one 
Eye-piece,  giving  a  range  of  powers,  with  the  draw-tube,  of  between  200  and  300 
diameters,  a  pair  of  brass  pliers,  two  dissecting  needles  in  Ebony  handles,  and  a 
glass  plate  with  ledge.     The  whole  packed  in  a  neat  Mahogany  case  with  lock. 


ILLUSTRATED  CATALOGUE. 


19 


No.  Price. 

141.  The  New  Histological  Dissecting  Microscope,  with  the  same 

outfit  as  with  140  and  the  addition  of  the  Economic  i-inch  Objec- 
tive    $32  00 

142.  The  New  Histological  Dissecting  Microscope,  same  as  with 

140,  with  all  the  additional  accessories  necessary  to  make  it  the  best 
and  most  complete  Dissecting  Microscope  at  present  available  to 
designers,    at   the  same  time   meeting   all  the   requirements   of  an 

"  Examining  "   Microscrope $40  00 

To  all  who  are  unable  to   procure   both    single  and   compound   Instruments,  and 
still  need  both,  this  Instrument  is  especially  recommended. 


NEW  MODEL  DISSECTING  SINGLE  MICROSCOPE. 


No. 
150. 


No.  150. 
One-half  Actual  Size. 


Price, 


New  Model  Dissecting  Single  Microscope,  Stand  all  brass, 
with  broad  circular  Base  and  large  firm  Stage ;  Jointed  Arm  to 
to  carry  the  lenses,  with  rack-and-pinion  adjustment  of  focus  ; 
Concave  Mirror  and  Side  Condensing  Lens,  with  complete  adjust- 
ments ;  two  single  lenses  of  \\  and  i-inch  focus"  also,  other  im- 
portant accessories.  The  whole  packed  in  a  strong  Mahogany  Case 
with  handle  and  lock $15  00 


20  A.  &  A.  F.  SPITZLI'S 

No.  Trice. 

151.  New  Model  Dissecting   Single  Microscope,    Stand  only,  with 

Lens  ;    no  Case  or  Condenser $10  OO 

152.  New  Model  Dissecting  Single  Microscope,  with  accessories  and 

additions  to  make  it  a  very  complete  instrument  for  dissecting  or 
"  picking  out  "  patterns,  as  well  as  many  other  uses  of  the  designing 
room  and  office 20  OO 

This  instrument  has  been  specially  designed  to  meet  a  long-felt  want  for  a 
thoroughly  good  dissecting  Microscope  at  a  very  moderate  cost.  The  Stand  is 
very  firm,  with  a  roomy  and  convenient  Stage  of  the  exact  height  from  table  for 
convenient  use  ;  the  lenses  are  exceedingly  good,  and  of  the  most  useful  powers 
and  the  whole  will  be  found  very  satisfactory  for  most  purposes. 

165:  The  Favorite  Dissecting  Microscope.  Plain  brass  base,  which 
answers  also  for  a  convenient  stage,  sliding  adjustment,  1  lens  of  2- 
inch   focus,  another  more  powerful  i-inch  focus.     In  neat  case 10  00 

166.  The  Favorite  Dissecting  Microscope.    Same  as  No.  165,  but  only 

one  lens 6  00 

167.  The  Amateur  Dissecting  Microscope.     Similar  to  No.  165,  with 

elegant  black  walnut  base,  and  several   special  accessories  required 

by  the  beginner 8  00 

168.  The  Amateur  Dissecting  Microscope.     Similar  to  No.  166.  with 

black  walnut  base 5  00 

169.  The  School  Microscope 6  00 

170.  The  School  Dissecting  Microscope.     This  instrument  is  the  same 

as  The  School  Microscope,  No.  169,  with  the  addition  of  two  hand 
rests,  which  at  once  convert  it  into  a  most  excellent  and  convenient 
Dissecting  Microscope.  They  are  attached  to  the  sta'ge  by  milled 
heads,  and  are  instantly  removed  if  desired.  The  whole,  micro- 
scope, lenses  and  hand  rests,  can  be  packed  in  the  case,  which 
measures  six  by  three  inches,  and  two  and  a  quarter  inches  deep. 
The  lenses  are  of  a  most  excellent  quality,  the  stand  firm  and  well 
finished,  and  it  would  seem  impossible  to  improve  tm  this  really  ex- 
cellent instrument,  either  in  compactness,  efficiency  or  cheapness. 
The  accompaniments  are  the  same  as  those  with  No.  169 8  00 


ILLUSTRATED  CATALOGUE. 


21 


THE  SCHOOL  DISSECTING  MICROSCOPE. 


No.  170. 
No.  Price. 

171.  Same  as  No.  170,  with  necessary  accessories  to  adapt  it  for  dissecting 

patterns $10  00 

172.  The  Excelsior  Pocket  Microscope,  with  three  lenses 275 

173.  With  two  lenses 2  50 

174.  With  three  lenses  and  hard  rubber  slides,  with  square   openings  £  and 

•J-inch 3  00 


22 


A.  &  A.  F.  SPITZLI'S 


THE  UNIVERSAL  HOUSEHOLD  MICROSCOPE, 


No. 

i  So. 


No.  1 80. 
One-half  Actual  Size. 


Price. 


The  Universal  Household  Microscope.  There  are  a  number  of 
Microscopes  under  this  name  in  the  market,  and  in  adding  ours  to 
the  list,  we  have  endeavored  to  add  to  their  efficiency  and  conveni- 
ence, whilst  somewhat  reducing  the  cost.  The  stand  is  ten  inches 
in  height,  with  hinged  joint,  allowing  it  to  be  inclined  to  any  angle 
for  convenience  of  observation.  The  base  is  of  cast  iron,  the  de- 
sign forming  the  monogram,  R.  &  T.  B.,  handsomely  bronzed,  the 
compound  body  of  finely  lacquered  brass,  with  draw-tube  for  in- 
creasing the  power.  The  Object-glass  is  of  three  powers,  usable 
separately  or  combined,  magnifying  from  about  20  to  100  diameters, 
or,  in  popular  terms,  from  400  to  10,000  times.  The  markings  upon 
the  scales  of  butterflies'  wings,  and  most  animalcules  in  pond-water, 
are  very  well  shown  by  these  glasses.  A  pair  of  brass  forceps,  two 
glass  slips  and  one  prepared  object  accompany  it,  the  whole  con- 
tained in  a  neat  and  strong  walnut  wood  case $5  00 


ILLUSTRATED  CATALOGUE. 


23 


No.  Price. 

181.  The  Universal  Household  Microscope,  the  same  as  180,  with  an 
Achromatic  Object-glass  of  three  powers,  in  place  of  the  one  fur- 
nished with  180,  magnifying  from  30  to  150  diameters,  with  excel- 
lent definition,  entirely  free  from  color $8  00 

183.  The  Universal  Household  Microscope,  with  rack  and  pinion  ad- 
justment of  focus,  a  Condensing  Lens,  for  the  illumination  of  opaque 
objects  and  an  Achromatic  Object-glass  (Triplet),  giving  powers 
from  about  30  to  250  diameters.  The  same  fittings  accompany  it 
as  are  furnished  with  No.  660,  and  the  whole  is  packed  in  a  hand- 
some French   polished  Mahogany  Case 12  00 

Our  object  of  inserting  these  household  instruments  into  this  catalogue  is  not  to 
extend  the  business  beyond  our  line,  but  we  do  it  because  we  know  that  many  men 
engaged  in  factories  would  long  ago  have  supplied  their  households  with  this  un- 
excelled means  of  instructive  entertainment,  had  they  known  just  where  to  apply 
for  what  was  wanted,  or  felt  that  they  could  depend  upon  a  fair  bargain  if  they  did 
attempt  such  a  purchase. 


ACHROMATIC  OBJECTIVES  (FRENCH  MANUFACTURE). 


These  Object-glasses  are  all  triple  combinations,  excepting  the   first,  which  is  a 
doublet ;  and  are  really  well  corrected  lenses,  giving  a  clear,  well-lighted  field  with 
excellent  definition.     They  all  have  the  French  Screw  the  same  as  that  of  No.  iS3t 
but  can  be  fitted  with  the  Society  Screw  for  an  additional  cost  of  75  cents  each. 
F.  M.  A.  Achromatic  Objective  No.  0,   i-inch,  doublet %  2  50 


B. 
C. 
D. 
E. 
F. 
G. 


"  I,  i  " 

trij 

"       2,    +       " 

"     3,  J-     " 

"       4.     i       " 

"             "     5,  -1-  " 
"     6,  JL  " 

3 

00 

3 

50 

4 

00 

5 

00 

7 

00 

10 

00 

HAND  MAGNIFIERS,  ETC, 


200. 

Oval 

-shape, 

Hard- 

rubber 

Case, 

Lens, 

about 

f-in.  d 

am. 

30 

201. 

" 

" 

" 

" 

" 

" 

- 

- 

" 

1          " 

50 

204. 

" 

" 

" 

" 

" 

- 

- 

" 

i|      " 

90 

205. 

Long-shape 

'• 

" 

" 

" 

- 

- 

" 

f      " 

40 

206. 

" 

" 

" 

" 

" 

" 

- 

- 

" 

1 5       « 

1  6" 

60 

207. 

" 

" 

" 

" 

" 

" 

with 

dia'm 

" 

1        " 

75 

208. 

" 

" 

" 

" 

" 

2 

" 

.  " 

" 

" 

I        " 

1   00 

209. 

" 

" 

" 

" 

" 

3 

" 

" 

" 

" 

1        " 

1    50 

215. 

" 

" 

" 

" 

" 

2 

" 

- 

- 

" 

t        " 

65 

216. 

" 

" 

" 

" 

" 

2 

" 

- 

- 

" 

*  S          K 
1  6 

90 

219. 

" 

" 

" 

" 

" 

3 

" 

- 

- 

" 

i    " 

90 

220. 

" 

" 

" 

" 

" 

3 

" 

- 

- 

" 

1  6 

1   25 

1  and  i 


24 


A.  &  A.   F.  SPITZLI'S 


No.  Price. 

225.  Linen-p'rover,  Brass  frame  vvitli  £  or  £-in   Open  Square $0  50 

226.  "           '•          Nickel-plated,       "          "                "                 75 

227.  "  "          "     Opening;    Achromatic  lens.  1  00 

228.  "          "         Brass  frame,  t  in.  Open  Square 1   50 


230. 
230. 
231. 
232. 
232/ 
233- 
233^ 
234- 
234-' 
235- 
235-": 
236. 
236/ 

237- 
238. 
239. 

240. 
241. 


WATCHMAKERS'  AND  ENGRAVERS'  GLASSES,  etc. 

Watchmakers'  Glass  of  •£ ,  i-inch,  i-J-inches  diameter,  as  desired 

"       with   two  lenses,  of  different  powers 

"  "       small  lens,  high  power 

Engravers'  "  "       2  plano-convex  lenses,  if-inches  " 

"         "       1   double     "  lens,      if-inches         " 

"         "       2  piano       "  lenses,  if-inches         " 

"         "       1  double     "         lens,     if-inches         " 
"  "       2  piano       "  lenses,  l^-inches  " 

"         "       1  double     "         lens,     i-J-inches         " 
"  "       2  piano       "         lenses,  2-J-inches         " 

"  "       1   double     "  lens,     2^-inches         " 

Seed  Microscope,  with  glass  cage  for  living  insects,  small  size 

"  "  "  "  "  "        medium  size   .  .  . 

"  "  "  "  ''  "         large  size 

"     forceps  for  living  insects,  folds  in  pocket-case, 
Three-legged  Microscope,  Brass  frame,  2  plano-convex  lenses,  adjust- 
ment for  focus 

Three-legged  Microscope,  Rubber  frame,  2  plano-convex  lenses 

"  Steel  frame,  2  plano-convex  lenses 


75 

75 

I 

50 

75 

2 

00 

I 

00 

2 

50 

I 

25 

3 

00 

1 

50 

75 

1 

00 

1 

50 

2 

00 

75 

1 

00 

1 

25 

242 

243 
244 
245 

246 

247 

248 


CODDINGTON  LENSES, 

Coddington  lens,  Brass  frame,  small  size    

"  "  "  medium    size 

"  "  "  large  size 

"       German-silver  frame,  with  cover 

"       Silver-plated        "  "  very  fine  article. 

"       and  engraved,  "  "  " 

.    "  "      Gilt  "  "  "  "  "      . 


p  00 

1  50 

2  00 
2  50 

4  00 

5  00 

6  00 


ILLUSTRATED  CATALOGUE. 


25 


No.  231. 


No.  242. 


No.  230. 


26 


A.  &  A.  F.  SPITZLI'S 


No.  230. s 


No.  239. 


No.  246. 


No.  236. 


ILLUSTRATED  CATALOGUE. 

CODDINGTON  LENSES,  ETC, 


27 


Nos.  355-358. 


No.  343. 


No.  Price. 

343.  Combination   of  Three  Lenses,  mounted    in    Tortoise-shell,  on   Brass 

Stand,  with  Adjusting  Arms  and   Sliding   Forceps    for  holding  an 

object $10  00 

344.  Combination  of  Three  Lenses,  in  Tortoise-shell,  on  Brass  Stand,  with 

Adjusting  Arm 7  00 

Combination  of  Three  Lenses,  mounted  in  Tortoise-shell,  for  pocket,  5  00 

"  Silver 10  00 

"  Aluminium  Bronze    ....  10  00 

"  German  Silver 8  00 

"  Gold 20  00 

"  Silver 7  50 

"  Aluminium  Bronze 7  50 

"  German   Silver 6  00 


347- 

Coddington 

Lens,  f-inch  focus,         " 

348. 

" 

f-inch       " 

349- 

" 

"       f-inch       "              " 

35o. 

" 

"       ^--inch       " 

35i. 

" 

"       ^-inch       "              " 

352. 

" 

"       ^-inch       "              " 

353- 

" 

"       £-inch       "              " 

ACHROMATIC  TRIPLETS, 

355.  Beck's  Achromatic  Triplet,  i-inch  focus,  in  Silver  Case $12  00 

356.  "  "  "         f-inch       "  "  "      IOOO 

357.  "  "  "         i-inch       "  "         "      10  00 

358.  "  "  "         i-inch       "  "         "      1200 


28 


A.  &  A.  F.  SPITZLI'S 

DEMONSTRATION  LENSES, 


406.  Demonstration  Lenses.  A  set  of  six,  if  inches  diameter,  showing  the 
forms  of  the  various  kinds  of  lenses,  viz.:  Double  Convex,  Double 
Concave,  Piano-Convex,  Piano-Concave,  Meniscus  Convex  and 
Meniscus  Concave.     Per  set $2  50 

COSMORAMA  LENSES. 

409.  Double  or  Piano-Convex  Lens,  8    inches  diameter,  and   either  30,  36, 

48  or  72  inches  focus,  each 4  00 

410.  Double   or   Piano-Convex  Lens,  7  inches   diameter,  same  foci   as  409, 

each 3  00 

411.  Double  or  Piano-Convex  Lens,  6  inches  diameter,  of  either  24,  30,  36, 

48  or  72  inches  focus,  each   2  50 

412.  Double  or  Piano-Convex  Lens,  5  inches  diameter,  of  either  18,  20,  24, 

30,  36,  48  or  72  inches  focus,  each 1   75 

413.  Double  or  Piano-Convex  Lens,  4  inches  diameter,  of  either  12,  14,  16, 

18,  20,  24,  30,  36,  48  or  72  inches  focus,  each 1   25 

414.  Double   or  Piano-Convex  Lens,  3  inches  diameter,  any  focus   6   to  36 

inches,  each 75 

415.  Double  or  Piano-Convex  Lens,  2  inches  diameter,  any  focus  6   to  36 

inches,  each 60 

416.  Double  or  Piano-Convex  Lens,  i£  inches  diameter,  any  focus  5  to  48 

inches,  each 50 


MICROSCOPE  AND  TELESCOPE  LENSES, 

417.  Double  or  Piano-Convex  Lens,  1   inch  diameter,  2  inches  focus 

418.  "  "  "       f     "  "  1*     " 

419.  "  "  "      I     "  "         r±     " 

420.  "  "  "      i    "  "1       •'  " 

421.  "  "  "     1    "  "      i     " 

422.  "  "  "    I   "         "      I    " 

423.  "  "  "     -JL.   "  "         4       "  " 

424.  "  "  "      i     "  "         i       " 


75 

75 

75 

75 

75 

75 

75 

75 

ACHROMATIC     OBJECT-GLASSES     FOR    SPY-GLASSES     AND 

TELESCOPES, 


425.  Achromatic  Object-glass,  i-J  inches  diameter,  18  to  30  inches  focus. 


426. 

427. 
428. 
429. 
430. 
431. 
432. 


if 
2 


18  to  30 

18  to  30 


2  00 

3  50 

4  00 


extra  fine  finish,  2  in.  diameter,  36  in.  focus,       6  00 


2* 

3 

3* 

4 


44 


54 
60 


10  00 
25  00 
50  00 
80  00 


No 
435 
436 
437 
438 

43g 
440 


ILLUSTRATED  CATALOGUE.  29 

PRISMS. 

Price 
Solid  Flint  Glass  Prisms,  3   inches  long,  each 5° 


60 

80 

1  00 

1   25 

1   50 


READING  AND  PICTURE  GLASSES. 

524.   Reading  Glass,  oxidized  metal  frame,  double  convex  lens,    2  inches 

diameter 75 

526.  Reading  Glass,  oxidized   metal   frame,  double   convex  lens,  i\  inches 

diameter 1   00 

527.  Reading  Glass,  oxidized  metal   frame,  double  convex  lens,  3$   inches 

diameter 1    75 

529.  Reading  Glass,  oxidized  metal   frame,  double  convex   lens,  4-J  inches 

diameter 3  00 

530.  Reading   Glass,  gilt  metal   frame,   ivory   handle,  one   double   convex 

lens,  i\  inches  diameter   2  25 

531.  Reading  Glass,  gilt   metal  frame,  ivory  handle,  double  convex  lens,  4 

inches  diameter 4  00 

532.  Reading  Glass,  black  metal  frame,  wood  handle,  double  convex  lens,  3 

inches  long  by  \\  inches  wide    125 

533.  Reading  Glass,  black  metal  frame,  wood   handle,  double  convex  lens, 

4  inches  long  by  2  inches  wide 2  00 

534.  Picture  Glasses,  wood  frame  and  handle,  double  convex  lens,  5  inches     , 

diameter 4  00 

535.  Picture  Glasses,  wood  frame  and  handle,  double  convex  lens,  6   inches 

diameter 5  °° 


DOUBLE  CYLINDRICAL  READING  GLASSES. 

These  entirely  new  and  very  superior  Reading  Glasses  are  made  of  a  double 
cylindrical  lens,  with  its  axes  crossing  at  right  angles,  giving  an  entirely  flat  field 
free  from  chromatic  or  spherical  aberration,  reading  to  the  extreme  edge.  Then- 
great  superiority  to  the  old  form  of  double  convex  lenses  is  apparent  at  a  glance. 

540.  Reading  Glass,  double  cylindrical,  German  silver  frame,  black  handle, 

2x3  inches 2  50 

541.  Reading  Glass,  double  cylindrical,  German  silver  frame,  black  handle, 

2^  *3±  inches 3  50 

542.  Reading  Glass,  double  cylindrical,  German  silver  frame,  black  handle, 

2TsFx3f  inches 4  50 

543.  Reading  Glass,  double  cylindrical,  German  silver  frame,  black  handle, 

2ix4i  inches „ 5  50 


30  A.  &  A.  F.  SPITZLI'S 

No.  Price. 

544.  Reading  Glass,  double  cylindrical,  German  silver  frame,  black  handle, 

2#X4-J  inches $6  50 

545.  Reading  Glass,  double  cylindrical,  German  silver  frame,  ivory  handle, 

2x3  inches 4  00 

546.  Reading  Glass,  double  cylindrical,  German  silver  frame,  ivory  handle, 

2}%x3£    inches ' 5  00 

547.  Reading  Glass,  double  cylindrical,  German  silver  frame,  ivory  handle, 

2 y5g  x3f    inches 6  00 

54S.   Reading  Glass,  double    cylindrical,   gilt   frame,  ivory  handle,   2|-3-gX3^ 

inches $6  00 

549.  Reading   Glass,    double  cylindrical,   gilt   frame,   ivory   handle,  2§\4£ 

inches 9  50 

550.  Reading  Glass,  double    cylindrical,   gilt  frame,   ivory  handle,   2-Jx4^ 

inches 10  50 


ILLUSTRATED  CATALOGUE. 


31 


Nos.  540  to  550. 


A.  &  A.   F.  SPITZLI'S 


Nos.,  524  to  533. 


ILLUSTRATED  CATALOGUE. 


33 


PRICES  OF  THE*EC0N0MIC  MICROSCOPE  APPARATUS. 

No.  Price. 

664.  Eye-pieces  for  100.     Nos.  1,  2  or  3,  each $4  50 

665.  Eye-pieces  for  101.     Nos.  i,  2  or  3,  each 5  00 

666.  Side  Condensing-  Lens 2  50 

667.  Stage-Forceps 2  50 

668.  Pliers 35 

ADDITIONAL  APPARATUS. 

630.  lleberkuhn  to  i-inch  object-glass  3  oo 

640.  Dark  Well 2  00 

641.  Achromatic  Condenser  and  Fitting  S  00 

642.  Wenham's  Parabolic  Reflector,  for  Dark-field  Illumination 8  00 

643.  Flat  Mirror  for  99,  (in  which  case  a  double  one   is  substituted  for 

the  concave  single  one,  which  has  to  be  returned,) 2   75 

644.  Polarizing  Apparatus,  complete  with  Prisms,  film  of  Selenite,  and 

adapter 13  50 

645.  Wollaston's  Camera  Lucida,  for  drawing  an  object .- .  6  50 

646.  Glass  Micrometer,  ruled  into  f £-0ths  and  y^'o^ths  of  an  inch. ...  2  00 

647.  Small  Live-Box   2  50 

648.  Glass  Trough,  complete  with  Wedge  and  Spring   2  50 

649.  All  the  above  "  Additional  Apparatus,"  Nos.  630  to  649,  if  ordered 

at  once 4°  °° 

650.  Vertical  Camera  Lucida  for  drawing  objects 8  00 

NEW  NATIONAL  SERIES  OF  OBJECTIVES. 

In  order  to  meet  the  universal  demand  for  good  and  well  corrected  Object- 
glasses  adapted  to  the  wants  of  true  observers,  who  need  reliable  glasses  at  a  mod- 
erate cost,  impossible  in  lenses  of  the  very  highest  grade,  we  have  now  introduced 
Beck's  New  National  Series,  which  we  confidently  recommend  as  the  best  low-priced 
Objectives  ever  made.  They  are  corrected  with  great  care,  are  exceedingly  well 
mounted,  furnished  with  the  Society  Screw,  and  packed  in  handsome  engraved 
Brass  Boxes.     The  Series  is  as  follows  : 


No 

Focal 
Length. 

Linear   magni 
Draw  Tubes. 

ying  power  nearly, 
with  Eye-pieces. 

Degrees   of 
angle  of 
aperture. 

Price. 

* 

Xo.  1. 

No.  2. 

No.  3. 

693 

3  in. 

closed 

12 

20 

32 

7  ° 

%  7  00 

694 

2  in. 

closed 

23 

43 

70 

10  ° 

7  00 

695 

1  in. 

closed 

47 

78 

116 

19  ° 

9  00 

696 

fin. 

closed 

6=; 

no 

170 

25  ° 

10  00 

697 

k  in- 

closed 

100 

170 

260 

38  ° 

12  00 

698 

iin. 

closed 

200 

340 

520 

75  ° 

12  00 

698* 

\m. 

closed 

275 

480 

750 

85  ° 

15  00 

699 

iin. 

closed 

365 

620 

965 

95  ° 

20  00 

699* 

TVin- 

closed 

730 

1240 

1930 

no  ° 

30  00 

700 

s'o  in. 

closed 

900 

1550 

2500 

120  ° 

45  00 

34 


A.  &  A.  F.  SPITZLI'S 


ADDITIONAL  APPARATUS. 

No.  Price. 

639.   Lieberkuhn  to  1-inch  Object-glass •$  3   50 

651.  All   the   above  Additional  Apparatus,  from  Nos.  630  to  649,  not   in- 
cluding 645,  if  ordered  at  once 40  00 

653.  Double  Nose  Piece,  Angular 7  00 

653*. Triple   Nose  Piece          :'       15  00 

662.  Eye-pieces,  Nos.  1,  2  or  3,  for  New  National   Microscopes,  each 5  50 

690.  Stage,  with  Horizontal    and  Vertical  Mechanical  Movements,  Sliding 

Object-holder,  and  Revolving  Fitting,  complete 20  00 

691.  Condensing  Lens  on  Stand 6  00 

692.  Draw-tube  for  "The  National  Microscope" 3  50 

Nos.  640  to  650  inclusive  are  applicable  to  these  instruments. 


ACHROMATIC  OBJECTIVES  (FRENCH  MANUFACTURE), 


These  Object-glasses  are  all  triple  combinations,  excepting  the  first,  which  is  a 
doublet ;  and  are  really  well  corrected  lenses,  giving  a  clear,  well-lighted  field  with 
excellent  definition.  They  all  have  the  French  Screw  the  same  as  that  of  No.  175, 
but  can  be  fitted  with  the  Society  Screw  for  an  additional  cost  of  75  cents  each. 

764.  Achromatic  Objective  No.  o,  i-inch,  doublet 2  50 

triplet 3  00 

50 
00 

00 

00 


765. 
766. 
767. 
768. 
769. 
770. 


Li 

2,i 

3,} 
4,4 

5'tV 


No.  888.     (See  Page  37.) 


ILLUSTRATED  CATALOGUE. 


No.  830. 


No.  832. 


A.  &  A.  F.  SPITZLI'S 


No.  835. 


No.  830. 


No.  871. 


No.  877. 


■■■'■'    ■  ~ ™«mmi>i>im,.wm,  ■>;■ 


No.  878. 


No.  891. 


ILLUSTRATED  CATALOGUE.  T>7 

APPARATUS  AND  ACCESSORIES. 

No.  Price. 

806.  Amici's  Prism  on  Separate  Stand $17  00 

811.  Equilateral  Prism  on  Separate  Stand  for  oblique  illumination    8  50 

812.  Adapter  on  Stand  for  use  of  Object-glass  as  Condenser . .  5  00 

830.  Large  Bull's-eye  Condensing  Lens  on  Stand 8  50 

830*. Large  Bull's-eye  Condensing  Lens  with   Lamp  attached 12  50 

832.  Smaller  Condensing  Lens  on  Stand 6  00 

834.  Side  Silver  Reflector  on  Stand 8  50 

835.  Rainey's  Light  Moderator  on  Stand 8  50 

842.  Three-pronged  Forceps,  in  German  Silver,  with  Screw  Adjustment. .  7  00 

843.  Three-pronged    Forceps 6  00 

844.  Stage  Forceps 3  50 

844*. Paper-pointed  Forceps 50 

846.  Eye-piece  Micrometer,  with  Jackson's  Adjusting  Screw 8  50 

847.  Stage  Micrometer,  mounted   in  brass 4  50 

848.  Stage  Micrometer,  mounted  in  card   225 

849.  Stage  Micrometer,  mounted  in  brass,  parts  of  English  Inch  and  Milli- 

metre   6  00 

849*.Stage  Micrometer,  mounted  in  card,  parts  of  English  Inch  and  Milli- 
metre  3  50 

871.  Glass  Slip  with   Ledge 40 

872.  Growing-cell,  for  preserving  objects  alive  in  water  for  many  days.  ...  4  50 

873.  Set  of  Six  Live-traps  and  Trough,  in  Case,  complete 12  50 

874.  Live-trap 3  00 

875.  Frog-plate,  with  Bag,  etc.,  complete 4  50 

876.  Glass  Slip,  with  Hollow  and  Ledge 50 

877.  Glass  Slip,  with  Hollow  and  Ledge  and  Lip 1   50 

878.  Glass  Slip,  with  Hollow 15 

880.  Glass  Tubes,  Set  of  Three 50 

882.  Opal  Glass,  for  Moderating  the  Light,  3x1  inch 40 

883.  Blue  Glass,  for  Moderating  the  Light,  3x1  inch 40 

886.  Astral  Oil  Lamp,  Flat  Wick  and  Shade,  with  arrangement  for  vary- 
ing height  of  flame  above  the  table 6  50 

886*. Case  for  Lamp,  No.  186,  and  1  chimney 4  00 

888.  Gas  Lamp,  Argand  Burner,  Shade  and  six  feet  of  flexible  tubing,  with 

arrangements  for  varying  height  of  flame  above  the  table 13   50 

(See  Page  34.) 

889.  Fiddian's  Microscope  Illuminator,  in  Case 15  00 

890.  Lamp  Chimneys,  for  Nos.  886*  or  888* ". 20 

891.  Weber's  Slip,  with  Convex  Cell 75 


38  A.  &  A.  F.  SPITZLI'S 

FIDDIAN'S  MICROSCOPE  ILLUMINATOR. 


LAMP   WHEN 
PACKED   IN    CASE. 


LONDON 


EXTERIOR   OF 
CASE. 


LAMP. 

No.  898.  Fiddian's  Microscope  Illuminator,  nickel  plated $15  00 

This  very  convenient  and  useful  Lamp  has  been  designed  to  combine  the  quali- 
ties of  other  Microscope  Lamps,  together  with  greater  portability,  the  whole  fitting 
into  a  brass  tubular  box,  the  exterior  of  which  is  covered  with  morocco  leather,  the 
lid  forming  the  stand  of  the  Lamp.  The  metallic  chimney  being  telescopic,  occu- 
pies a  very  small  compass  ;  the  condenser  fits  into  the  cell  in  front.  The  reservoir 
is  of  brass,  and  will  contain  sufficient  petroleum  for  six  hours'  consumption.  The 
entire  Lamp  fitting  into  the  case  from  the  top,  escape  of  the  oil  is  prevented. 

In  trimming  the  Lamp  care  should  be  taken  that   the  wick   is  perfectly  dry,  and 

the  petroleum  of  good  quality  ;  also  that  none  of   the  oil  gets  upon   the  metallic 

chimney  or  reservoir,  or  a  bad  smell  will  be  given  off  until  the  oil  is  burnt  away. 

In  using  the  Lamp   it  will   be  found  convenient   to  slightly  incline  it,  so  as   to 

bring  the  broad  surface  of  the  flame  more  parallel  with 

the  surface  of  the  mirror  of  the  Microscope. 

When  it  is  necessary  to  re -line  the  chimney,  screw  off 
the  sliding  portion,  wash  out  the  old  lining,  and  recoat  it 
with  superfine  Plaster  of  Paris.  When  dry  it  will  be 
found  ready  for  use — a  few  minutes  will  be  found  suffi- 
cient to  do  this. 

Size  of  Case: — Height,  6  inches ;  Diameter,  3  inches. 
899.  Beck's  Microscope  Lamp.  This  very  port- 
able, simple,  and  cheap  lamp,  is  arranged 
to  carry  the  flame  at  any  desired  height 
above  the  table,  thus  adapting  it  to  the 
use  of  all  sizes  of  Microscopes.  The 
shade  is  of  paper,  enamelled  green  on  the 
exterior,  affording  full  protection  to  the 
eyes,  and  emitting  no  heat.  The  base  is 
heavy,  and  the  lamp  perfectly  steady  at 
any  height $5  OO 

German  Student  Lamp.     Brass 

"  "  "  Nickel-plated 


5  00 

6  00 


ILLUSTRATED  CATALOGUE.  39 

No.  Price. 
902.    Dissecting    Lamp.      Large    base,    with  Condenser    and    Chimney. 
Also,  an  upper  shade  and  reflector  combined    to  shade  the  eyes  and 

intensify  the  light  on  the  work.     With  box #10  OO 

Without  box 8  00 

902.*  Smaller  Dissecting  Lamp,  with  box ..... 7  00 

Without  box 5  00 

902.**  Smaller  Dissecting  Lamp  4  00 

902.***  Condensers,  Separate,  from  $1.00  to 5  00 

902.****  Lamps,  with   Shades,  from  $2.00  to 6  00 

902***.    These  condensers  are  furnished  separate  or  with  fixtures  to  attach  to  lamp  902****,  or 
on  stands. 

yo2****.   The  Shades  for  these  lamps  are  of  various  shapes.     When  ordering,  state  what  instru- 
ment is  used  ;  or,  if  none,  what  position  is  occupied  while  dissecting. 


No.  923. 


No.  911. 


No.  913.  No.  912. 


No.  909. 


No.  915, 


4o 


A.  &  A.  F.  SPITZLI'S 


903.  Forceps,  brass,  3  inches  long 


904. 

9°5- 

906. 

906*. 

907. 

908. 

509. 

910. 

911. 

912. 

9*3- 


Quekett's,  for  taking  objects  out  of  deep  bottles 

Bull-nose 

Cutting 2  50 

opening  by  pressure 2  00 

Steel  Nickel-plated,  straight,  4  inches  long 1  00 


"  curved,    4  "         1  00 

"         4  "         very  delicate. . .        I  50 

"  "  straight,  4  "  "         "...        1  50 

Scissors  for  dissecting,  straight  blades,  very  delicate !    50 

"  blades  curved  on  the  flat 1   50 

elbow  blades 1  50 

Nos.  911,  912  and  913  are  of  most  excellent  quality  and  finish  ;  912  is  without 
doubt  the  most  convenient  and  safest  instrument  available  for  clearing  a  sample  of 
woolen  goods  of  the  nap  on  back  or  face.  There  is  no  danger  of  smut  as  with 
singeing,  or  of  scraping  and  cutting  as  in  shaving,  even  with  the  best  knife. 

Nos.  911*,  912*  and  913*  are  similar,  also  very  fine,  each 1  00 

911**.  Fine  Scissors,  straight  blades,  blunt  or  sharp  points 75 

911***.  Small  Scissors,  straight  blades,  blunt  or  sharp  points 50 

914.  Scissors  for  dissecting,  very  strong 1   25 

915.  Scissors  for  dissecting,  with  spring,  exceedingly  delicate 6  00 

916.  Needle-holder  for  Dissecting  Needles,  Fig.  1 75 


ILLUSTRATED  CATALOGUE.  4 1 

No.  Price. 

916*.  Needle-holder  for  Dissecting  Needles,             65 

916**.          "                           "                 " 50 

916***.        "                           "                 "                     25 

917.  "                            "                  straight  point,  ebony  handle 15 

917*.            "                           "                              "            metalic  handle 25 

917**.          ''                           "                             "                        "             10 

918.  Needle-hook  for  dissecting 15 

918*.             "           for  dissecting  double  points.     Fig.  2 75 

918**.           "            for  dissecting  triple  points.     Fig.  3 1   OO 

919.  Knives  for  dissecting,  Figs.  5  to  18  (very  convenient  in  the  designing 

room),  each 75 

920.  Case  of  Dissecting  Instruments,  containing  1  pair  forceps,  1  pair 

scissors,  2  dissecting  knives  No.  919,  2  needle-holders,  with  needles.  7  50 

921.  Case  of  Dissecting  Instruments,  containing  2  pair  forceps,  2  pair 

scissors,  3  dissecting  knives,  2  needle-holders,  with   needles,  1  Val- 
entine's knife.     (We  can  furnish  cases  with  any  number  of  pieces  to 

order) 15  00 

922.  Dr.  Ranvier's  "Necessaire".  3  00 

This  indispensable  little  piece  of  apparatus,  which  is  in  use  in  all  the  Hospitals 

in  Paris,  and  by  most  Microscopists  there,  consists  of  a  circular  base  of  polished 
wood,  in  which  are  arranged  six  reagent  bottles,  with  ground  capillary-tube  stop- 
pers, the  whole  covered  with  a  low  bell-glass,  to  exclude  dust. 

923.  Knife,  Valentine's,  for  cutting  sections  of  soft  tissues 6  50 

924.  Knife,  for  use  with  section  cutters,  in  Morocco  Case 3  50 

925.  Knife,  for  use  with  section  cutters,  heavy  blade,  in  Morocco  Case. . .  5  00 
These  knives  are  guaranteed  to  be  of  the  very  first  quality.     Each  is  ground  flat 

on  one  side   and  hollow  on  the  other,  and   can  be  furnished  to  cut  toward  or  from 

the  operator,  as  desired.  They  are  especially  convenient  for  shaving  the  nap  of 
samples  before  dissecting. 

928.  Glass  Cells,  of  various  sizes,  shapes  and  depths,  per  dozen   1  00 

929.  Block-Tin  Cells,  of  various  sizes  and  depths,  for  fluid  and  balsam 

mountings,  per  dozen 50 

930.  Hard-Rubber  Cells,  of  various  sizes  and  depths,  for  dry  and  opaque 

mountings,  per  dozen      . 15 

931.  Thin  Glass,  in  sheets,    No.   3,  jV  to  to'o'.  Per  oz 75 

932-  "                  "              ".     2>  Tib"  to  Ts  0       "     ■  •  •  • 1  00 

933-  "                   "               "      I,  T50  to- aio.  or  thinner,  per  oz 1  50 

935.  "               in  squares, "      3,  per  dozen,  18   cents               "     1  25 

936.  "                   "               "2,         "            20      "                  "     2  25 

937-             "                   "               "      1'         "            25      "                  "     2  75 

938.             "               in  circles,    "3,         "            20      "                   "     2  25 

939-             "                   "               "2.         "            25       "                  "     2  75 

940.  "                   "               "1,         "            30      "                  "     3  75 

941.  Watch  Glasses,  all  sizes,  each  7  cents,  per  dozen ...  75 

942.  Dipping  and  Dropping  Tubes,  each 10 

943.  Pippits,  with  bulb 25 

944.  Test  Tubes,  all  sizes,  each,  3  to  8  cents,  per  dozen 30  to  75 

945.  Bell  Glass,  for  preserving  objects  from  dust  during  preparation 50 


42 


A.  &  A.  F.  SPITZLPS 


No. 

947.  Canada  Balsam,  pure,  in  collapsible   tubes 

948.  "  "  in  chloroform,  requires  no  heat,  per  bottle.  .  , 

949.  "  "  in  Benzole,  "  "  "  .. 

950.  Damar,  " 

951.  Glycerine,  pure, 

952.  Glycerine,  Camphorated,  for  mounting  fresh-water  alga;,  per  bottle. 

953-       "        Jelly  

954.  Deane's  M  edium ' 

955.  Farrant's    Medium 

956.  Absolute  Alcohol,  (Dr.  Squibb's) 

957.  Benzole,   pure 

958.  Brunswick  Black 

959.  Asphalte 

960.  Gold-Size 


Price. 

25 
50 
50 
50 
25 
25 
50 
35 
60 

25 
25 
25 
25 
25 


No.  969.  No.  947.  No.  961. 

961.  Marine  Glue,  per  bottle 35 

962.  Oil  of  Cloves         "  50 

963.  Bell's  Cement,       "  50 

963.*  Brown's  Transparent  Rubber  Cement,  per  bottle 35 

964.  White  Zinc  Cement,  "   '  50 

965.  Punches,  various  sizes,  i  inch  to  1  inch each,  50  to  1   50 

965.*  Improved  Punch  for  cutting  cells  from  Sheet  Wax 1  50 

966.  Instrument  for  cutting  circles  of  thin  glass,  in  case IO  OO 

967.  Glaziers'  Diamonds,  from 4  00  to  10  00 

968.  Writing  Diamonds,  each 3  50 


No.  967. 


No.  968. 


ILLUSTRATED  CATALOGUE.  43 

No.  Price. 

969.  Capped  Bottles  for  containing  fluid  used  in  mounting  objects,  each.  .  .  50 

970.  Dropping  Bottles  with  glass  bulb  stopper,  each 25 

971.  Dropping  Bottles  with  rubber  top  stopper,  each     30 

972.  Small'Collecting  Bottles,  per  dozen 30  to  1  00 

972*. Capillary  Bottles   each 40 

973.  Wright's  Diatom  Collecting  Bottle,  complete  in  case 4  00 

974.  Mounting  Cabinet,  as  arranged  by    Mr.  Walmsley  ;  containing  6 

compressors,  wood,  6  ditto  nickel-plated,  Steel  Forceps,  Scissors, 
Knife,  Needles,  Turn-table  Brass  Table  and  Lamp,  gross  slips,  \ 
oz.  assorted  Squares  and  Circles,  1  doz.  Hard-Rubber  Cells,  1  doz. 
Block-tin  Cells,  3  Watch-glasses,  Dropping  Tube,  Tube  of  Balsam, 
Damar  or  Balsam,  Glycerine,  Glycerine  Jelly,  Hsematoxylon, 
Brunswick  Black,  Gold-size,  Oil  of  Cloves,  White  Zinc  Cement, 
Dropping  Bottle,  1  Nest  of  Saucers,  wide-mouth  Glass  Jar  for  So- 
lutions, 2  Camel's-hair  Brushes  in  long  handles.  The  whole  packed 
in  a  polished  mahogany  cabinet  with  lock ■ 25  OO 

975.  Porcelain  Saucers,  in  nests  of  5  with  cover,  all  fitting  dust  tight.     The 

most  useful  of  all  articles  in  staining  tissues  and  soaking  in  oil  of 
clovesk  (two  sizes) 60  and  80 

976.  Hot-water   Drying  Case,  for  drying  tissues  and    hardening    Balsam 

mountings,  made  entirely  of  heavy  Planished  Copper ;  will  harden 
twelve  dozen  specimens  at  once .      15  00 


STAINING  AND  INJECTING  FLUIDS,  ETC. 

977.  Hsematoxylon,  per  bottle 25 

978.  Ammonia  Carmine,  per  bottle 25 

979.  Borax  Carmine,  per  bottle 25 

980.  Carmine  Red,  per  bottle    35 

981.  Dr.  Woodward's  Violet  Carmine,  per  bottle 25 

982.  Methyl  Aniline,  Green,  per  bottle 25 

983.  Magenta  Aniline,  Red,  per  bottle 25 

984.  Blue  Aniline,  per  bottle. 25 

985.  Eosin,  per  bottle 25 

986.  Osmic  Acid,  -$2  oz.  in  glass  capsule 3  00 

987.  Picro  Carmine,  per  bottle 25 

988.  Sulphindigotate  of  Soda  (Dr.  Seder's),  per  bottle 25 

989.  Carmine  Injecting,  Gelatine  (Dr.  Seller's),  per  oz 1  00 

One  ounce  of  this^Gelatine  dissolved  in  ten  ounces  of  distilled  water 
foims  an  admirable  Injecting  Fluid. 

990.  Adhesive  Labels,  Plain  White,  Round  or  Oval,  per  box 10 

991.  "                "        Assorted  Colors,  Square,  neatly  bordered,  per  100.  .  25 

992.  "           Fronts  for  covering  slides,  handsome  gold  design,  per  IOO. .  50 

993.  "                "      for  covering  slides,  handsome  bronze  design,  per  100,  30 

994.  Backs  for  covering  slides,  per  100   10 

Backs  or  fronts  if  with  holes  punched,  extra,  per  100 15 


44  A-  &  A-  F.  SPITZLI'S 

DISSECTING  BRUSHES,  ETC. 

No.  Price. 

995.  Dissecting  Brushes  for  clearing  the  threads  of  a  sample  after  ravelling 

out  a  few  threads 75 

996.  Dissecting  Brush 50 

997-           "                 "      25 

998.  Perforated  Card  Board  Sample  Stretcher  for  dissecting  stage 5 

998*.         "          White  Wood             "                               "              "      10 

998**.       "           Nickle-plated            "                                "               " 25 

999.  A  set  of  20  different  textile  fibers,  properly  and  separately  mounted  on 

microscopic  slides.     Necessary  if  a   thorough  study  of  fibers  is  un- 
dertaken.    Price  per  slide  60  cents.     Per  set 10  00 

Send  30  cents  for  R.  &  J.  Beck's  Catalogue  of  Microscopic  Objects,  &c,  &c. 


ILLUSTRATED  CATALOGUE.  45 

CABINET  FOR  MICROSCOPIC  OBJECTS, 


No,  1466. 

Best  Spanish  Mahogany  Cabinet,  with  glass  panel  and  deep  drawers 

at  bottom,  to  hold  1,000  objects $70  OO 

We  can  furnish  any  of  R.  &  J.  Beck's   London  and  Phildelphia  goods  in  this 
line  at  their  lowest  retail  prices. 


46 


A.  &  A.  F.  SPITZLI'S 


CASES  OF  MOUNTING  MATERIALS. 

1360.  Collection  of  Mounting  Materials  and  Dissecting  Instru- 
ments, consisting  of  Wood-cutting  Instrument  and  Chisel,  instru- 
ment for  cutting  circles  of  thin  glass,  Glazier's  Diamond,  Writing 
Diamond,  Cell-making  Instrument,  Brass  Table  and  Lamp,  Page's 
Forceps,  Case  of  Dissecting  Instruments  containing  4  Knives,  2 
Hooks,  2  Points,  3  pairs  of  Scissors,  3  Pairs  of  Forceps  and  Needle- 
holder,  Valentine's  Knife,  1  oz.  Thin  Glass,  9  dozen  Slips  3  inch  by 
1  inch,  3  dozen  Wooden  Slips,  3  dozen  Glass  Cells,  200  Labels.  5 
Capped  Bottles  containing  Canada  Balsam,  Asphalt,  Gold-size, 
Glycerine  and  Marine  Glue,  Bottle  of  Dean's  Medium,  3  Stoppered 
Bottles  for  containing  Chloroform,  Nitric  Acid  and  Liq.  Potasse,.  .$100  00 
The  whole  packed  in  a  Strong  Mahogany  Case. 


No.   1372. 


ILLUSTRATED  CATALOGUE.  47 

CASES  OF  MOUNTING  MATERIALS. 

No.  Price. 

1361.  Collection  of  Mounting  Materials,  consisting  of  Writing  Dia- 
mond, Cell-making  Instrument,  Brass  Table  and  Lamp,  Page's 
Forceps,  Case  for  Dissecting  Instruments,  1  oz.  Thin  Glass,  6 
dozen  Slips  3  inch  by  1  inch,  3  dozen  Wooden  Slips,  2  dozen  Glass 
Cells,  150  Labels,  5  Capped  Bottles  containing  Canada  Balsam, 
Asphalt,  Gold-size,  Glycerine  and  Marine  Glue,  1  bottle  of  Deane's 
M  edium $40  00 


The  whole  packed  in  a  strong  Mahogany  Case. 


1365.  Reagent  and  Mounting  Rack,  containing  12  bottles  filled  with  vari- 
ous reagents,  cements,  etc.,  each  provided  with  a  dropping  tube 
fitted  to  the  cork,  and  10  test  tubes  with  fittings 3  00 

T368.  Improved  Wood  Cutting  Machine,  with  Chisel,  packed  in  Maiiogany 

Case 9  50 

1369.  Page's  Wooden  Forceps  for  holding  Glass  Slips  when  heated 50 

1370.  Smith's  Mounting   Instrument   for  pressing  down    the  Cover  on   the 

Glass  Slips,  with  a  graduated  pressure 3  OO 

1372.  Small  Air-pump  and  Receiver 12  50 


CABINETS  FOR  MICROSCOPIC  OBJECTS. 

1465.  Mahogany  Cabinet  to  hold  600  objects,  with  double  glass  doors 

and   improved   slide-rests,  showing  each  object  clearly  when  the 
drawers  are  pulled  out,  and  allowing  their  easy  removal 45  00 

1466.  Best  Spanish   Mahogany  Cabinet,  with   glass  panel  and   deep 

drawers  at  bottom,  to  hold  1,000  objects 70  00 

1467.  Honduras  Mahogany  Cabinet,  without  glass  panel  or  deep  draw- 

ers, to  hold   1,000  objects 55  00 

1468.  Best  Spanish  Mahogany  Cabinet,  with  glass  panel,  to  hold  750 

objects 50  00 

1469.  Honduras  Mahogany  Cabinet,  without  glass  panel,  to  hold  750 

objects 4400 

1470.  Best  Spanish  Mahogany  Cabinet,  with  glass  panel,  to  hold  500 

objects 40  00 

1471.  Honduras  Mahogany  Cabinet,  without  glass  panel,  to  hold  500 

objects 35  00 

In  the  above  Cabinets  there  are  porcelain  tablets  let  into  the  fronts  of  the  draw- 
ers.    The  drawers  are  numbered  and  the  specimens  lie  flat. 


48  A.  &  A.  F.  SPITZLI'S 

POSTAL  BOXES  FOR  MICROSCOPIC  OBJECTS. 

No.  Price. 

1482.  Card-board  Boxes  fitted  with  Racks  to  hold  12  objects $  15 

1484.  Postal  Boxes,  to  take  1  object 6 

1485-         "              "           "           3      "      8 

i486.  Postal  Boxes,  to  take  6  objects. 10 

14S7.        "            "          "        12      "     12 

1488.       "          "        "       25     "    : 15 


CASES  FOR  MICROSCOPIC  OBJECTS. 

1489.  Portable  Horizontal  Slide  Case,  with  12  Trays,  holding  12 
dozen  objects,  lying  flat,  the  same  as  in  case  No.  1471,  with  a  sub- 
stantial cover  of  bookbinder's  cloth 4  00 


ILLUSTRATED  CATALOGUE. 


49 


50  A.  &  A.  F.  SPITZLI'S 

SUNDRY  OPTICAL  INSTRUMENTS. 


Since  writing  our  preface  we  have  determined  to  insert  in  this  Catalogue  just 
enough  matter  of  a  more  general  character  to  convince  our  patrons  that  we  are 
prepared  to  serve  them  in  any  way  possible,  and  at  the  best  market  rates.  While 
this  is  a  great  accommodation  and  saving  to  them,  we  will  make  it  more  so  by  al- 
lowing our  "  Outfit  prices "  and  terms  to  include  anything  ordered  through  or 
from  us. 

ACHROMATIC  MARINE  AND  FIELD  GLASSES. 

These  Glasses  are  designated  according  to  the  diameter  of  the  Object-glasses  in 
French  lines,  as   follows  : 

ii  Lines  are  equal  to  i  inch. 

13  "  "  ifg-  inches. 

15  "  "  iT%       " 

17  "  "  ii 

19  "  "  i}£      " 

21  "  "  i| 

24  "  "  2\ 

26  "  "  2TSg         " 

They  are  all  constructed  with  six  lenses,  unless  the  contrary  is  specially  stated 
and  are  invariably  well  corrected  and  adapted  to  all  visions. 

Prices  range  from $8  00  to  $30  00 


ALUMINIUM  FIELD  OR  MARINE  GLASSES. 

From 35  00  to  60  00 

All  kinds  Opera  Glasses,  Lemare's  and  Bardou's  included,  prices 

ranging  from 6  00  to  25  00 

Aluminium  Opera  Glasses,  from 20  00  to  35  00 


ACHROMATIC  SPY-GLASSES  OR  TELESCOPES. 

From 3  00  to     40  00 


ASTRONOMICAL  TELESCOPES. 

By   Bardou,  Paris,  and  R.  &  J.  Beck,  Philadelphia  and 

London,  from $60  00  to  $2,400  00 


ILLUSTRATED  CATALOGUE.  5  I 

SPHERICAL  SPECTACLE  LENSES. 

Spherical,  Cylindrical   or  Prismatic   Lenses,  of  the   First  Quality  only,  fitted  to 
frames  at  the  following  prices  : 

No.  Price. 

2135.  Periscopic   or   Double   Convex  White    Lenses,  from    5    to  72   inches 

focus,  per  pair $       75 

2136.  Periscopic   or  Double   Convex   White    Lenses,  from    1    to  4f  inches 

fucus,   per  pair 1   25 

2137.  Double  Convex  White,  Divided  or  Franklin   Lenses,  per  pair 1   50 

2138.  "  "  "       Lenses,  two  foci  on  one  glass,       "        r  50 

2139.  Periscopic   or  Double  Convex   Tinted   Lenses,  Blue,  Pink,  Green  or 

Smoke,  per  pair 1    50 

2140.  Periscopic   or   Double   Concave  White    Lenses,  from    5  to  72  inches 

focus,  per  pair 75 

2141.  Periscopic  or   Double   Concave  White   Lenses,  from    1   to  4f  inches 

focus,  per  pair 1   25 

2142.  Periscopic  or  Double  Concave    Tinted   Lenses,  Blue,  Pink,  Green  or 

Smoke,  per  pair 1   50 

2143.  Plane,  Blue,  Green  or  Smoke-colored  Glasses,  per  pair 1   00 


CYLINDRICAL  SPECTACLE  LENSES. 

2145.  Piano-Convex  or  Concave  Cylindrical  White  Lenses,  per  pair $2  00 

2146.  "                                                "                               "        single  lens.  .  .  I  25 

2147.  Sphero-Convex                                                 *'              "        per  pair 4  00 

2148.  "                          "                    "                "              "        single  lens.  ..  .  2   50 

2149.  Piano-Convex  or  Concave  Cylindrical   and   Prismatic  White    Lenses, 

per  pair 4  OO 

2150.  Piano-Convex   or  Concave  Cylindrical   and    Prismatic  White  Lenses, 

single  lens 2  50 

21 5 1.  Sphero-Convex  or  Concave  Cylindrical  and  Prismatic  White  Lenses, 

per  pair 550 

2152.  Sphero-Convex  or  Concave  Cylindrical  and  Prismatic  White  Lenses, 

single    lens 3  00 

2153.  Crossed  Cylindrical   Lenses,  Convex  or  Concave,  White,  per  pair.  . .  7  00 

2154.  "                                                                                      "        single  lens,  4  00 


PRISMATIC  SPECTACLE  LENSES. 

2160.  Plane  Prismatic  Lenses,  White,  per  pair §2  00 

2161.  "                          "              "         single  prism 1   25 

2162.  Sphero-Prismatic      "             "        per  pair 4  00 

2163.  "                          "              "         single  prism 2   50 


52  A.  &  A.  F.  SriTZLI'S 

PEBBLE  SPECTACLE  LENSES,  ETC. 

No.  Price. 

2165.  Periscopic  or  Double  Convex  Pebble  Lenses,  per  pair $3  00 

2166.  "  Concave       "  "  "  ...    3  00 

2167.  A  set  of  Colored  Lenses  to  aid  the  designer  in  originating  new  shades 

and   tints   of  colors,  and   to  discover  errors   of   the   dyer,  per  set, 

with  handles 5  00 

Per  set,  without  handles 3  00 

Single  Lenses,  each,  with  handle 1    25 

"  "  "      without  "     75 

2170.  Spectacle  Case,  Morocco,  with  tuck 20 

21 71.  "  "  "  open  end 20 

2172.  "  "       Fine  English  Leather    .    '. 75 

2173.  "  "       Scotch  Plaid  Frog  Mouth.  ... 50  to   1    50 

2174.  "  "       German  Silver,  Plated 1   25   to   1    75 

2175.  Velvet  Chatelaine  Case.. 1  00  to  3  00 

2176.  Morocco       "  "      75   to  2  00 

2180.  Eye-Glass  Case,  Morocco,  open  end 15 

2181.  "  "       Finest  Russia  Leather 35 

2152.  "  Hooks,  Gold 1   50  to  5  00 

2153.  "  "        Gilt 25 

2184.  "  "         Steel 15 

2155.  "  Chains,  Gold,  with  Hook 4  00  to  6   50 

2156.  "  Guard,  Pure  Silk 10 

2157.  "  "       Catgut     10 


NICOL'S  PRISMS. 


2200.  Nicol's  Prism  of  Iceland  Spar,  S  millimetres  across  face.  . 

2201.  "  "  9  "  "        .  . 

2202.  "  "  10  "  "        .  . 

2203.  "  "  11  "  "        .  . 

2204.  "  "  12  "  " 

2205.  "  "  14  "  " 

2206.  "  "  16  "  "  . 

2207.  "  "  20  "  " 


2    25 

2  75 

3  50 

4  00 

4  75 

6  75 

9  75 

20  00 


Larger  sizes  imported  to  order. 


CLAUDE  LORRAINE,  OR  LANDSCAPE  MIRRORS, 


Claude  Lorraine,  or  Landscape  Mirror.  A  pleasing  and  beautiful  instrument, 
for  viewing  clouds,  landscapes,  etc.  As  the  mirror  condenses  or  diminishes  the 
view  into  a  true  perspective  effect,  the  instrument  is  invaluable  to  the  artist,  and  a 
very  desirable  companion  for  tourists.     Six  sizes,  as  follows: 


2221. 

74 

5i 

2222. 

71 

6i 

2223- 

'    8* 

°i 

2224- 

"  H 

7* 

2225- 

'    9* 

7i 

ILLUSTRATED  CATALOGUE.  53 

No.  Price. 

2220.   Mirror, 6J  inches  long  by  5^  inches  wide,  in  strong  Morocco  case,  each  $5   50 

"                         "  6  00 

7  50 

"                          "                        "  g  00 

"                         "                       "  10  00 

"                         "                       "  11  00 


HAND  MIRRORS,  IN  BLACK  WOOD  FRAMES. 

2230.  Mirror  Magnifying  on  one  side,  diminishing  on  the  other,  6  inches 

diameter 5  00 

2231.  Mirror,  Cylindrical  (elongating  and  shortening),  6  inches  diameter,  3  00 

2232.  "          Multiplying  (producing  several  images),  6   inches  diameter,  5  00 

2233.  "          Magnifying  on  one  side,  plane  on  the  other,  3^  in.  diameter,  1   75 

2234.  "                  "                        "                    "                          5          "  2  50 

2235.  "                 "                       "                   "                        6  3  00 


HAND  MIRRORS,  IN  FINE  MAHOGANY  FRAMES. 

2238.  Mirror,  Magnifying  on  one  side,  diminishing  on  the  other,  5  inches 

diameter 3  00 

2239.  Mirror,  Magnifying  on  one  side,  diminishing  on  the  other,  6  inches 

diameter 4  00 


MAGIC  LANTERNS. 

In  Japanned  Tin,  with  Coal-Oil  Lamps. 

2245.  Magic  Lantern,  6  inches  high,  with  6  glass  and  3  movable  slides.  .  5  00 

2246.  "  7  "  "     6  "        3  "  . .  6  00 

2247.  "  8  "  "     6  "        3  7  50 

2248.  "  9  "  "     6  "        3  "  . .  9  00 


KLAEGER  INSECT  PINS. 

2250.  The  Genuine  Klaeger  Insect  Pins,  five  sizes,  per  100 15 

"    1000 1  25 

2255.  Zoetrope,  or  Wheel  of  Life  3  00 

A  mechanical  and  optical  exemplification  of  the  persistence  of  vision,  and  a  val- 
uable aid  in  illustrating  the  wonders  of  optics.  The  turning  of  the  drum  or  cylin- 
der brings  into  view  the  varying  form  or  position  of  a  figure  in  rapid  succession, 
until  they  blend  into  a  perfect  image  full  of  motion  and  natural  action. 


c^4  A.  &  A.  F.  SPITZLI'S 

\.  i.  Price. 

2256.   Extra  views  for  Zoetrope,  per  set  of  six $1  00 

2260.  Parlor  Kaleidoscope,  on  Stand  with  Brass  Front 2  00 


CAMERA  LUCIDA. 

2265.  Camera  Lucida,  mounted  on  heavy  brass  base 7  50 

2266.  Camera  Lucida,  with  joint  for  inclination,  and  clamp  for  attaching 

to  table   10  00 

2267.  Camera   Lucida,  mounted  with  double  joints  for  inclination,  ex- 

tending rod  and  two  colored  glasses  for  modifying   the   light,  with 
clamps  for  attaching  to  table 17  50 

The  Camera  Lucida  is  a  most  useful  instrument  for  the  Designer,  Artist  or 
Draughtsman,  enabling  him  to  draw  very  readily  a  landscape  or  any  desired  object 
correctly.     Its  use  may  be  readily  learned  by  observing  the  following  directions  : 

The  instrument  being  fixed  to  the  table  and  paper  on  which  the  drawing  is  to  be 
made,  its  stem  should  be  inclined  so  as  to  bring  the  prism  nearly  over  the  centre  of 
the  paper,  and  the  pin  on  which  the  prism  turns  placed  truly  horizontal. 

The  prism  is  next  'to  be  turned  upon  its  pin,  until  the  transparent  rectangular 
face  be  placed  opposite  to  the  objects  to  be  delineated,  when  the  upper  black  sur- 
face of  the  eye-piece  will  be  on  the  top  of  the  instrument ;  and  through  the  aper- 
ture in  this  the  artist  is  to  look  perpendicularly  downwards  at  his  paper. 

The  black  eye-piece  is  movable,  and  in  ordinary  circumstances  is  to  be  in  such  a 
position  that  the  edge  of  the  small  transparent  part  at  the  back  of  the  prism  shall 
intercept  about  half  the  eye-hole.  The  artist  then,  looking  through  the  eye-hole, 
directly  downwards  at  his  paper,  should  see  the  objects  he  wishes  to  draw,  ap- 
parently distributed  over  the  paper.  For,  since  the  eye  is  larger  than  the  eye-hole, 
he  sees  through  both  halves  of  the  hole  at  the  same  time  without  moving  his  head. 
He  sees  the  paper  through  the  nearer  half,  and  sees  the  objects  at  the  same  time 
through  the  farther  half,  apparently  in  the  same  direction,  by  means  of  reflection, 
through  the  prism. 

The  position  of  the  eye-hole  is  the  circumstance,  above  all  others,  necessary  to 
be  attended  to  in  adjusting  the  Camera  Lucida  for  use  ;  for,  on  the  due  position  of 
this  hole  depends  the  possibility  of  seeing  both  the  pencil  and  the  objects  dis- 
tinctly at  the  same  time. 

If  the  eye-hole  be  moved,  so  that  nearly  the  whole  <>f  its  aperture  be  over  the 
paper,  and  a  very  small  portion  over  the  prism,  then  the  pencil  and  paper  will  be 
very  distinctly  seen  ;  but  the  objects  to  be  delineated  very  dimly.  If,  on  the  other 
hand,  the  aperture  be  mostly  over  the  prism,  and  but  a  small  portion  over  the 
paper,  then  the  objects  will  be  seen  distinctly,  but  the  pencil  and  paper  will  be  very 
faint.  But  there  will  always  be  an  intermediate  position  (varying  according  as  the 
objects  or  the  paper  happen  to  be  most  illuminated)  in  which  both  will  be  suffi- 
ciently visible  for  the  purpose  of  delineation,  though  not  quite  so  clear  as  to  the 
naked  eye.     This  intermediate  position  is  easily  found  with  a  little  practice. 

The  farther  the  prism  is  removed  from  the  paper,  that  is,  the  longer  the  stem  is 
drawn  out,  the  larger  the  objects  will  be  represented  in  the  drawing,  and  accord- 
ingly the  less  extensive  the  view. 


ILLUSTRATED  CATALOGUE.  55 

WINDOW  MIRRORS. 

No.  Price. 

2275.  Patent  Window  Mirrors,  complete  for  putting  up   $3  00 

The  Window  Mirror,  or  "Bo  Peep,"  enables  any  one  at  an  upper  window  to 
observe  who  may  be  at  the  front-door,  whilst  remaining  himself  concealed,  afford- 
ing also  a  panoramic  view  of  the  street  in  both  directions  for  several  blocks. 


BECK'S  NEW  PATENT  CLINICAL  THERMOMETERS. 

We  have  given  great  attention  to  the  manufacture  of  these  instruments,  which 
are  useless  if  not  entirely  accurate,  and  are  certain  that  in  all  respects  those  we 
now  offer  to  the  profession  are  superior  to  any  heretofore  sold  in  the  United  States. 
One  of  the  greatest  imperfections  in  all  others  has  been  the  obliteration  of  the 
scales  by  the  action  of  perspiration,  etc.  This  we  have  entirely  obviated  by  using 
a  black  enamel  in  the  scales  and  figures,  which  we  guarantee  indestructible,  except 
by  violence  ;  and  by  a  constriction  (patented)  in  the  tube,  the  loss  of  the  index  is 
rendered  impossible.  Each  thermometer  is  guaranteed  to  be  correct  ;  but,  if  de- 
sired, we  can  furnish  them  with  the  Kew  verification  for  an  addditional  charge  of 
50  cents  each. — (J?.  <S°  J.  Beck's  Catalogue))     The  prices  are  as  follows  : 

3-J  inch  in  Ebony  or  Boxwood  case $2  75 

4  "         "                     "           "     ■ •• 3  00 

5  "         "                                 "     • 3  50 

6  "         "                     "           "     400 

5^-inch  Patent   Surface  Thermometer,   exceedingly  sensitive,  in   fine  snap 

Morocco  case 5  00 

Steward's    Patent  Insulated,   Surface  Clinical   Thermometer,  in  Morocco 

case 20  00 

Dr.  Mattison's  Patent  Insulated,  Surface  Clinical  Thermometer,  in  snap 

Morocco  case 6  00 

Vaginal  Clinical  Thermometer,  8  inches  in  length,  with  tube  protected  by 

a  Nickel  Silver  Sheath,  in  fine  Morocco^case 7  50 


56  A.  &  A.  F.  SPITZLI'S 

MATHEMATICAL  INSTRUMENTS. 

This  Catalogue  comprises  a  very  complete  assortment  of  Mathematical  Instru- 
ments, containing  : 

Swiss  Instruments,  in  2  Qualities, 
Swiss  "  with  Pivot  Joint, 

English        " 
German       " 
French        " 
of  the  very  best  quality  and  provided  with  the  latest  and  best  improvements. 

The  needle-points  of  the  best  qualities  have  in  place  of  the  common  needle  a 
shouldered  needle,  which  forms  a  much  better  and  more  reliable  support. 

The  Swiss  Instruments  specified — from  No.  3125-3190-3216 — are  superior  to  all 
others.  Having  a  more  graceful  form  and  being  hand-finished,  they  do  not  offend 
the  eye  with  glossy  or  burnished  surfaces  which  are  easily  produced  by  machinery, 
but  are  a  sign  of  inferiority. 

The  German  Instruments  are  well  made  and  of  good  quality  ;  they  are  mostly 
used  in  schools  and  by  apprentices,  and  will  even  give  good  satisfaction  to  pro- 
fessional draughtsmen  and  designers. 

The  French  Instruments,  of  which  we  specify  a  complete  assortment  in  cases  as 
well  as  of  separate  pieces,  recommend  themselves  on  account  of  their  great  cheap- 
ness and  comparatively  satisfactory  workmanship.  For  scholars  and  apprentices 
they  will  be  found  good  enough,  but  they  will  not  be  sufficient  for  the  use  of  ex- 
perts and  professionals. 

Repairing  of  Instruments  done  at  moderate  charges. 


SUPERIOR  SWISS  INSTRUMENTS. 

OF    BEST     GERMAN    SILVER    AND    ENGLISH    STEEL. 

No.  Price. 

3125.  Plain  Dividers,  3^  inch,  each $  1  75 

3126.  "             "         with  handle,  3^  inch,  each 2  25 

3127.  Compasses,  3^  inch,  with  Pen,  Pencil  and  Needle  Points   6  00 

3128.  "          3^     "         "      fixed  Needle  Point,  Pen  and  Pencil  Points,  5  25 

3129.  "          3^     "         "      fixed  Needle  and  Pen  Points  (BowPen). . .  3  50 

3130.  "           3^     "         "      fixed  Needle  and  Pencil  Points  (BowPencil)  3  50 

3131.  Plain  Dividers,  5  inch,  each 2  20 

3132.  "                  6           " 275 

3133-1.   Hairspring  Dividers,  3  inch,  with  handle,  each 2  60 

3133.  "                  5  inch,  each 3  00 

3133-2.                       "                 6  inch,  each 3  15 

3134.  Compasses,  5-J  inch,  with  fixed  Needle  Point,  Pen,  Pencil  Points  and 

Lengthening  Bar,  each 7  00 

3134^.  Compasses,   \\  inch,  with  fixed   Needle   Point,   Steel   Pen,  Pencil 

Points  and  Lengthening  Bar,  each 725 

3135.  Compasses,  6   inch,  with  Pen,  Pencil,  Needle  Points  and  Lengthen- 

ing Bar,  each ....  8  00 


ILLUSTRATED  CATALOGUE.  57 

No.  Price. 

3136.  Compasses,    6£    inch,  with  joint   in   each  leg,   Pen,    Pencil,    Needle 

Points  and  Lengthening  Bar $925 

3137.  Compasses,    7  inch,   with   joint    in    each    leg,   Pen,    Pencil,   Needle 

Points,  Lengthening  Bar  and  Dotting  Pen IO  75 

3137-1.  Compasses,    7^   inch,  with  joint   in  each  leg,  Pen,  Pencil,  Needle 

Points,  Lengthening  Bar  and  Dotting  Pen  with  6  wheels 12  00 

3138.  Pocket  Dividers,  with  sheath,  5   inch,  each 3  00 

3139.  Pillar  Compasses,  with  handles,  Pen  and  Pencil   Points  to  draw  out, 

forming  small  Bows  if  required,  each 9  50 

3139-1.   Pillar  Compasses,  with  2  Lengthening  Bars  to  strike  larger  circles, 

each 11   50 

3140.  Pocket  Compasses,  with  folding  Points,  each 8   75 

3 141.  Triangular  Compasses,  for  taking  off  three  points,  each 5  00 

3141-1.  Triangular  Compasses,  with  movable  Bar,  each 5   75 

3142.  Whole  and  Half  Dividers,  ~j\  inch,  each 4  00 

3150.  Minute   Steelspring   Dividers   and  Bows,  3    in    set,  i\  inch,  set....  8  25 

3151.  Steelspring  Bow  Dividers,  with  Ivory  Handle           3       "      each...  2  20 

3152.  "            Bow  Pen,                         "                             3       "         "  2  50 

3153.  "            Bow  Pencil                      "                               3       "         "  2  50 

3154.  "            Bow  Pen,  Needle  Point,  Ivory  Handle,  3        "          "  2  85 

3155.  '              Bow  Pencil              "                     "                  3       "          "  2  85 

3156.  "            Bow  Dividers,  with  Ivory  Handle             2>i     "          "  2  60 

3157.  '•            Bow  Pen,  Needle  Point,  Ivory  Handle,  3^     "          "  3  00 

3158.  "            Bow  Pencil             "                     "                  3^     "          "  3  00 

3156.  Large  Steelspring,  Bow  Dividers,                 "                  4f     "         "  2  75 

3157.  "  Bow   Pen,  with  Needle  Point,  Ivory    Handle,  4f 

inch,  each      3  25 

3158.  Large  Steelspring  Bow  Pencil,  with  Needle  Point,  Ivory  Handle,  4f 

inch,  each 325 

Morocco  Cases  for  sets  of  3151,  3152,  3153  or  3151,  3154,  3155,  each 75 

for  sets  of  3156,  3157,  3158   each ...  1  00 

for  sets  of  3156L,  3157L,  3158L,  each 1  25 

3164.  Drawing  Pen  with  Ebony  Handle,  /\\  inch,  each t  .  . .  .  1  00 

3165.  "                               "                5              "         I    10 

3166.  "         with  joint,  Ivory  Handle,  4  inch,  each I  40 

3167.  "          with  joint  and  pin,  Ivory  Handle,  4f  inch,  each 1  60 

3168.  "                           "                           "                  Si           "          I   80 

3168-2.  "  "  "  and  German   Silver 

blades,  5^  inch,  each I   80 

3I69    Drawing  Pen  with  German  Silver  blades,  6|  inch,  each 2  00 

3170.  Border  Pen  for  broad  lines,  6|  inch,  each 3  00 

3170-2.                                     "          improved,  6£  inch,  each 3  50 

Border  Pen  No.  3170-2  may  also  be  used  as   Railroad  Pen   by  filling  only  the 
two  outer  pair  of  blades  with  ink. 

3171.  Curve  Pen,  4^  inch,  each .... 1  50 

3171^. Railroad  Pencil,  each 3  25 

3172.  Railroad  Pen  with  Ivory  Handle,  5^  inch,  each 3  50 

3173.  Railroad  Pen,  K.  &  E.'s  improved,  5-J  inch,  each 3  75 


58  A.  &  A.  F.  SPITZLI'S 

The  improvement  of  this  instrument  consists  in  having  both  pens  bent  in  the 
same  direction,  and  therefore  lines  can  be  drawn  against  straight  edges  and  rules 
as  perfect  as  with  a  ruling  pen. 

No.  Price. 

3174.  Dotting  Pen  with  6  wheels,  6  inch,  each $3  75 

3175.  Dotting  Pen  with  6  wheels,  improved,  6  inch,  each 4  25 

The  improved   Dotting  Pen  No.  3175    is   highly  prized,  as  it    entirely  prevents 

blotting.     The  reservoir  after  being  filled  is  closed,  and  through  a  minute   opening 
allows  no  more  ink  to  the  dotting  wheel  than  is  actually  needed. 

3176.  Opisometer  for  measuring  curved   lines,  each I   80 

3177.  Tracer,  each .  .    I   35 

3178.  Pricker,  each 1    75 

3180.  Swiss  Instruments  in  Morocco  Cases,  containing  Nos.  3126,  3128  and 

3 166 10  00 

3180-1.  Swiss  Instruments  in  Morocco  Cases,  containing  Nos.  3133,  3132-4, 

3166  and  3168      15   00 

3180-2,  3180-3,  3180-4  are  larger  sizes. 

3181  to  3187  inclusive  are  Swiss  Instruments  in  Rosewood  Cases,  with  fine 

Velve' $25  00  to    65  00 

3181  to  3187  in  Black  Walnut  (oiled)  cases,  each  $2  to  $4  less  than  Rosewood. 

Drawing  Pens  carefully  set  and  sharpened,  each  20  to  25"cents. 


ILLUSTRATED  CATALOGUE. 


59 


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60  A.  &  A.  F.  SPITZLI'S 

SWISS  INSTRUMENTS 

OF    BEST    GERMAN    SILVER    AND    ENGLISH    STEEL    WITH    PATENT    PIVOT   JOINT. 

No.  Price. 

3199.  Hairspring  Dividers,  3^  inch,  each 3  00 

3200.  Dividers,  3^  inch,  each % 2  00 

3201.  Compasses,  3^   inch,  with  Pen,  Pencil  and  Needle  Points,  each. ...  7  00 

3202.  Compasses,  3^  inch,  with  fixed  Needle  Point,  Pen  and  Pencil  Points, 

each 6  00 

3203.  Compasses,  3^  inch,  with  fixed   Needle  and  Pen  Points  (Bow  Pens), 

each  ...    4  75 

3204.  Compasses,  3$  inch,  with  fixed  Needle  and  Pencil  Points  (Bow  Pencil)  4  25 

3205.  Dividers,   5  inch 2  75 

3205.  1.     "          6     " 3  25 

3206.  Hairspring  Dividers,  5  inch 3  50 

3206.  1.     "                   "           6     "    4  00 

3207.  Compasses,  5  inch,  with  fixed  Needle  Point,  Pen,  Pencil,  Points  and 

Lengthening  Bar,    each 7  50 

3208.  Compasses,  6  inch,  with  Pen,  Pencil,  Needle  Points  and   Lengthen- 

ing Bar 850 

3213.  Steel-spring  Dividers,  with  German  Silver  Handle,  3^  inch 2  20 

3214.  Steel-spring    Bow  Pen,   with    German    Silver    Handle    and    Needle 

Point,  3^  inch 2  85 

3215.  Steel-spring  Bow  Pencil  and  Needle  Point,  3^  inch 2  85 

SWISS  INSTRUMENTS  WITH   PIVOT  JOINT. 

IN    MOROCCO    POCKET-CASES. 

3216-1,  containing  3200,  3201,  3166 12  00 

3216-2,         "           3I99»  3203,  3204,  3166  ....    15  00 

3216-3,         "           3200,  3202,  3150,  3166,  3168 22  00 

3216^4,         "           3202,  3206,  3207,  3166,  3168 23  00 

To  complete  a  set  of  the  above  Instruments  we  recommend  our  regular  Swiss 
from  Nos.  3125-3178.  as  they  match  them  in  style  and  finish. 

Nos.  3220  to  3239  are  English  Instruments,  German  Silver,  fine  finish,  double 
sector-joint. 

Nos.  3250  to  3294  are  German  Instruments,  German  Silver,  best  Steel  Points, 
highly  finished. 


ILLUSTRATED  CATALOGUE.  6  I 

CASES  OF  GERMAN  SILVER  INSTRUMENTS. 

MOROCCO  CASES,  LINED  WITH  BLACK  VELVET. 

No.  Prick. 

3300,  containing  1  Compass,  2>\  inch,  with  Pen,  Pencil  and  Needle  Points, 

1  Drawing  Sen,  each $3   5° 


N0.-3301. 

3301,  containing  I  Compass,  5-i-  inch,  with  Pen,  Pencil   Points  and  Length- 

ening Bar,  1  Drawing  Pen,  1    boxwood  Scale,  1  Triangle,  each.  ...        3   50 
3301^,  containing  1   Compass,  5^  inch,  with  Pen  and  Pencil    Points,  1    Di- 
viders, 5  inch,  1  Drawing  Pen,  1   boxwood  Scale,  1  Triangle,  each,       4  00 

3302,  containing  1  Compass,  5^  inch,  with  Pen,   Pencil,  Needle  Points  and 

Lengthening  Bar,  1  Drawing  Pen,  1  boxwood  Scale,  1  Triangle,  each       5  00 
3302-i,  containing  1  Compass,  5^  inch,  with  Pen,  Pencil  and  Needle  Points, 
1  Dividers,  5   inch,  1    Drawing   Pen,  1  boxwood   Scale,  1  Triangle, 
each 5  50 

3303,  containing   1   Compass,   5^   inch,  with  Pen,   Pencil,   Needle   Points, 

and  Lengthening  Bar,  1  Dividers,  5  inch,  1  Drawing  Pen,  1  box- 
wood Scale,  1  Triangle,  each    6  00 

3304,  containing  1  Compass,  5$  inch,  with  Pen,  Pencil,  Needle  Points   and 

Lengthening  Bar,  1  Dividers,  5  inch,  1  Drawing  Pen,  1  Steel  Spring 
Bow  Pen  with  Needle  Point,  1  Semi-circle  Protractor,  1  boxwood 
Scale,  1  Triangle,  each S  00 

3305,  containing  1  Compass,  si  inch,  with   Pen,  Pencil,  Needle  Points  and 

Lengthening  Bar,  1  Hairspring  Dividers,  5  inch,  1  Compass,  3-i 
inch,  with  Pen,  Pencil  and  Needle  Points,  I  Drawing  Pen  with  Pin, 
6  inch,  1  Semicircular  Protractor,  1  Boxwood  Scale,  1  Triangle,  each     11  00 


62 


A.  &  A.  F.  SPITZLI'S 


POLISHED    BLACK    WALNUT    CASES    WITH    LOCK    AND    TRAY. 


,  No.  3308. 


No.  Price. 

3308,  containing  1  Compass,  5^  inch,  with  Pen,  Pencil,  Needle  Points  and 

Lengthening  Bar,  1  Dividers,  5  inch,  1  Drawing  Pen  with  Pin,  1 
Steel  Spring  Bow  Pen  with  Needle  Point,  I  Semicircular  Protractor, 
1  boxwood  Scale,  1  Triangle,  each   $10  00 

3309,  containing  I  Compass,  5^  inch,  with  Pen,  Pencil,  Needle  Points  and 

Lengthening  Bar,  1  Dividers,  5  inch,  1  Compass,  3^  inch,  with  Pen, 
Pencil  and  Needle  Points,  1  Drawing  Pen,  6  inch,  with  Pin,  1  Semi- 
circular Protractor,  1  boxwood  Scale,  1  Triangle,  each II  50 

3310,  containing  I  Compass,  5!  inch,  with  Pen,  Pencil,  Needle  Points  and 

Lengthening  Bar,  I  Dividers,  5  inch,  1  Compass,  3!  inch,  with  Pen, 
Pencil,  Needle  Points,  1  Steel  Spring  Bow  Pen  with  Needle  Point, 
1  Drawing  Pen,  4  inch,  1  Drawing  Pen,  6  inch,  with  Pin,  Semi- 
circular Protractor,  1  boxwood  Scale,  1  Triangle,  each 15  00 

331 1,  containing  the  same  as  No.  3310,  1  Hairspring  Dividers,  5  inch,  in- 

stead of  Plain  Dividers,  5  inch,  and  1  Steel  Spring  Dividers,  I  Steel 
Spring  Bow  Pencil 19  °° 


ILLUSTRATED  CATALOGUE. 

CASES  OF  GERMAN  SILVER  INSTRUMENTS. 


t>3 


VERY  BEST    QUALITY — FINE   MOROCCO  POCKET  CASE,  LINED  WITH    PURPLE  VELVET. 


No.  3315. 
No.  Price. 

3314,  containing  1  Compass,  3^  inch,  with  Pen,  Pencil  and   Needle  Points, 

1  Drawing  Pen,  4  inch,  each $5  00 

3315,  containing   I  Compass,   4^  inch,  with   fixed   Needle   Point,  Pen    and 

Pencil   Points   and    Lengthening  Bar,  1    Divider,  4!   inch,  1    Steel 
Spring  Bow  Pen,  with  Needle  Point,  1  Drawing  Pen,  with  Pin,  each,       8   50 

3316,  Larger  size,  containing  Nos.  3255,  3259,  3275,  each 8  25 

3317,  containing  Nos.  3255,  3259,  3251,  3275,  each II    50 

33i2,  "  "       3255,  3259,  3251,  3272,  3275,  3283,   each 1400 

3319.           "             "      3257,  3259,  3251,  3272,  3275,  3282,  3283,  3284,  each,     18  00 
3316-3319,  containing  Scale  and  Rubber  Triangle,  extra 75 

3322,  containing  Nos.  3255,  3259,  3275,  3283,  1  German   Silver  Protractor, 

1  Ivory  Scale,  1  Rubber  Triangle,  each 12  00 

3323,  containing  Nos.  3255,  3259,  3251,  3275,  1  German   Silver  Protractor, 

1  Ivory  Scale,  1  Rubber  Triangle,  each 14  00 


64 


A.  &  A.  F.  SPITZLI'S 


No.  3311-3325- 
No.  Price. 

3324,  containing  Nos.  3255,  3259,  3251,  3283,  3272,  3275,  1  German   Silver 

Protractor,  1  Ivory  Scale,  1    Rubber  Triangle,  each 17   50 

3325,  containing   Nos.    3257,  3259,    3251,   3272.   3275,   32S2,   3283,   32S4,  1 

German  Silver  Protractor,  1  Ivory  Scale,  1  Rubber   Triangle,  each,     21   75 

3326,  containing  3255,  3257,  3259,  3251,  3272,  3275,  32S1,  3264,  3282,  3283, 

3284,  1  German  Silver   Protractor,  1    Ivory   Scale,    1    Rubber   Tri- 
angle,   each    32  00 


Larger  Cases  to  contain  any  of  the  Instruments  specified  in  this  Catalogue  made 
up  to  order. 


ILLUSTRATED  CATALOGUE.  65 

FRENCH  INSTRUMENTS. 

OF   BRASS   AND    GERMAN    SILVER    IN    CASES. 

No.  Price 

3339.  Mahogany   Case,   containing    5   pieces,   Brass,  1  pair  Compasses,  4^ 

inch,  with  Pen  and  Pencil  Points,  1  Key,  each    60 

3340.  Mahogany  Case,  containing  6  pieces,  Brass,  1   pair  Compasses,  4^ 

inch,  with  Pen  and  Pencil  Points,  1   Crayon-holder,  1  Key,  1  Rule, 

each 65 

3341.  Mahogany  Case,  containing   8  pieces,  Brass,  1   pair  Compasses,  4^ 

inch,  with  Pen,  Pencil  Points  and  Lengthening  Bar,  1  Crayon- 
holder,  1  Protractor,  1   Key,  1  Rule,  each 80 

3342.  Mahogany   Case,   containing  9   pieces,  Brass,   1    pair   Compasses,  4^ 

inch,  with   Pen,   Pencil  Points  and   Lengthening   Bar,  1    Drawing 

Pen,  1  Crayon-holder,  1  Protractor,  1  Key,  1    Rule,  each 95 

3344.  Rosewood  Case,  containing   10  pieces,  German  Silver,  1   pair  Com- 

passes, 4^  inch,  with  Pen,  Pencil  Points  and  Lengthening  Bar,  1 
pair  Dividers,  3^  inch,  1  Drawing  Pen,  I  Protractor,  1  Crayon- 
holder,  1  Key,  1  Rule,  each 2  75 

3345.  Mahogany   Case,  containing  10  pieces,  Brass,  1  pair  Compasses,  42- 

inch,  with  Pen,  Pencil  Points  and  Lengthening  Bar,  1  pair  Dividers, 
3$  inch,  1  Drawing  Pen,  1  Protractor,  I  Crayon-holder,  1  Key,  1 
Rule,  each ....    1  05 

3346.  Mahogany  Case,  the  same  as  No.  3345,  Compasses  5J  inch,  Dividers 

4i  inch,  each 1  30 

3346—2.   Mahogany   Case,  the   same   as    No.   3345,  Compasses  6£  inch,  Di- 
viders 4J  inch,  each I   60 

3346-3.  Rosewood  Case,  the  same  as  No.  3346,  German  Silver 3  25 

3347.  Mahogany  Case,  containing   12  pieces,   Brass,  I    pair  Compasses,  4^ 

inch,  with  Pen,  Pencil  Points  and  Lengthening  Bar,  1  pair  Dividers, 
3^  inch,  1  Bow  Pen  with  Pencil  Point,  1  Drawing  Pen,  1  Protractor, 
1  Key,  1   Rule,  each 1   50 

3348.  Mahogany  Case,  containing  12   pieces,  Brass,  the   same  as  No.  3347, 

but  Compasses  5^  and  4J  inch  long,  each I   85 

3349.  Rosewood  Case,  containing  12  pieces,  Brass,  the  same  as  No.   3348, 

each 2  25 

3350.  Rosewood   Case,  with  Lock   and   Tray,  containing   12  pieces,  Brass, 

the  same  as  No.  3348,  each 2  60 

3351.  Rosewood  Case,  with  Lock  and  Tray,  containing  12  pieces,  German 

Silver,  the  same  as  No.  3348,  each 4  60 

3352.  Rosewood  Case,  with    Lock   and  Tray,  containing    12    pieces,  Brass, 

the  same  as  No.  3350,  but  Compasses  6£  and  si  inch  long,  each.  . .       3  00 

3355.  Rosewood  Case,  with   Lock   and  Tray,  containing   16  pieces,  Brass, 

1  pair  Compasses,  6£  inch,  with  Pen,  Pencil  Points  and  Lengthen- 
ing Bar,  1  pair  Compasses,  3$  inch,  with  Pen  and  Pencil  Point,  1 
pair  Dividers,  4^  inch,  1  Bow  Pen  with  Pencil  Point,  1  Drawing 
Pen,  2  Protractors,  1  Key,  I    Rule,  each 3  40 

3356.  Rosewood  Case,  with  Lock   and   Tray,  containing   16  pieces,  Brass, 

the  same   as   No.  3355.     The  Compasses  with  Needle  Points,  each,       4  20 
5 


66  A.  &  A.   F.  SPITZLI'S 

No.  Price. 

3357.  Rosewood  Case,  with  Lock  and  Tray,  containing  16  pieces,  German 

Silver,  the  same  as  No.  3355,  each $7  00 

3358.  Rosewood  Case,  with  Lock  and  Tray,  containing  16  pieces,  German 

Silver,  the  same  as  No.  3357.     The  Compasses  with  Needle  Points, 

each 7  50 

3355p-  Rosewood  Case,  with  Lock  and  Tray,  containing  17  pieces,  Brass, 
1  pair  Compasses,  6J  inch,  with  Pen,  Pencil  Points  and  Lengthen- 
ing Bar,  1  pair  Compasses,  3^  inch,  with  Pen  and  Pencil  Points,  1 
pr.ir  dividers,  4^  inch,  1  Bow  Pen  with  Pencil  Point,  1  Proportional 
Divider,  1  Drawing  Pen,  2  Protractors,  1  Key,  1  Rule,  each 625 

3357P.   Rosewood  Case,  with  Lock  and  Tray,  containing  17  pieces,  German 

Silver,  the  same  as  No.  335 5P,  each 9  00 

3362.  Rosewood  Case,  with   Lock  and  Tray,  containing  14  pieces,  Brass, 

1  pair  Compasses,  with  Needle  Point,  6}  inch,  with  Pen,  Pencil 
Points  and  Lengthening  Bar,  1  pair  Compasses  with  Needle  Point, 
4j  inch,  Pen  and  Pencil  Points,  1  pair  Dividers,  4^  inch,  1  Spring 
Bow  Pen,  1  Drawing  Pen,  2  Protractors,  1  Rule,  1  Key,  each. ...       4  60 

3363.  Rosewood  Case,  with  Lock  and  Tray,  containing  14  pieces,  German 

Silver,  the  same  as  No.  3362,  each 725 

3364.  Rosewood  Case,  with  Lock  and  Tray,  containing  14  Pieces,  Brass, 

the  same  as  No.  3362,  but  with  Patent  Pencil  Points,  each 5  30 

3365.  Rosewood  Case,  with   Lock  and   Tray,  containing   15  Pieces,  Brass, 

the  same  as  No.  3366,  but  with  Patent  Pencil  Points,  each 7   50 

3366.  Rosewood  Case,  with    Lock  and  Tray,  containing   15    pieces,  Brass, 

1  pair  Compasses  with  Needle  Point,  6J  inch,  with  Pen,  Pencil 
Points  and  Lengthening  Bar,  1  pair  Compasses  with  Needle  Point, 
4i  inch,  with  Pen  and  Pencil  Points,  1  pair  Dividers,  4J  inch,  1 
Spring  Bow  Pen,  1  Proportional  Dividers,  1  Drawing  Pen,  I  Pro- 
tractor, 1   Key,  each 7  00 

3367.  Rosewood  Case,  with  Lock  and  Tray,  containing  15  pieces,  German 

Silver,  the  same  as   No.  3366,  each 9  75 

3368.  Rosewood  Case,  with  Lock  and  Tray,  containing  15  Pieces,  German 

Silver,  the  same  as  No.  3367,  but  with  Patent  Pencil  Points,  each,     10  60 

3369.  Rosewood  Case,  with  Lock  and  Tray,  containing  19  pieces,  the  same 

as  No.  3368,  and  with  Beam  Compasses  No.  3390.  each 16  00 

3370.  Rosewood  Case,  inlaid,  with   Lock  and   Tray,  containing   18  Pieces, 

German  Silver,  1  pair  Compasses  with  Needle  Point,  6^  inch, 
with  Pen,  Patent  Pencil  Points  and  Lengthening  Bar,  1  pair  Com- 
passes, 4J  inch,  with  handle,  with  Needle  Point.  Pen  and  Patent 
Pencil  Points,  1  pair  Dividers,  4J  inch,  1  Spring  Bow  Pen,  1  Pro- 
portional Dividers,  3  Drawing  Pens,  2  Protractors,  1  8-inch  Ivory 
Rule,  1  Key,  each 20  00 

3371.  Rosewood  Case,  inlaid,  with   Lock  and   Tray,  containing   22  pieces, 

German  Silver,  1  pair  Compasses  with  Needle  Point,  b\  inch,  with 
Pen,  Patent  Pencil  Points  and  Lengthening  Bar,  1  pair  Com- 
passes, 4J  inch,  with  handle,  with  Needle  Point,  Pen  and  Patent 
Pencil  Points,  1  pair  Dividers,  a,\  inch,  1  Proportional  Dividers, 
1  Steel  Spring  Dividers,  1  Steel  Spring   Bow  Pen,  1  Steel    Spring 


ILLUSTRATED  CATALOGUE.  67 

No.  Price. 

Bow  Pencil,  3  Drawing  Pens,  1  8-inch  Ivory  Rule,  2  Protractors, 
1  Key,  2  Triangles,  1  Curve,  each $24  50 

3372.  Rosewood  Case,  inlaid,  with  Lock  and  Tray,  containing  26  Pieces, 
German  Silver,  the  same  as  No.  3371,  but  with  Beam  Compasses, 
each 32  00 

Planimeters,  Pantographs,  Chartometers,  Section  Liners,  Excentrolineads, 
Paper,  Boxwood  and  Ivory  Scales,  and  Protractors,  in  great  variety  of  styles  and 
prices. 

3406.  Templet  Odontograph,  for  describing  Teeth  of  Gear  Wheels,  a  valu- 
able Instrument  for  Millwrights,  Machinists,  Pattern  Makers,  etc., 

with  full  description,  in  case $3  00 

(Awarded  a  Medal  at  the  Centennial  Exhibition.) 
Illustrated   Practical  Treatise  on   the  above  Odontograph  by  Prof.  S.  W. 

Robinson 50 

3409-1.  Brass  Trammel  Heads,  with  Pencil  Holder,  4  inch,  each 1   25 

3409-2.       "  "         with   Pencil  Holder,   5  inch,  each 1  75 

3409-3.       "  "  "         "  "         si     "        "    220 

3416.   Handy  Paper  Cutter,   Brass,   each 50 

3416-1.     "         "  "         Nickel-plated,  each 65 , 

This  little  Instrument  is  of  important  service  to  Draughtsmen  for  cutting  draw- 
ings from  the  board  ;  also,  for  cutting  any  kind  of  paper  or  bristol  board.  It  is 
slid  along  the  ruler  or  T  square  without  injuring  the  edge,  as.  is  done  by  using  a 
common  knife.  The  cutter  is  adjusted  by  the  side  screw  to  cut  only  the  thickness 
of  the  paper  without  striking  the  drawing  board. 

Measuring  Tapes,  Linen  and  Metalic,  from  3  feet  to  100  feet. 

Parallel  Rules,  Straight  Edges. 

Perspective  Lineads,   T  Squares. 

Triangles,  Curves,  etc.,  from  the  largest  and  best  manufactories. 


HARD  RUBBER  DRAWING  TOOLS, 

MANUFACTURED    BY   KEUFFEL   &   ESSER. 

Awarded  with  a  Prize  Medal  and  Diploma  at  the  Thirty-ninth  Exhibition  of  the 
American  Institute. 

All  Tools  of  Hard  Rubber  are  highly  recommended.  Their  superiority  over 
others  is  proved  and  recognized  by  the  best  authorities.  They  are  annealed  and 
consequently  not  affected  by  changes  of  temperature. 

The  Triangles  and  Curves  are  of  the  utmost  durability  in  comparison  with  those 
made  of  wood,  which  either  break  or  get  loose  at  the  joints. 

The  density  of  the  Rubber  permits  a  very  high  finish  on  the  edges  equal  to 
metal,  which  is  a  great  advantage  to  the  Angles,  Curves,  Rules  and  T  Squares. 

The  Hard  Rubber  Scales,  to  which  we  call  the  attention,  will  give  the  greatest 
satisfaction.  They  are  especially  adapted  for  use  in  more  or  less  dark  offices  and 
by  gaslight,  and  will  in  every  case  and  under  all  conditions  be  found  to  be  a  great 
success,  as  they  do  not  fatigue  the  eye. 


68  A.  &  A.   F.  SPITZLI'S 

DRAWING  TABLES. 

No.  Price. 

3985.  Drawing  Table,  on  Iron   Stand   with   adjustable   Board,  suitable  for 

office  and  private  use,  plain  ash  Board  20^x24  inch,  each $g  00 

3986.  Drawing  Table,  on  Iron  Stand  with  shelf 10  50 

3987.  Drawing  Table,  with  Black  Walnut  Board  22x25$  with   shelf,  each,  12  00 

3988.  Drawing  Table,  with  Black  Walnut  Board  and  Drawers,  on  castors, 

each 14  00 

3989.  Drawing  Table  with  Black  Walnut  Board  with  Drawers  and  long  set 

screw,  each 15  00 

3989-1.  Drawing  Table,  with  Black  Walnut  Board  with  Drawers  and  long 

set  screw,  finely  ornamented,  gilt,  each 18  00 


DRAWING  BOARDS. 

Our  Drawing  Boards  are  made  with  great  care  of  narrow  strips  of  best  selected 
thoroughly  seasoned  pine. 

3390.  Drawing  Board,  pine  wood,  hard  wood   ledges,  screwed  to  the  back, 
the  screws  run  in  slots  to  allow  free  contraction  or  expansion,  as 

described  at  No.  4009,  16x21,  each 1  50 

3991.  20x26,  each 2  20 

3992.23x31,     "     350 

3993.27x34,     " 425 

3994.31x42,     "     550 

3995.33x55,     "     900 

4000.  Drawing  Board,  pine  wood,  clamped,  12x17  inch,  each 75 

4001.  "  "  "  15x21  "         1   20 

4002.  "  "  "  20x26  "         1   50 

4003.  "  hard  wood  ledges,  dovetailed  in,  23x31 

inch,  each   3  00 

4004.  Drawing  Board,  pine  wood,  hard  wood  ledges,  dovetailed  in,  27x34 

inch,  each 3  75 

4006.  Drawing  Board,  pine  wood,  hard  wood  ledges,  dovetailed  in,  31x42 

inch,  each   4  50 

4006.  Drawing  Board,  pine  wood,  hard  wood  ledges,  dovetailed   in,  33x55 

inch,  each 8  00 

4007.  Drawing  Board,  pine  wood,  hard  wood  ledges,  16x21  inch,  each. ...       3  00 

4008.  "  "  "  20x26  "  ....  4  50 

4009.  "  "  "  23x31  "  ....  6  00 

4010.  "  "  '•  31x42  "  ....  8  50 

401 1.  "  "  "  33x55  "  ■ . .  12  00 

This  Drawing  Board  is  the  best  and  deserves  recommendation,  as  it  is  the  only 
one  which  possesses  the  qualities  a  good  and  true  board  should  have.  It  is  made 
of  pine  wood,  glued  up  to  the  required  width,  with  the  heart  side  of  each  piece  of 
wood  to  the  surface.  A  pair  of  hard  wood  ledges  are  screwed  to  the  back,  the 
screws  pass  through  the  ledges  in  oblong  slots,  bushed  with  brass,  which  fit  closely 


ILLUSTRATED  CATALOGUE.  69 

under  the  heads  and  yet  allow  the  screws  to  move  freely  when  drawn  by  the  con- 
traction of  the  board.  To  give  the  ledges  power  to  resist  the  tendency  of  the  sur- 
face to  warp,  a  series  of  grooves  are  sunk  in  half  the  thickness  of  the  board  over 
the  entire  back.  These  grooves  take  the  transverse  strength  out  of  the  wood  to 
allow  it  to  be  controlled  by  the  ledges,  leaving  at  the  same  time  the  longitudinal 
strength  of  the  wood  nearly  unimpaired. 

To  make  the  two  working  edges  perfectly  smooth,  allowing  an    easy  movement 
with  the  square,  a  slip  of  hard  wood  is  let  into  the  end  of  the  board.     The  slip  is 
afterwards  sawn  apart  at  abeut  every  inch  to  admit  contraction. 
No.  Price. 

4012.  Drawing  Board,  pine  wood,  black  walnut  frame,  size  of  board  without 

frame,  12^x16  inch,  each 2  50 

4013.  Drawing  Board,  pine  wood,  black  walnut  frame,  size  of  board  with- 

out frame  14x19  inch,  each 3  00 

4014.  Drawing  Board,  pine  wood,  black  walnut  frame,  size  of  board  with- 

out frame  16x21  inch,  each 3  50 

4015.  Drawing  Board,  pine  wood,  black  walnut  frame,  size  of  board  with- 

out frame  1 8x26  inch,  each 5  00 

4016.  Drawing  Board,  pine  wood,  black  walnut  frame,  size  of  board  with- 

out frame  21x29  incn>  each   6  00 

4017.  Trestles  made  of  well  seasoned  pine,  36  inch  high,  46  inch  long. 

For  boards  31x42  or  33x55  inch,  each. ...    7  50 

4031.  Tack-lifter  (patented  February  27,  1877,)  Brass,  Nickel  plated,  each,  25 

A  handy  and  simple  instrument  to  extract  thumb  tacks  from  the  drawing 
board.  The  end  of  the  lifter  is  placed  under  the  head  of  the  tack  and  takes  it  out 
without  bending  the  point    or  wrenching  off  the  head,  as  is  done  by  using  a  knife. 

The  handle  of  this  Instrument  is  a  Paper-knife,  and  is  handy  for  removing 
drawings  which  have  been  glued  to  the  drawing-board,  etc. 


DRAWING  PINS  OR  TACKS. 

4018.  Brass  tacks,  steel  points,  £  inch  diameter,  per  dozen 15 

4019.  Solid  steel  tacks,  fa         "  "  25 

4020.  Solid  steel  tacks,  fine,     Tsg-         "  "  80 

4021.  German  Silver,  steel  points,  screwed  in  and  riveted,  round  head,  fV 

inch  diameter,  per  dozen 60 

4022.  German  Silver,  steel  points,  screwed  in  and  riveted,  round  head,  £ 

inch  diameter,  per  dozen 65 

4023.  German  Silver,  steel  points,  screwed  in  and  riveted,  round  head,  yV 

inch  diameter,  per  dozen 70 

4024.  German  Silver,  steel  points,  screwed   in  and  riveted,  round  head,  i 

inch  diameter,  per  dozen 80 

4025.  German  Silver,  steel  points,  screwed  in  and  riveted,  round  head,  -fl- 

inch diameter,  per  dozen 90 

4025^.  German  Silver,  steel  points,  screwed   in  and  riveted,  round  head,  $ 

inch  diameter,  per  dozen 1  00 

4026.  German  Silver,  steel  points,  screwed  in   and  riveted,  beveled  head,  f 

inch  diameter,  per  dozen 65 


JO  A.  &  A.  F.  SPITZLI'S 

No.  Price. 

4027.  German  Silver,  steel  points,  screwed  in  and  riveted,  beveled  head,  -j-y, 

inch  diameter,  per  dozen 70 

4028.  German  Silver,  steel  points,  screwed  in  and  riveted,  beveled  head,  ^ 

inch  diameter,  per  dozen 80 

402SJ.  German  Silver,  steel  points,  screwed  in  and  riveted,  beveled  head,  yy 

inch  diameter,  per  dozen    .  .    90 

4028^.  German  Silver,  steel  points,  screwed  in  and  riveted,  beveled  head,  £ 

inch  diameter,  per  dozen • 1  00 

Drawing   Pins  or  Tacks,  German  Silver,  steel   points   riveted,  2d  Quality,  round 
head  Nos.         r         2         3         4         5         5^ 

A       I        h         i        T6       i  >nch  diameter. 
Per  dozen,  $  .30       35      40        45       50      55 
Beveled  head,  Nos.  6         7         8         g         10 

I       tV        i       A        I  mch  diameter. 
Per  dozen,  $  .35       40       45       50       55 

Drawing  Pins    or   Tacks,    Brass,    steel  points    riveted,   2d    Quality,    round    head 
Nos.  o  IB  2B         3B         4B 

i        T5e  f         tV  i  mcn  diameter. 

Per  dozen,   $  .15        20         25         30         35 
Beveled  head,  Nos.  6b         7B         8b 

■§  -j^g-         ^     inch  diameter. 

Per  dozen,  $  .25  30         35 

4029.  Horncentre  plain,  £  inch  diameter,  each 15 

4030.  Horncentre  with  German  Silver  edge,  f  inch  diameter,  each 50 


GERMAN  WATER  COLORS, 

FOR   ARCHITECTS,    MECHANICAL   AND   CIVIL   ENGINEERS   AND   MACHINISTS. 

The  principal  advantage  of  these  colors  consists  in  a  series  of  tints,  ready  mixed 
for  all  technical  purposes,  enabling  draughtsmen  to  apply  the  same  tint  without 
the  difficult  and  and  laborious  process  of  mixing  the  colors. 

The  collections  below  show  boxes  arranged  with  the  colors  required  by  Archi- 
tects, Machinists,  Civil  Engineers  and  Mechanical  Draughtsmen,  the  value  of 
which  we  feel  assured  will  soon  be  appreciated.  We  have  no  doubt  that  these 
colors  will  receive  the  well  deserved  credit  they  have  for  many  years  enjoyed 
abroad. 

GERMAN  COLORS. 

IN    POLISHED    SLIDE-LID    BOXES. 

4091.  For  Architects,  containing   12  colors,   Nos.  105,  109,  116,  117,  121, 

122,  131,  136,  142,  152,  155,  171,    each $3  25 

4092.  For  Architects,   containing   18   colors,  Nos.  100,  105,  109,  110,  116, 

117,  121    122,  129,  131,  133,  135,  136,  142,  152,  155,  161,  171...       4  50 


ILLUSTRATED  CATALOGUE. 


71 


No.  Price. 

4093.  For  Architects,   containing  24  colors,    Nos.  100,  105,  109,  no,  116, 

117,   121,   122,   126,   128,   129,  131,    133,  135,  136,  142,  150,  152, 

!54»   J^.   IOI>   162,   163,   171,   each $6  00 

4094.  For  Architects,  containing   30  colors,   Nos.  100,  104,  105,  106,  109, 

no,   116,   117,   121,   122,    T26,   128,  129,  131,  132,  133,  135,  136, 

J37,   !38,   142,   150,   152,   154,    155,  161,  162,  163,  170,  171 7  25 

4095.  For  Machinists,   containing    15  colors,   Nos.  102,  103,  108,  III,  112, 

117,  127,  130,  131,  134,  140,    142,  152,  161,  171 4  50 

4096.  For  Surveyors,    containing  15  colors,    Nos.  105,  114,  115,  116,  117, 

118,  119,  120,  125,  131,  135,  151,  152,  153,  171 4  50 


GERMAN  COLORS  IN  CAKES. 


4097. 


PER   CAKE,    20  CTS. 


IOO. 

Azure  Blue, 

Lufblau. 

IOI. 

Black  Lead, 

Graphit. 

102. 

Brick, 

Backstein. 

IO3. 

Bronze, 

Bronce. 

IO4. 

Burnt  Roman  Ochre, 

Gebr.  rom.  Ocker. 

105. 

Burnt  Sienna, 

Gebr.  Sienna. 

106. 

Burnt  Umber, 

Gebr.  Umber. 

IO7. 

Brown  Ochre, 

Brauner  Ocker. 

I08. 

Cast-iron, 

Gusseisen. 

IO9. 

Chinese  White, 

Deckweiss. 

no. 

Chrome  Yellow, 

Chromgelb,  hell. 

in. 

Composition  Metal, 

Compositions  metall 

112. 

Copper, 

Kupfer. 

113. 

Deep  Chrome, 

Chromgelb,  dunkel. 

114. 

Field  Brown, 

Feldbraun. 

"5- 

Forest  Green, 

Waldgrun. 

116. 

French  Green, 

Franzosichgrun. 

117. 

Gamboge, 

Gummigutt. 

118. 

Garden  Green, 

Hausgartengrun. 

119. 

Grape  Violet, 

Rebenviolett. 

120. 

Heath  Green, 

Haidegrun. 

121. 

Indian  Red, 

Indischroth. 

122. 

Indigo, 

Indigo. 

123. 

Lamp  Black, 

Lampenschwarz. 

124. 

Light  Red, 

Lichtroth. 

125. 

Meadow  Green, 

Wiesengrun. 

126. 

Naples  Yellow, 

Neapelgelb. 

126^. 

Neutral  Tint, 

Neutral-Tinte. 

127. 

Oak, 

Eichenholz. 

128. 

Orange, 

Orange. 

129. 

Payne's  Grey, 

Payne's  Grau. 

130. 

Pine, 

Tannenholz. 

131. 

Prussian  Blue, 

Preussischblau. 

72 


A.  &  A.  F.  SPITZLI'S 


132. 

Prussian  Green, 

Preussischgrun, 

133. 

Raw  Sienna, 

Sienna. 

134- 

Sand   Stone, 

Sandstein. 

135. 

Sap  Green, 

Saftgrun. 

136. 

Red  Lead, 

Saturnroth. 

137. 

Vandyke  Brown, 

Vandyke  Braun. 

138. 

Venetian  Red, 

Venetianischroth. 

139- 

Violet  Lake, 

Violetter  Lack. 

140. 

Wood, 

Holz. 

141. 

Yellow  Lake, 

Gelber  Lack. 

142. 

Yellow  Ochre, 

Gelber  Ocker. 

4098. 

PER    CAKE,    30  CTS. 

150. 

Crimson  Lake, 

Carminlack,   hell. 

151- 

Farm  Buildings, 

Oeconomiegebaude. 

152. 

Sepia, 

Sepia,  naturlich. 

153- 

Stone  Buildings, 

Steinerne  Gebaude 

154. 

Ultramarine, 

Ultramarin. 

155- 

Vermilion, 

Zinnober. 

4098-^ 

PER    CAKE,    60  CTS. 

160. 

Brilliant  Yellow, 

Brillantgelb. 

161. 

Cobalt, 

Cobaltblau. 

162. 

Indian  Yellow, 

Indischgelb. 

163. 

Rose  Madder, 

Krapplack,  rosa. 

164. 

Scarlet  Lake, 

Scharlachlack. 

4099.  PER  CAKE,    90  CTS. 

170.  Brilliant  Blue,  Brillantblau. 

171.  Carmine,  extra  fine.  Carmin,  extra  fein. 

172.  Ultramarine,  extra  fine.  Ultramarin,  extra  fein. 


WINSOR  &  NEWTON'S  WATER  COLORS. 


FULL   CAKE    OR    PAN,    25    CTS. 


HALF    CAKE   OR    PAN,     15    CTS. 


410c 

. 

I. 

Antwerp  Blue. 

18. 

Gamboge. 

32. 

Orange  Chrome 

2. 

Bistre. 

19. 

Hooker's  Green, 

33- 

Payne's  Gray. 

3- 

Blue  Black. 

No.  1. 

34- 

Prussian  Blue. 

*4- 

British  Ink. 

20. 

Hooker's  Green, 

35- 

Prussian  Green. 

5- 

Brown  Ochre. 

No.  2. 

36. 

Raw  Sienna. 

6. 

Brown  Pink. 

21. 

Indigo. 

37- 

Raw  Umber. 

*7. 

Bronze 

22. 

Indian  Red. 

*38. 

Red  Lead. 

8. 

Burnt  Sienna. 

23- 

Italian  Pink. 

*39- 

Red  Ochre. 

9- 

Burnt  Umber. 

24. 

Ivory  Black. 

40. 

Roman  Ochre. 

10. 

Chinese  White. 

*25. 

King's  Yellow. 

41. 

Sap  Green. 

11. 

Chrome  Yellow. 

26. 

Lamp  Black. 

42. 

Terre  Verte. 

12. 

Cologne  Earth. 

27- 

Light  Red. 

43- 

Vandyke  Brown 

14- 

Deep  Chrome. 

28. 

Naples  Yellow. 

44. 

Venetian  Red. 

ILLUSTRATED  CATALOGUE. 


73 


"15.  Dragon's  Blood. 
16.  Emerald  Green. 
*I7.   Flake  White. 


29.  Neutral  Tint. 

30.  New  Blue. 

31.  Olive  Green. 


45.  Vermilion. 

47.  Yellow  Lake. 

48.  Yellow  Ochre. 


FULL   CAKE    OR    PAN,    45    CTS. 


HALF    CAKE    OR    PAN,    25    CTS. 


4IOI. 

*4g.  Black  Lead. 

50.  Brown  Madder. 
*5I.  Chalon's  Brown. 
*I3.  Constant  White. 

52.  Crimson  Lake. 


53.  Indian  Yellow. 

54.  Mars  Yellow. 

55.  Neutral  Orange. 

56.  Purple  Lake. 

57.  Roman  Sepia. 


58.  Ruben's  Madder. 

59.  Scarlet  Lake. 

60.  Scarlet  Vermilion. 

61.  Sepia. 

62.  Warm  Sepia. 


FULL   CAKE   OR    PAN,    65    CTS.  HALF   CAKE    OR    PAN,    35    CTS. 

4T02. 

63.  Cobalt  Blue.  64.  Orange  Vermilion.  65.  Violet  Carmine. 


FULL    CAKE    OR    PAN,    90   CTS 
4IO3. 

66.  Aureolin. 

67.  Burnt  Carmine. 

68.  Cadmium  Yellow. 

69.  Cadmium  Orange. 

70.  Carmine. 

71.  French  Blue. 


HALF    CAKE    OR    PAN,    45    CTS. 


72.  Gallstone. 

73.  Green  Oxide  of 
Chromium. 

74.  Indian  Purple. 

75.  Intense  Blue. 

76.  Lemon  Yellow. 


77.  Pale  Cadmium 

Yellow. 

78.  Pink  Madder. 

79.  Pure  Scarlet. 

80.  Rose  Madder. 

81.  Viridian. 


HALF    CAKE    OR    PAN,    70   CTS. 


*86.  Madder  Carmine. 
87.   Mars  Orange. 


FULL    CAKE    OR    PAN,    $1.40. 
4IOL 

82.  Purple  Madder.  ^85.  Field's  Orange 

83.  Smalt.  Vermilion. 

84.  Ultramarine  Ash. 
4105. 

88.  Genuine  Ultramarine,  £-cake,  each $2  25 

Colors  marked  *  are  not  made  in  full  and  half  pans. 


WINSOR  &  NEWTON'S  FULL  CAKE  WATER  COLOR  BOXES. 


No. 

4106.  12 

4107.  18 

4108.  12 

4109.  18 

4110.  12 

4111.  18 

4112.  12 

4113.  18 

41 14.  24 


Cakes,  Polished  Mahogany  Slide  Lid  Box,  each. 
Lock  Box  "     . 


Price. 

$5  00 

7  50 

6  00 

"                  "    9  00 

Lock  and  Drawer  Box,  each 650 

"     10  00 

Complete  Box  fitted,         "     10  00 

"                            "     14  00 

"     18  00 


74  A.  &  A.  F.  SPITZLI'S 

HALF  CAKE  WATER  COLOR  BOXES. 

FITTED 

No.  Price. 

41 16.   12   Half  Cakes,  Polished  Mahogany  Slide  Lid  Box,  each $3  00 

4117-   18            "                               "                                   '•                 "     4  25 

4118.  12           "                              "                    Lock  Box,             "     4  50 

4119.  18           "                             "                            "                     "     6  00 

4120.  12                                                              Lock  and  Drawer  Bax,  each.  . .  5  50 

4121.  18           "                             "                                      "                          "     .  .  7  00 

4122.  12           "                             "                   Complete  Box  fitted,         "     ...  6  00 

4123.  18           "                             "                                      '•                          "...  8  00 

4124.  12  "  Caddy  Lid  Box  complete  fitted, 

each 9  00 

4124-1.  18.     Half  Cakes,  Polished   Mahogany,  Caddy  Lid   Box   complete 

fitted,  each     1 1  00 


FRENCH  WATER  COLOR  BOXES, 

IN  GREAT  VARIETY,   FROM  50  CENTS   TO    $IO  EACH. 


EMPTY  JAPANNED  TIN  BOXES. 


FOR    MOIST    COLORS    IN    PANS. 


Winsor  &  Newton's.     American. 

4125,  for  6  full  or  12  half  pans,  each $1   50     each  $1  00 

4126,  for  8  full  or  16  half  pans,  each 1   75 

4127,  for  10  full  or  20  half  pans,  each 2  00 

4128,  for  12  full  or  24  half  pans,  each 2  25 

4129,  for  16  full  or  32  half  pans,  each 2  50 

4130,  for  20  full  or  40  half  pans,  each 2  75 

4131,  for  24  full  or  48  half  pans,  each 3  00 


"       I 

15 

"       I 

25 

"       I 

45 

"       I 

60 

"       I 

75 

"         2 

00 

JAPANNED  TIN  BOXES. 


WITH  COLORS    FOR  SKETCHING. 


4I31^-  Japanned  tin  box  with  colors,  containing: 

6  8  10  12  16  20  24     colors. 

$1  35     $1   50      $1   80       $2  20       $3  00       $3  75       $4  50 


ILLUSTRATED  CATALOGUE.  75 

WATER  COLOR  LIQUIDS. 

No.  Price. 

4132.  Winsor  &  Newton's  Chinese  White,  each 40 

4133.  "                     Indian  Ink,            "     40 

4134-                 "                    Oxgall                     "     40 

4135.  "                    Gold  Ink,               "     65 

4136.  "                    Carmine,                " 50 

4137.  Indelible  Brown  Ink,  each 50 

3138.                                         Prout's  Brown,  each 50 

4138^.                                     Sepia,  each 50 


LIQUID  INDELIBLE  DRAWING  INK. 

4160.  Liquid  Indelible  Drawing  Ink,  Black,  each 50 

4161.  "                           Brown,    "      50 

4162.  "                          Blue,        "     50 

4163.  "                          Green,     "      50 

4164.  "                            Scarlet,  "      50 

4165.  "                          Carmine,  each 50 

These  Indelible  Drawing  Inks  are  a  valuable   addition  to    the    draughtsman's 

outfit,  and  specially  adapted  for  Mechanical  Drawing.  The  lines  drawn  with  these 
colors  are  perfectly  indelible  and  will  not  be  blurred  or  defaced  by  frequently  ap- 
plied brush  tints.  Used  with  the  brush  large  washes  can  be  laid  on  more  even 
and  with  less  trouble  than  with  cake  or  moist  water  colors. 

4139.  Keuffel  and  Esser's  Liquid  Color,  Carmine,  each 40 

4140.  "  "  Sepia,  "  40 

4141.  "  "  Oxgall  "  30 

4142.  "  Blue,  "  30 

4I43-  "  "  Green,  "  30 

4154.  Dr.  Schoenfeldt's  Chinese  White  in  bottles,  "     35 

4155.  "  "  in  tubes,     "      20 

This  Chinese  White  is  highly  recommended  and  used  by  many  of  our  leading 
artists  in  preference  to  all  others.  Wood  engravers  will  find  it  to  suit  their  pur- 
pose best. 

4145.  Pure  Gold  in  Cakes,  each 2  00 

4146.  Pure  Gold  in  Shells,  each 20 

4147.  Pure  Gold  in  Cups,  I  inch,  each 15 

4148.  Pure  Gold  in  Cups,  i£  inch,  each 25 

4150.  Pure  Silver  in  Shells,  each 10 

4151.  Metallic  Cake  Colors,  in  China  Saucers,  Gold 35 

4152.  Metallic  Cake  Colors,  in   China  Saucers,  Silver 30 

4156.  California  Gold-Paint  for  decorating  purposes,  per  box,  containing  2 

bottles,  each 35 


j6  A.  &  A.  F.  SPITZLI'S 

EMPTY  MAHOGANY  COLOR  BOXES  WITH  SLIDE  LID. 

4170.  For  W.  &  N.  Half  Cakes,      12  18  24     colors. 

each,    50         60         75 

4171.  For  W.  &  N.  Full  Cakes,      12  18  24     colors. 

each,    60  75        1   00 

Chinese  or  Indian  Inks,  solid   and   liquid  ;  also  Sable   and    Camel  Hair  Brushes 
in  large  varieties. 


CHINA  AND  GLASSWARE, 


No. 

4348 

435o 

435i 

4352 

4353 

4354 

4355 

4353-1- 

4354-1- 

4355-1- 


Poole's  Patent  Ink  Slab,  each 

Keuffel  and  Esser's  Patent  Ink  Slab,  with  cover,  ifxi^  inch,  each. 

2ix5f     "        "     . 
Nest  of  Cabinet.  Saucers,  6  in  set,  2f  inch,  set 


2£ 

3i 
3i 
H 

34 

3* 


6 

6 

6 

"        deep  4 

"     4 
„     4 

4359.  Architect's  Slant  and  Basin,  with  8  divisions  and  cup,  each. 

4360.  Ink  or  Color  Slab,  3  holes  and  slope,  i^x2f  inch,  each 
4361. 
4362. 
4363. 

43°3*- 

4364.  Well  Slab,  with  3  Wells  and  Slope,  each. . 

4365.  "  "5  "  "    -• 

4366.  Sloping  Tile,  3  divisions,  2^x4  inch,  each. 


2*X3f 

2fx4i 

3*4i 
34x5 


4367- 

' 

4 

3i*7f 

4368. 

' 

5 

3ix7f 

4369. 

' 

.  6 

3ix7f 

4370. 

' 

8 

6x7f 

4371- 

' 

10    " 

6x7$ 

437i| 

' 

12    " 

6x7f 

4372- 

China  C 

...   i* 

Each 

2         2^         3         2i  inch  diam. 
10         15       25         30. 
4373.   Centre  Slab,  5  divisions,  2§x6  inch,  each   


75 

50 

60 

60 

70 

80 

I 

00 

I 

20 

I 

50 

I 

75 

I 

35 

15 

25 

30 

35 

45 

25 

7o 

20 

35 

45 

55 

70 

I 

00 

I 

20 

25 


LEAD  PENCILS. 


GRAPHITE,  PLUMBAGO,  BLACK  LEAD. 


Eighty-one  Highest  Prizes  for  Unrivalled  Products.  Silver  Medal,  Paris, 
1867  ;  Medal  for  Progress,  Vienna,  1873  ;  Medal  for  Merit,  Vienna,  1873  ; 
Highest  Award,  Centennial,  1876  ;    Five  Medals,  American  Institute,  1878  ;    Two 


ILLUSTRATED  CATALOGUE.  J  J 

Gold  Medals,  Paris,  1878.  Dixon's  fine  American  Graphite  Pencils,  five  regular 
grades  of  hardness  of  leads,  in  both  round  and  hexagon  shape  and  beautifully 
finished  in  different  styles,  black,  maroon  and  natural  color,  and  new  "satin 
finish"  style,  so  popular  that  it  is  now  being  imitated  by  the  other  makers. 

S. — Soft.  For  heavy  shading  in  sketch  drawing,  or  for  any  use  in  which  a  large 
black  mark  is  desired. 

S.  M. — Soft  Medium.  The  most  popular  goods  we  make.  This  grade  is 
used  for  the  pocket,  or  for  general  drawing  and  sketching,  and  is  wonderfully 
smooth.      For  all  ordinary  office  use  it  has  no  equal. 

M. — Medium.  For  professional  and  desk  work,  and  all  finer  uses  where  a 
harder  lead  than  the  S.  M.  is  wanted  ;  for  accountants,  stenographers,  draughts- 
men, physicians,  etc.;  for  memorandum  books,  it  is  just  right;  for  drawing  on 
paper  not  very  smooth,  it  is  exactly  right. 

H. — Hard.  A  hard  but  smooth  lead,  suitable  for  ledger  work  or  outline  draw- 
ing;  for  civil  engineers,  architects,  draughtsmen,  etc.;  very  fine  lines;  drawings 
made  with  this  grade  need  not  be  inked  for  the  machine  shop  or  for  building 
plans  ;  suitable  for  compass  use. 

V.  H. — Very  Hard.  For  the  finest  lines,  almost  equal  to  engraving,  but  still 
black  and  smooth. 

Ten  Grades  of  Leads  in  Artists'  Pencils,  in  hexagon  shape,  and  exquisitely 
finished  in  the  natural  color  of  the  cedar  wood  only. 

Grade  Stamps  are  as  follows,  viz.: 

Trade  Similar  Grade  to  the 

No.  European  Stamp   of 

210.  V.V.S. — Very,  very  soft B.B.B. 

211.  V.S.— Very  soft B.B. 

212.  S.—  Soft B.  and  No.  1. 

213.  S.M.— Soft  Medium H.B.  and  No.  2. 

214.  M.B.— Medium  Black F. 

215.  M. — Medium H.  and  No.  3. 

216.  M.H.— Medium  Hard H.H. 

217.  H.— Hard H. H.H.  and  No.  4. 

218.  V.H.—  Very  hard H.H. H.H.  and  No.  5. 

219.  V.V.H.— Very,   very  hard H. H.H. H. H.H. 

Price 
per  doz. 

Round  Shape,   black  finish,  standard  style $       50 

Hexagon     "       maroon   "             "           "     60 

Dixon's  A.  G.,  plain       "        Round 30 

' '        H  exagon    40 

Lumber  Pencils,  all  lead,  paper  cover  or  Japanned 75 

Dixon's  Professional  Pencils,  round,    5  grades.  .  . 30 

"         hexagon,      "       40 

Artists'  Pencils j  00 

Compass,  School  and  Gem  Pocket  Pencils 50 

Etc.,  Etc.,  Etc. 

Send  a  postage  stamp  for  circular. 

Methodical  Text-Book  to  Round  Writing  by  F.  Soennecken,  published  by 
Keuffel  &  Esser,  New  York,  including  an  assortment  of  25  single 
and  double  pointed  pens,  each , $1  40,  post-paid  $1   50 


78 


A.  &  A.  F.  SPITZLI'S 


Methodical  Text-Book,  without  pens i   10,  post-paid,  $i    15 

Methodical  Text-Book,  bound  in  cloth,  with  25  pens      ....    2  00,         "  2  18 

Copy-Book  without  instructions  (School  Edition),  including  an  assortment 

of  25  pens,  each 90,  post-paid     1  00 

Copy-Book  without  pens 60,         "  64 

Pens,  single  pointed. 

Nos.         1         2         2i         3         3$         4         5         6 

BBB    BB       B         M      MF       F       FF     FFF 

per  gross  $1    IO,  post-paid  $1   25 

"  i    "  35.         "  41 

Pens,  double  pointed,  Nos.    10         20         30 

B  M         F         per  £  gross  $1  oo,  post-paid  $1  06 

per  dozen  50,         "  53 

Every  gross  or  £  gross  box  contains  pens  of  one  number  only. 
Sample  assortment  Single  and  Double  pointed  pens,  25  in  a  box,  35,         "  41 

Ink-holder  to  be  applied  to  Single  and  Double  Pens,  specially  for    writing 

with  India  Ink  and  Autograph  Ink,  per  box  of   6 30  cts.,  each  10 


Round  Writing  Instruments,  complete  with  9  pens,  each  $1  50,  postage  paid  $1  60 
Minute  pens  only ....    doz.         75,  each         10 

With  this  Instrument,  2  or  3  parallel  lines  can  be  made  with  one  movement  ;  it 
is  used  exactly  in  the  same  manner  as  the  common  single  and  double  round  writing 
pens. 

The  accompanying  9  minute  pens  allow  to  produce  144  different  double  and  504 
different  triple  lines,  by  simply  changing  the  pens  in  the  different  places  in  the 
holder. 


Parcel-Pens,  in  4  different  widths,  for  bold  and  large  lettering. 
Nos.    131  133         135         137 

F  M  B  BB 


To  0 


J.9.    inch    wide,  each, 
5  0 


25 


ILLUSTRATED  CATALOGUE.  79 

FLUENT  WRITING  PENS. 

Nos.   203  204         205  206         207         208     square  pointed 

103  104  105  106  107         108     oblique  pointed 

BBB        BB     ■      B  M  F  FF 

per  gross  $1   10,  postage  paid  $1   25 

"    i    "         35.  "  41 

Sample  box,  containing  25  pens,  assorted  25,  "  31 

Pen-holders  for  round  writing  and  fluent  writing  pens,  each 10 

CEDAR  BOXES  WITH  ROUND  WRITING  PENS. 

0 
Containing  n  pen-holders   and   pens,  assorted,  each 2  oo 

RULED  PAPER  IN  SHEETS. 

Six  patterns  for  round  writing,  each 6 

These  sheets  are  placed  under  plain  paper  to  serve  as  lines  to  write  on. 


RUBBER. 

A.  W.  Faber's  Artist's  Rubber,  in  Cakes,  each io  to  50 

Natural  or  Virgin  Rubber,  in  Cakes,  each 20  to  50 

Black  Rubber,  in  Cakes,  each 10  to  50 

"             Ink  Eraser,  in  Cakes,  each 6 

Ink  Eraser,  in  Cakes,  large,  each 10  to  20 

Ink  and  Pencil  Eraser  in  Cakes,  each 15 

Ink  and  Pencil  Eraser  in  Cakes,  Mammoth,  each 25 

Green's  Ink  Eraser,  each 6 

Velvet  Rubber,  oblong,  each   10  to  50 


SPONGE  RUBBER. 

For  Cleaning  Drawings. 

0.  Small  Cakes,  about  ixlxl   inch 10 

2.  Medium  Size,  Rubber  Back  (Glove  Cleaner),  2ixif xf  inch 25 

3.  Large  Size,  4x2x1  inch 60 

4.  Mammoth  Size,  6x4x1    inch   1  80 

1.  Pencil  Pointer,  2x2^  inch,   each 10 

2.  "               2^x4             " 15 

3-              "              ii*4            "          ••  12 

Arkansas  Oil  Stones,  each  from ....    25  to  I   50 

Arkansas  Oil  Deskstones  on  wood,  each 75 


8o  A.  &  A.  F.  SPITZLFS 

Arkansas  Oil  Stones,  in  case  with  cover,  345678  inch 

each  $1  00  1   50  2  00  2  25  2  50  2  80 

Mouthglue,  per  dozen 40 

Mouthglue,  fine  perfumed,  per  dozen 80 

Mucilage,  in  glass  bottles  with  brush,  each 25 


A.  W.  FABER'S  PENCILS. 

No.  Price. 

4400.  Hexagon,  very  best  Siberian,  No.  2  B.  to  6  H., per  doz.  $1  25 

4401.  "               "         Drawing,  Nos.  1-5 .         "  75 

4402.  Black  round,  best,                         "      1-4 "  60 

4403.  Yellow  polished,  round,                "     4  B.  to  4  H "  60 

4404.  Hexagon,  for  Mathematical  Instruments,  No.  4 "  70 

4405.  Round,                        "                       "                     "       "  60 

4406.  Ivory  Pocket  Pencil,  with  movable  lead,  2J-  inch,  each 50 

4407-                    "                                     "             .      3i           "         60 

4408.  "                                    "                   3i           "         75 

4409.  Artist  Pencil  with  Siberian   Lead,  double  pointed,  each 35 

44io.              "                                      "                                            "    25 

4411.  "             best                  "                                            "    20 

4412.  Leads  for  Artist  Pencils,  Siberian,  6  in  box,  per  box 65 

4413-              "                  "               best,                 "                "        35 

4414.   Hexagon  carmine  and  blue  pencils,  per  doz 125 

5415.   Round             "                      "                      "       ....    1  00 

4416.  "       blue,  per  doz 75 

4416^.   A.  W.  Faber's  Wax  Crayons,  per  doz.,  $1.25  ;  each 12 

No.  I,  White  ;  2,  Yellow  ;  13,  Dark  Blue;  30,  Sienna  ;  38,  Vermilion  ;  54, 
Purple  ;  62,  Orange  ;  63,  Light  Green  ;  69,  Dark  Green  ;  75,  Carmine  ;  88,  Light 
Blue  ;  Black. 

A.  W.  Faber's  Wax  Crayons  in  boxes,  assorted  colors  : 

Nos   6  12  18  24  36  48 

Each $     80         $1   50         $2  00         $2  50         §3  50         $4  50 

4417.  A.  W.  Faber's  Pencil  Cases, 

with  5  Siberian  Lead  Pencils,  each $1  00 


4418.  "     7 

4419.  "10         " 

4420.  "     5 

4421.  "     5  Yellow  round 

4422.  "     7 

4423.  "10 
4424-  "     5 


1  25 

"      1   75 

Rubber  and  Knife    each 1   25 

each 60 

"      75 

"     85 

Rubber  and  Knife,  each 1   00 

4425.  Red  Chalk,  in  cedar,  for  marking  stakes,  doz 75 

4426.  "             in  sticks,  covered  with   paper,    "    25 

4427-          "                 "                                  "               "   50 

4428.   Black  Conte  Crayons  in  Wood,  No.  1-2,      " 60 

4429-        "                                                      "3            "    9° 

4430.  "                "                                  Velours,  very  soft,  doz 1   25 

4431.  White                                                doz 60 


ILLUSTRATED  CATALOGUE. 


8l 


No. 

4432.  Black  Conte  Crayons,  square,  No.  1,  2,  3,  doz.  in  a  box,  per  doz. 


4433- 

4434-  " 

4435.  White 

4436  " 


round,      "      I,  2, 

' '         polished 

square,  No.  1,  2, 

round,      "     1,  2 


3. 


Small. 

$     75 
30 


4437.  Conte  Crayon  Sauce,  in  tin  foil per  doz, 

4437  -2.  "  "         common,  not  in  tin  foil.  ..  .       " 

4438.  Paper  Stumps,  assorted,  doz 

4439.  Chamois  Leather  Stumps,  assorted,  doz   ...    

4439-1.  White  Kid  "  "  "    .    

4439-2.  Cork  "  "    

4439-3.   Minute  "         for  very  delicate  work,  gray  paper,  doz. . 

"  "  "  rose  or  white,  "  .. 
4439-4.   Rubber  Stumps,  wood  centre,  No.  1,  4^  inch,  each 

"     2,  5i     "         "    

"     3,  5*     "         "    

4439-5.   Rubber  Stamps,  all  Rubber,      "10,4       "         " 

"  20,  31     ,:         "    

"  30,  2\     "         "    

4440.  Crayon  Holder,  Brass,  5     inch  and  6  inch each, 

4440-2.  "  "       5^     "      " 

4440-3.  "  "       7       "     extra  large  and  heavy " 

4441.  "  German  Silver,  5  inch " 


Price. 
20 
40 
60 
20 
40 

Large. 

$1    20 
50 

35 

1  25 

1  50 

1  50 

10 

12 

15 

25 

35 

12 

10 


4442 
4443 
4444 
4445 
4446 


Brass,  Ebony  Handle,  5  inch. 


fine. 


"  German  Silver,  Ebony  Handle,  5  inch,  fine.  .  . 

"  Brass,  double  wooden  centre,  7  inch 

German   Silver,  double  wooden  centre,  7  inch, 

4446-I.   Crayon,  Pencil  and  Charcoal  Holder  combined. 

4446-2.   Crayons,  round,  for  above,  6  in  tin  box,  No.  1  or  2,  each  box. 


6 
20 

25 
10 

15 
25 
25 
40 

35 
25 


CHARCOAL 


4447.  Charcoal,  50  sticks  in  a  box each, 

4447-2.        "  extra  large " 

4448.  "  fine.... " 

4449.  extra  fine " 

4449-1.       "         Rouget's  Patent,  assorted  according  to  the  different 

degrees  of  hardness,  Nos.  1,  2,  3,   25  sticks  in  a  box " 

4449-2.   Crayon   Pointer,  a   very  useful   instrument   to  point  Charcoal  and 

Crayons,  each 

4449-3.   Burnt  Rubber,  small,  each , 

4449-4-  large,      "    

(A  prepared  Rubber  indispensable  for  Drawing  in  Crayon.) 
4449-5.   Rouget's  Fixative,  a  preparation    to  make  Crayon   Drawings  in- 
delible,   bottle 

6 


25 
40 
40 
60 

40 

20 

6 

10 


50 


82 


A.  &  A.  F.  SPITZLFS 


No.  Price. 

4449-7.  Crayon  Box,  polished,  with  lock  and  key,  fitted  with  Crayons, 
Crayon-holders,  Charcoal,  Rubber,  Stumps,  Pencils,  etc.,  etc., 
each $1  65 

4449-8.   do.         do.         do.,     finer  and  more  complete,  each 2  65 

(Larger  Crayon  Boxes  fitted  up  to  order.) 


STEEL  PENS. 

4450.  Lithographic  Crow  Quill,               Joseph  Gillot's,  doz $     75 

445C4.  Superfine  long  shoulder  Crow  Quill,          "                  "    1  00 

4451.  Lithographic  Pen,                                          "                 "   75 

4452.  Mapping                                                          "                 "   75 

4453.  or  Ladies'  Pen,  No.  170,  "  "    15 

4454.  Lettering  Pen,  "     303,  "  "   20 

"     404.  "  "    15 

4455.  Crow  Quill  Pen,  with  holder,  French,  "    50 

4456.  "         "       "  "  English,  "    50 

4457.  Gold  Lettering  Pens,  wooden  holder,  "    2  00 

4458.  Keuffel  &  Esser's  Drawing  and  Lettering  Pens,  "    60 

The  pens  4458  are  specially  made  for  draughtsmen,  to  be  used  for  drawing  and 
lettering  on  drawing  paper  which  has  a  more  or  less  coarse  surface. 

These  pens,  having  longer  nibs  and  less  sharp  points  than  most  of  those  hereto- 
fore in  use,  possess  a  great  elasticity  and  allow  to  draw  or  letter  more  rapidly, 
without  annoying  the  draughtsmen  by  continuously  scratching  or  catching  the  nibs 
of  the  pens  in  the  grain  of  the  paper.  Draughtsmen  will  prefer  those  pens  to 
Crow  Quill,  Mapping  or  Lithographic  Pens,  all  of  which  are  intended  principally 
for  drawing  on  stone. 

Send  for  separate  lists  of  A.  W.  Faber's  Demestic  Pencils,  A.  W.  Faber's  Gold 
Pens  and  Pencil  Cases,  A.  W.  Faber's  Rubber  Goods,  E.  Faber's  Penholders, 
E.  Faber's  Miscellaneous  Stationers'  Articles,  any  of  which  we  will  mail  on 
receipt  of  postage. 


NO.  1,  CHEMICAL  CABINET. 


Contains  60  Chemical  Tests  and  Apparatus.  Without  strong  acids  or  other 
dangerous  articles.  They  are  perfectly  safe  in  the  hand  of  youth,  and  are  admira- 
bly adapted  as  presents.     Prices  : 

No.  1,  Cedar  Case,  with  Book   of  Experiments $  3  50 

No.  2,  polished  Black  Walnut  Case  with  lock,  with  Book  of   Experiments,       4  50 

CONTENTS. 

Acetate  of  Lead,  Alum,  Benzoic  Acid,  Bichromate  of  Potash,  Biborate  of  Soda, 
Carbonate  of  Magnesia,  Camphor,  Caustic  Potash,  Carbonate  of  Potash,  Charcoal, 
Chloride  of  Cobalt,  Chlorate  of  Potash,  Fluate  of  Lime,  Gum  Arabic,  Isinglass, 
Litharge,  Logwood,  Lycopodium,  Muriate  of  Ammonia,  Nitrate  of  Baryta,  Nitrate 


ILLUSTRATED  CATALOGUE.  83 

of  Copper,  Nitrate  of  Mercury,  Nitrate  of  Potash,  Nitrate  of  Silver,  Nitrate  of 
Strontian,  Oxalate  of  Ammonia,  Oxide  of  Manganese,  Phosphorized  Oil,  Phos- 
phuret  of  Lime,  Prussiate  of  Potash,  Red  Lead,  Resin,  Steel  Filings,  Stourbridge 
Clay,  Sulphate  of  Copper,  Sulphate  of  Iron,  Sulphate  of  Soda,  Sulphur,  Sulphuret 
of  Antimony,  Tartaric  Acid,  Tincture  of  Galls,  Tincture  of  Litmus. 

APPARATUS. 

Glass  Mortar  and  Pestle,  Glass  Spirit  Lamp,  Cotton  Wick,  Metallic  Capsule,  Tri- 
angular Crucible,  Conical  Test  Glass,  Tripod  Stand,  Glass  Stirring  Rod,  Glass 
Tube,  Test  Tube,  Glass  Funnel,  Filtering  Paper,  Litmus  Paper,  Tumeric  Paper, 
Tin  Foil,  Metallic  Zinc,  Sheet  Zinc,  French  Chalk. 


NO,  2,  LABORATORY  CABINET. 

PRICE,  WITH  BOOK,  $6   OO. 

Contains  54  Chemical  preparations,   and  30  pieces  of  Apparatus.     Free 

from  danger 6  00 

CONTENTS. 

Acetate  of  Lead,  Alum,  Antimony,  Benzoic  Acid,  Biborate  of  Soda,  Bichromate  of 
Potash,  Boracic  Acid,  Carbonate  of  Ammonia,  Carbonate  of  Lime,  Carbonate  of 
Magnesia,  Carbonate  of  Potash,  Carbonate  of  Soda,  Camphor,  Caustic  Potash, 
Chloride  of  Ammonium,  Chloride  of  Lime,  Chloride  of  Cobalt,  Chlorate  of  Potash, 
Charcoal,  Fluate  of  Lime,  Galena,  Granulated  Zinc,  Gum  Arabic,  Isinglass,  Iron 
Filings,  Litharge,  Litmus,  Logwood,  Lycopodium,  Nitrate  of  Barytes,  Nitrate  of 
Copper,  Nitrate  of  Mercury,  Nitrate  of  Silver,  Nitrate  of  Strontian,  Oxalate  of 
Ammonia,  Oxide  of  Lead,  Oxide  of  Manganese,  Phosphate  of  Soda,  Phosphorized 
Oil,  Phosphuret  of  Lime,  Prussiate  of  Potash,  Staurbridge  Clay,  Sulphuret  of  An- 
timony, Sulphate  of  Copper,  Sulphate  of  Iron,  Sulphate  of  Magnesia,  Sulphate  of 
Soda,  Sulphur,  Sulphuret  of  Iron,  Tartaric  Acid,  Tincture  of  Litmus,  Tincture  of 
Galls,  Test  Papers. 

APPARATUS,  ETC. 

Glass  Spirit  Lamp,  Glass  Mortar  and  Pestle,  Triangular  Crucible,  Conical  Test 
Glass.  Ribbed  Glass  Funnel,  Packet  of  Filters,  Tripod  Stand,  Two  Test  Tubes, 
Test  Tube-holder,  Test  Tube-cleaner,  Tin  Capsule,  Porcelain  Evaporating  Basin, 
Bohemian  Flask,  Pipette,  3  Glass  Tubes,  2  Glass  Stirrers,  Litmus  Paper,  Tumeric 
Paper,  Slip  of  Copper,  Slip  of  Zinc,  Tin  Foil,  Two  Glass  Slips  for  Testing,  Iron 
Rod  for  Testing,  Copper  Rod  for  Testing,  Bibulous  Paper. 


NO.  3,  STUDENT'S  CHEMICAL  CABINET. 

Contains  36  boxes  and  12  bottles  filled  with  Chemicals,  and  a  large  assort- 
ment of  Apparatus  of  practically  useful  size.  Arranged  in  pol- 
ished black  walnut'cabinet,  with  lock 8  00 


S4  A-  &  A.  F.  SPITZLI'S 

CHEMICALS. 

Alum,  Ammonia  Carbonate,  Ammonia  Caustic,  Chloride,  Oxalate,  Antimony  Sul- 
phide, Barium  Chloride,  Baryta  Nitrate,  Benzoic  Acid,  Boraoic  Acid,  Charcoal, 
Cobalt  Chloride,  Copper  Nitrate,  Copper  Sulphate,  Galls  Tincture,  Iron  Filings, 
Potash  Bichromate,  Iron  Sulphate,  Iron  Sulphide,  Lead  Acetate,  Lime  Carbonate, 
Lime  Chloride,  Lime  Fluate,  Lime  Phosphuret,  Litharge,  Litmus,  Litmus  Tinct- 
ure, Lycopodium,  Magnesia  Carbonate,  Manganese  Oxide,  Phosphorus,  Potash 
Carbonate,  Potash  Caustic,  Potash  Chlorate,  Potash  Prussiate,  Potash  Nitrate, 
Potash  Sulphate,  Silver  Nitrate,  Soda  Biborate,  Soda  Carbonate,  Soda  Phosphate, 
Soda  Sulphate,  Strontian  Nitrate,  Sulphur,  Tartaric  Acid,  Tumeric,  Zinc  Granu- 
lated. 

APPARATUS. 

Glass  Mortar  and  Pestle,  Glass  Spirit  Lamp,  Wick  for  Spirit  Lamp,  Evaporating 
Basin,  3  Test  Tubes,  assorted,  Test  Tube  Cleaner,  Test  Tube  Holder,  Bohemian 
Flask,  Bulb  Boiling  Tube,  2  Glass  Tubes,  Sheet  Litmus  Paper,  Sheet  Tumeric 
Paper,  Sheet  Bibulous  Paper,  Ribbed  Glass  Funnel,  Packet  of  Filters  for  Funnel, 
2  Glass  Stirring  Rods,  Oxygen  Tube  Retort,  Watch  Glass,  Tinned  Sand  Bath, 
Tinned  Capsule,  Cylindrical  Test  Glass,  3  Hessian  Crucibles,  Copper  Rod,  Iron 
Rod,  Zinc  Rod,  Pipette,  Retort  Stand. 


NO.  4,  STUDENT'S  PORTABLE  CHEMICAL  CABINET. 

In  handsome  polished  black  walnut  cabinet,  containing  42  pieces  of  apparatus 
and  50  chemical  preparations,  in  all  92  articles  suitable  for  any  text  book  in 
chemistry.     Price,  $14  00 

CONTENTS. 

Retort  Stand,  1  Ring  ;  Porcelain  Mortar  and  Pestle,  No.  00  ;  Glass  Spirit  Lamp, 
1  oz.;  Cotton  Wick,  3  feet ;  Blowpipe,  Platinum  Blowpipe  Wire,  Platinum  Foil, 
Iron  Spoon  for  Fusions,  Albata  Test  Spoon,  Set  of  3  Beaker  Glasses,  Glass  flask,  3 
oz.;  Test  Tubes,  3  x  £  and  4  x  ^  inch  ;  Test  Tubes,  4x1  and  5x{  inch  ;  Test 
Tubes,  3  x  J  inch  (3);  Berzelius  Bulb  Tube  (2);  Watch  Glass,  2  inch  ;  Porcelain 
Capsule  and  handle  (2),  Funnel,  No.  2,  i£  inch  ;  Filters  for  Funnel,  2f  inch  (100); 
Funnel,  No.  1,  ij  inch ;  Filters,  for  No.  1,  i\  inch  (100);  Clark's  Test  Glass,  Book 
of  Litmus  Paper,  Book  of  Tumeric  Paper,  Test  Metals,  Fe,  Cu,  Zn  ;  Stirrers,  1 
each,  3  inch  and  6  inch  ;  Filtering  Ring,  2  arms  ;  Straight  Pipette,  6  inch  ;  Open 
Glass  Tubes,  \  to  \  inch  (4);  Tube  Holder  with  Handle  ;  Porcelain  Crucible,  No. 
o ;  Porcelain  Basin,  No.  o;  Porcelain  Cup,  No.  1  ;  Porcelain  Cup,  No.  3  ;  Porcelain 
Cup,  No.  6. 


FIFTY  CHEMICAL  PREPARATIONS. 

Contained  in  4  stoppered  £  oz.  bottles,  10  corked  \  oz.  bottles,  14  \   oz.  wooden 
boxes,  and  22  \  oz.  paper  boxes,  as  follows  : 

Alum,    Ammonia    Carbonate,    Ammonia  Chloride,  Ammonia    Oxalate,   Antimony 
Sulphide,  Barium   Chloride,  Boracic  Acid,  Bleaching   Powder,  Calcium    Chloride, 


ILLUSTRATED  CATALOGUE.  85 

Cobalt  Chloride,  Cobalt  Nitrate,  Copper  Nitrate,  Copper  Sulphate,  Fluor  Spar, 
Galena,  Galls  Tincture,  Iron  Pyrites,  Iron  Sulphate,  Iron  Sulphide,  Lead  Acetate, 
Lead  Carbonate,  Litharge,  Litmus,  Magnesium  Carbonate,  Magnesium  Sulphate, 
Manganese  Peroxide,  Microcosmic  Salt,  Oxalic  Acid,  Phosphorus,  Potassium  Bi- 
chomatic,  Potassium  Binoxalate,  Potassium  Cyanide,  Potassium  Carbonate,  Po- 
tassium Chlorate,  Potassium  Ferridcyanide,  Potassium  Ferrocyanide,  Potassium 
Hydrate,  Potassium  Iodide,  Potassium  Sulphate,  Silver  Nitrate,  Sodium  Borate, 
Sodium  Carbonate,  Sodium  Phosphate,  Strontium  Nitrate,  Sulphur,  Tartaric  Acid, 
Tin  Granulated,  Tin  Protochloride,  Zinc  Granulated. 


NO.  5,  STUDENT'S  PORTABLE  CHEMICAL  CABINET. 

In  handsome  polished  mahogany  cabinet,  containing  over  72  pieces  of  chemical  ap- 
paratus of  a  good  working  size,  for  manipulating  in  the  gases,  etc.,  and  60  chemical 
preparations.  This  set  is  suitable  for  performing  the  the  experiments  in  any  text 
book.     Price,  $22  00. 

Retort  Stand,  3  Rings;  Porcelain  Mortar,  No.  00 ;  Glass  Spirit  Lamp,  1  oz.;  Cot- 
ton Wick,  1  yard  ;  Blowpipe,  Platinum  Blowpipe  Wire,  Platinum  Blowpipe  Foil, 
Albata  Test  Spoon,  Iron  Spoon  for  Fusions,  Iron  Tongs  with  Spoon,  Set  of  3 
Beaker  Glasses,  Glass  flasks,  I,  2  and  3  oz.;  Bulb  Tube,  large  size  (2);  Gas  bottle, 
funnel  and  tube,  small ;  Cork  and  Jet  for  ditto  ;  Test  Tubes,  3  x  J  inch  (2);  Test 
Tubes,  4  x  f  inch  (3);  Test  Tubes,  6x1  inch  (1);  Test  Tubes,  3  x  ^  inch  (6);  Fold- 
ing Frame  for  6  tubes,  Glass  Funnel  No.  1,  i^  inch  ;  Glass  Funnel  No.  2,  x\  inch  ; 
Filters  for  No.  I  Funnel  (100);  Filters  for  No.  2  Funnel  (100);  Filter  Ring,  2  arms; 
Clark's  Test  Glass  ;  Box  of  six  Test  Paper  Books,  Porcelain  Test  Plates,  Nos.  8 
and  9  (2);  Stirrers,  2  each,  3  and  6  inch  ;  Open  Tubes,  £  and  \  inch  (2);  Test 
metals;  Cu,  Fe,  Zn;  Test  Tube  Holder,  Straight  Pipette,  6  in.  ;  Test  Tube  Brush; 
Glass  Retort,  2  oz.;  Glass  Receiver,  2  oz.;  Watch  Glasses,  2  in.  (2);  Porcelain  Basin, 
No.  00;  Porcelain  Basin,  No.  1,  Porcelain  Cup,  No.  12  (2);  Porcelain  Cup,  No.  10; 
Porcelain  Cup,  No.  1;  Porcelain  Cup,  No.  2;  Porcelain  Crucible,  No.  000;  Porcelain 
Crucible,  No.  00  ;  Beehive  Shelf,  4  inch  ;  Graduated  measure,  4  oz.;  Alum,  Am- 
monia Caustic,  Ammonia  Carbonate,  Ammonia  Chloride,  Ammonia  Oxalate,  Anti- 
mony Sulphide,  Arsenious  Acid,  Barium  Chloride,  Barium  Chloride  Solution,  Ba- 
rium Nitrate,  Boracic  Acid,  Benzoic  Acid,  Calcium  Chloride  Solution  ;  Cobalt  Ni- 
trate Solution,  Cobalt  Ore,  Copper  Sulphate,  Copper  turnings.  Fluor  Spar,  Galena, 
Iron  Pyrites,  Iron  Sulphate,  Iron  Snlphide,  Lead  Acetate,  Lead  Acetate  Solution, 
Lead  Carbonate,  Lead  Nitrate  Solution,  Litharge,  Litmus,  Magnesium  Carbonate, 
Magnesium  Sulphate,  Manganese  Peroxide,  Mercurous  Chloride,  Microcosmic  Salt, 
Oxalic  Acid,  Phosphorus,  Platinum  Bichloride  Solution,  Potassium  Bichromate, 
Potassium  Binoxalate,  Potassium  Bitartrate,  Potassium  Chlorate,  Potassium  Cya- 
nide, Potassium  Ferncyanide,  Potassium  Ferrocyanide,  Potassium  Ferricyanide  So- 
lution, Potassium  Hydrate,  Potassium  Iodide,  Potassium  Nitrate,  Potassium  Sul- 
phate, Realgar,  Silver  Nitrate  Solution,  Sodium  Borate,  Sodium  Carbonate,  Sodium 
Phosphate,  Strontium  Chloride,  Strontium  Nitrate,  Sulphur,  Tartaric  Acid,  Tin 
Chloride,  Tin  Granulated,  Zinc  Granulated. 


86  A.  &  A.  F.  SPITZLI'S 

A  SET  OF  APPARATUS  AND  CHEMICALS, 

Intended  to  illustrate  a  first  course  of  chemical  experiments,  as  explained  in  Chem- 
ical Recreations  by  J.  J.  Griffin.  The  apparatus  in  this  set  are  intended  to  illus- 
trate elementary  chemistry,  the  qualitive  analysis  of  salts,  and  centigrade  testing. 
This  is  the  set  for  teachers  in  schools  ;  price,  $30  00. 

Griffin's  Chemical  Recreations. — Part  I.     Price  $i  00. 

SET  A-FOR  INDICATING  TESTS. 

Porcelain  Mortar,  No.  00  ;  Albata  Test  Spoons,  Flask,  2  oz.;  Pipette,  25  Septems  ; 
Glass  Spirit  Lamp,  Cotton  Wick  for  Lamp,  Brass  Tongs  to  trim  Lamp,  Furnace 
Cylinder,  Trellis  Top  for  Furnace,  Box  with  100  Filters,  2f  inch  ;  Filter  Ring, 
Water  Bottle,  Glass  Funnel,  if  inch  ;  Support  for  Funnel,  Pipettes,  5  inch  (2);  Test 
Glasses,  Conical  (8);  Stirrers,  3  inch  (8);  Boiling  Tubes,  6x1  inch  (2);  Handle  for 
Hot  Tubes,  Book  of  Red  Litmus,  Bock  of  Blue  Litmus,  Tubes  for  S.  H.  Gas, 
Pipette  Bottles,  1  oz.  size  (9);  Bottles  with  Stoppers,  1  oz.  (2). 

SET  B-FOR  CONFIRMING  TESTS. 

Porcelain  Cup,  1  inch  ;  Retort  Stand,  Blowpipe,  Blowpipe  Lamp  and  Stand, 
Platinum  Wires  (2),  Platinum  Foils  (2),  Platinum  Tongs,  Thin  Copper  Wire,  Char- 
coal Pastiles  (36),  Crucibles  for  Pastiles  (2),  Wire  Supports  for  Pastiles  (2),  Ham- 
mer, Anvil,  Closed  Tubes,  2  x  \  inch  (3);  Box  Test  Papers,  Support  for  Sublimates, 
Borax  in  a  Box,  Microcosmic  Salt  in  a  Box,  Soda  Carbonate  in  a  Box,  Cobalt  Ni- 
trate, 2  oz.  bottle  ;  Stoppered  Bottles  to  Contain  Test  Solutions,  2  oz.  size,  labelled 
but  empty  (8);  Corked  Bottles,  with  Wide  Mouths,  to  Contain  Dry  Tests,  1  oz.  size, 
labelled,  but  empty  (7). 

SET  C-REAGENTS. 

INDICATING  tests. 
Sodium  Carbonate,  Ammonia,  Ammonia  Molybdate,  Sulphuric  Acid,  Concent., 
Hydrochloric  Acid,  Potassium  Hydrate,  Potassium   Ferricyanide,  Barium   Nitrate, 
Silver  Nitrate,  Calcium  Chloride,  Nitric  Acid,  Lead  Nitrate. 

CONFIRMING   TESTS. 

Potassium  Chromate,  Potassium  Bichromate,  Potassium  Ferrocyanide,  Potassium 
Antimoniate,  Calcium  Sulphate,  Platinum  Chloride,  50,  \  oz.;  Gold  Chloride,  \  oz.; 
Gold  Test  in  Dry  State,  Calcium  Sulphide,  Potassium  Bisulphate,  Ferrous  Sul- 
phate, Manganese  Peroxide,  Stannous  Chloride,  Copper  Sulphate,  Lead  Acetate, 
Magnesium  Sulphate,  Sodium  Chloride. 

The  Complete  Sets  A,  B  and  C,  Price  $30  00. 


A  SET  OF  APPARATUS  AND  CHEMICALS, 

To  illustrate  Prof.  Roscoe's  Primer  of  Chemistry,  which  explains  the  fundamental 
principles  in  an  easy  and  pleasant  manner,  well  illustrated.  Price,  of  set  complete, 
$35  00. 

Exp.  1.  Taper  with  wire  holder. 

Exp.  3.  Glass  tube  containing  a  taper,  with  U  tube  for  holding  the  caustic  soda, 
and  rubber  tubing  to  connect  with  the  aspirator. 


ILLUSTRATED  CATALOGUE.  87 

Pair  of  hand  scales  with  brass  pans  and  weights  from  2  oz.  downward,  in  oak 
box. 

Exp.  5.  A  2  oz.  glass  flask,  iron  tripod  stand,  Bunsen's  burner,  with  one  yard  of 
rubber  tubing. 

(This  will  be  replaced  by  a  spirit  lamp  and  1  pint  of  wood  alcohol  when  desired.) 

Exp.  6.  A  bell  jar ;  capsule  to  contain  the  phosphorus. 

Exp.  12.  Apparatus  for  decomposing  water  by  electricity,  with  two  collecting 
tubes  and  wire  to  suspend  them. 

A  4-cell  Bunsen's  battery,  with  wires. 

Exp.  14.  Glass  mortar  and  pestle,  gas  esprouvette. 

Exp.  15.  Flask  etc.,  for  generating  hydrogen,  stoneware  pneumatic  trough,  with 
beehive  shelf. 

Four  wide  mouthed  gas  collecting  bottles,  pint  size. 

Three  stoneware  gas  trays. 

Exp.  20.  A  pint  flask,  wash  bottle,  two  U  shaped  calcium  chloride  tubes  and  a 
hard  glass  tube  to  contain  the  copper  oxide. 

Exp.  21.  Two  8  oz.  stoppered  glass  retorts,  a  retort  stand,  with  three  rings  and  a 
clamp  for  test  tubes,  etc. 

Exp.  23.  A  16  oz.  porcelain  evaporating  dish  and  a  4  oz.  evaporating  dish. 

Exp.  25.  Two  3  inch  glass  funnels,  100  filter  papers. 

Exp.  31.  A  horseshoe  magnet. 

Exp.  32.  A  palette  knife. 

Exp.  37.  A  piece  of  iron  wire  gauze,  6  inch  square. 

Exp.  42.  Iron  tray  or  sand  bath. 

Exp.  44.  One  dozen  5  inch  test  tubes,  test  tube  holder,  test  tube  stand  for  twelve 
tubes. 

One  blowpipe,  two  files  (round  and  triangular). 

Half  a  pound  of  glass  tubing,  2  dozen  spare  corks. 

Four  lbs.  Sulphuric  Acid,  3  lbs.  Nitric  Acid,  2  lbs.  Hydrochloric  Acid,  1  pint 
Lime  Water,  4  oz.  Ammonia  Solution,  4  oz.  Caustic  Potash,  4  oz.  Sodium  Carbon- 
ate, 4  oz.  Potassium  Chromate,  4  oz.  Potassium  Ferrocyanide,  4  oz.  Silver  Nitrate, 
4  oz.  Litmus,  4  oz.  Indigo,  8  oz.  Calcium  Chloride,  8  oz.  Marble,  8  oz.  Iron  Filings, 
4  oz.  Lime,  4  oz.  Gypsum,  4  oz.  Stourbridge  Clay,  4  oz.  Bleaching  Powder,  1  lb. 
Manganese  Dioxide,  4  oz.  Soda  Crystals,  4  oz.  Alum,  4  oz.  Sulphur  Roll,  4  oz. 
Sulphur  flour,  4  oz.  Potassium  Nitrate,  2  oz.  Zinc,  2  oz.  Copper  Turnings,  2  oz. 
Copper  Oxide,  2  oz.  Copper  Sulphate,  2  oz.  Antimony,  2  oz.  Mercury,  2  oz.  Lead 
Acetate,  2  oz.  Castor  Oil,  2  oz.  Caustic  Soda  (solid),  1  oz.  Sodium  Carbonate  Anhy- 
drous. 1  oz.  Phosphorus  Yellow,  \  oz.  Phosphorus  Red,  $  oz.  Tin  Oxide,  |  oz.  Mer- 
cury Oxide,  1  dram  Potassium,  1  dram  Sodium,  6  leaves  Gold  Leaf,  ^  yard  Magne- 
sium Ribbon,  1  Book  Litmus  Paper,  1  piece  Charcoal. 

Forty-three  bottles  (various)  to  contain  the  above  chemicals  and  preparations. 


88 


A.  &  A.  F.  SPITZLI'S 


SCALES  PRICE  LIST. 


5001.  Druggists'  Scales,  with  Wood  Box,  Marble  Top  and  Brass  Pans. 

Price. 

No.  I.   26  inch  Box,  12  inch  Pans,  30  pounds  capacity.. $39  00 

"     2.   20         "  9         "  20  "         •        28  00 

"3.18         "  8         "  10  "  2300 

"     4.   15         "  7         "  4  "  2000 

5002.  Druggists'  Scales,  with  Marble  Top,  Metallic  Sides,  Bronze  Edges,  Brass 

Pans. 

Price. 
$50  00 

43  50 

.    32  00 

23  00 

20  00 


10J  inch  Pans,  44  pounds  capacity . 

9*  "  33 

7f  "  18 

6i  "  4i 

5i  "  2* 


No.  1. 
"  2. 
"     3- 

"     4- 
"     5- 

5003    Brass  Weights  in  Block,  Avoirdupois. 


Capacity,  4  pounds  to  -j-1^  ounce. 

2         «  1        « 

*  la 

"         1  " 


With 
Open  Block. 

.Price,  $16  00 


Te  IO    50 

A  t  "    "        7  00 

Single  Weights.     Separate  from   Full  Sets. 

Capacity  j-'-g-  ounce Price  each, 

"         i       "       


With 
Cov'd  Block. 

$18  OO 

12   OO 

8   OO 


i  "        • 

i  "        • 

1  " 

2  " 

4  "      • 

8  " 

1  pound. 

2  "      . 
4  " 


5004.  Brass  Weights  in  Block,  Troy. 

With 
Capacity.  Open  Block. 

500  ounces  down Price,  $68  00 


300 

200 

100 

50 

30 

20 

10 

5 


50  00 
36  00 
25  OO 
20  OO 
15  00 

12  OO 

10  00 
8  00 


25 
25 

35 
50 
65 

75 

85 

1  15 

1  50 

2  50 
4  00 
7  5o 


With 
Cov'd  Block. 

$72  OO 

54  OO 

40  OO 

29  OO 

23  00 

18  00 

15  00 

12  OO 

IO  OO 


5005.  Bank  Scale,  with  Metal  Base. 

No.  1.  Capacity  100  oz Price,  without  weights,     $140  00 

"     2.         "         300  oz "  "  "  33000 


ILLUSTRATED  CATALOGUE. 


89 


5006.  Bank  Scale,  with  Brass  Beam,  Brass  Column,  Mounted  on  Wood  Box 
Capacity  100  ounces Price,  without  weights,     $85  00 

5007.  Brass  Cup  Weights,  Troy. 

Capacity  64  oz.  down Price, 

32       "  " 

16       "  , " 


$10  00 

6  75 

4 

2 

1 


Sealed  Troy  Pennyweights Per  set, 

"        Scruples  and  Drachms " 

"        Grain  Weights ....      " 


5008.  Jewelers'  and  Brokers'  Scales,  very  finely  adjusted. 


Diam. 
of  Pans. 

4  in. 
44    " 

5  " 

6  " 

74   " 

8      " 

104    " 


Length 
of  Beam. 

7  in. 

8  " 

9  " 
10    " 


15 
20 


Length 
of  Box. 

12     in. 

134    " 

15  " 
i7i  " 
20  " 
24     " 

33     " 


Weights. 

8  OZ 

8  " 

16  " 

32  " 

32  " 

64  " 

128  " 


Description.  No. 

Brass    Column,    Brass ")  o. 

Beam,    Brass    Pans  |  1. 

and      Chains,     and  |  2. 

Wood      Box      with  )-  3. 

Drawer,  sealed  Troy  |  4. 

Cup  Weights,  dwts.  |  5. 

and  grns.  complete,  J  6. 

5009.  French  Gold  Scales,  Mounted  on  Box. 

Length  of  Beam.  Length  of  Box. 

No.  24 5^  inches.      g|  inches. 

"32 74   "  12$   " 

"  35 H       "  14 

5012.  Standard  Yard  Measure. 

Description.  Without  Case. 

All    Brass $1800 


Price 
$13    50 
15    50 
18   OO 
23  OO 

27    50 

35  50 
77  00 

Price. 

$5  50 
7  70 
9  00 

With  Case. 
$22    OO 


50I3- 

No.   I 
"       2 

"     3 
5014. 

50I5- 

No.  3 

"     4 
"     6 


Prescription  Scale  with  Glass  Case  and  Glass  Bottom. 

Length  of  Beam.  Price. 

12  inches     $  35  00 

IO       "        33  0O 

....   8      "        3200 

Sampling  Scale,  length  of  beam  6  inches 7  00 

Prescription  Scales.     Plain  Top — all  Brass. 

Length  of  Beam.  Price. 

8  inches $  9  00 

7      "          800 

6       "        700 


5016.  Prescription  Scales,  with  Lever,  Mounted  on  Marble  Slab. 

Length  of  Beam.  Brass.  Glass  Case. 

No.  I 12  inches price,  $16  50  $30  00 

"     2 10      "      "  1400  2700 

"     3 8      "      "  11  00  22  00 


go  A.  &  A.  F.  SPITZLI'S 

5017.  Prescription  Scales  with  Lever,  Mountedon  Box  with  Marble  Slab. 

Length  uf  Beam.  Brass.       Silver-plated. 

No.  1 12  inches price,  $22  00  $28  00 

"     2 10      "      "        16  50  20  00 

"     3 8      "      "        13  50  15   50 

5018.  Yarn  Scales  for  Runs ) 

5018*.  Yarn  Scales  for  Worsted  Numbers V  $8  00  to  $45  00 

5018**.  Yarn  Scales  for  Cotton   Numbers ) 

These  Scales  have  one  shell  and  beam  weighted  to  show  the  size  of  yarn  by  the 
number  of  yards  required  to  balance  it.  • 

5021.  Weights    in    sets     for   woolen,   worsted    and     cotton    yarn,    per   set 

each .  .brass,  $2  00;  nickle-plated,    ^3  50 

These  weights  may  be  used  with  any  fine  balance  scales. 

5022.  Weights  to  determine  the  weight  of  a   yard  of  goods  from  a 

small  sample.     Full  instructions  given  with  the  weights.  .$5  OO  to  $10  OO 


FOLDING    EASELS 

FOR    DESIGNS    TO    BE    COPIED,    MUSIC,    BOOKS,     ETC. 

Polished  Folding  Easel,  14  inch  long,  7  inch  high,  folded  only  7  inch 

long,  i£  inch  square,  each $       50 

Polished  Folding  Easel,  18  inch  long,  9  inch  high,  folded  only  9  inch 

long,  if  inch  square,  each 60 

3.  Polished  Folding  Easel,  18  inch  long,  9  inch  high  without  top,  only  9 

inch  long,  if  x  i-J  inch  square,  each 75 

4.  Fine  Polished  Folding  Easel,  18  inch  long  x  9  inch  high  without  top, 

folded  only  9  inch  long,  if  x  1^  inch  square,  each 1  00 

do.         do.         fine  of  Rosewood,      do.         do.         do.         each, ....        1  75 


PORT  FOLIOS. 

Port  Folios,  School. 

Size 11x16            14x18            16x22  19x25 

Each $     60              .$     80              $1  00  $1  25 

Port  Folios,  Cloth  Back  and  Corners. 

Size ......11x16             14x18             16x22  19x25 

Each $     80               $1   10               $1  40  $2  00 

Port  Folios,  Fine  Strongest  Board,  Leather  Back  and  Corners. 

Size 14  x  18         16  x  22         19x25         22  x  30  26  x  36 

Each $2  00           $2  50           $3  00           $4  50  $6  00 


DESIGN  PAPER, 

To  furnish  this  specialty  in  all  its  varieties,  at  prices  to  defy  competition,  has 
cost  us  a  deal  of  pains,  but  our  contracts  for  paper  and  ruling  are  now  such  that 
we  can  furnish  design  paper  cheaper  than  any  one  else  without  doing  ourselves  an 


22 

x  30 

$1 

75 

22 

x  30 

*2 

50 

32 

x  42 

*7 

50 

ILLUSTRATED  CATALOGUE.  g\ 

injustice  or  resorting  to  the  tricks  of  trade  so  common  in  this  particular  class  of 
goods.  Our  prices  are  lower  than  those  of  any  other  reliable  house  that  we  know 
of.  This  fact,  however,  is  not  due  to  the  desire  to  cut  trade  prices,  but  because 
we  have  good  reason  to  believe  that  when  our  papers  have  been  tried,  individual 
orders  will  be  larger  than  heretofore,  when  almost  every  purchase  was  a  new  ex- 
periment. For  single  sheets  or  broken  quires  we  are  obliged  to  charge  New  York 
market  prices — 10  to  20  cents  per  sheet  of  ruled  paper,  15  to  25  cents  per  sheet  of 
printed  paper.  Printed  paper  can  be  furnished  by  the  yard.  Prices  of  design 
paper  in  the  roll  are  not  included  in  the  price  list,  as  that  form  meets  but  little 
favor.  Pads,  on  the  contrary,  are  not  put  in,  because  we  make  those  up  to  order 
at  a  very  little  advance  upon  the  price  of  loose  paper,  it  being  a  process  always  in 
hand  and  quickly  done.  Any  designer  who  uses  slips  of  any  particular  size  will 
find  the  pads  most  convenient  and  cheapest,  because  they  allow  little  waste  if 
proper  sizes  are  used. 

In  ordering  new  kinds  and  styles  of  paper,  a  hand-ruled  sample  should  be 
inclosed.  On  large  orders,  two  colors  of  ink  may  be  arranged  in  various  ways 
without  extra  cost  for  ruling.  Additional  colors  cause  extra  expense,  and  changes 
in  small  orders  are  very  expensive.  Printed  papers  can  be  made  in  more  than  one 
color  only  at  a  great  cost. 

What  are  termed  plaided  papers  in  two  or  more  colors,  ruled  to  order  :  8  blue  lines, 
8  red  lines  ;  8  blue  lines,  4  red  lines  ;  4  blue  lines,  8  red  lines  ;  12  blue  lines,  4  red 
lines  ;  4  blue  lines,  12  red  lines  ;  4  blue  lines,  4  red  lines.  Other  proportions  cost 
a  little  extra,  according  to  size  of  order. 

Draft  Blanks  for  woolen  mills  made  to  order,  and  furnished  in  loose  sheets,  pads 
or  books.  The  latter  can  be  made  like  a  stub-check  book.  Tracing  paper  ruled 
or  printed  to  match  all  our  regular  styles  of  paper  ;  a  great  convenience  for  copying 
drafts.     Prices  double  that  of  common  design  paper. 


DESIGN  PAPER-PRICE  LIST, 


Size   of 

, HEAVY. x 

Ruled.               Ruled. 
One   side.           Both  sides. 

Ruled. 
One  side. 

EXTRA     HEAVY. 

Ruled              Printed. 
Both  sides.       One  side. 

Printed. 
Both  sides 

Sheet. 

Per 
Q- 

Per 
R. 

Per 
Q- 

Per 
R. 

Per 

Q. 

Per 
R. 

Per 

Q. 

Per 
R. 

Per 
Q- 

Per 

Q. 

14  X  17 

.50 

6.00 

.60 

7.50 

.60 

7-50 

.70 

8-75 

4.OO 

4-50 

l6  X  21 

.60 

7.5O 

.70 

8.75 

•75 

g.OO 

.90 

IO.50 

4.50 

5  00 

18  x  23 

•75 

g.OO 

.QO 

IO.5O 

.90 

"•75 

1. 00 

12-75 

5-00 

5-5o 

Above  prices  are  for  one  or  two  colors  on  the  ruled  paper,  one  color  on  the 
printed.  More  colors  increase  the  price  on  orders  of  less  than  four  reams.  With 
one  color  the  squares  are  blocked  off  by  heavier  lines.  In  two  colors  the  second 
color  is  used  for  blocking  in  a  heavy  line  ;  \  inch  block  may  contain  2,  4  or  5 
squares  per  block  ;  £  inch  blocks  may  contain  4,  5,  6,  8,  10  or  12  squares  per  block  ; 
■|and  1  inch  blocks  may  contain  4,  5,  6,  8,  10,  12  or  16  squares  per  block.  On  the 
printed  papers  ^  inch  blocks  contain  4,  5  or  8  squares  per  block.  Samples  of  de- 
sign paper  sent  on  receipt  of  postage. 

The  above  are  our  regular  styles,  but  not  all  kept  in  stock.  Of  those  not  in 
stock,  any  order  of  not  less  than  one  quire  will  be  promptly  ruled  or  printed  with- 
out extra  charge.     Other  styles  can  also  be  furnished  very  promptly. 


92 


A.  &  A.  F.  SPITZLI'S 


DRAWING  PAPERS   IN  SHEETS, 

Whatman's  Drawing  Papers.     Hand-made. 

H.P.  signifies  Hot  Pressed,  and  has  a  smooth  surface. 

N.  "        Not  Hot  Pressed,  and  has  a  finely  grained  surface. 

R.  "        Rough,  and  has  a  coarsely  grained  surface. 

H.P.  Paper  is  mostly  used  for  pencil  and  very  fine  line-drawings. 

N.  Paper  is  used  for  general  purposes  and  water-color  drawing. 

R.  Paper  for  very  bold  drawing  and  sketching. 

Selected 
Best. 
N.,  per  quire,     $     80 

"        1  00 

1  50 

1  85 

2  40 

3  50 

5  00 

6  00 
30  00 

1  75 

3  00 

3  75  per 

7  50 


Cap 13x17  inch  H.P 

Demy 15x20  " 

Medium    17x22  " 

Royal 19x24  " 

Super  Royal 19x27  ' ' 

Imperial 22x30  ' ' 

Atlas 26x34  " 

Double   Elephant. .  .27x40  " 

Antiquarian 3^53  " 

31x53  " 

Griffin  Antiquarian.  .31x53 

Imperial 22x30 

Double  Elephant, ..  .27x40  "     "  " 

2.  Whatman's  Extra  Thick  Drawing  Papers. 

Royal 19x24  inch  N.,  per  quire, 

Imperial 22x30     "     H.P.  N.  R.      " 

Double  Elephant     .27x40     "    N.  R.  " 


N., 
R., 


per  sheet, 


per  quire, 


$4  75  per 
9  OO 
14  OO 


Retree  or 
Second 
Quality. 

$      70 

85 
I  25 

1  60 

2  OO 

3  00 

4  50 

5  50 
18  00 

90 

sheet,  1 8 

35 

sheet,  55 
45 
75 


2-J.  Imitation  Creswick  Drawing  Papers. 

Imperial 22x30  inch  N.,  "  $7  50  per  sheet,  38 

Whatman's  Drawing  Papers,  "Selected  Best  "  and  "  Retree,"  are  both  of  the 
same  quality,  as  they  are  made  of  the  same  material.  The  "Selected  Best" 
quality  are  the  best  sheets,  without  imperfections.  Both  bear  the  impression : 
"  Whatman  "  or  "  Whatman  Turkey  Mills." 

3.  Antique  or  Eggshell  Papers,  best  quality. 

Demy   15x20  inch, per  quire,  $     80 

Medium 17x22     "      "  j   10 

Royal ...  .19x24     "     "  1  40 

Imperial 22x30     "      "  2  25 

4,  Machine    Papers,    good   quality,  used    in    Schools   for   Pencil    and    Crayon 

Drawings. 

Cap 14x17  inch per  quire, 

Demy 15x20 


Medium 17x22 

Royal 19x24 

Super  Royal 19x27 

Imperial 22x30 

Double  Elephant. .  .27x40 


2   50 


ILLUSTRATED  CATALOGUE. 


93 


5.  J.  D.  Harding's  Papers,  for  Water  Color  Sketching. 

Imperial 22x30  inch, per  quire,     $4  00 

"        extra  thick,  22x30     "      "  S  00 

6.  English  Tinted  Crayon  Papers. 

Imperial 22x30  inch,  12  different  tints per  quire,     *3  00 

Double  Elephant.  .  .27x40     "        6  "  "    "  4  50 

7.  German  Tinted  Crayon  Papers,  Rough  Grain,  12  different  tints. 

Royal 18^x24^  inch per  quire,     $1  60 

8.  French  Tinted  Crayon  Papers,  Slight  Grain,  12  different  tints. 

Royal 19x25  inch per  quire,     $1   25 


9.   French  Tinted  Charcoal  Papers,  12  different  tints. 

Royal 19x25  inch per  quire, 


75 


10.  English  White  Bristol  Boards,  Smooth  Surface. 

2  Sheets.      3  Sheets.      4  Sheets. 

Cap I2fxi6j  inch perdoz.,   $     65         $100         $135 

Demy 14^x18^    "     " 

Medium i6-Jx2of    "     " 

Royal 18  x22^    "     " 


11.  French  White  Bristol  Boards,  Slight  Grain. 

Cap 12^x16^  inch perdoz. 

Demy I5xii9i    "     " 

Medium i6£x2of    "     " 

Royal 19  x24§    "     " 

Imperial 21^x28      "     " 


Colombier 24  x^4-i 

Double  Elephant. .  .  28fx4i-£ 


Extra  fine,   4  sheets 


I  00 

1 

50 

1  80 

1  35 

1 

80 

2  50 

1  75 

2 

60 

3  50 

65 

80 

1  00 

1  00 

1 

30 

1  65 

1  25 

1 

50 

1  90 

1  50 

2 

00 

2  50 

1  75 
ets. . . 

2  25 

Per 
dozen. 

$  7  00 

2  75 

Per 
sheet. 

$   70 

10 

00 

I  OO 

M  25 


$2  25 


12.  French  Tinted  Bristol  Boards,  thin,  12  different  tints. 

Royal 19x24^  inch per  doz. 

13.  French  Tinted  Bristol  Boards,  thick,  12  different  tints. 

Royal 19x24^  inch. perdoz. 

14.  Bond  Papers,  for  Tracings,  very  tough. 

16  x  21. 

Per  100  sheets $3  25 

Per  quire 1   10 

15.  English  Parchment,  best  quality. 

14  x  18       16  x  20       18  x  24     21^  x  29J       23  x  31   inch. 

Per  dozen $5  50         $7  20         $9  00         $13  00         $14  00 

Per  sheet 50  7c  90  1  30  1  40 

(23  x  31  inch  is  the  size  for  English  Patent  Drawings  and  Specifications.) 

15-k  English  Government  Patent  Preambles,  Legal  Blanks. 

Printed  on  Parchment each,     $1   50 

"         "    Paper "  15 


ig  x  24. 

19  x  30 

$4  00 

$5  00 

1  20 

1  40 

94  A-  &  A.  F.  SPITZLI'S 

16.  Gelatin  or  Glass  Pater. 

Thin.  Medium.  Thick. 

13x19 per  sheet,  $     30         $     35         $     45 

17.  Transfer  Papers,  Blue,  Red,  Black  and  Black-lead. 

11$  x  I8-J  inch   per  doz.,     $1   50     Per  sheet,     $     15 

18.  White  Mounting  Boards. 

22  x  28  inch,  according  to  thickness. 

No.  1.  No.  2.  No.  3.  No.  4. 

Per  sheet $     10  $     12  $     15  $     20 

19.  Chagrin  Boards,  for  Passepartouts,  white  'and  tinted. 

22  x  28  inch per  sheet,     $     15 

20.  Chagrin  Papers,  for  Passepartouts,  white  and  tinted. 

22  x  28  inch   per  sheet,     $     10 


DRAWING  PAPERS  CONTINUOUS  IN  ROLLS. 

The  four  different  qualities  of  white  Roll  Drawing  Paper  described  below  answer 
fully  what  Architects,  Engineers  and  Draughtsmen  may  require.  By  ordering  the 
papers  according  to  the  description  given,  customers  will  not  fail  to  receive  ex- 
actly what  suits  their  purpose. 

31.  A  very  tough  and  pliable  paper  of  a  yellowish  white  hue,  matchless  for  work- 
ing drawings  used  out-of-doors  or  in  the  workshop,  where  drawings  are  under 
continuous  rough  handling.  This  paper  has  a  slightly  grained  surface  similar 
to  Whatman's  "not  pressed  ;"  it  takes  color  well  and  stands  erasing  to  the 
greatest  extent. 
33.  An  almost  pure  white  paper  of  good  quality  with  slightly  grained  surface,  suit- 
able for  work  in  Ink,  Color,  Pencil  or  Crayon.  It  is  used  for  general  office- 
work,  preliminary  drawings,  and  to  a  great  extent  for  school  purposes.  This 
paper  is  generally  known  under  the  name  of  "German  Drawing  Paper," 
but  is  of  far  better  quality  than  most  of  those  papers  imported  to  this  country. 
Our  paper  No.  4  is  the  same  article  in  sheets. 
36-37.  Good,  well  sized  and  tough  papers  of  a  yellowish  white  tint,  suitable  for 
fine  drawings  ;  it  has  a  grain  similar  to  Whatman's  "not  pressed,"  but  is  some- 
what smoother.  It  will  take  ink  and  color  perfectly  well. 
38  to  41.  Paragon.  These  papers,  of  which  Keuffel  &  Esser  have  exclusive  con- 
trol in  this  country,  w-ere  introduced  by  them  within  the  last  two  years.  They 
have,  in  this  very  short  space  of  time,  taken  the  lead  of  all  drawing  papers,  and 
wherever  they  have  been  used  are  acknowledged  to  be  the  best. 

The  Paragon  Papers  have  no  equal  in  Uniformity  of  Grain,  Strength  of 
Tissue,  Toughness  and  Pliability,  Sizing  that  will  stand  erasing  and  yet  re- 
ceive ink  and  color  perfectly  well. 

In  consequence  of  the  marvelous  success  of  these  papers,  paper  of  similar 
appearance  is  offered  and  sold  as  "  Paragon  ;"  we  therefore  caution  our  cus- 
tomers against  all  papers  offered  as  "Paragon"  which  do  not  show  on  each 
border  the  water-mark  "  Paragon,"  the  duly  registered  trade-mark. 

We  warrant  the  Paragon  Paper  and  exchange  all  which  does  not  prove  as 
represented. 


ILLUSTRATED  CATALOGUE. 


95 


38,  39,  40,  40-2.  Having  a  sand-grain  or  pebbled  surface  (Eggshell),  are  adapted 
to  general  drawing,  either  in  lines  or  in  wash  ;  they  are  also  very  desirable  for 
water-color  drawings,  as  the  colors  have  a  beautiful  effect  on  the  peculiar  sur- 
face. 

For  Elevations,  Perspectives  and  every  kind  of  finished  drawings  no  better 
paper  can  be  found. 
41.  Has  a  grain  like  Whatman's  '  not  pressed"  on  one  side  ;  the  reverse  is  perfectly 
smooth,  adapting   it   for  drawings  to  be   reproduced   by   photographic  or  any 
other  process. 
30.   Detail   Papers,  extra  tough,  buff  color,  thin,  medium,  thick  36,  40,  44, 

48,  54  inch  wide,  in  rolls  of   75  to  100    lbs per  lb.  14  to  16 

According  to  thickness  and  width per  yard.  10  to  25 

In  rolls  of    In  rolls  of 

30  to  40  lbs.     10  yards.      Per  yard. 


31.  White  Roll  Drawing  Papers,  medium  62  inch  wide, 

33-  "  "        36 

42 

"        56 

36.  "  "        55 

37.  "  thick,      55 

58 
42 


38.  Paragon,  thin  rough, 

39.  "  medium  rough, 


Per  lb. 

•45 

.40 
.40 
.40 

•55 
•55 
.50 
•50 
•50 
■50 
•50 
•50 
•50 


Per  roll. 
3    75 
2    OO 

2  60 

3  00 

4  50 
6  00 
4  00 

3  50 

4  50 

6  00 

7  50 
4  50 
4  00 


40.  "  thick  rough,  5? 
40-2.     "                   extra  thick  rough,           58 

41.  "  medium  smooth,  58 
43.   Tinted  Roll  Drawing  Papers,  rough,  54 

45.  Tinted  Drab  "  thick,  very  good  for 

detail  drawings,  with  slight  grain,  53  inch  wide,      .50  4  50 

46.  Steinbach's  Solar  Printing  and  Crayon  Papers,  53  inches  wide,  in    rolls 

of  10,  25  and  50  yards,  per   yard 

46^.  do.  do.  thick 


.40 
•25 
•30 

•35 
•50 
.70 

•45 
.40 
•50 

•75 
.90 
•50 

•45 

•50 


50 
60 


DRAWING  PAPERS,  WHITE. 

Mounted  on  Muslin  in  Rolls  of  10  Yards. 

50.  The  same  paper  as  described  under  No.  33. 

51.  This  is  a  very  thick  paper  of  good  quality  and  clear  white  color.     The  rough 

paper  has  a  grain  coarser  than  Whatman's  "not  pressed,"  the  smooth    paper 
has  a  finer  grain. 
52-^,  52,  53,  52s.  The  same  papers  as  described  page  94.     Nos. 

50.  Best  quality,  medium  thickness,  36  inch  wide 

42  "  

54  "  

51.  ''  thick,  rough  or  smooth  surface,  42  inch  wide 

54 
52^.   Paragon,  thin,  rough  58  " 

52.  "  medium,  rough  36  " 

42 


3-41. 

Per  roll. 

Per  yard. 

$  8  00 

$      90 

9  00 

I    OO 

11  25 

I  25 

12  50 

I  40 

15  00 

1  75 

11   50 

1  25 

8  50 

I    OO 

9  50 

I  10 

96  A.  &  A.  F.  SPITZLI'S 

Per  roll.      Per  y;ud. 

52.  Paragon,  medium,  rough,                                     58   inch  wide...    $12   50  $1  40 
52s.          "         medium,  smooth                                  58           "          ...      12   50  1  40 

53.  "              thick  rough                                        58          "          ...      14  00  1   60 

54.  Whatman's  Drawing  Paper,  mounted, 

Royal iS  x  24  inch,  per  sheet 40 

Imperial 22  x  30     "            "          50 

D'ble  Elephant. 27  x  40     "            " 75 

Antiquarian  ..  .31  x  53     "             "          1   50 

Large  pieces  for  City,  County  or  State  Maps  mounted  to  order. 

55.  Paper  cloth,  very  thin,  smooth,  38  inch  wide,  per  yard 50 

Paper  Cloth  is  a  new  article,  made  of  muslin,  to  which  the  paper-pulp  is  ap- 
plied. It  is  pliable  and  strong,  either  for  drawing  or  printing  purposes  ;  especially 
adapted  for  pocket  maps,  plans,  time-tables,  season  tickets,  etc. 


TRACING  OR  VELLUM  CLOTH. 

Both  Sides    Glazed,  and  One    Side   Glazed   the    Other  Dull,  Suitable 

for  Pencil-marks. 

60.  Sagar's  Patent,  white,  in  rolls  of  24  yards. 

18,  30,  36,  42     inch  wide. 

Per  roll,  #4  25         7  50  8  25         11   50 

61.  Imperial,  white,  in  rolls  of  24  yards. 

30,  36,  42     inch  wide. 

Per  roll,  $7  50         8  25         11   50 


TRACING  PAPERS  IN  SHEETS. 

63.  French  Vegetable,  very  tough  and  transparent. 

Cap 13x17   Inch,   thin per  quire, 

Demy 15x20     "  "    " 

Royal 18x24     "  "    and  thick " 

Imperial 21x27     "         "  ,...  " 

Double  Elephant.  .  .27x38     "        thin " 

64.  French  common,  20x30  inch,  medium   " 

30x40     "  "        • 

66.  Fine,  glazed,  very  transparent  and  tough,  30x40  inch " 

67.  Extra  Stout,  very  tough,  suitable  for  machinists,  30x40  inch,  " 


TRACING  PAPERS  CONTINUOUS  IN  ROLLS. 

Per  Roll. 

70.  French,  best  vegetable,  very  tough,  54  inch  wide,  in  rolls  of  22  yards,  $5  00 

71.  French  common,  42  inch  wide,  in  rolls  of  22  yards 3   5° 

72.  German,  very  tough  and  transparent,  42  inch  wide,  in  rolls  of  20  yards,  4  20 

73.  German,  very  best,  very  lough  and   transparent,  54  inch  wide,  in  rolls 

of  30  yards 8  00 


I 

50 

2 

5o 

3 

30 

9 

00 

1 

50 

3 

00 

4 

50 

4 

50 

ILLUSTRATED  CATALOGUE.  97 

No.  Price. 

74.   German,  not  prepared,  for  transferring,  54  inch   wide,   in   rolls   of  44 

yards $6  00 

76.  Extra  stout,  very  tough,  suitable  for  machinists,  40  inch  wide,  in  rolls 

of  20  yards 4  50 

77.  Parchment   Tracing^  Paper,  very  tough,    37  inch  wide,    in   rolls   of   20 

yards 5  5° 

78.  Paragon  Tracing  Paper,  very  transparent,  almost  like  glass,  very  tough, 

56  inch  wide,  in  rolls  of  20  yards 5   50 


HEUOGRAPHIC  OR  BLUE  PROCESS  PAPER. 

Paper  chemically  prepared   to  take  copies   from   tracings   by  simple   exposure  to 
sunlight.      Full  directions  furnished  with  the  paper. 

76.   Continuous,  26-J  inch  wide,  in  rolls  of  10  yards per  roll,  $5  00 

7g.\.    In  sheets,  26x40  inch per  quire,   $12  00         per  sheet,  60 

"          20x26     "      "               6  00               "  30 

(Other  sizes  made  to  order.) 

Photo  Solution  for  preparing  Heliographic  Paper.  ...    quart  bottle,  4  00 

Samples  of  Drawing  Papers  will  be  sent  on  application. 

Sample  Book  of  Drawing  Papers 15 


CROSS  SECTION  PAPERS. 

Nos.  91,  92,  93  Printed  in  Orange,  Blue  or  Green. 

91.  Cross  Section  8  feet  to  one  inch,  dimensions  of  engraving  i6£  x22  inch, 

per  quire $     5  00 

per  sheet 25 

92.  Cross  Section    10  x  10   to  one  inch,  dimensions  of  engraving    16  x  20 

inch,  per  quire 5  00 

per  sheet 25 

93.  Cross  Section  5  x  5  to   \   inch,  dimensions  of  engraving   16  x  20   inch, 

per  quire .  ,  5  00 

per  sheet 25 

97.  Cross  Section,  16  x  16  to  one  inch,  continuous  24  inch  wide,  printed  in 

orange,  per  yard 40 

94.  Cross  Section  5  x  5  to  one  inch,  16  x  21  ruled  in  blue,  per  quire 1   50 

95.  "  10x10  "  16x21  "  "  1   50 

96.  "  8x8  "  16x21  "  "         1  50 

S9.  millimetre,  18  x  24,  printed  in  orange,  per  sheet.  .  25 


98  A.  &  A.  F.  SPITZLI'S 

PROFILE  PAPERS, 

Printed  in  Orange  or  Green. 

No.  Price. 
80.    Plate  A,  15  x  42  inch,  horizontal  ruling  4,  vertical  ruling  20  to  one  inch, 

per  quire , 8  50 

per  sheet 40 

S3.  Plate  A,  continuous,  22  inch  wide,  per  yard 30 

85-                                         22         "         mounted  on  cloth,  per  yard 75 

8r.  Plate  B,  13J  x  42  inch,  horizontal  ruling  4,  vertical  ruling  30  to  one 

inch,  per  quire 8  50 

per  sheet   40 

84.  Plate  B,  continuous,  22  inch  wide,  per  yard 30 

86.                                        22          "         mounted  on  cloth,  per  yard 75 

82.  Plate  C,  15  x  42  inch,  horizontal  ruling  5,  vertical  ruling  25  to  one  inch, 

per  quire ....  8  50 

per  sheet .   40 


ENGINEERS'  FIELD  BOOKS. 

Per  Doz. 

100.  Field  Book,  4^x7-J  inch,  bound   in   leather,  round  corners,  80  leaves,     $6  00 

101.  Transit  Book,  4^x7^  inch,   "  "  "  "  6  00 

102.  Level  Book,  4x6+  inch,        "  "  "  "  4  50 


DESIGN   BOOKS, 

Leather  Back,  Cloth  Sides  or  Binding.  No.  2. 

Extra 
Size.  Pages.  Heavy.  Heavy. 

7x    8£ 240 ...Price,  fi   50  $200 

8  x  io£ 240 "  1   75  2  25 

9x"i 240 "  225  275 

9  x  14   480 ...      "  5  00  6  00 

11  x  16   480 "  6  00  8  00 

12  x  18 .  .  .480 "  8  00  10  00 

The  above  prices  are  for  Binding  No.  2.  We  also  bind  in  two  other  styles,  No. 
1  and  No.  3.  The  prices  in  the  former  are  10  per  cent,  less,  and  in  the  latter  15 
per  cent,  more  than  the  above  list.  No.  1  is  plain,  but  very  substantial  "marbled 
paper"  sides.     No.  3  has  extra  stout  back,  sides  like  No.  2,  leather  corners. 

The  superior  merits  of  the  No.  3  are  most  apparent  on  the  larger  sizes.  Flexi- 
ble covers  are  furnished  at  same  price,  but  never  kept  on  hand,  as  they  are  not 
ordered  frequently  enough. 

Lettering  in  gold  on  sides  or  back  costs  a  trifle  extra,  according  to  style  and 
number  of  letters  wanted.  Above  prices  are  all  for  design  paper  ruled  alike  on 
both  sides ;  some  other  styles  can  be  furnished  at  same  price,  but  any  additional 
expense  will  be  charged  extra.     More  leaves  or  larger  pages  increase    the   price 


ILLUSTRATED  CATALOGUE. 


99 


pro  rata.  More  leaves  and  sizes  just  double  the  above  in  width,  and  same  length, 
will  be  made  to  order,  with  no  extra  charge  except  that  for  the  increase  of  paper, 
but  odd  sizes  will  cost  more  in  proportion.  Extra  labor  and  waste  of  stock  must 
all  be  paid  for.      Estimates  cheerfully  furnished. 

Note. — Very  wide  leaves  are  meeting  with  much  favor.     They  lay  flat  in  what- 
ever part  the  book  is  opened. 


PATTERN  OR  SAMPLE  BOOKS. 

We  furnish  all  the  more  popular  Factory  made  Scrap  and  Invoice  Books, 
which  are  often  used  for  Pattern  Books  ;  but  the  trade  prices  in  these  are  so  closely 
protected  that  we  can  offer  our  patrons  no  special  inducement  in  them  except  the 
pains  we  take  in  selecting  the  goods,  to  avoid  sending  any  that  may  be  unservice- 
able or  unsuitable.  In  regular  Pattern  Books  we  can,  and  do  offer  very  material 
advantages.  Our  goods  are  expressly  made  for  us  by  binders  who  have  had  work 
of.this  kind  to  do  for  years  past.  Their  experience  and  our  facilities  for  procuring 
first-clr.ss  stock  enable  us  to  make  our  price  list  for  the  best  work  at  rates  far  be- 
low those  usually  charged.  Our  price  list  includes  only  the  goods  of  Messrs.  Asa 
L.  Shipman's  Sons,  besides  our  own  manufacture.  Cheaper  goods  will  be  made 
to  order  or  procured  from  other  parties  and  supplied  at  the  lowest  rates.  Binding 
No.  i  throughout  the  entire  list  represents  good,  substantial  binding,  leather  back, 
marbled  paper  sides.  Binding  No.  2,  cloth  sides,  strong  leather  backs  ;  and  No.  3, 
cloth  sides  and  extra  strong  and  durable  backs. 


PATTERN  OR  SAMPLE  BOOKS. 


Leather  Back  and  Cloth  Sides  or  Binding  No.  2. 


Kind  of  Paper. 
Manila, 
White  Book, 
Bristol  Board, 
Card  Board, 
Mat  Leaves, 
Manila, 
White  Book, 
Bristol  Board, 
Card  Board, 
Mat  Leaves, 
Manila, 
White  Book, 
Bristol  Board, 
Card  Board, 
Mat  Leaves, 
Manila, 
White  Book, 
Bristol  Board, 


size    7xS-i, 


Sxio| 


240 Price, 


9x11^ 


9x14 


4S0. 


Heavy 
Paper. 

Extra 
Heavy 
Paper. 

$1  40 

$1  60 

I  50 

1  75 

2  OO 

2  50 

3  00 

3  75 

5  00 

6  00 

1  60 

2  10 

1  75 

2  25 

2  50 

3  00 

3  50 

4  25 

6  00 

7  00 

2  00 

2  50 

2  25 

2  75 

3  00 

3  50 

4  00 

4  75 

6  50 

7  So 

4  50 

5  75 

5  00 

6  00 

6  00 

7  00 

IOO 


A.  &  A.   F.  SPITZ  LI'S 


Card  Board,        size    9x14         480 Price, 

Mat  Leaves,        "  "  "   

Manila,  "       11x16         "   

White  Book,       "  "  "   

Bristol  Board,     "  "  " 

Card  Board,        "  "  "    

Mat  Leaves,       "  "  "    

Manila,  "        12x18  "    , 

White  Book,       "  "  "   

Bristol  Board,    "  "  "    . 

Card  Board,        "  "  " 

Mat  Leaves,       "  "  "   

Lettering  on  the  back  costs  a  trifle  extra. 

Deduct  10  per  cent,  from  above  prices  for  binding  No.  1. 
binding  No.  3. 

All  the  papers  used  in  these  books  are  heavily  calendered,  and  any  part  of 
them  may  be  written  upon  with  ink.  Especially  do  we  call  attention  to  the 
amount  of  erasure  that  our  papers  will  endure. 


Heavy 
Paper. 

Extra 
Heavy 
Paper. 

-ice,     $7 

00 

$8   OO 

8 

00 

9  OO 

5 

50 

7  50 

6 

00 

8  00 

8 

00 

9  00 

"         10 

00 

II  00 

"         12 

00 

13  00 

7 

25 

9  00 

8 

00 

10  00 

"         10 

00 

11  00 

"         12 

00 

13  00 

14 

00 

15  00 

Add   15  per  cent,  for 


SHIPMAN'S  PATENT  SCRAP  BOOKS, 


Manila  Paper. 
Dark  Blue  Sheep  Backs  and  Corners,  Raised  Bands  and  Spring  Backs. 


Demy. 


.10^ 


Medium 12J 


>ize.               Pages. 

Description. 

No. 

Price  per 
Book. 

X  15              236 

Paper  Sides 

I 

$1    85 

236 

Cloth  Sides 

2 

2    03 

344 

Paper  Sides 

3 

2    31 

344 

Cloth  Sides 

4 

2  53 

464 

Paper  Sides 

5 

3  01 

464 

Cloth  Sides 

6 

3  25 

x  16           236 

Paper  Sides 

7 

2  05 

236 

Cloth  Sides 

8 

2  25 

344 

Paper  Sides 

9 

2  61 

344 

Cloth  Sides 

10 

2  77 

x  I7i        236 

Paper  Sides 

11 

2  25 

236 

Cloth  Sides 

12 

2  37 

344 

Paper  Sides 

15 

2  76 

344 

Cloth  Sides 

16 

2  98 

464 

Paper  Sides 

015 

3  67 

464 

Cloth  Sides 

016 

3  87 

ILLUSTRATED  CATALOGUE.  IOI 

INVOICE  BOOKS, 

Manila  Paper,  Indexed  and  Paged.      Dark  Blue  Sheep  Backs  and  Cor- 
ners, Raised  Bands  and  Spring  Backs.     Can  be  used  for  Pattern  Books. 

Price  per 
Size.  Pages.  Description.  No.  Book. 

Demy io£  x  15  236         Paper  Sides  70         $2  35 

"     "  350  "  71  2  89 

"     11x16  236  "  72  2  55 

"     "  35o  "  73  3  18 

Manila  Paper,  Ruled,  Paged  and  Indexed.     Dark  Blue  Sheep  Backs  and 
Corners,  Raised  Bands  and  Spring  Backs. 

Price  per 

Size.               Pages.         Description.  No.  Book. 

Demy 11x16           300         Paper  Sides  74  $320 

" "                 400                   "  75  3  82 

Medium 12^  x  17^         236                   "  13  2  90 

"     "                 236         Cloth  Sides  14  3  10 

"     "                 350         Paper  Sides  17  3  72 

"     "                 350         Cloth  Sides  18  392 

"     "                 470         Paper  Sides  19  4  95 

"     "                 470         Cloth  Sides  20  5   15 

Russia  Back  and  Corners. 

"     "                 500         Paper  Sides  B  5  70 

Full  Rough  Sheep. 

" "                 500  C  620 

Nos.  70,  71,  72,  73,  74,  75,  13,  17,  19  also  in  full  Duck,  at  same  prices,  and  num- 
bered 70  D,  etc. 

Manila  Paper.     Dark  Blue  Sheep  Backs  and  Corners,  Spring  Backs. 

Price  per 
Size.  Pages.  Description.  No.  Book. 

Letter  8|x  11  144  Paper  Sides  21M  $1  04 

"      "  192                   "  22M  1  24 

Packet  Post 10  x  12  144  Paper  Sides  23M  1  14 

"  144  Cloth  Sides  24M  1  28 

"         "  192  Paper  Sides  25M  1  39 

"         "  192  Cloth  Sides  26M  1  51 

"         "  300  Paper  Sides  27M  1  82 

Note 6^x9  150                   "  A  88 

Manila  Paper.    American  Russia  Backs  and  Corners. 

Price  per 
Size.  Pages.         Description.  No.  Book. 

Packet  Post 10  x  12         300         Paper  Sides         28m         $2  23 

"        "  300         Cloth  Sides         29M  2  37 

Heavy  Paper,  Assorted  Colors.     Dark  Blue  Sheep  Backs  and  Corners, 

Spring  Backs. 

Price  per 
Size.  Pages.  Description.  No.  Book. 

Packet  Post 10x12  96         Paper  Sides  21         $1   12 

" "  96         Cloth  Sides  22  1   19 


3ages. 

Description. 

No. 

Price  per 
Eook. 

144 

Paper  Sides 

23 

$1  34 

144 

Cloth   Sides 

24 

1  47 

192 

Paper  Sides 

25 

1  63 

192 

Cloth  Sides 

26 

1   73 

192 

Cloth  Sides 

29 

1  93 

144 

Cloth  Sides 

029 

1  63 

I02  A.  &  A.  F.  SPITZLI'S 


Size. 
Packet  Post 10  x   12 


Cap 9^  x  13 


HERBARIUMS. 

White  Paper.     Dark  Blue  Sheep  Backs  and  Corners,  Spring  Backs. 

Can  be  used  for  Pattern  Books. 

Price  per 

Size.               Pages.          Description.  No.  Book. 

Letter 8|  x  11           80         Paper  Sides  31  $1   16 

"       "                80         Cloth  Sides  32  1  28 

"       "                120          Paper  Sides  33  1   45 

"      "               120         Cloth  Sides  34  1   57 

Cap gi  x  13           80         Paper  Sides  35  1  24 

"                80         Cloth  Sides  36  1  36 

"       "               120         Paper  Sides  37  1   53 

"               120         Cloth  Sides  3S  1    73 

Note 64  x  9            150         Paper  Sides  Aw  96 


DRUGGISTS'  PRESCRIPTION  BOOKS. 

Manila  Paper.     Dark    Blue    Sheep  Backs  and    Corners,    Spring  Backs. 

Can  be  used  for  Pattern  Books. 

Price  per 
Size.  Pages.  Description.  No.  Book. 

Packet  Post 10  x  12  300  Paper  Sides  45  $1  91 

Demy 10^  x  15  236  Paper  Sides  46  2  06 

"       "  344  Paper  Sides  47  2   52 

Medium 12^  x  17^  464  Cloth  Sides  48  410 

Oblong,  White  Paper. 

Price  per 

Size.  Pages.  Description.  No.  Book. 

8  x  n|  Oblong  150  Half  Roan,  Cloth  Sides  82  $1  50 

"  150  Half  Morocco,  Cloth  Sides  83  1   72 

9  x  12J        "  150  Half  Roan.  Cloth  Sides  S4  1   72 

150  Half  Morocco,  Cloth  Sides  S5  2  00 

11  x  15^        "  200  Half  Morocco,  Cloth  Sides  86  2   70 


COPYING  BOOKS. 

Best  French  Linen  Paper,  Blue  Sheep  Backs  and  Corners,  Cloth  Sides,  Filleted 
on  Sides,  Lettered  on  the  Back  and  Indexed. 

Size,    gxn 300  Leaves.  ..  .No.     1 Price  per  book,  $1   70 

500       "       .  .  .  .    "       2 "  220 


ILLUSTRATED  CATALOGUE. 


I03 


Size,  9x11. . . 


700  Leaves. . .  .N 
goo 


Size,  10x12 300 

500 

700 

goo 

1000 

Size,  10x14 3°° 

500 

700 

goo 

Size,  6x9 300 

500 

Any  size  or  style  of  Binding  made 


3 Price  per  book,  $2  70 


X.... 
9.... 
10. . . . 

11.  .  .  . 

12.  .  . 

I3-- 

14 

to  order. 


3 

50 

1 

90 

2 

40 

3 

00 

3 

60 

4 

20 

2 

30 

3 

15 

4 

05 

4 

35 

I 

3o 

I 

65 

TRANSFER  BOOKS. 

Manufactured  by  Asa  L.  Shipman's  Sons. 

(Oblong),   full  cloth,  200  leaves 

Roan  back  and  corners,  cloth  sides,  200  leaves 

200 
300 
500 
700 
300 
500 

Prices  include  two  pieces  of  Carbon  and  a  Stylus. 
Carbon  and  Manifold  Paper  furnished  by  the  ream  or  quire. 


200 . . . 

4|x7i.... 

201 . . . 

6x9  .... 

202. . . 

7fxio. . .  . 

203 .. . 

"  .  . . . 

204.  . 

"  .... 

205 . . . 

"  . . . . 

2o6  .  . 

g^xii 

207. . . 

"  . . . . 

.Price,     $1  00 


Size. 


SHIPMAN'S  PATENT  LETTER  AND  INVOICE  FILES. 


ADHESIVE. 

250  Leaves For  Letters per  doz. 


(< 

...500 

10X12  . 

...250   " 

" 

...500 

8£xg  . 

...250   ' 

9x13  . 

. . .250   " 

" 

...500   ' 

9x15  . 

. .  .250 

" 

...500 

7x11 

...250   " 

" 

...500 

12^x17$. 

...250   ' 

" 

...500 

11x15  • 

. -  250   ' 

Bath 

Invoices 


Bills,  Oblong.  . 
Manifests,  &c.  , 
Prices  Current. 


Cloth  Sides. 

.,   $12 

00 

19 

50 

12 

5o 

20 

00 

IO 

44 

12 

00 

19 

5o 

15 

00 

22 

80 

8 

40 

15 

00 

23 

00 

32 

50 

15 

60 

104 


A.  &  A.  F.  SPITZLI'S 


11x15 
6x9 


10X12 

7x6^ 

Size, 
gxii 

10x12 


.  500  Leaves For  Prices  Current per  dc 


Cloth  Sides. 
,      $24  00 
IO   20 
15   00 
8  40 
15  00 
7  20 
Paper  Sides. 
.250  Leaves For  Letters   per  doz.,     $11   50 


...250 
. .  .500 
.  .  .250 
•  -.250 


Note  Letters 

Telegrams,-  Oblong 

American  Russia  Backs . 
Postal  Cards 


500 
.250 
.500 
.250 
.500 


Invoices 


9x13 

The  above  bound  in  full  duck  at  the  same  price  as  cloth  sides. 


19  00 
n  50 
19  00 
11  50 
19  00 


Size, 
gxii 


9x13    . 

9x15    . 

I2$Xl7f 


.250  Leaves 

.500 

.250 

.500 

.250 

.500 

.250 

.500 

.250 

.500 


NON-ADHESIVE. 

Cloth  Sides. 

.  .  .No.    101 per  doz.,     $10  80 


102 

103. 

104. 

105. 

106. 

107. 

108. 

109 

no. 


17  5o 

"  10  80 

"  17  50 

"  10  80 

■ "  17  50 

"  13  50 

"  20  70 

"  22  70 
"  28  50 

Parties  desiring  the  Non-Adhesive  File,  please  order  by  the  numbers  to  avoid 
confusion. 

Any  size  File  made  to  order  at  short  notice. 


SHIPMAN'S  STICKALINE. 

This  article  is  a  substitute  for  Mucilage  or  Paste,  combining  the  adhesiveness  of 
the  one  with  the  neatness  and  cleanliness  of  the  other.  Wherever  it  has  been  used 
it  has  become  an  indispensable  article,  either  in  the  Home  Library,  Office  or 
Workshop.  It  especially  commends  itself,  as  it  does  not  stain  or  soil  pic- 
tures, clippings,  covers,  fabrics,  torn  or  loose  leaves  in  books.  Its  composition 
enables  it  to  retain  its  sweetness  and  adhesive  properties  for  months  and  years, 
and  a  trial  will  convince  any  one  that  it  is  the  best  article  in  the  market  for  any 
purpose  for  which  mucilage  or  paste  is  used. 

No.  1.   Half  Pint,  cork  stopper per  doz.,     $3  00 

"     2.  glass  jar "  3  00 

' '     3.  screw  top  jar "  3  60 

"     4.   Pints,   cork  stopper "  4  50 

"     5.  Quarts,       "  "  8  00 

Warranted  not  to  mould  or  be  injured  by  freezing. 

Liberal  discount  to  the  trade. 

Bottom  discount  given  to  wholesale  dealers. 


ILLUSTRATED  CATALOGUE. 


PENNELL'S  BLACK  WRITING  INK. 


I05 


Permanent  Black  Ink,  Octagon  Stands per  gross,  $5  00 

' '         Square         "     "  4  00 

"                    "         8  ounce perdoz.,  1  50 

"                   "         Pints "  2  50 

"                   "         Quarts "  5  00 


PENNELL'S    COPYING    INK. 

Stands , perdoz.,  $     75 

8  ounce "  2  00 

Pints "  350 

Quarts "  6  00 

In  ordering  be  sure  to  state  the  fact  if  Shipman's  goods  are  wanted. 


Io6  A.  &  A.  F.  SPITZLI'S 


Standard  Wof^ks  on  Textile  ahd  Scientific  Subjects. 


We  will  furnish  any  book  still  in  print  at  publishers'  prices.     The  following  are 
only  the  principal  ones,  which  we  have  personally  examined  and   found  as    repre- 
sented.    Our  outfit  discounts  include  orders  for  books.     By  this  liberal  arrange- 
ment one  may  get   a   number  of  books  from   us   cheaper   than   from   any  one  else. 
Publishers'  Catalogues  furnished  on  receipt  of  price  and  postage. 
Ashton. — The  Theory  and  Practice  of  the  Art  of  Designing  Fancy  Cot- 
ton and  Woolen  Cloths  from  Sample.     Giving  full  instructions  for  re- 
ducing drafts,  as  well  as  the  methods  of  Spooling  and  making  out  har- 
ness for  cross  drafts,  and  finding  any  required   reed,  with  calculations 
and  tables  of  yarns.     By  Frederick  T.  Ashton,  Designer.     52  illustra- 
tions.     Folio $  10  00 

Ashenhurst. — The  Use  and  Abuse  of  Arithmetic  in  Textile  Calculations,  25 

Ashenhurst. — A  Practical  Treatise  on  Weaving  and  Designing  of  Fabrics, 
with  Chapters  on  the  principles  of  Construction  of  the  Loom,  Calcula- 
tions and  Color.  With  about  300  illustrations.  8vo.  Bradford,  1879,  10  50 
Auerbach — Crookes. — Anthracen.  Its  Constitution,  Properties,  Manu- 
facture, and  Derivatives,  including  Artificial  Alizarin,  Anthrapurpurin, 
&c,  with  their  applications   in  Dyeing  and  Printing.     8vo.     London, 

1877 5  00 

Baldwin. — A   Treatise   on   Designing   and   Weaving    Plain  and    Fancy 

Woolen  Cloths.      With  over  100  illustrations 4  00 

Barlow. — The  History  and  Principles  of  Weaving  by  Hand  and  by 
Power.  With  a  Chapter  on  Lace-Making  Machinery.  By  A.  Barlow. 
With  several  hundred  illustrations.     8vo. 10  00 

Contents. — Chapter  I.  Chronological  Account  of  Weaving,  etc.  II.  Ancient 
Looms.  III.  Wrarping  and  Beaming.  IV.  The  Common  Hand-Loom,  Headles, 
Reed.  V.  The  Fly  Shuttle,  Hand  Shuttle,  Drop  Boxes,  etc.;  John  Kay.  VI. 
Twills,  Satins,  Double  Cloth.  VII.  Shedding  Motions  for  Hand  Looms.  VIII. 
Figured  Weaving  without  the  Aid  of  Automatic  Machines.  IX.  Diaper  Weaving. 
X.  The  Draw  Loom  and  Draw  Boy  Machine.  XL  The  Jacquard  Machine,  In- 
troduction. XII.  Description  of  the  Jacquard  Machine.  XIII.  The  Jacquard 
Harness.  XIV.  Compound  Harness  for  the  Jacquard  Loom.  XV.  Tissue 
Weaving  and  Swivels.  XVI.  Circle  Swivels  and  Lappets.  XVII.  Cross  Weav- 
ing. XVIII.  Pile  Fabrics,  Velvets,  Carpets,  Chenille,  etc.  XIX.  The  Dutch 
Loom,  The  Bar  Loom.  XX.  The  Power  Loom,  M.  de  Gennes,  Barber's  Loom, 
Dr.  Cartwright,  Robert  Miller,  William  Harrocks.  XXI.  Progress  of  Power 
Loom  Weaving,  Almond's  Loom,  The  "Dandy"  Loom,  Operations  Required  in 
Power  Loom  Weaving.  XXII.  The  Common  Power  Loom,  Tappet  Motions, 
Bowman's  Robert's  Woodcroft's,  Schoenherr's  Hattersley's  and  Pickles's.  XXIII. 
Warp  and  Cloth  Beam  Motions,  Elastic  Loom,  Schoenherr's  Take-up,  Common 
Let-off  Motion,   Gouilliond's,   Schoenherr's,    Belleard's,    Hall's,    Lord's.      XXIV. 


ILLUSTRATED  CATALOGUE.  107 

The  Fork  and  Grid  Weft  Stop  Motion,  Stop  Rod,  Loose  Reed.  XXV.  Shuttles 
of  Various  Descriptions,  Picking  Motions,  etc.  XXVI.  Jacquard  Apparatus  and 
Examples  of  Various  Shedding  Motions,  Hattersley's  and  Smith's,  Eccles's  The 
Method  of  Working  the  Jacquard  Machine  on  the  Power  Loom,  Cylinder  Motion. 
XXVII.  Drop  and  Circular  Boxes,  Diggle's  Chain,  Whitesmith's  Box  Motion, 
Leeming's,  Long's.  XXVIII.  Ribbon  Shuttles,  Wheel  Motion,  Elastic,  Web 
Weaving,  Reddaway's  Tube  or  Hose  Loom,  Three  Shuttle  Swivel.  XXIX.  The 
Needle  or  Shuttleless  Loom,  Application  of  the  Principle  to  Swivels,  to  Double 
Cloth  Belt  Weaving.  XXX.  Temples,  Warp  Stop  Motion,  Heald  Making,  Pro- 
cess, of  "Twisting-in,"  and  Machines  for  Same.  XXXI.  Preparing  Jacquard 
Cards,  Recutting  Machines,  Fine  Example  of  Designing,  Beaumont's  Treatise  on 
the  Texture  of  Linen  Cloth,  Various  Tables  and  Calculations  Required  by  Weav- 
ers. XXXII.  The  Levers'  Lace  Frame  with  Double  Action  Jacquard  Apparatus. 
XXXIII.  The  Traverse  Bobbin  ;  Net  Machine,  The  Principle  of  its  Action,  John 
Heathcoat.  XXXIV.  The  Stocking  Loom,  Knitting  by  Hand,  William  Lee,  In- 
vention of  the  Stocking  Loom,  James  Lee  ;  Description  of  the  Loom  and  Process 
of  Knitting,  Jedediah  Strutt,  Butterworth,  Frost,  Crane's  Warp  Lace  Machine, 
Dawson's  Wheels,  Sir  M.  I.  Brunei's  Circular  Frame,  Boswell's  Fishing  Net  Ma- 
chine, Paterson's.  XXXV.  Substances  Used  for  Weaving,  Cotton,  Flax,  Wool, 
Hair,  Jute,  Silk,  Process  of  Spinning,  Silk  Culture,  Shoddy,  Selecting  Different 
Fibres  from  Waste  Fabrics,  Dressing  Machine,  William  Radcliffe,  Sizing  Machines, 
etc.  XXXVI.  Summary,  General  Remarks.  Appendix,  Statistical  Tables,  Index 
and  Glossary. 

Baird. — The  American  Cotton  Spinner  and  Manager's  and  Carder's 
Guide.  A  practical  treatise  on  cotton  spinning,  giving  the  dimensions 
and  speed  of  machinery,  draught  and  twist  calculations,  etc.,  with  no- 
tices of  recent  improvements,  together  with  rules  and  examples  for 
making  changes  in  the  sizes  and  numbers  of  Roving  and  Yarn.  Com- 
piled from  the  papers  of  the  late  Robert  H.  Baird.      i2mo $1   50 

Contents. — Introduction,  On  the  Plan  of  a  Factory  Building,  On  the  Main  Gear- 
ing, On  Water-wheels,  Calculations   of  Horse  Power  for   Propelling  Cotton   Spin- 
ning Machinery,  Willie  or  Picking  Machine,  On  Willeying  Cotton,  Spreading  Ma- 
chine, On  Spreading  Cotton,  Carding,  Cards  and  Carding,  Covering  Emery  Rollers 
and  Emeries,  The  Drawing    Frame,  Roving,   General    Remarks   on   Drawing   and 
Roving,  Throstles,  Remarks  on  Throstles,    Mule   Spinning,  General    Observations 
on  Mule  Spinning,  Weaving,  Belting,  Miscellaneous  Matters. 
Baird. — Standard  Wages  Computing  Tables.     An  improvement  in  all 
former    methods    of   computation,    so   arranged    that  wages   for  days, 
hours,  or    fractions  of  hours,  at   a  specified  rate  per  day  or  hour,  may 
be  ascertained  at  a  glance.     By  T.   Spangler  Baird.     Oblong  folio.  ...      $5  00 

Bayley. — Hand-Book  of  Slide  Rule 2  50 

Benson. — Principles  of  the  Science  of  Color.     Illustrated.     4to 7  50 

Benson. — Manual  of  the  Science  of  Color.     Illustrated.     i2mo 1   25 

Bevan's  British  Manufacturing  Industries  :  Acids,  Alkalies,  Soda,  Am- 
monia, Soap,  Oil,  Candles,  Gas 1    75 

Wool,  Flax,  Cotton,  Silk 1   75 

Hosiery,  Lace,  Carpets,  Dyeing  and  Bleaching I   75 

The  Industrial  Classes  and  Industrial  Statistics,  Textiles,  Clothing,  &c.        1    75 


108  A.  &  A.  F.  SPITZLI'S 

Bezold. — The  Theory  of  Color  in  its  Relation  to  Art  and  Art  Industry. 
By  Dr.  William  Von  Bezold.  From  the  German  by  S.  R.  Koehler. 
Illustrated.     8 vo $5  00 

Box. — A  Practical  Treatise  on  Heat  as  Applied  to  the  Useful  Arts.  Illus- 
trated by  fourteen   plates.      l2mo 5  OO 

Box. — A  Practical  Treatise  on  Mill-Gearing.     i2mo 3  00 

Box. — Practical  Hydraulics.     i2mo 2   50 

Bramwell. — The  Wool  Carder's  Fade  Mecum.     (New  Edition  Shortly.) 

Bresse. — Hydraulic  Motors.     8vo 2  50 

Brown. — Five  Hundred  and  Seven  Mechanical  Movements.     i2mo 1  00 

Brown — A  Practical  Treatise  on  the  Power-Loom  and  the  Art  of  Weav- 
ing.    i2mo 1   75 

Burns. — American  Woolen  Manufacturer.     Illustrated  by  patterns.     8vo         6  50 

Calvert. — Dyeing  and  Calico  Printing,  including  an  account  of  the  most 

recent   improvements  in   the  manufacture  and  use  of  Aniline  Colors. 

Illustrated  with  wood  engravings  and  numerous  specimens  of  printed 

and  dyed  fabrics.     By  the  late  Dr.  F.  Grace-Calvert.     Edited  by  John 

Stenhouse  and  Charles  Groves.     8vo.     Manchester,  1876 8  00 

Chevreul. — The    Principles   of  Harmony  and    Contrast    of  Colors,  and 

their  Application  to  the  Arts.     Illustrated.     i2mo 3  75 

Cooke. — Rust,  Smut,  Mildew  and  Mould  ;  Microscopic  Fungi.     i2mo. . .        3  00 
Cooper. — A  Treatise   on   the    Use   of  Belting   for  the   Transmission  of 

Power.     Fully  illustrated.     8vo 3  50 

Craik. — The  Practical  American  Millwright  and  Miller.     By  David  Craik, 

Millwright.     Numerous  wood  engravings  and  folding  plates.     8vo.  .  .        5  00 
Crookes. — A  Practical  Hand-Book  of  Dyeing  and  Calico  Printing.     Illus- 
trated by  dyed  patterns  and  wood  engravings.     8vo 15  00 

Cullen. — Practical  Treatise  on  the  Construction  of  Horizontal  and  Verti- 
cal Water  Wheels.     4to 5  00 

Davis,  Dreyfus  and  Holland. — Sizing  and  Mildew  in  Cotton  Goods. 
An  exhaustive  inquiry  into  the  Chemistry  of  Sizing,  and  the  Origin 

of  Mildew  and  other  discolorations ....    6  50 

Downing. — The  Elements  of  Practical  Hydraulics.     8vo 2  75 

Dussauce. — A  General  Treatise  on  the  Manufacture  of  Every  Description 
of  Soap.  Comprising  the  Chemistry  of  the  Art,  Alkalies,  Saponifiable 
Fatty  Bodies,  Apparatus,  the  Assay  of  Soaps,  etc.     Illustrated.     8vo.      17  50 

Dyer  and  Color  Makers'  Companion.     i2mo 1  25 

Fairbairn. — Principles  of  Mechanism  and   Machinery  of  Transmission. 

Illustrated  by  150  wood  cuts.     i2mo 2  50 

Fairbairn. — Treatise  on  Mills  and  Mill  Work,     1  vol.,  8vo 10  00 

Fustian  Manufacturing. — The  Complete  Guide  to  Fustian  Manufac- 
turing, containing  How  to  Manage  the  Loom,  the  Art  of  Analyzing 
Cloth  and  making  Draughts  or  Tapit  Patterns  for  Velvets,  Beavers, 
Sateens,  Twills,  Velveteens,  Cantoons,  Fustians,  Nankeens,  Ging- 
hams, and  all  sorts  of  Fancy  Cloths,  with  Reed  Table  and  Examples. 
By  a  Practical  Man.     Manchester I  00 


ILLUSTRATED  CATALOGUE.  IO9 

Foley. — The  Cotton  Manufacturers'  Assistant.     i2mo $1  00 

Geldard.  — Hand-Book  of  Cotton  Manufacture.     i2mo 2  50 

Gibson. — The  American  Dyer.  A  Practical  Treatise  on  the  Coloring  of 
Wool,  Cotton,  Yarn  and  Cloth,  embracing  in  all  over  two  hundred 
receipts   for  Colors  and  Shades,  and    ninety-four   samples   of  Colored 

Wool  and  Cotton  Waste,  etc.     By  R.  H.  Gibson.     8vo 6  00 

Gilroy. — The  Art  of  Weaving  by  hand  and  power.     By  C.  G.  Gilroy. 

Illustrated.     8vo 10  00 

Glynn. — Water  Power  as  Applied  to  Mills.     i2mo 80 

Haserick. — The  Secrets  of  the  Art  of  Dyeing  Wool,  Cotton  and  Linen. 
Including  Bleaching  and  Coloring  Wool  and  Cotton  Hosiery  and 
Random  Yarns.  By  E.  C.  Haserick.  Illustrated  by  samples.  8vo.  25  00 
Holdsworth. — Ready  Reckoner  for  Hanks  in  Worsted  Pieces,  being 
tables  giving  the  net  yarn  in  hanks  required  in  pieces,  from  five  to 
fifty  picks  per  quarter  inch,  fifteen  to  eighty  inches  in  width,  and  one 
to  one  hundred  yards  in  length.  506  pages.  8vo.  London,  1876...  10  50 
Holland. — The  Cotton  Spinners'  Guide  and  Manager's  Assistant,  con- 
taining the  Art  of  Calculation   through  all  the  various  operations  in  a 

Cotton  Mill.     Manchester 50 

Hoyell. — Essay  on  the  Disc  and  Differential  Motions  as  Applied  to  the 
Fairbairn,  Kennedy  and  Naylor's  Roving  Machines.  With  Rules  and 
Calculations  for  the  Bobbin  as  a  follower  and  leader,  and  its  adjust- 
ment to  any  size  of  rove.  The  Scroll,  and  how  to  make  it,  etc.  Il- 
lustrated with  diagrams 75 

Hyde. — The  Science  of  Cotton  Spinning.     By  James  Hyde.     8vo 5  25 

Jarmain. — Cantor  Lectures  on  Wool  Dyeing.    London,  1876.  Paper,       1  00 

Johnson. — The  Practical  Draughtsman's  Book  of  Industrial  Design  and 
Machinists'  and  Engineers'  Drawing  Companion.  With  over  Fifty 
Steel  Plates.     4to. ,  one-half  Morocco 10  00 

Kutter. — The   New  Formula  for  Mean  Velocity  of  Discharge  of  Rivers 

and  Canals.     8vo 5  00 

Langewald. — Latest  Practical  Method  for  Self-Acquirement  of  the 
Science  of  Weaving.  With  a  general  Introduction  to  the  Manufac- 
ture of  Woolen  Cloth.     With  118  plates  of  designs.     4to 10  00 

Contents  of  the  Book. 
8.     Three  Harness  Drafts.  44.     Fourteen  Harness  Drafts. 

151.     Four  "  "  57.     Fifteen  "  " 

83.  Five  "  "  87.     Sixteen  "  " 
157.     Six                                                           47.     Seventeen         "  " 

73.  Seven  "  "  45.  Eighteen  "  " 

361.  Eight  "  "  19.  Nineteen  "  " 

63.  Nine  "  75.  Twenty  "  " 

229.  Ten  "  "  30.  "       One  "  " 

84.  Eleven  "  "  12.           "      Two  "  " 
211.  Twelve  "  "  12.           "      Three  "  '• 

51.     Thirteen   "  "  57.  "      Four     "  " 

303.     Drafts  with  Cross  Draws. 

Total  number  of  Drafts 2259. 

The  largest  collection  of  ground  textures  yet  published. 


I  TO  A.  &  A.  F.  SPITZLI'S 

Langewald. — Tables   to  Lay  Out   Lots  for  Warps,  Dressing  Reeds,  etc. 

(Reprinted  from  the  above) $1   oo 

Lawson's  Reed  Table i  oo 

Leffel. — The  Construction  of  Mill  Dams.     8vo .• 2  50 

Leigh. — The  Science  of  Modern  Cotton  Spinning.  Embracing  Mill 
Architecture ;  Machinery  for  Cotton  Ginning,  Opening,  Scutching, 
Preparing  and  Spinning,  with  all  the  latest  improvements.  Also, 
Articles  on  Steam  and  Water  Power,  Shafting,  Gearing  and  American 
System  of  Belting  compared  ;  Generation  of  and  Application  of  Steam 
criticized  and  explained  ;  Boilers,  Boiler  Explosions,  &c. — all  tending 
to  show  where  the  outlay  of  capital  may  be  economized  and  produc- 
tion cheapened.     By  Evan  Leigh,  C.  E,     Second  edition.     Illustrated 

with  259  cuts  and  2q  plates.      2  vols. ,  folio,  cloth 35  00 

Leigh. — The  Practical  Cotton  Spinner  and  Manager's  Assistant.  121110.  .  1  00 
Leroux,  C. — A  Practical  Treatise  on  the  Manufacture  of  Worsteds  and 
Carded  Yarns.  Comprising  Practical  Mechanics,  with  Rules  and  Cal- 
culations applied  to  Spinning,  Sorting,  Cleaning  and  Scouring 
Wools,  the  English  and  French  Methods  of  Combing,  Drawing  and 
Spinning  Worsteds  and  Manufacturing  Carded  Yarns.  Translated 
from  the  French  of  Charles  Leroux,  Mechanical  Engineer  and  Super- 
intendent of  a  Spinning  Mill  ;  by  Horatio  Paine,  M.  D.,  and  A.  A. 
Fesquet,  Chemist  and  Engineer.  Illustrated  by  twelve  large  plates. 
To  which  is  added  an  appendix,  containing  extracts  from  the  Reports 
of  the  International  Jury,  and  of  the  Artisans  selected  by  the  commit- 
tee appointed  by  the  Council  of  the  Society  of  Arts,  London,  on 
Woolen  and  Worsted  Machinery  and  Fabrics,  as  exhibited  in  the  Paris 

Universal  Exposition,  1867.     8vo.,  muslin 5  00 

Love. — The  Art  of  Dyeing,  Cleaning,  Scouring  and  Finishing.      8vo.  ...       5  00 

Macfarlane. — A  Practical  Treatise  on  Dyeing  and  Calico  Printing 10  00 

McLaren. — Report  to  the  Worshipful  Cloth  Workers'  Company  of  Lon- 
don on  the  Weaving  and  Other   Technical  Schools  of  the   Continent. 

By  W.  S.  B.  McLaren,  M.  A.,  and  J.  Beaumont.     i2mo 1  00 

Moss. — The  Cotton  Manufacturer's,  Manager's  and  Spinner's  New  Pocket 

Guide.     By  John  Moss.      i2mo 1   75 

Murphy. — A  Treatise  on  the  Art  of  Weaving.     With  Calculations  and 

Tables.     8vo 20  00 

Napier. — A  Manual  of  Dyeing  and  Dyeing  Receipts  for  Dyeing  any  Colors 
on  Cotton,  Silk  and  Wool.     With   Colored  Patterns   of  Cloth  of  each 

fabric.     8vo 10  50 

Napier. — A  System  of  Chemistry  Applied  to  Dyeing.     8vo 5  00 

Neville. — Hydraulic  Tables,  Co-Efficients  and  Formulae  for  finding  the 
discharge  of   Water  from  Orifices,  Notches,  Weirs,  Pipes  and  Rivers. 

i2mo 5  00 

O'Neil. — A  Dictionary  of  Dyeing  and  Calico  Printing.     8vo 5  00 

O'Neill. — The  Practice  and  Principles  of  Calico  Printing,  Bleaching,  Dye- 
ing, &c.     2  vols.,  8vo.     Manchester,    1878 15  00 


ILLUSTRATED  CATALOGUE.  I  I  I 

Rankine. — A  Manual  of  Machinery  and  Mill  Work.     i2mo $5  00 

Reimann. — On  Aniline  and  its  Derivatives.     8vo 2  00 

Rose. — The  Complete  Practical  Machinist.  Embracing  Lathe-work,  Vise- 
work,  Drills  and  Drilling,  Taps  and  Dies,  Hardening  and  Tempering, 

&c,  &c.     By  Joshua  Rose.     130  engravings.     i2mo ....       2  50 

Scott's    Practical    Cotton-Spinner   and    Manufacturer.     Eighth    Edition. 

Plates.     8vo 6  00 

Slater. — The  Manual  of  Colors  and  Dye  Wares.    i2mo   3  75 

Smith. — Practical  Dyer's  Guide.     Containing   500  Dyed  Patterns,  to  each 

of  which  a  genuine  receipt  is  given.     Second  Edition.  238  pages.  8vo.     25  00 
Smith. — The  Dyer's  Instructor.     Containing  nearly  800  Receipts.     i2mo.       3  00 
Smith. — The  Dyer's  Instructor.     Comprising  Practical  Instructions  in  the 
Art  of  Dyeing  Silk,  Cotton,  Wool,  and  Worsted   and  Woolen  Goods. 
Third  Edition,  with  many  Additional   Receipts  for  Dyeing  the   New 
Alkaline  Blues  and  Night  Greens,  with  Dyed  Patterns  affixed.     i2mo., 

pp.  394,  cloth.     London,   1876 10  50 

Thomson. — The  Sizing  of  Cotton  Goods  and  the  Causes  and  Prevention  of 

Mildew.     Illustrated.     8vo.     Manchester,  1879 ...       4  50 

Townsend. — A  Complete  Ready  Reckoner  for  Cotton  Warps.  Showing 
the  number  of  hanks  in  warps  of  any  length,  from  1  to  1,000  yards, 
and  for  any  number  of  ends,  from  1  to  6,000,  with  tables  for  all  the 
different  counts  that  are  made,  from  4's  single  up  to  200's  single,  or 
400's  two-fold,  by  which  the  weight  of  any  description  of  warp  may  be 
seen  from  the  number  of  hanks   it   contains,  in    pounds,  ounces,  and 

drachms.     8vo 12   50 

Wagner. — A  Hand-Book  of  Chemical  Technology.     Translated  and  ed- 
ited by  William  Crookes,  F.  R.  S.     With  336  Illustrations.     8vo. ...       5  00 
Watson. — The  Art  of  Spinning  and  Thread-Making.     With  Calculations 
and  Tables  for  the   use  of  the  Carding  and  Spinning  Master.     8vo. 

Glasgow,  1876 5  00 

Watson. — Theory  and  Practice  of  the  Art  of  Weaving.     Illustrated.     8vo.       7  50 

Contents. — Introductory  Remarks.    Chapter  I.  On  Yarns.     II.  Weaving. 
III.  On  Starting  Power  Looms.     IV.   Power  Looms.     V.  Damask  Looms. 
VI.  Wool  Weaving.    VII.  Lappet  and  Gauze  Weaving,  etc,    VIII.  Mount- 
ing, etc.     IX.  Calculations,  Tables,  etc.     X.  Miscellaneous. 
Webb. — Warp-sizing.      A   Practical,   Theoretical  and  Chemical   Treatise. 

8vo.     Manchester,  1877 3  75 

Webber. — Manual  of  Power  for  Machines,  Shafts  and  Belts,  together  with 

the  History  of  the  Cotton  Manufacture  in  America.     8vo 3  50 

Weisbach. — Hydraulics  and   Hydraulic   Motors.     With  380  Illustrations. 

8vo 600 

White. — A  Practical  Treatise  on  Weaving  by  Hand  and  Power.     8vo. ...      10  00 


112  A.  &  A.  F.  SPITZLI'S 

BOOKS  ON  THE  MICROSCOPE 

AND    OTHER    SCIENTIFIC    INSTRUMENTS. 

Any  work  in  the  following  list  will  be  mailed  free   to  any  address  in  the  United 
States  or  Canada  on  receipt  of  the  price. 

Brewster. — A  Treatise  on  Optics.     By  Sir  David  Brewster.     520  pages, 

fully  illustrated $2   50 

Dick. — The  Telescope   and    Microscope.     By  Rev.   Thomas   Dick.      192 

pages 50 

Wood. — Common   Objects  of  the    Microscope.      With    400   illustrations, 

printed   in  colors   50 

Cooke. — 1,000   Objects    for   the    Microscope.      With    400   illustrations. 

By  M.  C.  Cooke 50 

Cooke. — Microscopic  Fungi.  An  Introduction  to  the  Study  of  Rust, 
Smut,  Mildew  and  Mould.  Illustrated  by  nearly  300  figures,  colored. 
By  M.  C.  Cooke,  author  of  British  Fungi,  etc 2  50 

Hogg. — The  Microscope.  Its  History,  Construction  and  Application. 
Being  a  familiar  introduction  to  the  Use  of  the  Instrument  and  the 
Study  of  Microscopical  Science,  with  Directions  for  Collecting,  Pre- 
serving and  Mounting  Objects.  Illustrated  with  upwards  of  500  en- 
gravings and  colored  illustrations.     750  pages   3  50 

Beale. — How  to  Work  with  the  Microscope.     By  Lionel  S.  Beale,  M.D., 

F.R.S.     Fourth  edition,  greatly  enlarged 7  50 

Beale. — The  Microscope  and  its  Application  to  Clinical    Medicine.     By 

Lionel  S.  Beale,  M.D.,  F.  R.  S.     Fifth  edition,  1S80 750 

The  Aneroid  Barometer.  Its  Construction  and  Use.  Compiled  from 
several  sources,  and  reprinted  from  Van  Nostrand's  Magazine.  106 
pages 50 

Carpenter. — The  Microscope  and  its  Revelations.  By  Dr.  W.  B.  Car- 
penter. Latest  edition,  25  plates  and  449  wood  engravings.  848 
pages 5   50 

Griffith. — Elementary  Text-Book  of  the  Microscope,  with  a  Description 
of  the  Methods  of  Preparing  and  Mounting  Objects,  etc.  With  12 
colored  plates,  451  figures.     By  J.  W.  Griffith,  M.  D.,  F.  R.  S    3  75 

Davies.  —  Hand-Book  on  Preparing  and  Mounting  Microscopic  Objects. 
Latest  edition,  fully  illustrated  and  brought  up  to  the  present  time. 
By  Thomas  Davies   125 

Lankester. — Half  hours  with  the  Microscope.  A  Popular  Guide  to  the 
use  of  that  instrument,  130  pages.  Profusely  illustrated.  By  Edwin 
Lankester,  M.  D 1   25 

Stowell. — The  Student's  Manual  of  Histology.  A  Text-Book  for  the 
Student,  and  a  Complete  Guide  for  the  Practitioner  and  Microscopist. 
By  Prof.  Charles  H.  Stowell  of  the  University  of  Michigan.  300 
pages,  octavo,  with  192  engravings 2  00 

GlBBES. — Practical    Histology  and    Pathology,  107  pages.      New.      By  H. 

Gibbes,  London 1  00 


ILLUSTRATED  CATALOGUE.  113 

Suffolk. — On  Microscopical  Manipulation.  Being  the  subject-matter  of 
a  Course  of  Lectures  delivered  before  the  Queckett  Microscopical 
Club.  By  W.  T.  Suffolk,  F.R.M.S.,  with  49  engravings  and  7  litho- 
graphs       $2  00 

Goose.— Evenings  at  the  Microscope.     477  pages.     Profusely  illustrated. 

By  Philip  Henry  Goose,  F.R.S 1   50 

Seiler. — A  Compendium  of  Microscopical  Technology  for  the  Use  of 
Students  and  Physicians.  130  pages  and  numerous  illustrations  of 
apparatus.     By  Dr.  Carl  Seiler,  Philadelphia I  60 

Martin. — A   Manual   of   Microscopic    Mounting.       Profusely   illustrated 

with  wood  cuts  and  drawings  on  stone.     By  John  H.  Martin 3  00 

Phinn. — Practical  Hints  on  the  Selection  and  Use  of  the  Microscope.     By 

John  Phinn.      131   pages,  illustrated. 75 

Slack. — Marvels  of  Pond  Life.     Fourth  edition,  with  colored  plates  and 

numerous  wood-cuts .    2  00 

Smith. — How  to  See  with   the  Microscope.     By  Prof.  J.  Edwards   Smith. 

With  profuse  illustrations 2  00 

Beck. — A  Treatise  on  the  Construction,  Proper  Use  and  Capabilities  of 
R.  &  J.  Beck's  Achromatic  Microscopes.  By  Richard  Beck.  Royal 
8vo.,  with  27  plates 5  00 

Proctor. — Half  Hours  with   the   Telescope,  with  numerous  illustrations 

on  stone  and  wood.     By  Richard  A.  Proctor,  F.R.  A.S 1  25 

Frey. — The  Microscope  and  Microscopical  Technology.  A  text-book  for 
Physicians  and  Students.  By  Dr.  Heinrich  Frey,  Professor  of  Medi- 
cine in  Zurich,  Switzerland.  Translated  from  the  German  and  Edited 
by  George  R.  Cutter,  M.D.,  Clinical  Assistant  to  the  New  York  Eye 
and  Ear  Infirmary.  Illustrated  by  343  engravings  on  wood,  and  con- 
taining the  price  lists  of  the  principal  Microscope-makers  of  Europe 
and  America.  From  the  last  German  edition.  In  one  handsome  8vo. 
volume,  bound  in  extra  cloth,  new  edition    6  00 

The  Micrographic  Dictionary. — A  guide  to  the  examination  and  in- 
vestigation of  the  structure  and  nature  of  Microscopic  Objects.  By 
J.  W.  Griffiths  and  Arthur  Henfrey.  845  pages.  Illustrated  by  48 
plates  and  over  800  wood  engravings.      Third  edition.      London,  1875.     22  00 

Wythe. — The  Microscopist.     Last  edition  greatly  enlarged  and  profusely 

illustrated.     By  Dr.  J.  H.  Wythe 4  50 


WINSOR  AND  NEWTON'S  BOOKS  ON  ART. 

each  40  CENTS. 

1.  The  Art  of  Sketching  from  Nature,  by  Th.  L.  Rowbotham. 

2.  Hints  of  Sketching  in  Water  Colors  from  Nature,  by  Thomas  Hatton. 

3.  The  Art  of  Landscape  Painting  in  Water  Colors,  by  Th.  Rowbotham. 

4.  A  System  of  Water  Color  Painting,  by  A.  Penley. 

5.  The  Art  of  Marine  Painting  in  Water  Colors,  by  J,  W.  Carmichel. 

6.  The  Art  of  Portrait  Painting  in  Water  Colors,  by  M.  Merrifield. 

7.  The  Art  of  Miniature  Painting,  by  Ch.  W.  Day. 

8.  The  Art  of  Flower  Painting,  by  M.  Duffield. 

8 


114  A.  &  A.  F.  SPITZLI'S 

g.   The  Elements  of  Perspective,  by  Penley. 
10.  The  Art  of  Figure  Drawing,  by  C.  H.  Weigall. 
n.  An  Artistic  Treatise  on  the  Human  Figure,  by  H.  Warren,  K.  L. 

12.  Artistic  Anatomy  of  the  Human  Figure,  by  H.  Warren,  K.  L. 

13.  The  Artistic  Anatomy  of  the  Horse,  by  B.  W.  Hawkins. 

14.  The  Artistic  Anatomy  of  Cattle  and  Sheep,  by  B.  W.  Hawkins. 

15.  The  Art  of  Painting  and  Drawing  in  Colored  Crayons,  by  H.  Murray. 

16.  The  Principles  of  Coloring  in  Painting,  by  Charles  M artel. 

17.  The  Principles  of  Form  in  Ornamental  Art,  by  Charles  Martel. 

18.  The  Art  of  Mural  Decoration,  by  T.  G.  Goodwin. 

19.  A  Manual  of  Illumination,  by  J.  J.  Laing. 

20.  Companion  to  Manual  of  Illumination,  by  J.  J.  Laing. 

21.  Transparency  Painting  on  Linen,  by  W.  Williams. 

22.  The  Art  of  Transparent  Painting  on  Glass,  by  Ed.  Groom. 

23.  The  Art  of  Wood  Engraving,  by  Th.  Gilks. 

24.  Drawing  Models  and  their  Uses,  by  J.  D.  Harding. 

25.  The  Art  of  Botanical  Drawing,  by  F.  W.  Burbidge. 


GEORGE  ROWNEY  &  CO.'S  BOOKS  ON  ART. 

EACH   40   CENTS. 

30.  Hints  on  Sketching  from  Nature,  by  N.  E.  Green  Part  I. 

31.  "         "  "  "  "         "  "  "     II. 

32.  "         "  "  "  "         "  "  "     HI. 

33.  Guide  to  Figure  Painting  in  Water  Colors,  by  S.  T.  Whiteford. 

34.  Guide  to  Sketching  from  Nature  in  Water  Colors,  by  L.  C.  Mills. 

35.  Principal  of  Perspective,  by  H.  Lewis. 

36.  Guide  to  Water  Color  Painting,  by  R.  P.  Noble. 

37.  Guide  to  Light  and  Shade  Drawing,  by  Mrs.  M.  Merrifield. 

38.  Guide  to  Pencil  and  Chalk  Drawing,  by  G.  Harley. 

39.  Guide  to  Pictorial  Perspective,  by  B.  R.  Green. 

40.  Guide  to  Pictorial  Art,  by  H.  O'Neil. 

41.  Guide  to  Figure  Drawing,  by  G.  E.  Hicks. 

42.  Guide  to  Flower  Painting  in  Water  Colors,  by  G.  Rosenberg. 

43.  Guide  to  Painting  on  Glass,  by  H.  Bielfeld. 

44.  Guide  to  Miniature  Painting  and  Coloring  Photographs,  by  J.  S.  Templeton. 

45.  Hints  for  Sketching  Trees  from  Nature  in  Water  Colors,  by  Th.  Hatton. 

46.  Guide  to  Animal  Drawing,  by  C.  H.  Weigall. 


W.  HERMES  STUDIES. 

SYSTEMATIC   DRAWING-SCHOOL. 
For  Schools  and  Self-Instruction. 
(250  books  each  containing  6  studies  5§  x  %%  inch,  each  25  cents. 
Easy  Lessons  for  Beginners. 

a.  Lines,  Squares,  etc.     No.  1,  2,  3.  4. 

b.  Geometrical  Figures.     No.  5,  6,  7,  8. 


ILLUSTRATED  CATALOGUE.  I  J  5 

c.  Figures  of  Straight  Lines.     No.  g,  10.  11,  12. 

d.  Figures  of  Straight  Lines  Shaded.     No.  13,  14,  15,  16. 

II.  Arabesques  and  Ornaments. 

a.  Outlines.     No.  21,  22,  23. 

b.  Shaded.     No.  24,  26,  27. 

c.  Outlines.     (Vases.)     No.  28,  29. 

d.  Ornaments,  Greek,  etc.     No.  32,  34,  35,  36. 

e.  Ornaments  for  Decoration,  printed  in  tint.     No.  40,  41,  42,  43,  44,  45. 

III.  Studies  in  Still  Life. 

Outlines.     No.  52,  55,  57,  58,  59. 

IV.  Landscapes. 

a.  Outlines.     No.  61,  62,  65,  66,  67,  68,  71,  72. 

b.  Light  Shaded.     No.  75,  76,  71,  78,  81,  82,  83,  84,  85,  86,  89,  90. 

c.  Full  Shaded.      No.  96,  97,  98,  99,   102,  103,  104,  105,  106,  107,  108,  109. 

no,  in,  112. 

V.  Foliage  of  Trees  and  Shrubbery. 
No.  120,  121,  122,  123,  124,  125. 

VI.  Ships. 

a.  Outlines.     No.  130. 

b.  Light  Shaded.     No.  131. 

c.  Full  Shaded.     No.  132,  133. 

VII.  Flowers  and  Fruits. 

a.  Flowers,  outlines.     No.  140,  141,  142,  143,  144,  145. 
Fruits,  outlines.     No.  150,  151.  152,  153,  154. 

b.  Flowers,  light  shaded.     No.  160,  161,  162,  163,  164,  165,  166,  167. 
Fruits,  light  shaded.     No.  171,  172. 

c.  Flowers,  full  shaded.     No.  175,  176,  179,  180,  181,  182,  183,  184,  185, 186. 
Fruits,  full  shaded.     No.  191,  192. 

Fruits  and  Flowers.     No.  195,  196,  197,  198. 

VIII.  Animals. 

a.  Animals,  outlines,     No.  210,  211,  212,  213,  215,  216,  217. 
Horses,  outlines.     No.  221,  222. 

b.  Animals,  light  shaded.     No.  235,  226,  227,  228,  229,  230,  231. 
Horses,  light  shaded.     No.  235,  236. 

c.  Animals,  full  shaded.     No.  237,  238,  239,  240,  241. 
Horses,  full  shaded.     No.  245,  246,  247,  248. 
Birds.     No.  251,  252. 

XI.  Human  Figures. 

a.  Parts,  outlines.     No.  261,  262,  263,  264. 
Eyes,  outlines  and  light  shaded.     No.  268. 
Faces,  outlines  and  light  shaded.     No.  269,  270. 

b.  Parts,  shaded.     No.  272,  273,  274,  275. 

c.  Heads,  outlines.     No.  278,  279,  280,  281,  282,  283. 

d.  Heads,  light  shaded.     No.  284,  285,  286,  287,  288. 

e.  Heads,  full  shaded.     No.  291,  292,  293,  294,  295,  296,  300,  301,  302,  303, 

304,  305,  306,  307,  308,  309,  310. 


n6 


A.  &  A.  F.  SPITZI.I'S 


f.   Full  Figures,  outlines.     No.  315,  316. 

g.  Full  Figures,  light  shaded.     No.  320  321,  322,  323,  324. 

h.  Full  Figures,  full  shaded.     No.  331,  332,  333,  334. 


WILHELM  HERMES'  DRAWING  STUDIES 

FOR   ADVANCED    STUDENTS. 

(125  books,  each  including  4  studies  8f  x  11^  inch,  each  50  cents.) 

1.  Landscapes full  shaded,  about  50  books. 

2.  Flowers  and  Fruits 

3.  Human  Figures  and  Heads. .  .    

4.  Arabesques 

5.  Animals 

6.  Horses 

7.  Foliage  of  Trees  and  Shrubbery 


10 
20 
10 
10 

5 
20 


We  can  furnish  any  of  the  books  in  D.  Van  Nostrand's  Catalogue  of  American 
and  Foreign  Scientific  Books. 


ILLUSTRATED  CATALOGUE.  l  I  7 


CONTENTS  OF  CATALOGUE. 


Pages. 

Achromatic,  Marine,  Field  and  Spy  Glasses,  Telescopes   50 

Advertisements 1 19-128 

Aluminium  Field  and   Marine  Glasses 50 

Apparatus  and  Accessories 33-35-48 

Astronomical  Telescopes 50 

Beck's  Patent  Clinical  Thermometers   55 

Books  on  the  Microscope 112 

Brushes,    Dissecting 44 

Business  Notice 4 

Cabinets  and  Cases 45-48 

Camera  Lucida 54 

Charcoal  Pencils 81 

Chemicals  and  Chemical  Cabinets 82-88 

China  and  Glassware .  76 

Claude  Loraine 52 

Compound  Microscopes 9-18-21-22 

Copying   Books 102 

Cross  Section   Papers   . .    97 

Design  Papers   90-92 

Design  Books 98 

Darwing   Boards 68 

Drawing  Books 11 3-1 16 

Drawing  Papers   92-98 

Drawing  Pins  and  Tacks 69 

Drawing  Tables 68 

Druggists'  Prescription  Books,  (good  for  pattern  books,) 102 

Empty  Cases 76 

Engineers'  Field  Books,  (can  be  used  for  pocket  Design  Books) 98 

Erasing  Rubber 79 

Files  for  All  Kinds  of  Papers 103-104 

Folding  Easels 90 

Hand   Mirrors 53 

Hard  Rubber  Drawing  Tools 67 

Heliographic  Paper 97 

Inks,  Black,  etc 105 

Inks,  Chinese 75 

Inks,  Indelible 75 

Ink^,  Indian .'  75 

Introduction 6 

Invoice  Books   101 

Klaeger  Insect  Pins 53 


I  I  8  A.  &  A.  F.  SPITZLI'S 

Pages. 

Lamps 3^-39 

Lenses 27-28 

Lead   Pencils 76-S2 

Magic  Lanterns 53 

Magnifying  Glasses .  .  23-26 

Mathematical    Instruments 56-67 

Mounting  Materials   41-43 

Needles,  (Dissecting) 40 

Nicol's  Prisms 52 

Objects,   (Microscopic) 44 

Objectives 23_33_34 

Object  Glasses 28 

Opera  Glasses 50 

Optical  Instruments g 

Outfits * 7 

Parcel  Pens 78 

Pattern,  Sample  or  Scrap  Books 99-102 

Portfolios 90 

Preface 5 

Prisms ...    29 

Reading  Glasses    29-32 

Round  Writing  Pens    78-79 

Scales , 88-90 

Scientific  Books 107-109 

Scissors 40-41 

Single  Microscopes 19-20 

Spectacle  Lenses 51—52 

Sponge  Rubber 79 

Standard  Works  on  Textile  Subjects   106 

Standard  Yard  Measure 89 

Staining  and  Injecting  Fluids .' 43 

Stickaline 104 

Steel  Pens 82 

Sundry  Optical  Instruments 50 

Tracing  Papers ...    96 

Transfer  Books 103 

Water  Colors 70-75 

Weights 88 


ACME  TENTER  CLOTHING, 


Patented  November  4,  1879. 


IN  USE  BY 


James  Roy  &  Co.,  West  Troy,  N.  Y. 

Charles  Spencer  &  Co.,  Germantown,  Pa. 

C.  H.  &  F.  H.  Stott,  Stottville.  N.  Y. 

Rock  Manufacturing  Co  ,  Rockville,  Conn. 

Globe  Woolen  Mills,  Utica,  N.  Y. 

A.  T.  Stewart  &  Co.,  New  York. 

W.  S.  Taylor  &  Bloodgood,  Jr.,  Rahway,  N.J. 

American  Mills,  Rockville,  Conn. 

Blake  &  Co.,  Racine,  Wis. 

Hockanum  Co.,  Rockville,  Conn. 

Lacon  Woolen  Mfg  Co  ,  Lacon,  111. 

A.  Linn,  Esq.,  Hartland,  Me. 


Mallieu  &  Brothers,  Millington,  Md. 
G.  P.  Dennis,  Esq  ,  Chester,  Pa. 
Shaw,  Esrey  &  Co.,  Chester,  Pa. 
Devenport  Woolen  Mills,  Devenport,  la. 
Sevill  Schofield,  Esq.,  Philadelphia,  Pa. 
Merrimack  Woolen  Co.,  Lowell,  Mass. 
Tingue,  House  &  Co.,  Glenville,  Conn. 
Plunkett  Woolen  Co,,  Hinsdale,  Mass. 
C.  F.  Underhill,  Esq.,  Franklin,  N.  J. 
Aldrich  &  Milner,  Moosup,  Conn. 
Nicol  Woolen  Mills  Co.,  St.  Clair,  Mich. 
Pontoosuc  Woolen  Mfg  Co.,  Pittsfield,  Mass. 


AND   MANY   OTHERS. 


SE3£T3D    ^o^,   :f:r,ice    list. 

THOS.  J.  LACY,  Sole  Manufacturer, 

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119 


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TWISTED   YARNS,  as:     Red   and    Black,    Black 
and  Blue,  &c,  &c,  on  dresser  spools  or  in  skeins. 

KNOTTED  YARNS  in  all  Colors;  and 

PRINTED    YARNS,    in    Various    Effects,   made    to 
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TINGUE,  HOUSE  &  CO. 

56  reade  street, 
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P.  O.    BOX    NO.    2S4-S. 

120 


A  Practical  Treatise   on  Weaving  and 
Designing  of  Textile  Fabrics, 

WITH  CHAPTERS  ON  THE 

Principle  of  Construction  of  tie  Loom,  Calculation  and  Color, 

UPWARDS  OF  300  ILLUSTRATIONS. 

BY  THOMAS  R.  ASHENHURST. 


SLIDE  RULE  FOR  MANUFACTURERS 

A  complete  and  handy  Ready  Reckoner  for  finding  the  hank  of 
Worsted  in  a  piece  of  Fabric,  or  the  weight  of  Warps. 

BY   THOMAS    R.   ASHENHURST. 


SLIDE  RULE  FOR  WORSTED  SPINNERS. 

Gives  at  one  setting  the  length  of  roving  on  a  bobbin  ;  also,  at  one 
setting,  the  draft  and  wheel  for  a  spinning  frame  to  spin  any 
count.  No  gauge  points  used.  Simple  and  convenient  for 
the  pocket. 

BY  THOMAS  R.  ASHENHURST, 

BRADFORD,  ENGLAND. 


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DIXON'S   CRUCIBLES, 
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DIXON'S  FOUNDERS'  PERFECT  WASH, 
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DIXON'S  FINE  OFFICE  AND  DRAWING  PENCILS, 
DIXON'S  AMERICAN  GRAPHITE  PAINT, 
DIXON'S  EX.  EX.  PLUMBAGO  FACING, 
DIXON'S  EVERLASTING  GRAPHITE  GREASE, 
DIXON'S  SPECIALTIES  FOR  FOUNDERS, 
DIXON'S  FINDINGS  FOR  STEEL  MELTERS. 


HIGHEST  PRIZES  AWARDED. 

AMERICAN  INSTITUTE,  NEW  YORK 1839,  1848,  1849,  1853,  1857,  1878 

FRANKLIN  INSTITUTE,  PHILADELPHIA 1848,  1849 

MASSACHUSETTS  MECHANICS'  ASSOCIATION,  BOSTON 1839,  1844,1847,1849 

MARYLAND   INSTITUTE,  BALTIMORE 1859,  1872 

CINCINNATI  EXPOSITION 1870,  1871,  1872 

BUFFALO  (N.  Y.)  EXPOSITION,  1871.  ST.  LOUIS... 1871 

PARIS,  1867 SILVER   MEDAL 

VIENNA,  1873 ...  THREE  MEDALS 

CENTENNIAL,  1876 TWO  MEDALS 

PARIS,  1878,  TWO  GOLD  MEDALS, 

And  the  Only  Gold  Medal  awarded  for  Pencils  at  that  Exhibition,  over  all  the 

European  Makers. 
PARIS,  1878 BRONZE  MEDAL. 

ffpW  We  have  never  exhibited  without  receiving  the  Highest  Awards  in  our  Classes. 

THE  JOSEPH  DIXON  CRUCIBLE  COMPANY, 

ORESTES   CLEVELAND,  President. 
WM.  A.  BROWN,  Treasurer. 
JOHN  A.  WALKER,  Secretary. 

teissey  city,  Int.  t. 

WORKS  AND  OFFICES: 
229  to  239  RAILROAD  AVENUE, 

158  to  175  'WAYNE   STREET, 

337  to  3SO  MONMOUTH  STREET. 

GRAPHITE  MINES  AND   MILLS  AT  TICONDEROGA,   N.  Y. 

OLDEST  HOUSE  IN  THE  GRAPHITE  TRADE, 

And  the  Only  Manufacturers  in  the  World  owning  Graphite  Mines. 

123 


The  Manufacturers'  Review 

INDUSTRIAL  RECORD. 


A    MONTHLY    PAPER    DEVOTED  TO  TEXTILE  INTERESTS. 


J.  M.  PETERS,  Editor.    THE  INDUSTRIAL  RECORD  CO.,  Publishers. 


Subscription  Price  for  U.  S.  and  Canada,  including  postage,  per  annum,  -     $i   50 

With  Dyer's  Supplement,      -             -             -             -             -             -  5  00 

Foreign  Subscription,  including  Postage,           -             -             -  1  75 

With  Dyer's  Supplement,      -             -             -             -             -             -  5  50 


ALL  BILLS  ARE  COLLECTIBLE  AT  THE  OFFICE. 

All  payments  for  advertising  or  subscriptions  to  this  journal 
should  be  in  Checks,  Drafts,  or  Post  Office  Orders,  and  be  drawn 
to  the  order  of  WILLIAM  O.  ALLISON,  Treas.,  and  to  no  other 
person. 

NEW  YORK  OFFICE,  No.  42  CEDAR  STREET. 

P.  0.  BOX  1396,  NEW  YORK. 


ADVERTISING     DEPARTMENT: 

J.   FRANKLIN    RID  AY,  General   Manager, 
42  CEDAR  STREET,  NEW  YORK. 

Prompt   attention   will  be  given   to  applications  for  advertising  space 


AUTHORIZED    AGENTS: 

WALT.  B.  GUILD,  Traveling  Agent. 

JAMES  WHITEHEAD,  Jr.,  Springville,  Utah. 

H.  MAHLER,  16  Rue  de  la  Grange,  Barteliere,  Paris. 

124 


Mohawk  &  Hudson  M'f'g  Co., 


IRON  AND  BRASS  FOUNDERS 


ajstt>  — 


MACHINISTS, 


MANUFACTURERS   OF 


HYDRANTS 


VALVES, 


MISCELLANEOUS  MACHINERY 


WATERFORD,  N.  Y. 


125 


R 


KJ 


H 


D 


Notice  is  hereby  called  to  the  fact  that  we  are  prepared  to  furnish  any  kind  of 


RUBBER  STAMPS,  AND  RUBBER  TYPE: 

With  all  the  Necessary  Accessories, 


AT   MANUFACTURERS5  PRICES. 


We  send  out  the  manufacturers'  price  lists,  on  receipt  of  applications  enclosing 
postage. 


A  new  article  in  this  line  made  specially  for  us,  is  of  great  importance  to  design- 
ers  who  have  time  and  the  desire  to  keep  their  books  in  elegant  shape  : 


"THE  DESIGNER'S  TYPE," 

FOR   CHAIN    DRAFTS. 


A  draft  may  be  set  up  in -a  pallet,  proved  and  corrected,  and  finally  printed  in  a 
book  or  on  a  sheet  of  paper,  in  nearly  the  same  time  it  would  take  to  copy  it 
neatly,  and  when  done  it  is  by  far  more  clear  and  elegant  than  a  written  draft  or 
design. 


SZEIKTID     POIK     SPECIMENS, 


A.  &  A.  F.  SPITZLI, 


WEST  TROY,  N.Y. 


126 


LAWSON'S 


REED  TABLE 


IS  REFERRED  TO  IN 


SPITZLI'S  MANUAL, 

Under   the.  head  of  "Tables,"  where  the  following  comments 
may  be  found  : 

' '  LA.  W SON'S  ^iLJEn  TA.BLJE  is  more 
complete  in  detail  than  tTiose  herein  con- 
tained,  and  is  in  the  form  of  a  Sheet, 
Tsrhich    may    be  framed,    or    moTinted. 

<(  Some  prefer  this  form  to  those  foiand 
in  books j  becajzse  the  entire   Table  is  ire  fall 


-vie-w. " 


Carefully  Compiled  for  the  Use  of  Superintendents, 
Overseers  and  Fixers  in  Woolen  Mills. 


-TffiWSON'S^ 

REED  TABLE. 


COPYRIGHTED. 


This  valuable  table  gives,  at  a  glance,  the 
width  in  inches  of  any  warp  in  any  given  reed 
from  S  to  20  1-2  reed  inclusive,  and  shows  each 
and  every  reed  that  can  be  used  for  any  desir- 
ed width  of  cloth. 


Sent  by  Mail  Prepaid,  and  Securely  Wrapped,  on 
Receipt  of  One  Dollar. 


WALTER  U.  LAWSON, 
Box  227,  LOWELL,  MASS. 

128 


TOLHURST  MACHINE  WORKS, 

TROY,    N".  Y. 


HYDRO   EXTRACTORS 

FOR  KNIT  GOODS, 

Yarn,  Wool  and  other  Loose  Material.     Also  for  Goods 
which  have  been  treated  with  Acid,  &c,  &c. 


ROLL  EXTRACTORS 

For  Extracting  Water  from  Worsted  Fabrics,  and  all  Goods  with  a 
"Cloth  Finish,"  while  upon  the  Steaming  or  Boiling  Rolls. 


These  Machines  are  especially  adapted  for  the 
purposes  mentioned,   and 

ARE  ACKNOWLEDGED  THE  BEST  IN  THE  MARKET.