See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

TEXT (See also:

• LAT

Lat. textum, See also:

• WOVEN

woven fabric, from texere, to weave)  , a See also:

• TERM

term which is applied with several varieties of meaning to the actual words of an author as written; it is thus used of the See also:

• ORIGINAL

original See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition as opposed to the commentary, See also:

• PARAPHRASE (Gr. irapa¢pavis, from rrapa4p4av, to relate something in different words, 'raga, beside, and ¢pai"eav, speak, tell)

paraphrase, notes, &c., written by others upon it, and to the written printed See also:

• MATTER

matter as opposed to the illustrations, diagrams, &c., accompanying it (see TEXTUAL See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

CRITICISM below) . A specific meaning is that of a passage of Scripture used as the subject of a See also:

• SERMON (Lat. sermo, a discourse)

sermon or discourse, as an See also:

• ARGUMENT

argument or See also:

• ILLUSTRATION

illustration in theological discussion or as a means of edification, exhortation or admonition . Technically the term is also applied to a particular See also:

• FORM (Lat. forma)

form of See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing in See also:

• MSS

MSS. before the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of See also:

• PRINTING (from Lat. imprimere, O. Fr. empreindre)

printing, and so, in composition, in such uses as " See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text-See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand," " text-writer," &c . A " text-See also:

• BOOK

book " is a See also:

• MANUAL

manual or handbook of instruction, such asis used by students as the See also:

• STANDARD
• STANDARD, BATTLE OF THE

standard book on the subject which they may be studying . TEXTILE-PRINTING . Textile " (see See also:

• WEAVING

WEAVING) is a See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general name for all See also:

• WOVEN

woven fabrics (See also:

• LAT

Lat. texere, to weave), and the See also:

• ART

art of ornamenting such fabrics by printing on designs or patterns in See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour is very See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient, probably originating in the See also:

• EAST
• EAST, ALFRED (1849- )

East . It has been practised in some form, with considerable success, in See also:

• CHINA

China and See also:

• INDIA
• INDIA, FRENCH

India from See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time immemorial, and the See also:

• CHINESE, JAPANESE AND

Chinese, at least, are known to have made use of engraved See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood-blocks many centuries before any See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of printing was known in See also:

• EUROPE

Europe . That the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early Egyptians, too, were acquainted with the art is proved not merely by the writings of See also:

• PLINY, THE ELDER
• PLINY, THE YOUNGER

Pliny but by the See also:

• DISCOVERY

discovery, in the Pyramids and other See also:

• EGYPTIAN

Egyptian tombs, of fragments of See also:

• CLOTH

cloth which were undoubtedly decorated by some method of printing . The Incas of See also:

• PERU
• PERU (apparently from Biru, a small river on the west coast of Colombia, where Pizarro landed)

Peru, See also:

• CHILE, or CHILI (derived, it is said, from the Quichua chin , cold, or tchili, snow)

Chile and See also:

• MEXICO
• MEXICO (Span. Mejico, or Mexico,)
• MEXICO, FEDERAL DISTRICT OF
• MEXICO, GULF OF

Mexico also practised textile-printing previous to the See also:

• SPANISH

Spanish Invasion in 1519; but, owing to the imperfect See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of their records before that date, it is impossible to say whether they discovered the art for them-selves, or, in some way, learnt its principles from the Asiatics . There is no doubt that India was the source from which, by two different channels, Europeans derived their knowledge of See also:

• BLOCK
• BLOCK (from the Fr. bloc, and possibly connected with an Old Ger. Block, obstruction, cf. " baulk ")
• BLOCK, MAURICE (1816–19or)

block-printing . By See also:

• LAND

land its practice spread slowly westwards through See also:

• PERSIA

Persia, See also:

• ASIA

Asia See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

Minor and the See also:

• LEVANT

Levant, until it was taken up in Europe—during the latter See also:

• HALT

halt of the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . Almost at the same time the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French brought directly by See also:

• SEA (in O. Eng. sae, a common Teutonic word; cf. Ger. See, Dutch Zee, &c.; the ultimate source is uncertain)
• SEA, COMMAND OF THE

sea, from their colonies on the east See also:

• COAST (from Lat. costa, a rib, side)

coast of India, samples of See also:

• INDIAN

Indian See also:

• BLUE (common in different forms to most European languages)

blue and See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white " resist " prints, and along with them, particulars of the processes by which they had been produced .

I . TECHNOLOGY Textile-printing was introduced into See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England in 1676 by a French refugee who opened See also:

• WORKS

works, in that See also:

• YEAR

year, on the See also:

• BANKS, GEORGE LINNAEUS (1821-1881)
• BANKS, NATHANIEL PRENTISS (1816–1894)
• BANKS, SIR JOSEPH
• BANKS, THOMAS (1735-1805)

banks of the See also:

• THAMES

Thames near See also:

• RICHMOND
• RICHMOND, EARLS AND DUKES OF
• RICHMOND, LEGH (1772-1827)
• RICHMOND, SIR WILLIAM BLAKE (1842– )

Richmond . Curiously enough this is the first See also:

• PRINT

print-works on See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record; but the See also:

• NATIONALITY

nationality and See also:

• POLITICAL

political status of its founder are sufficient to prove that printing was previously carried on in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France . In See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, too, textile printing was in all See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability well established before it spread to England, for, towards the end of the 17th century, the See also:

• DISTRICT

district of See also:

• AUGSBURG
• AUGSBURG, CONFESSION OF
• AUGSBURG, WAR OF THE LEAGUE OF

Augsburg was celebrated for its printed linens—a reputation not likely to have been built up had the See also:

• INDUSTRY (Lat. industria, from indu-, a form of the pre, position in, and either stare, to stand, or struere, to pile up)

industry been introduced later than 1676 . On the See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent of Europe the commercial importance of See also:

• CALICO

calico-printing seems to have been almost immediately recognized, and in consequence it spread and See also:

• DEVELOPED

developed there much more rapidly than in England, where it was neglected and practically at a standstill for nearly ninety years after its introduction . During the last two decades of the 17th century and the earlier ones of the 18th new works were started in France, Germany, See also:

• SWITZERLAND

Switzerland and See also:

• AUSTRIA
• AUSTRIA, LOWER (Ger. Niederosterreich or Osterreich unter der Enns, " Austria below the river Enns ")
• AUSTRIA, UPPER (Ger. Oberosterreich or Osterreich ob der Enns, " Austria above the river Enns ")

Austria; but it was only in 1738 that calico-printing was first practised in See also:

• SCOTLAND
• SCOTLAND, CHURCH OF
• SCOTLAND, EPISCOPAL CHURCH OF

Scotland, and not until twenty-six years later that Messrs See also:

• CLAYTON, JOHN MIDDLETON (1796–1856)

Clayton of Bamber See also:

• BRIDGE

Bridge, near See also:

• PRESTON
• PRESTON, JOHN (1587-1628)

Preston, established in 1764 the first print-works in See also:

• LANCASHIRE

Lancashire, and thus laid the See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation of what has since become one of the most important See also:

• INDUSTRIES

industries of the See also:

• COUNTY (through Norm. Fr. comae, cf. O. Fr. cunte, conk', Mod. Fr. comae, from Lat. comitatus, cf. Ital. comitato, Prov. comtat; see COUNT)

county and indeed of the See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country . At the See also:

• PRESENT

present time calico-printing is carried on extensively in every See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter of the globe, and it is See also:

• PRETTY

pretty safe to say that there is scarcely a civilized country in either hemisphere where a print-works does not exist . From an See also:

• ARTISTIC

artistic point of view most of the See also:

• PIONEER

pioneer See also:

• WORK

work in calico-printing was done by the French; and so rapid was their advance in this See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of the business that they soon came to be acknowledged as its leading exponents . Their styles of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design and schemes of colour were closely followed—even deliberately copied—by all other See also:

• EUROPEAN

European printers; arid, from the early days of the industry down to the latter See also:

• HALF

half of the 19th century, the productions of the French printers in See also:

• JOUY, VICTOR JOSEPH ETIENNE DE (1764-1846)

Jouy, See also:

• BEAUVAIS

Beauvais, See also:

• ROUEN

Rouen, See also:

• ALSACE (Ger. Elsass)

Alsace-See also:

• LORRAINE

Lorraine, &c., were looked upon as representing " all that was best " in artistic calico-printing . This reputation was established by the superiority of their earlier work, which, whatever else it may have lacked, possessed in a high degree the two See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main qualities essential to all See also:

• GOOD, JOHN MASON (1764-1827)

good decorative work, viz., appropriateness of See also:

• PATTERN

pattern and See also:

• EXCELLENCY (Lat. excellentia, excellence)

excellency of workmanship . If, occasionally, the earlier designers permitted themselves to indulge in somewhat bizarre fancies, they at least carefully refrained from any See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt to produce those pseudo-realistic effects the undue straining after which in later times ultimately led to the degradation of not only French calico-printing design, but of that of all other European nations who followed their See also:

• LEAD
• LEAD (pronounced iced)

lead . The practice of the older craftsmen, at their best, was to treat their See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament in a way at once broad, See also:

• SIMPLE

simple and See also:

• DIRECT

direct, thoroughly artistic and perfectly adapted to the means by which it had to be reproduced .

The result was that their designs were characterized, on the one hand, by those qualities of breadth, flatness of See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field, simplicity of treatment and pureness of tint so rightly prized by the artist; and, on the other, by their entire freedom from those meretricious effects of naturalistic See also:

• PROJECTION

projection and recession so dear to the See also:

• MODERN

modern mind and so utterly opposed to the principles of applied art . Methods of Printing . Broadly speaking textile-printing means the See also:

• LOCAL

local application,. to textile fabrics, of any colour in definite patterns or designs, but in properly printed goods the colour becomes See also:

• PART

part and See also:

• PARCEL (Fr. parcelle, Ital. particella, Lat. particela, diminutive of pars, part)

parcel of the fibre, or, in other words, the latter is dyed so as to resist washing and See also:

• FRICTION (from Lat. fricare, to rub)

friction . Textile-printing, then, may be looked upon as a form of See also:

• DYEING (0. Eng. dedgian, dealt ; Mid. Eng. deyen)

dyeing; but, whereas in dyeing proper the whole fabric is uniformly covered with one colour, in printing one or more See also:

• COLOURS, MILITARY

colours are applied to it in certain parts only, and in sharply defined patterns . In principle these two branches of textile colouring are closely allied, for the colouring matters used in each See also:

• CASE
• CASE, JOHN (d. 1600)

case are practically identical, but in practice the means whereby their respective See also:

• OBJECTS

objects are attained See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear little or no resemblance to each other . In dyeing, for instance, it is sufficient, for the most part, to immerse the fabric in an aqueous See also:

• SOLUTION (from Lat. solvere, to loosen, dissolve)

solution of the dye-stuff, stirring it about constantly or other-See also:

• WISE, HENRY ALEXANDER (1806-1876)
• WISE, ISAAC MAYER (1819-1900)

wise manipulating it to prevent unevenness . In printing, however, the colour must be applied by See also:

• SPECIAL

special means—either by a wooden block, a See also:

• STENCIL

stencil or engraved plates, or rollers—and thickened to prevent it from spreading, by capillary attraction, beyond the limits of the pattern or design . Many colours also contain, besides the colouring matter and thickening, all the substances necessary for their proper fixation on the cloth when the latter is simply passed through a subsequent See also:

• PROCESS

process of steaming, and others again require to be subjected to many after treatments before they are thoroughly developed and rendered fast to See also:

• LIGHT

light and washing . There are five distinct methods at present in use for producing coloured patterns on cloth: (I) Hand block-printing . (2) Perrotine or block-printing by See also:

• MACHINE
• MACHINE (through Fr. from Lat. form machina of Gr. µnxavil)

machine . (3) Engraved See also:

• PLATE

plate-printing . (4) Engraved See also:

• ROLLER

roller-printing .

(5) Stencilling, which although not really a printing process may be classed here as one . (1) Hand Block-Printing.—This process,. though considered by some to be the most artistic, is the earliest, simplest and slowest of all methods of printing . The blocks may be made of See also:

• BOX
• BOX (Gr. irl or, Lat. buxus, box-wood; cf. 2r6Eir, a pyx)

box, See also:

• LIME
• LIME (O. Eng. lim, Lat. limes, mud, from linere, to smear)

lime, See also:

• HOLLY (Ilex Aquifolium)

holly, sycamore, See also:

• PLANE

plane or See also:

• PEAR (Pyrus communis)

pear wood, the latter three being most generally employed . They vary in See also:

• SIZE

size considerably, but must always be between two and three inches thick, otherwise they are liable to warp—a defect which is additionally guarded against by backing the wood chosen with two or more pieces of cheaper wood, such as See also:

• DEAL

deal or See also:

• PINE (Lat. Pinus, Gr. srlrur)

pine . The several pieces or blocks are tongued and grooved to See also:

• FIT

fit each other, and are then securely glued together, under pressure, into one solid block with the See also:

• GRAIN (derived through the French from Lat. granum, seed, from an Aryan root meaning " to wear down," which also appears in the common Teutonic word " corn ")

grain of each alternate piece See also:

• RUNNING

running in a different direction . The block, being-planed quite smooth and perfectly See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat, next has the design See also:

• DRAWN

drawn upon, or transferred to it . This latter is effected by rubbing off, upon its flat See also:

• SURFACE

surface, a tracing in See also:

• LAMP (from Gr. Xag ras, a torch, Xaµaav, to shine)

lamp-See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black and oil, of the outlines of the masses of the design . The portions to be See also:

• LEFT

left in See also:

• RELIEF

relief are then tinted, between their outlines, in ammoniacal See also:

• CARMINE

carmine or See also:

• MAGENTA

magenta, for the purpose of distinguishing them from those portions which have to be cut away . As a See also:

• SEPARATE

separate block is required for each distinct colour in the design, a separate tracing must be made of each and transferred (or " put on ' as it s termed) to its own special block . Having thus 'received atracing of the pattern the block is thoroughly damped and kept in this See also:

• CONDITION (Lat. condicio, from condicere, to agree upon, arrange; not connected with conditio, from condere, conditum, to put together)

condition by being covered with wet cloths during the whole process of " cutting." The block-cutter commences by See also:

• CARVING

carving out the wood around the heavier masses first, leaving the finer and more delicate work until the last so as to avoid any See also:

• RISK

risk of injuring it during the cutting of the coarser parts . When large masses of colour occur in a pattern, the corresponding parts on the block are usually cut in outline, the See also:

• OBJECT

object being filled in between the outlines with See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt, which not only absorbs the colour better, but gives a much more even impression than it is possible to obtain with a large surface of wood . When finished, the block presents the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of fiat relief carving, the design See also:

• STANDING

standing out like letterpress type .

See also:

• FINE

Fine details are very difficult to cut in wood, and, even when successfully cut, See also:

• WEAR

wear down very rapidly or break off in printing . They are therefore almost invariably built up in strips of See also:

• BRASS
• BRASS (O. Eng. braes)

brass or See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper, See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent to shape and driven edgewise into the flat surface of the block . This method is known as " coppering," and by its means many delicate little forms, such as stars, rosettes and fine spots can be printed, which would otherwise be quite impossible to produce by hand or machine block-printing . Frequently, too, the process of " coppering " is used for the purpose of making a See also:

• MOULD

mould, from which an entire block can be made and duplicated as often as desired, by casting . In this case the See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal strips are driven to a predetermined See also:

• DEPTH

depth into the See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face of a piece of lime-wood cut across the grain, and, when the whole design is completed in this way, the block is placed, metal face downwards. in a See also:

• TRAY

tray of molten type-metal or See also:

• SOLDER (derived through the French from Lat. soldare, to make solidus, firm)

solder, which transmits sufficient See also:

• HEAT (0. E. haktu, which like " hot," Old Eng. hat, is from the Teutonic type haita, hit, to be hot; cf. Ger. hitze, heiss; Dutch, hitte, heet, &c.)

heat to the inserted portions of the strips of copper to enable them to carbonize the wood immediately in contact with them and, at the same time, firmly attaches itself to the outstanding portions . When See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold a slight tap with a See also:

• HAMMER, FRIEDRICH JULIUS (1810-1862)

hammer on the back of the lime-wood block easily detaches the cake of the type-metal or alloy and along with it, ofcourse, the strips of coPPer to which it is firmly soldered, leaving a See also:

• MATRIX

matrix, or mould, in wood of the original design . The casting is made in an alloy of See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low melting-point, and, after cooling, is filed or ground until See also:

• ALI

ali its projections are of the same height and perfectly smooth, after which it is screwed on to a wooden support and is ready for printing . Similar moulds are also made by burning out the lines of the pattern with a red-hot See also:

• STEEL, FLORA ANNIE (1847– )

steel See also:

• PUNCH

punch, capable of being raised or lowered at will, and under which the block is moved about by hand along the lines of the pattern . In addition to the engraved block, a printing table and colour See also:

• SIEVE (O.E. sife, older sibi, cf. Dutch zeef, Ger. Sieb; from the subst. comes O.E. siftan, to sift)

sieve are required . The table consists of a stout framework of wood or See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron supporting a thick slab of See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

stone varying in size according to the width of cloth to be printed . Over the stone table See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top a thick piece of woollen printer's blanket is tightly stretched to See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply the See also:

• ELASTICITY

elasticity necessary to give the block every See also:

• CHANCE (through the O. Fr. cheance, from the Late Lat. cadentia, things happening, from cadere, to fall out, happen; cf. " case ")

chance of making a good impression on the cloth . At one end, the table is provided with a couple of iron brackets to carry the See also:

• ROLL (O. Fr. rolle, roulle, mod. role, Lat. rotulus, dim. of rota, wheel)
• ROLL, ALFRED PHILIPPE (1846– )

roll of cloth to be printed and, at the other, a See also:

• SERIES (a Latin word from serere, to join)

series of See also:

• GUIDE (in Mid. Eng. gyde, from the Fr. guide; the earlier French form was guie, English " guy," the d was due to the Italian form guida; the ultimate origin is probably Teutonic, the word being connected with the base seen in O. Eng. witan, to know)

guide rollers, extending to the See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling, are arranged for the purpose of suspending and drying the newly printed goods .

The colour sieve " consists of a tub (known as the See also:

• SWIMMING (from " swim," A.S. swimman, the root being common in Teutonic languages)

swimming tub) half filled with See also:

• STARCH

starch See also:

• PASTE (O. Fr. paste, modern pate, Late Lat. pasta, whence also in Span., Port. and Ital., from Gr. 1r&vrrl or 1raara, barley porridge, or salted pottage, ir&ao'ety, to sprinkle with salt)

paste, onthe surface of which floats a See also:

• FRAME

frame covered at the bottom with a tightly-stretched piece of See also:

• MACKINTOSH, SIR JAMES (176 1832)

mackintosh or oiled calico . On this the " colour sieve" proper, a frame similar to, the last but covered with fine woollen cloth, is placed, and forms when in position a sort of elastic colour trough over the bottom of which the colour is spread evenly with a See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush . The modus operandi of printing is as follows:—The printer commences by See also:

• DRAWING

drawing a length of cloth, from the roll, over the table, and marks it with a piece of coloured See also:

• CHALK

chalk and a ruler to indicate where the first impression of the block is to be applied . He then applies his block in two different directions to the colour on the sieve and finally presses it firmly and steadily on the cloth, ensuring a good impression by striking it smartly on the back with a wooden See also:

• MALLET (or MALLOCH), DAVID (?17o5–1765)
• MALLET, PAUL HENRI (173o–18o7)

mallet . The second impression is made in the same way, the printer taking care to see that it fits exactly to the first, a point which he can make sure of by means of the pins with which the blocks are provided at each corner and which are arranged in such a way that when those at the right See also:

• SIDE
• SIDE (mod. Eski Adalia)

side or at the top of the block fall upon those at the left side or the bottom of the previous impression the two printings join up exactly and continue the pattern without a break . Each succeeding impression is made in precisely the same manner until the length of cloth on the table is fully printed . When this is done it is See also:

• WOUND (O. Eng. wund,connected with a Teutonic verb, meaning to strive, fight, suffer, seen in O. Eng. winnan, whence Eng. " win ")

wound over the drying rollers, thus bringing forward a fresh length to be treated similarly . If the pattern contains several colours the cloth is usually first printed throughout with one, then dried, re-wound and printed with the second, the same operations being repeated until all the colours are printed . Many modifications of block-printing have been tried from time to time, but of these only two—" tobying " and " rainbowing "—are of any See also:

• PRACTICAL

practical value . The object of " tobey-printing " is to print the several colours of a multicolour pattern at one operation. and for this purpose a block with the whole of the pattern cut upon it, and a specially constructed " colour sieve" are employed . The sieve consists of a thick block of wood, on one side of which a series of compartments are hollowed out,. corresponding roughly in shape, size and position to the various objects cut on the block . The tops of the dividing walls of these compartments are then coated with melted See also:

• PITCH
• PITCH, MUSICAL

pitch, and a piece of fine woollen cloth is stretched over the whole and pressed well down on the pitch so as to adhere firmly to the top of each See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall; finally a piece of See also:

• STRING

string soaked in pitch is cemented over the woollen cloth along the lines of the dividing walls, and after See also:

• BORING

boring a hole through the bottom of each compartment the sieve is ready for use .

In operation each compartment is filled with its special colour through a See also:

• PIPE

pipe connecting it with a colour box situated at the side of the sieve and a little above it, so as to exert just sufficient pressure on the colour to force it gently through the woollen cloth, but not enough to cause it to overflow its proper limits, formed by the pitch-soaked string boundary lines . The block is then carefully pressed on the sieve, and, as the different parts of its pattern fall on different parts of the sieve, each takes up a certain colour which it transfers to the cloth in the usual way . By this method of " tobying " . from two to six colours may be printed at one operation, but it is obvious that it is only applicable to patterns where the different coloured objects are placed at some little distance apart, and that, therefore, it is of but limited application . Block-printing by hand is a slow process; it is, however, capable of yielding highly artistic results, some of which are unobtainable by any other means, and it is, therefore, still largely practised for the highest class of work in certain styles . '(2) Perrotine-Printing.—The ' perrotine " is a block-printing machine invented by See also:

• PERROT, SIR JOHN (c. 1S27–1592)

Perrot of Rouen in 1834, and practically speaking is the only successful See also:

• MECHANICAL

mechanical See also:

• DEVICE

device ever introduced for this purpose . For some See also:

• REASON (Lat. ratio, through French raison)

reason or other it has rarely been used in England, but its value was almost immediately recognized on the Continent, and although block-printing of all sorts has been replaced to such an enormous extent by roller-printing, the " perrotine " is still largely employed in French, See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German and See also:

• ITALIAN

Italian works . The construction of this ingenious machine is too complex to describe here without the aid of several detailed drawings, but its mode of See also:

• ACTION

action is roughly as follows:—Three large blocks (3 ft. See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long by 3 to 5 in. wide), with the pattern cut or See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast on them in relief, are brought to bear successively on the three faces of a specially constructed printing table over which the cloth passes (together with its backing of printer's blanket) after each impression . The faces of the table are arranged at right angles to each other, and the blocks work in slides similarly placed, so that their engraved faces are perfectly parallel to the tables . Each block is moreover provided with its own particular colour trough, distributing brush, and woollen colour See also:

• PAD

pad or sieve, and is supplied automatically with colour by these appliances during the whole time that the machine is in See also:

• MOTION (Lat. motio, from movere, to move)
• MOTION, LAWS OF

motion . The first effect of starting the machine is to cause the colour See also:

• SIEVES

sieves, which have a reciprocating motion, to pass over, and receive a See also:

• CHARGE
• CHARGE (through the Fr. from the Late Lat. carricare, to load in a carrus or wagon; cf. " cargo ")

charge of colour from, the rollers, fixed to revolve, in the colour troughs . They then return to their original position between the tables and the printing blocks, coming in contact on the way with the distributing brushes, wh''ch spread the colour evenly over their entire surfaces . At this point the blocks advance and are gently pressed twice against the colour pads (or sieves) which then See also:

• RETREAT (O. Fr. retrete, mod. retraite, from Lat. retrahere, to draw back)

retreat once more towards the colour troughs .

During this last See also:

• MOVEMENT

movement the cloth to be printed is drawn forward over the first table, and, immediately the colour pads are sufficiently out of the way, the block advances and, with some force, stamps the first impression on it . The second block is now put into See also:

• GEAR (connected with " garb," properly elegance, fashion, especially of dress, and with " gar," to cause to do, only found in Scottish and northern dialects; the root of the word is seen in the Old Tent. garwjan, to make ready)

gear and the foregoing operations are repeated for both blocks, the cloth advancing, after each impression, a distance exactly equal to the width of the blocks . After the second block has made its impression the third comes into See also:

• PLAY

play in precisely the same way, so that as the cloth leaves the See also:

• MACHINES

machines it is fully printed in three separate colours, each fitting into its proper See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place and completing the pattern . If necessary the forward movement of the cloth can be arrested without in any way interfering with the motion of the blocks—an arrangement which allows any insufficiently printed impression to be repeated in exactly the same place with a precision practically impossible in hand-printing . For certain classes of work the " perrotine " possesses See also:

• GREAT

great advantages over the hand-block; for not only is the See also:

• RATE

rate of See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production greatly increased, but the joining up of the various impressions to each other is much more exact—in fact, as a See also:

• RULE

rule, no sign of a break in continuity of See also:

• LINE

line can be noticed in well-executed work . On the other hand, however, the " perrotine " can only be applied to the production of patterns containing not more than three colours nor exceeding five inches in See also:

• VERTICAL (from Lat. vertex, highest point)

vertical repeat, whereas hand block-printing can See also:

• COPE
• COPE (M.E. cape, cope, from Med. Lat. capa, cappa)
• COPE, EDWARD DRINKER (1840-1897)
• COPE, EDWARD MEREDITH (1818-1873)

cope with patterns of almost any See also:

• SCALE
• SCALE (1) A

scale and containing any number of colours . All things considered, therefore, the two processes cannot be compared on the same basis: the " perrotine " is best for work of a utilitarian character and the hand-block for decorative work in which the design only repeats every 15 to 20 in. and contains colours varying in number from one t:o a dozen . (3) Engraved Copperplate-Printing.—The printing of textiles from engraved copperplates was first practised by See also:

• BELL
• BELL, ALEXANDER MELVILLE (1819—1905)
• BELL, ANDREW (1753—1832)
• BELL, GEORGE JOSEPH (1770-1843)
• BELL, HENRY (1767-1830)
• BELL, HENRY GLASSFORD (1803-1874)
• BELL, JACOB (1810-1859)
• BELL, JOHN (1691-178o)
• BELL, JOHN (1763-1820)
• BELL, JOHN (1797-1869)
• BELL, ROBERT (1800-1867)
• BELL, SIR CHARLES (1774—1842)

Bell in 1770 . It is now entirely obsolete, as an industry, in England, and is onlymentioned here because it is, to a slight extent, still used in Switzer-land for printing finely engraved See also:

• BORDERS, THE

borders on a special See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of handkerchief the centre of which is afterwards filled in by block-printing . The presses first used were of the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary letterpress type, the engraved plate being fixed in the place of the type . In later improvements the well-known See also:

• CYLINDER (Gr. KvAwSpos, from KvXivaety, to roll)

cylinder See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press was employed; the plate was inked mechanically and cleaned off by passing under a See also:

• SHARP, GRANVILLE (1735-1813)
• SHARP, JAMES (1618-1679)
• SHARP, JOHN (1645-1714)
• SHARP, RICHARD (1759-1835)
• SHARP, WILLIAM (1749-1824)
• SHARP, WILLIAM (1856-1905)

sharp blade of steel; and the cloth, instead of being laid on the plate, was passed See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the pressure cylinder . The plate was raised into frictional contact with the cylinder and in passing under it transferred its See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink to the cloth .

The great difficulty in plate-printing was to make the various impressions join up exactly; and, as this could never be done with any certainty, the process was eventually confined to patterns See also:

• COMPLETE

complete in one repeat, such as handkerchiefs, or those made up of widely separated objects in which no repeat is visible, like, for instance, patterns composed of little sprays, spots, &c . (4) Roller-Printing, Cylinder-Printing, or Machine-Printing.—This elegant and efficient process was patented and worked by Bell in 1785 only fifteen years after his application of the engraved plate to textiles . It will probably remain a See also:

• MOOT

moot question as to whether he was the originator of the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea, but it is beyond doubt that he was the first See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man to put into practice the continuous printing of cloth from engraved copper rollers . Bell's first patent was for a •machine to print six colours at once, but, owing probably to its incomplete development, this was not immediately successful, although the principle of the method was shown to be practical by the printing of one colour with perfectly satisfactory results . The difficulty was to keep the six rollers, each carrying a portion of the pattern, in perfect See also:

• REGISTER

register with each other . This defect was soon overcome by See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam See also:

• PARKINSON, JAMES (d. 1824)

Parkinson of See also:

• MANCHESTER
• MANCHESTER (popularly Manchester-by-the-Sea)
• MANCHESTER, EARLS AND DUKES OF

Manchester, and in 1785, the year of its invention, Bell's machine with Parkinson's improvement was successfully employed by Messrs Livesey, Hargreaves, See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall & Co., of Bamber Bridge, Preston, for the printing of calico in from two to six colours at a single operation . What Parkinson's contribution to the development of the modern roller-printing machine really was is not known with certainty, but it was possibly the invention of the delicate See also:

• ADJUSTMENT (from late Lat. ad juxtare, derived from juxta, near, but early confounded with a supposed derivation from justus, right)

adjustment known as " the box See also:

• WHEEL (0. Eng. hweol, hweohl, &c., cognate with Icel. hjol, Dan. hiul, the Indo-European root is seen in Sanskrit chakra, Gr. r in Aos, circle, whence " cycle ")
• WHEEL, BREAKING ON THE

wheel," whereby the rollers can be turned, whilst the machine is in motion, either in or against the direction of their rotation . In its simplest form the roller-printing machine consists of a strong cast iron cylinder mounted in adjustable See also:

• BEARINGS

bearings capable of sliding up and down slots in the sides of the rigid iron framework . Beneath this cylinder the engraved copper roller rests in stationary bearings and is supplied with colour from a wooden roller which revolves in a colour-box below it . The copper roller is mounted on a stout steel See also:

• AXLE (in Mid. Eng. axel-tre, from O. Norweg. oxull-tre, cognate with the O. Eng. exe or eaxe, and connected with Sansk. dksha, Gr. a wv, and Lat. axis)

axle, at one end of which a See also:

• COG

cog-wheel is fixed to gear with the See also:

• DRIVING (from " to drive," i.e. generally to propel, force along or in, a word common in various forms to the Teutonic languages)

driving wheel of the machine, and at the other end a smaller cog-wheel to drive the colour-furnishing roller . The cast iron pressure cylinder is wrapped with several thicknesses of a special material made of See also:

• WOOL, WORSTED AND WOOLLEN MANUFACTURES

wool and See also:

• COTTON
• COTTON (Fr. coton; from Arab. qutun)
• COTTON, CHARLES (163o–1687)
• COTTON, GEORGE EDWARD LYNCH (1813–1866)
• COTTON, JOHN (1585–1652)
• COTTON, SIR ROBERT BRUCE

cotton—lapping—the object of which is to provide the elasticity necessary to enable it to properly force the cloth to be printed into the lines of See also:

• ENGRAVING

engraving . A further and most important appliance is the " See also:

• DOCTOR (Lat. for " teacher ")

doctor "—a thin sharp blade of steel which rests on the engraved roller and serves to scrape off every vestige of superfluous colour from its surface, leaving only that which rests in the engraving .

On the perfect action of this " doctor " depends the entire success of printing, and as its sharpness and See also:

• ANGLE (from the Lat. angulus, a corner, a diminutive, of which the primitive form, angus, does not occur in Latin; cognate are the Lat. angere, to compress into a bend or to strangle, and the Gr. ayKOS, a bend; both connected with the Aryan root ank-, to

angle of inclination to the copper roller varies with the styles of work in hand it requires an See also:

• EXPERT (Lat. expertus, from experiri, to try)

expert to " get it up " (sharpen it) properly and considerable practical experience to know exactly what qualities it should possess in any given case . In See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to prevent it (the " doctor ") from wearing irregularly it is given a to-and-fro motion so that it is constantly changing its position and is never in contact with one part of the engraving for more than a moment at a time . A second " doctor" of brass or a similar alloy is frequently added on the opposite side of the roller to that occupied by the steel or " cleaning " doctor; it is known technically as the " See also:

• LINT (in M. Eng. linnet, probably through Fr. linette, from lin, the flax-plant; cf. " line ")

lint doctor " from its purpose of v cleaning off loose filaments or " lint " E which the roller picks off the cloth during the printing operation . The G steel or " cleaning doctor " is pressed against the rol: r by means of weighted FIG . I. levers, but the " lint doctor " is usually just allowed to See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest upon it by its own See also:

• WEIGHT

weight as its See also:

• FUNCTION

function is merely to intercept the See also:

• NAP

nap which becomes detached from the cloth and would, if not cleaned from the roller, mix with the colour and give rise to defective work . The working of the machine will be best understood by referring to the accompanying diagrammatic See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch of a single colour (fig . I) . A is the cast iron pressure cylinder; B the lapping with which it is usually wrapped; C the engraved copper printing roller; D the steel " cleaning doctor "; E the brass " lint doctor "; F the colour-furnishing roller; G the colour-trough or " box " in which the latter (F) works partly immersed in colour; X an endless woollen blanket continually circulating between the cloth to be printed (K) and the cylinder A; and K the cloth in question . In operation, the cylinder A is screwed down with an even pressure into frictional contact with the roller C; the machine is then set in motion, turning in the direction indicated by the arrows; the cloth is now introduced between A and C and as it leaves the machine fully printed it is carried over a series of drying cylinders situated above and heated by See also:

• STEAM
• STEAM (0. Eng. steam, vapour, smoke, cf. Du. steam; the origin is unknown)

steam . The printing roller C is the only part of the machine directly connected with the motor or main drive of the works through the cog-wheel on its axle—the " mandril "—all the other parts deriving their motion frodl it, either by friction as in the case of the cylinder or by a See also:

• SPUR (A.S. spura, spora, related to spornan, spurnan, to kick, spurn; cf. M.H.G. sporn, mod. Ger. Sporn)

spur wheel as in that of the colour-furnishing roller . The mode of printing is almost self-evident; the roller C revolving in the direction of the arrow takes colour from the " furnisher " F, the excess is scraped off by the " doctor " G and, in continuing its course, it comes in contact with the cloth K, which being pressed by the cylinder A into the engraving abstracts the colour therefrom and of course receives an exact impression of the engraved pattern . Larger machines printing from two to sixteen colours are precisely similar in principle to the above, but differ somewhat in detail and are naturally more complex and difficult to operate .

In a twelve-colour machine, for example, twelve ,copper rollers, each carrying one portion of the design, are arranged round a central pressure cylinder, or bowl, See also:

• COMMON

common to all, and each roller is driven by a common driving wheel, called the " See also:

• CROWN

crown " wheel, actuated, in most cases, by its own steam-See also:

• ENGINE
• ENGINE (Lat. ingenium)

engine or motor . Another difference is that the adjustment of pressure is transferred from the cylinder to the rollers which work. in specially constructed bearings capable of the following movements: (1) Of being screwed up bodily until the rollers are lightly pressed against the central bowl; (2) of being moved to and fro sideways so that the rollers may be laterally adjusted; and (3) of being moved up or down for the purpose of adjusting the rollers in vertical direction . Not-withstanding the great See also:

• LATITUDE (Lat. latitudo, latus, broad)

latitude of movement thus provided each roller is furnished with a " box-wheel," which serves the See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double purpose of connecting or gearing it to the driving wheel, and of affording a fine adjustment . Each roller is further furnished with its own colour-box and doctors . With all these delicate equipments at his command a machine-printer is enabled to fit all the various parts of the most complicated patterns with an ease, despatch and precision which are remarkable considering the complexity and size of the machine . In See also:

• RECENT

recent years many improvements have been made in printing machines and many additions made to their already wonderful capacities . See also:

• CHIEF (from Fr. chef, head, Lat. caput)

Chief amongst these are those embodied in the " Intermittent " and the " Duplex " machines . In the former any or all of the rollers may be moved out of contact with the cylinder at will, and at certain intervals . Such machines are used in the printing of shawls and " sarries " for the Indian See also:

• MARKET (Lat. mercatus, trade or place of trade)

market . Such goods require a wide border right across their width at varying distances—sometimes every three yards, sometimes every nine yards—and it is to effect this, with rollers of ordinary dimensions, that " intermittent " machines are used . The See also:

• BODY

body of the " sarrie " will be printed, say for six yards with eight rollers; these then drop away from the cloth and others, which have up to then been out of action, immediately fall into contact and print a border or " crossbar," say one yard wide, across the piece; they then recede from the cloth and the first eight again return and print another six yards, and so on continually . The " Duplex " or " Reversible " machine derives its name from the fact that it prints both sides of the cloth .

It consists really of two ordinary machines so combined that when the cloth passes, fully printed on one side from the first, its See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain side is exposed to the rollers of the second, which print an exact duplicate of the first impression upon it in such a way that both printings coincide . A See also:

• PIN (a doublet with " pen " from Lat. pinna, feather, pinnacle, which is said to contain the same root as irirvs, pine tree, and properly to mean a sharp point or end)

pin pushed through the face of the cloth ought to protrude through the corresponding part of the design printed on the back if the two patterns are in good " fit." The advantages possessed by roller-printing over all other processes are mainly three: firstly, its high productivity—to,000 to 12,000 yds. being commonly printed in one See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day of ten See also:

• HOURS, CANONICAL

hours by a single-colour machine; secondly, by its capacity of being applied to the See also:

• REPRODUCTION

reproduction of every style of design, ranging from the fine delicate lines of copperplate engraving and the small " repeats " and limited colours of the " perrotine " to the broadest effects of block-printing and to patterns varying in " repeat " from i to 8o in.; and thirdly, the wonderful exactitude with which each portion of an elaborate multicolour pattern can be fitted into its proper place, and the entire See also:

• ABSENCE (Lat. absentia)

absence of faulty See also:

• JOINTS

joints at its points of " repeat " or repetition—a See also:

• CONSIDERATION (from Lat. considerare, to look at closely, examine, generally taken to be from con-, and the base seen in sidus, sideris, a star, the word being supposed to be originally an astrological or astronomical term)

consideration of the utmost importance in fine delicate work, where such a blur would utterly destroy the effect . (5) Stencilling.—The art of stencilling is very old . It has beenapplied to the decoration of textile fabrics from time immemorial by the See also:

• JAPANESE

Japanese, and, of See also:

• LATE

late years, has found increasing employment in Europe for certain classes of decorative work on woven goods for furnishing purposes . The pattern is cut out of a