Interior of Marshall's Flax-Mill, Leeds.
Having thus noticed the leading processes of the manufacture of cotton, of wool, of silk, of linen, we may conclude this chapter with a brief mention of the art that gives to many of the fabrics produced their chief beauty—the art of printing cloth in colours. This art applies to the finest as well as the commonest productions of the loom; and the science of the British dyer, the beauty of his patterns, and the perfection of his machinery, have now given us an eminence in this department of industry which can only be preserved by constant efforts towards perfection of design and durable brilliancy of colour.
Indigo-harvest in West Indies.
There is a striking, although natural parallel, between printing a piece of cloth and printing a sheet of a book, or a newspaper. Block-printing is the impress of the pattern by hand; as block-books were made four centuries ago. We have no block-books now; for machinery has banished that tedious process. But block-printing is used for costly shawls and velvets, which require to have many colours produced by repeated impress from a large number of blocks, each carrying a different colour. Except for expensive fabrics, this mode is superseded by block-printing with a sort of press, in which several blocks are set in a frame. Here again is somewhat of a similarity to the operation of the book-press. Lastly, we have cylinder-printing, resembling the rapid working of the book-printing machine, each producing the same cheapness. As the pattern has to be obtained from several cylinders, each having its own colour, there is great nicety in the operation; and the most beautiful mechanism is necessary for feeding the cylinder with colour; moving the cloth to meet the revolving cylinder; and giving to the cylinder its power of impression. But those who witness the operation see little of the ultimate effect to be obtained in the subsequent processes of dyeing. Fast colours are produced by the use in the pattern of substances called mordants; which may be colourless themselves but receive the colour of the dye-bath, which colour is only fixed in the parts touched by the mordant, and is washed out from the parts not touched. When what is called a substantive colour is at once impressed upon the white cloth, much of the beauty is also derived from subsequent processes. The chemist, the machinist, the designer, and the engraver—science and art—set the calico-printing works in activity; and the carrying on these complicated processes can only be profitably done upon a large scale. In the earlier days of our cotton manufacture there were small print-works in the neighbourhood of London, where the imperfect machinery was turned by water-power. The steam-engine of one Lancashire factory now produces more printed cottons and muslins than all the rivers of southern England in the last century. The calico-printers now number about twenty-seven thousand persons. But no direct enumeration can be made of the employments that are required merely to produce the dyes with which the calico-printer works. The mineral and vegetable kingdoms, and even the animal kingdom, combine their natural productions in the colours of a lady's dress. The sulphur-miner of Sicily, the salt-worker of Cheshire, the hewer of wood in the Brazils, the Negro in the indigo plantations of the East and West Indies, the cultivator of madder in France, and the gatherer of the cochineal insect in Mexico, are all labourers for the print-works of England and Scotland. The discoveries of science, in combination with the experience of practice, has set all this industry in motion, and has given a value to innumerable productions of nature which would otherwise be useless and unemployed. But these demands of manufactures do more—they create modes of cultivation which are important sources of national prosperity. Jean Althen, a Persian of great family, bred up in every luxury, became a slave in Anatolia, when Kouli-Khan overthrew the Persian empire. For fourteen years he worked in the cotton and madder-fields. He then escaped to France, carrying with him some madder-seeds. Long did he labour in vain to attract the attention of the government of Louis XV. to his plans. At length, having spent all the fortune which he had acquired by marriage with a French heiress, he obtained the patronage of the Marquis de Caumont, in his attempts to introduce the cultivation of madder into the department of Vaucluse. His life was closing in comparative indigence when a new branch of industry was developed in his adopted country. The district in which he created a new industry has increased a hundred-fold in value. The debt of gratitude was paid by a tablet to his memory, erected sixty years after he was insensible to human rewards. We starve our benefactors when they are living; and satisfy our consciences by votive monuments. Althen's daughter died as poor as her father. The tablet was erected at Avignon when the family was extinct.
Calico-printing by Cylinder.
There is a process connected with the production of clothing which we must briefly refer to, as one of the signal examples of the axiom of our title—'Knowledge is Power.'