On the Economy of Machinery and Manufactures Part 5

Very thin bra.s.s is sometimes perforated in the form of letters, usually those of a name; this is placed on any substance which it is required to mark, and a brush dipped in some paint is pa.s.sed over the bra.s.s. Those parts which are cut away admit the paint.

and thus a copy of the name appears on the substance below. This method, which affords rather a coa.r.s.e copy, is sometimes used for paper with which rooms are covered, and more especially for the borders. If a portion be required to match an old pattern, this is, perhaps the most economical way of producing it.

89. Coloured impressions of leaves upon paper may be made by a kind of surface printing. Such leaves are chosen as have considerable inequalities: the elevated parts of these are covered, by means of an inking ball, with a mixture of some pigment ground up in linseed oil; the leaf is then placed between two sheets of paper, and being gently pressed, the impression from the elevated parts on each side appear on the corresponding sheets of paper.

90. The beautiful red cotton handkerchiefs dyed at Glasgow have their pattern given to them by a process similar to stencilling, except that instead of printing from a pattern, the reverse operation that of discharging a part of the colour from a cloth already dyed--is performed. A number of handkerchiefs are pressed with very great force between two plates of metal, which are similarly perforated with round or lozenge-shaped holes, according to the intended pattern. The upper plate of metal is surrounded by a rim, and a fluid which has the property of discharging the red dye is poured upon that plate. This liquid pa.s.ses through the holes in the metal, and also through the calico; but, owing to the great pressure opposite all the parts of the plates not cut away, it does not spread itself beyond the pattern. After this, the handkerchiefs are washed, and the pattern of each is a copy of the perforations in the metal-plate used in the process.

Another mode by which a pattern is formed by discharging colour from a previously dyed cloth, is to print on it a pattern with paste; then, pa.s.sing it into the dying-vat, it comes out dyed of one uniform colour But the paste has protected the fibres of the cotton from the action of the dye or mordant; and when the cloth so dyed is well washed, the paste is dissolved, and leaves uncoloured all those parts of the cloth to which it was applied.

Printing from surface

91. This second department of printing is of more frequent application in the arts than that which has just been considered.

92. Printing from wooden blocks. A block of box wood is, in this instance, the substance out of which the pattern is formed: the design being sketched upon it, the workman cuts away with sharp tools every part except the lines to be represented in the impression. This is exactly the reverse of the process of engraving on copper, in which every line to be represented is cut away. The ink, instead of filling the cavities cut in the wood, is spread upon the surface which remains, and is thence transferred to the paper.

93. Printing from moveable types. This is the most important in its influence of all the arts of copying. It possesses a singular peculiarity, in the immense subdivision of the parts that form the pattern. After that pattern has furnished thousands of copies, the same individual elements may be arranged again and again in other forms, and thus supply mult.i.tudes of originals, from each of which thousands of their copied impressions may flow. It also possesses this advantage, that woodcuts may be used along with the letterpress, and impressions taken from both at the same operation.

94. Printing from stereotype. This mode of producing copies is very similar to the preceding. There are two modes by which stereotype plates are produced. In that most generally adopted a mould is taken in plaster from the moveable types, and in this the stereotype plate is cast. Another method has been employed in France: instead of composing the work in moveable type, it was set up in moveable copper matrices; each matrix being in fact a piece of copper of the same size as the type, and having the impression of the letter sunk into its surface instead of projecting in relief. A stereotype plate may, it is evident, be obtained at once from this arrangement of matrices. The objection to the plan is the great expense of keeping so large a collection of matrices.

As the original composition does not readily admit of change, stereotype plates can only be applied with advantage to cases where an extraordinary number of copies are demanded, or where the work consists of figures, and it is of great importance to ensure accuracy. Trifling alterations may, however, be made in it from time to time; and thus mathematical tables may, by the gradual extirpation of error, at last become perfect. This mode of producing copies possesses, in common with that by moveable types, the advantage of admitting the use of woodcuts: the copy of the woodcut in the stereotype plate being equally perfect.

with that of the moveable type. This union is of considerable importance, and cannot be accomplished with engravings on copper.

95. Lettering books. The gilt letters on the backs of books are formed by placing a piece of gold leaf upon the leather, and pressing upon it bra.s.s letters previously heated: these cause the gold immediately under them to adhere to the leather, whilst the rest of the metal is easily brushed away. When a great number of copies of the same volume are to be lettered, it is found to be cheaper to have a bra.s.s pattern cut with the whole of the proper t.i.tle: this is placed in a press, and being kept hot, the covers, each having a small bit of leaf-gold placed in the proper position, are successively brought under the bra.s.s, and stamped.

The lettering at the back of the volume in the reader's hand was executed in this manner.

96. Calico printing from blocks. This is a mode of copying, by surface printing, from the ends of small pieces of copper wire, of various forms, fixed into a block of wood. They are all of one uniform height, about the eighth part of an inch above the surface of the wood, and are arranged by the maker into any required pattern. If the block be placed upon a piece of fine woollen cloth, on which ink of any colour has been uniformly spread, the projecting copper wires receive a portion, which they give up when applied to the calico to be printed. By the former method of printing on calico, only one colour could be used; but by this plan, after the flower of a rose, for example, has been printed with one set of blocks, the leaves may be printed of another colour by a different set.

97. Printing oilcloth. After the canvas, which forms the basis of oilcloth, has been covered with paint of one uniform tint, the remainder of the processes which it pa.s.ses through, are a series of copyings by surface printing, from patterns formed upon wooden blocks very similar to those employed by the calico printer. Each colour requiring a distinct set of blocks, those oilcloths with the greatest variety of colours are most expensive.

There are several other varieties of printing which we shall briefly notice as arts of copying; which, although not strictly surface printing, yet are more allied to it than that from copperplates.

98. Letter copying. In one of the modes of performing this process, a sheet of very thin paper is damped, and placed upon the writing to be copied. The two papers are then pa.s.sed through a rolling press, and a portion of the ink from one paper is transferred to the other. The writing is, of course, reversed by this process; but the paper to which it is transferred being thin, the characters are seen through it on the other side, in their proper position. Another common mode of copying letters is by placing a sheet of paper covered on both sides with a substance prepared from lamp-black, between a sheet of thin paper and the paper on which the letter to be despatched is to be written. If the upper or thin sheet be written upon with any hard pointed substance, the word written with this style will be impressed from the black paper upon both those adjoining it. The translucency of the upper sheet, which is retained by the writer, is in this instance necessary to render legible the writing which is on the back of the paper. Both these arts are very limited in their extent, the former affording two or three, the latter from two to perhaps ten or fifteen copies at the same time.

99. Printing on china. This is an art of copying which is carried to a very great extent. As the surfaces to which the impression is to be conveyed are often curved, and sometimes even fluted, the ink, or paint, is first transferred from the copper to some flexible substance, such as paper, or an elastic compound of glue and treacle. It is almost immediately conveyed from this to the unbaked biscuit, to which it more readily adheres.

100. Lithographic printing. This is another mode of producing copies in almost unlimited number. The original which supplies the copies is a drawing made on a stone of a slightly porous nature, the ink employed for tracing it is made of such greasy materials that when water is poured over the stone it shall not wet the lines of the drawing. When a roller covered with printing ink, which is of an oily nature, is pa.s.sed over the stone previously wetted, the water prevents this ink from adhering to the uncovered portions; whilst the ink used in the drawing is of such a nature that the printing ink adheres to it. In this state, if a sheet of paper be placed upon the stone, and then pa.s.sed under a press, the printing ink will be transferred to the paper, leaving the ink used in the drawing still adhering to the stone.

101. There is one application of lithographic printing which does not appear to have received sufficient attention, and perhaps further experiments are necessary to bring it to perfection. It is the reprinting of works which have just arrived from other countries. A few years ago one of the Paris newspapers was reprinted at Brussels as soon as it arrived by means of lithography. Whilst the ink is yet fresh, this may easily be accomplished: it is only necessary to place one copy of the newspaper on a lithographic stone; and by means of great pressure applied to it in a rolling press, a sufficient quant.i.ty of the printing ink will be transferred to the stone. By similar means, the other side of the newspaper may be copied on another stone, and these stones will then furnish impressions in the usual way.

If printing from stone could be reduced to the same price per thousand as that from moveable types, this process might be adopted with great advantage for the supply of works for the use of distant countries possessing the same language. For a single copy might be printed off with transfer ink, and thus an English work, for example, might be published in America from stone, whilst the original, printed from moveable types, made its appearance on the same day in England.

102. It is much to be wished that such a method were applicable to the reprinting of facsimiles of old and scarce books. This, however, would require the sacrifice of two copies, since a leaf must be destroyed for each page. Such a method of reproducing a small impression of an old work, is peculiarly applicable to mathematical tables, the setting up of which in type is always expensive and liable to error, but how long ink will continue to be transferable to stone, from paper on which it has been printed, must be determined by experiment. The destruction of the greasy or oily portion of the ink in the character of old books, seems to present the greatest impediment; if one const.i.tuent only of the ink were removed by time, it might perhaps be hoped, that chemical means would ultimately be discovered for restoring it: but if this be unsuccessful, an attempt might be made to discover some substance having a strong affinity for the carbon of the ink which remains on the paper, and very little for the paper itself.(2*)

103. Lithographic prints have occasionally been executed in colours. In such instances a separate stone seems to have been required for each colour, and considerable care, or very good mechanism, must have been employed to adjust the paper to each stone. If any two kinds of ink should be discovered mutually inadhesive, one stone might be employed for two inks; or if the inking-roller for the second and subsequent colours had portions cut away corresponding to those parts of the stone inked by the previous ones, then several colours might be printed from the same stone: but these principles do not appear to promise much, except for coa.r.s.e subjects.

104. Register printing. It is sometimes thought necessary to print from a wooden block, or stereotype plate, the same pattern reversed upon the opposite side of the paper. The effect of this, which is technically called Register printing, is to make it appear as if the ink had penetrated through the paper, and rendered the pattern visible on the other side. If the subject chosen contains many fine lines, it seems at first sight extremely difficult to effect so exact a super position of the two patterns, on opposite sides of the same piece of paper, that it shall be impossible to detect the slightest deviation; yet the process is extremely simple. The block which gives the impression is always accurately brought down to the same place by means of a hinge; this spot is covered by a piece of thin leather stretched over it; the block is now inked, and being brought down to its place, gives an impression of the pattern to the leather: it is then turned back; and being inked a second time, the paper intended to be printed is placed upon the leather, when the block again descending, the upper surface of the paper is printed from the block, and its undersurface takes up the impression from the leather. It is evident that the perfection of this mode of printing depends in a great measure on finding some soft substance like leather, which will take as much ink as it ought from the block, and which will give it up most completely to paper. Impressions thus obtained are usually fainter on the lower side; and in order in some measure to remedy this defect, rather more ink is put on the block at the first than at the second impression.

Of copying by casting

105. The art of casting, by pouring substances in a fluid state into a mould which retains them until they become solid, is essentially an art of copying; the form of the thing produced depending entirely upon that of the pattern from which it was formed.

106. Of casting iron and other metals.--Patterns of wood or metal made from drawings are the originals from which the moulds for casting are made: so that, in fact, the casting itself is a copy of the mould; and the mould is a copy of the pattern. In castings of iron and metals for the coa.r.s.er purposes, and, if they are afterwards to be worked even for the finer machines, the exact resemblance amongst the things produced, which takes place in many of the arts to which we have alluded, is not effected in the first instance, nor is this necessary. As the metals shrink in cooling, the pattern is made larger than the intended copy; and in extricating it from the sand in which it is moulded, some little difference will occur in the size of the cavity which it leaves. In smaller works where accuracy is more requisite, and where few or no after operations are to be performed, a mould of metal is employed which has been formed with considerable care. Thus, in casting bullets, which ought to be perfectly spherical and smooth, an iron instrument is used, in which a cavity has been cut and carefully ground; and, in order to obviate the contraction in cooling, a jet is left which may supply the deficiency of metal arising from that cause, and which is afterwards cut off. The leaden toys for children are cast in bra.s.s moulds which open, and in which have been graved or chiselled the figures intended to be produced.

107. A very beautiful mode of representing small branches of the most delicate vegetable productions in bronze has been employed by Mr Chantrey. A small strip of a fir-tree, a branch of holly, a curled leaf of broccoli, or any other vegetable production, is suspended by one end in a small cylinder of paper which is placed for support within a similarly formed tin case.

The finest river silt, carefully separated from all the coa.r.s.er particles, and mixed with water, so as to have the consistency of cream, is poured into the paper cylinder by small portions at a time, carefully shaking the plant a little after each addition, in order that its leaves may be covered, and that no bubbles of air may be left. The plant and its mould are now allowed to dry, and the yielding nature of the paper allows the loamy coating to shrink from the outside. When this is dry it is surrounded by a coa.r.s.er substance; and, finally, we have the twig with all its leaves embedded in a perfect mould. This mould is carefully dried, and then gradually heated to a red heat. At the ends of some of the leaves or shoots, wires have been left to afford airholes by their removal, and in this state of strong ignition a stream of air is directed into the hole formed by the end of the branch. The consequence is, that the wood and leaves which had been turned into charcoal by the fire, are now converted into carbonic acid by the current of air; and, after some time, the whole of the solid matter of which the plant consisted is completely removed, leaving a hollow mould, bearing on its interior all the minutest traces of its late vegetable occupant.

When this process is completed, the mould being still kept at nearly a red heat, receives the fluid metal, which, by its weight, either drives the very small quant.i.ty of air, which at that high temperature remains behind, out very through the airholes, or compresses it into the pores of very porous substance of which the mould is formed.

108. When the form of the object intended to be cast is such that the pattern cannot be extricated from its mould of sand or plaster, it becomes necessary to make the pattern with wax, or some other easily fusible substance. The sand or plaster is moulded round this pattern, and, by the application of heat, the wax is extricated through an opening left purposely for its escape.

109. It is often desirable to ascertain the form of the internal cavities, inhabited by molluscous animals, such as those of spiral sh.e.l.ls, and of the various corals. This may be accomplished by filling them with fusible metal, and dissolving the substance of the sh.e.l.l by muriatic acid; thus a metallic solid will remain which exactly filled all the cavities. If such forms are required in silver, or any other difficulty fusible metal, the sh.e.l.ls may be filled with wax or resin, then dissolved away; and the remaining waxen form may serve as the pattern from which a plaster mould may be made for casting the metal. Some nicety will be required in these operations; and perhaps the minuter cavities can only be filled under an exhausted receiver.

110. Casting in plaster. This is a mode of copying applied to a variety of purposes: to produce accurate representations of the human form--of statues--or of rare fossils--to which latter purpose it has lately been applied with great advantage. In all casting, the first process is to make the mould; and plaster is the substance which is almost always employed for the purpose.

The property which it possesses of remaining for a short time in a state of fluidity, renders it admirably adapted to this object, and adhesion, even to an original of plaster, is effectually prevented by oiling the surface on which it is poured. The mould formed round the subject which is copied, removed in separate pieces and then reunited, is that in which the copy is cast. This process gives additional utility and value to the finest works of art. The students of the Academy at Venice are thus enabled to admire the sculptured figures of Egina, preserved in the gallery at Munich; as well as the marbles of the Parthenon, the pride of our own Museum. Casts in plaster of the Elgin marbles adorn many of the academies of the Continent; and the liberal employment of such presents affords us an inexpensive and permanent source of popularity.

111. Casting in wax. This mode of copying, aided by proper colouring, offers the most successful imitations of many objects of natural history, and gives an air of reality to them which might deceive even the most instructed. Numerous figures of remarkable persons, having the face and hands formed in wax, have been exhibited at various times; and the resemblances have, in some instances been most striking. But whoever would see the art of copying in wax carried to the highest perfection, should examine the beautiful collection of fruit at the house of the Horticultural Society; the model of the magnificent flower of the new genus Rafflesia--the waxen models of the internal parts of the human body which adorn the anatomical gallery of the Jardin des Plantes at Paris, and the Museum at Florence--or the collection of morbid anatomy at the University of Bologna. The art of imitation by wax does not usually afford the mult.i.tude of copies which flow from many similar operations. This number is checked by the subsequent stages of the process, which, ceasing to have the character of copying by a tool or pattern, become consequently more expensive. In each individual production, form alone is given by casting; the colouring must be the work of the pencil, guided by the skill of the artist.

Of copying by moulding

112. This method of producing mult.i.tudes of individuals having an exact resemblance to each other in external shape, is adopted very widely in the arts. The substances employed are, either naturally or by artificial preparation, in a soft or plastic state; they are then compressed by mechanical force, sometimes a.s.sisted by heat, into a mould of the required form.

113. Of bricks and tiles. An oblong box of wood fitting upon a bottom fixed to the brickmaker's bench, is the mould from which every brick is formed. A portion of the plastic mixture of which the bricks consist is made ready by less skilful hands: the workman first sprinkles a little sand into the mould, and then throws the clay into it with some force; at the same time rapidly working it with his fingers, so as to make it completely close up to the corners. He next sc.r.a.pes off, with a wetted stick, the superfluous clay, and shakes the new-formed brick dexterously out of its mould upon a piece of board, on which it is removed by another workman to the place appointed for drying it. A very skilful moulder has occasionally, in a long summer's day, delivered from ten to eleven thousand bricks; but a fair average day's work is from five to six thousand. Tiles of various kinds and forms are made of finer materials, but by the same system of moulding. Among the ruins of the city of Gour, the ancient capital of Bengal, bricks are found having projecting ornaments in high relief: these appear to have been formed in a mould, and subsequently glazed with a coloured glaze. In Germany, also, brickwork has been executed with various ornaments. The cornice of the church of St Stephano, at Berlin, is made of large blocks of brick moulded into the form required by the architect. At the establishment of Messrs Cubitt, in Gray's Inn Lane, vases, cornices, and highly ornamented capitals of columns are thus formed which rival stone itself in elasticity, hardness, and durability.

114. Of embossed china. Many of the forms given to those beautiful specimens of earthenware which const.i.tute the equipage of our breakfast and our dinner-tables, cannot be executed in the lathe of the potter. The embossed ornaments on the edges of the plates, their polygonal shape, the fluted surface of many of the vases, would all be difficult and costly of execution by the hand; but they become easy and comparatively cheap, when made by pressing the soft material out of which they are formed into a hard mould. The care and skill bestowed on the preparation of that mould are repaid by the mult.i.tude it produces. In many of the works of the china manufactory, one part only of the article is moulded; the upper surface of the plate, for example, whilst the under side is figured by the lathe. In some instances, the handle, or only a few ornaments, are moulded, and the body of the work is turned.

115. Gla.s.s seals. The process of engraving upon gems requires considerable time and skill. The seals thus produced can therefore never become common. Imitations, however, have been made of various degrees of resemblance. The colour which is given to gla.s.s is, perhaps, the most successful part of the imitation.

A small cylindrical rod of coloured gla.s.s is heated in the flame of a blowpipe, until the extremity becomes soft. The operator then pinches it between the ends of a pair of nippers, which are formed of bra.s.s, and on one side of which the device intended for the seal has been carved in relief. When the mould has been well finished and care is taken in heating the gla.s.s properly, the seals thus produced are not bad imitations; and by this system of copying they are so multiplied, that the more ordinary kinds are sold at Birmingham for three pence a dozen.

116. Square gla.s.s bottles. The round forms which are usually given to vessels of gla.s.s are readily produced by the expansion of the air with which they are blown. It is, however, necessary in many cases to make bottles of a square form, and each capable of holding exactly the same quant.i.ty of fluid. It is also frequently desirable to have imprinted on them the name of the maker of the medicine or other liquid they are destined to contain. A mould of iron, or of copper, is provided of the intended size, on the inside of which are engraved the names required. This mould, which is used in a hot state, opens into two parts, to allow the insertion of the round, unfinished bottle, which is placed in it in a very soft state before it is removed from the end of the iron tube with which it was blown.

The mould is now closed, and the gla.s.s is forced against its sides, by blowing strongly into the bottle.

117. Wooden snuff boxes. Snuff boxes ornamented with devices, in imitation of carved work or of rose engine turning, are sold at a price which proves that they are only imitations. The wood, or horn, out of which they are formed, is softened by long boiling in water, and whilst in this state it is forced into moulds of iron, or steel, on which are cut the requisite patterns, where it remains exposed to great pressure until it is dry.

118. Horn knife handles and umbrella handles. The property which horn possesses of becoming soft by the action of water and of heat, fits it for many useful purposes. It is pressed into moulds, and becomes embossed with figures in relief, adapted to the objects to which it is to be applied. If curved, it may be straightened; or if straight, it may be bent into any forms which ornament or utility may require; and by the use of the mould these forms may be multiplied in endless variety. The commoner sorts of knives, the crooked handles for umbrellas, and a mult.i.tude of other articles to which horn is applied, attest the cheapness which the art of copying gives to the things formed of this material.

119. Moulding tortoise-sh.e.l.l. The same principle is applied to things formed out of the sh.e.l.l of the turtle, or the land tortoise. From the greatly superior price of the raw material, this principle of copying is, however, more rarely employed upon it; and the few carvings which are demanded, are usually performed by hand.

120. Tobacco-pipe making. This simple art is almost entirely one of copying. The moulds are formed of iron, in two parts, each embracing one half of the stem; the line of junction of these parts may generally be observed running lengthwise from one end of the pipe to the other. The hole pa.s.sing to the bowl is formed by thrusting a long wire through the clay before it is enclosed in the mould. Some of the moulds have figures, or names, sunk in the inside, which give a corresponding figure in relief upon the finished pipe.

121. Embossing upon calico. Calicoes of one colour, but embossed all over with raised patterns, though not much worn in this country, are in great demand in several foreign markets.

This appearance is produced by pa.s.sing them between rollers, on one of which is figured in intaglio the pattern to be transferred to the calico. The substance of the cloth is pressed very forcibly into the cavities thus formed, and retains its pattern after considerable use. The watered appearance in the cover of the volume in the reader's hands is produced in a similar manner.

A cylinder of gun-metal, on which the design of the watering is previously cut, is pressed by screws against another cylinder, formed out of pieces of brown paper which have been strongly compressed together and accurately turned. The two cylinders are made to revolve rapidly, the paper one being slightly damped, and, after a few minutes, it takes an impression from the upper or metal one. The glazed calico is now pa.s.sed between the rollers, its glossy surface being in contact with the metal cylinder, which is kept hot by a heated iron enclosed within it.

Calicoes are sometimes watered by placing two pieces on each other in such a position that the longitudinal threads of the one are at right angles to those of the other, and compressing them in this state between flat rollers. The threads of the one piece produce indentations in those of the other, but they are not so deep as when produced by the former method.

122. Embossing upon leather. This art of copying from patterns previously engraved on steel rollers is in most respects similar to the preceding. The leather is forced into the cavities, and the parts which are not opposite to any cavity are powerfully condensed between the rollers.

123. Swaging. This is an art of copying practised by the smith. In order to fas.h.i.+on his iron and steel into the various forms demanded by his customers, he has small blocks of steel into which are sunk cavities of different shapes; these are called swages, and are generally in pairs. Thus if he wants a round bolt, terminating in a cylindrical head of larger diameter, and having one or more projecting rims, he uses a corresponding swaging tool; and having heated the end of his iron rod, and thickened it by striking the end in the direction of the axis (which is technically called upsetting), he places its head upon one part of the lage; and whilst an a.s.sistant holds the other part on the top of the hot iron, he strikes it several times with his hammer, occasionally turning the head one quarter round. The heated iron is thus forced by the blows to a.s.sume the form of the mould into which it is impressed.

124. Engraving by pressure. This is one of the most beautiful examples of the art of copying carried to an almost unlimited extent; and the delicacy with which it can be executed, and the precision with which the finest traces of the graving tool can be transferred from steel to copper, or even from hard steel to soft steel, is most unexpected. We are indebted to Mr Perkins for most of the contrivances which have brought this art at once almost to perfection. An engraving is first made upon soft steel, which is hardened by a peculiar process without in the least injuring its delicacy. A cylinder of soft steel, pressed with great force against the hardened steel engraving, is now made to roll very slowly backward and forward over it, thus receiving the design, but in relief. The cylinder is in its turn hardened without injury., and if it be slowly rolled to and fro with strong pressure on successive plates of copper, it will imprint on a thousand of them a perfect facsimile of the original steel engraving from which it was made. Thus the number of copies producible from the same design may be multiplied a thousand-fold. But even this is very far short of the limits to which the process may be extended. The hardened steel roller, bearing the design upon it in relief may be employed to make a few of its first impressions upon plates of soft steel, and these being hardened become the representatives of the original engraving, and may in their turn be made the parents of other rollers, each generating copperplates like their prototype. The possible extent to which facsimiles of one original engraving may thus be multiplied, almost confounds the imagination, and appears to be for all practical purposes unlimited.