TEXTILE PRINTING. 175 TEXTUAL CRITICISM. tion or devclopmpnt of other colors subsequently applied by padilins or dyeing. The last three groups belong to the general class of dyes, as opposed to simple printed colors. Considering these four groups more carefully, we find that in direct printing three general methods are used for fixing the color upon the fabric, the method used in a given case depend- ing upon the chemical nature of the dyestiiff. These methods are: (1) Straininfi. in which printing is followed by air drying and steaming, or by immediate steaming, drying, and again eteaniing; (2) oxidi::ing. in which the color is fixed by the process known as 'aging.' either by prolonged exposure to the air or by passing through a steam 'ager:' (3) reducinfi. a method applied to indigo printing. Indigo is printed upon fabrics in two wajs known as the 'glu- cose' and 'reduced indigo' processes which are briefl.y described by Sadtler (see bibliography) as follows: By the first method "Indigo is fine- ly ground and made into a paste with water, to which is added caustic soda; this is now kept in a closed vessel in order to prevent as much as possible the absorption of carbonic acid from the atmosphere. The proportioning of the in- gredients depends on the desired shade of blue. When used in printing it is thickened with dex- trin and starch. . . . The cloth, before be- ing printed upon, is worked through a twenty- five per cent, solution of glucose and dried. After printing, the cloth must be again dried and passed through an atmosphere of wet steam, to effect the reduction of the indigo which now takes place. The cloth is now washed in water, being repeatedly, during the washing, exposed to the air, when the reduced indigo is oxidized and its real color appears. . . . The second process is based upon the fact that indigo, when finely ground and mixed vith lime and thiosul- phate of soda in suitable thickening agents, is reduced; if with this reduced indigo paste, pat- terns are printed upon cotton fabrics, and then exposed to the air, the indigo is oxidized with .a regeneration of the blue color. The pieces are then washed and dried. Instead of using in digo in printing, one of the newer colors, im- mcdinl blue, is now very extensively used and printed with suitable mordants directly upon the goods." Passing on to the second general method of textile printing, which is a combination of print- ing and dyeing, four operations are involved. First, the fabric is printed with the appropriate mordant ; then follows the aging process, dur- ing which the printed mordant is decomposed and more firmly fixed to the cloth ; then follows an operation known as dunging, which removes the tliickening. no longer needed in the mordant; and finally dyeing, the dye. of course, remain- ing fixed only to that part of the fabric which was previouslj' treated with the mordant. Tlie aging process was formerly conducted in large chambers and consumed .several weeks. It is now performed in steam 'agers.' much more rapidly: Init cloth that is rapidly aged does not hold its color as well as when the operation is conducted more slowl.v. Bunging is a passing of the cloth through solutions of sodium phos- phate, arseniate, or silicate, these chemicals being now employed in place of the somewhat offensive cow-dung. The composition of the dye- bath is described under Dyeing. For the third, or discharge style of printing, the discharges are simply substances printed upon the goods, the whole of which has been mordanted, so that the mordant is removed from the printed spots, and when the goods are finally dyed the printed figures will be white, while the background will be the color naturally produced by the dye and mordant. In the fourth, or reserve, style of printing, substances are printed upon the fabric which will prevent the fixation of color in those places. Reserves are of two general kinds: chemical, such as citric acid, and mechanical, such as pipe- clay, beeswax, or other inert substance. These four general methods of textile print- ing, briefly outlined above, are susceptible of end- less modification and combination. Rothwell (see bililiography) gives ten possible methods which he groups under seven 'styles.' JIany of them are applicable only to cotton. St.tistics. According to the United States Census for 1900, 1,233,191,438 yards of cotton were printed in the United States in 1900. as against 722.257.451 yards printed in 1890. During 1900, 10,239,006 yards of silk goods were also printed in this country. In the same year, 334 printing machines were in operation in factories devoted exclusively to printing and finishing textile fabrics, of which 321 were for the print- ing of cotton fiibrics and the remainder for the ]uinting of silk. It is evident from these figures that the printing of woolen and mi.xed goods, which is a flourishing industry in Europe, has not. yet become established in America. Bibliography. Consult: Georgievie, Chem- ical Technology of Textile Fabrics, trans, by Salter (London, 1002) ; Rothwell, Printing of Textile Fabrics (Philadelphia, 1902) ; Santone, The Printing of Cotton Fabrics (London, 1897) ; Duerr, Blenching and Calico Printing (London, 1896) ; Sadtler, Industrial Organic Chemistry (Philadelphia, 1900). The last named book contains a complete bibliography chronologically arranged, from 1874 to 1900. TEXTUAL CRITICISM (OF., Fr. textuel, from Lat. tcxtus, text, composition, fabric, from texere, to weave). "The criticism of existing texts of literary works with a view to the de- tection of errors which have crept in, and the restoration of the reading intended by the au- thor. Such criticism may be necessary in the case of any literary production which is no longer under the control of its author, but it finds its most difficult problems in the Old and New Testaments, the Greek and Latin author."; whose works are preserved to us. in the older monuments of the national literatures, and in the texts of some moderns, e.g. Chaucer and Shakespeare. The criticism of the texts of Greek and Latin authors, to take them as examples, is based first of all on a careful study and comparison of all existing manuscripts, then on quotations and unconscious reminiscences of the writer in ques- tion, in other authors, and finally on such helps as may be obtained from ancient commentaries, (icholia (see Scholiasts), or from early trans- lations, such as the Latin and Arabic render- ings of certain works of Aristotle. Most of our classical manuscripts belong to the period from the ninth to the fifteenth century: a few are earlier, one or two possibly as old as the fourth
