A bell is a hollow, somewhat cup-shaped, sounding instrument of metal. The metal from which bells are usually made (by founding) is an alloy, called bell-metal, commonly composed of eighty parts of copper and twenty of tin. The proportion of tin varies, however, from one-third to one-fifth of the weight of the copper, according to the sound required, the size of the bell, and the impulse to be given. The clearness and richness of the tone depend upon the metal used, the perfection of its casting, and also upon its shape; it having been shown by a number of experiments that the well-known shape with a thick lip is the best adapted to give a perfect sound. The depth of the tone of a bell increases in proportion to its size.
A bell is divided into the body or barrel, the ear or cannon, and the clapper or tongue. The lip or sound-bow is that part where the bell is struck by the clapper. It is uncertain whether the jangling instruments used by the Egyptians and Israelites can be correctly described as bells; but it is certain that bells of a considerable size were in early use in China and Japan, and that the Greeks and Romans used them for various purposes. They are said to have been first introduced into Christian churches about 400 AD by Paulinus, bishop of Nola, in Campania (whence campana and nola as old names of bells); although their adoption on a wide scale does not become apparent until after the year 550, when they were introduced into France.
Benedict Biscop, abbot of Wearmouth, seems to have imported bells from Italy to England in 680, but their use in Ireland and Scotland is probably of earlier date. The oldest of those existing in Great Britain and Ireland, such as the 'bell of St. Patrick's will' and St Ninian's bell, are quadrangular and made of thin iron plates hammered and riveted together.
Until the thirteenth century bells were of comparatively small size, but after the casting of the Jacqueline of Paris (6.5 tons) in 1400 their weight rapidly increased. Among the more famous bells are the bell of Cologne, 11. tons, 1448; of Dantzic, 6 tons, 1453; of Halberstadt, 7.5, 1457; of Rouen, 16, 1501; of Breslau, 11, 1507; of Lucerne, 71, 1636; of Oxford,7.5 1680; of Paris, 12.8, 1680; of Bruges, 10.5, 1680; of Vienna, 17.75, 1711; of Moscow (the monarch of all bells), 193, 1736; three other bells at Moscow ranging from 16 to 31 tons, and a fourth of 80 tons cast in 1819; the bell of Lincoln (Great Tom), 5.5, 1834; of YorkMinster (Great Peter), 10.75, 1845; of Montreal, 134, 1847; of Westminster (Big Ben), 15.5, 1856, (St Stephen), 13.5, 1858; the Great Bell of St. Paul's, 17.5, 1882. Others are the bells of Ghent (5 tons), Gorlitz (10.75 tons), St Peter's, Rome (8 tons), Antwerp (7.25 tons), Olmutz (18 tons), Sacred Heart, Paris (27 tons), Novgorod (31 tons), Pekin (53.5 tons).
Besides their use in churches bells are employed for various purposes, formerly the most common use being to summon attendants or domestics in private houses, hotels, etc. Bells for this purpose were of small size and may be held in the hand and rung, but most commonly were rung by means of wires stretched from the various apartments to the place where the bells were hung. Bells rung by electricity became common in hotels and other establishments around 1905.
Calico-printing is the art of applying colours to cloth after it has come from the hand of the weaver in such a manner as to form patterns or figures. The art was originally brought to Britain from India, and was sometimes practised on linen, woollen, and silk, but most frequently upon that species of cotton cloth called calico. The process was originally accomplished by means of hand-blocks made of wood on which patterns or parts of patterns for each different colour were cut. These blocks were of various dimensions, according to the nature of the work, and where several colours were employed in one pattern, a block for each colour was necessary.
As an improvement in the method of printing from wooden blocks, especially where delicacy of outline was required, engraved copperplates were introduced about 1760; but the greatest improvement was effected by the introduction of cylinder printing about 1785, which had almost superseded the other methods, except for particular styles by 1900. The machinery then generally used consisted of various modifications of the cylinder printing-machine, in which a number of separate engraved cylinders were mounted, corresponding to the number of colours to be printed. Formerly the cloth had to pass once through the machine for every colour; but later, by an arrangement of machinery equally ingenious and effective, any number of cylinders were fitted on one machine, which acted on the cloth one after the other, and by this means the pattern was finished with a corresponding number of colours in the same time that was formerly employed to give one.
A great variety of methods have been employed in calico-printing, but they all fall under the general heads of dye-colours and steam-colours. Under the first head are included all the styles in which the pattern is printed on the cloth by a mordant - a substance which may have little or no colour itself, but has an affinity for the fibre on the one hand, and for the colouring matter on the other - the dye or colouring matter being subsequently fixed by dyeing on such parts of the cloth as have been impregnated with the mordant, and thus bringing out the pattern.
In steam-colour printing the colouring material is applied to the cloth direct from the printing-cylinder, and subsequently fixed by steaming. In steam-colours there is no limit to the number and variety of shades which may be produced, each colour-box on the cylinder printing-machine containing the whole ingredients essential to the production and fixation of a separate and distinct shade of colour. This process was superseding most of the other styles by the end of the Victorian era, the brilliant coal-tar colours so extensively used being almost entirely fixed by steaming.
The bodies used for fixing were tin mordants, tannic acid, etc, which were mixed with the dye-colours and printed together. The effects of calico-printing are varied by numerous other operations, such as the discharge-style, in which the cloth is first dyed all over, then printed in a certain pattern with discharge-chemicals, which either produce a pattern of some other colour, or one purely white, as in the Turkey-red bandanna handkerchiefs. The resist-style, in some respects, is the reverse of the discharge-style; the process being to print a pattern in certain chemicals, which will enable those parts to resist the action of the dye subsequently applied to all other parts of the cloth. After the prints have undergone the printing process they are submitted to a series of finishing operations, the object of which is to give to the fabrics a pleasing appearance to the eye. Research Calico-Printing
Dellia Robbia Ware is a form of terra-cotta bas-reliefs thickly enamelled with tin-glaze; made at Florence chiefly in 1450 to 1530 and in France between 1530 and 1567. They are so called from the name of the Italian artist, Lucca Della Robbia who used the technique. Research Dellia Robbia Ware
Dyeing is the art of giving colour to textile and other articles in such a way that the colours are more or less permanent, and not readily affected by the action of light, washing, etc. Like spinning and weaving it was originally a home industry, as it still is in many places. Until about 1850 natural dye-stuffs alone were employed, but the discovery of dyes of all colours that can be obtained from coal-tar products revolutionized dyeing as an industry, and the vegetable dye-stuffs were gradually superseded by the newer colours.
Before dyeing, the materials have generally to be cleansed or bleached to get rid of undesirable colouring matters or impurities; and frequently a textile material is subjected to some subsidiary treatment in order to obtain special effects. For example, cottonyarn may be subjected to the action of strong causticsoda ('mercerizing' process) while in a state of great tension, in order to give it a permanent silky lustre.
Dyeing is not only an art, it is also a branch of applied chemistry. One fundamental principle is, that the colouring matter and other necessary substances must be applied in a state of solution, and while in direct contact with the fibre they must be rendered insoluble, so that they are precipitated within or upon the fibre and thus permanently fixed. The method of effecting this varies greatly according to the fibre and the colouring matter employed. As a rule the vegetable and the animal fibres are dyed by very different methods. The affinity of the animal fibres for certain colouring matters is often so great that they are readily dyed by simple immersion in hot colour solutions;
but this simple process is not generally sufficient. According to the method of their application in dyeing the following groups: of dye-stuffs may be distinguished: Avid Colours, Basic Colours, Direct Colours, Developed Colours, Mordant Colours, Miscellaneous Colours, Reactive Colours.
The acid colours are so called because they are of an acid character and are applied in an acid dye-bath. As a rule, they are only suitable for dyeing the animal fibres, e.g. wool and silk, also leather, horn, feathers, etc. Only a few vegetable dye-stuffs belong to this class, for example, the purple colour orchil and the blue colour indigo extract. On the other hand, the acid colours derived from coal-tar - and increasingly petroleum - are very numerous and yield a great variety of hues - red, orange, yellow, green, blue, violet, brown, and black, each with its particular name.
The basic colours are so called because their essential constituents, to which they owe their dyeing power, are organicbases. The bases themselves are colourless and too insoluble in water to be of use, hence they are employed in the form of their soluble coloured salts, usually the hydrochlorides of the colour-bases. Their solutions are precipitated by tannic acid, because it combines with the colour-bases to form insoluble tannates. Wool, silk, and animal substances generally have a direct attraction for colour-bases, and hence these fibres are readily dyed by simple immersion in hot aqueous solutions of the basic colours. Cotton and linen, on the other hand, are not dyed so readily; they need first to be prepared or impregnated with tannic acid, and thus prepared are said to be mordanted, the tannic acid in this connection being styled the mordant. Most of the colours of this class are fugitive to light, and all but one, barberryroot, are derived from coal-tar products.
The direct colours are so called because they dyecotton direct, that is, without the aid of any mordanting process. The first of this class derived from coal-tar was congo red, discovered in 1884; this group includes a very great variety of fast colours, and forms, indeed, one of the most important and valuable series of dye-stuffs employed. Cotton, linen, and the vegetable fibres generally are dyed in the simplest possible manner by merely boiling them in a solution of the dye-stuff, with or without the addition of a little soap, carbonate or sulphate of soda, etc. Wool and silk are frequently dyed in the same manner as cotton. Very few vegetable dye-stuffs belong to the direct colours, e.g. Safflower, Turmeric, Saffron, Annatto. They are all fugitive, and have been of little or no importance to the dyer since the end of the 19th century. The coal-tar colours of this class, on the other hand, are extremely numerous.
The developed colours include a variety of colours which are formed in situ upon the fibre by the successive application of two or more substances. These colours are all of coal-tar origin. A number of them belong to the so-called azo colours, derived from compounds containing nitrogen.
The mordant colours form one of the most important classes of colouring matters, for they include not only most of the vegetable dye-stuffs, e.g. madder, logwood, fustic, etc, but also many valuable fast coal-tar colours, commonly known as the alizarin colours, after their typical representative, alizarin. These mordant colours have by themselves very little colouring power, as a rule, and if employed alone in dyeing give little or no result. If applied, however, in conjunction with metallic salts, notably those of chromium, aluminium, iron, tin, and copper, they each yield a variety of colours, according to the metallic salt employed. In employing them usually two distinct operations are involved: first, that of applying the metallic salt or mordant, called the mordanting process ; and second, that of dyeing proper, in which the mordanted material is boiled in a solution or decoction of the dye-stuff. During the dyeing operation the colouring principle of the dye-stuff combines with the metallic salt already upon the material, and the colour is thus produced and fixed upon the fibre. The method of mordanting varies with the fibre and the metallic salt employed. The vegetable dye-stuffs of this class include Madder, Sapanwood, Camwood, Barwood, Old Fustic, Young Fustic, Quercitron Bark, Persian Berries, Weld, Logwood. Madder was formerly the most important and highly valued of the dye-stuffs of this class, being especially employed to produce the fine 'Turkey-red' dye; but was entirely superseded by the coal-tar colour alizarin towards the end of the 19th century.
Reactive colours combine directly with the fibre being dyed through a chemical reaction and result in a fast colour. The first ranges of reactive dyes for cellulose fibres were introduced in the mid-1950s.
Similarly, the employment of cochineal (an insect dye) has also greatly diminished through the introduction of the cheaper colours. Camwood and barwood are almost entirely used in wool-dyeing, either in conjunction with the indigo-vat or for the purpose of dyeing various shades of brown. Old fustic is the most important of the yellow mordant dye-stuffs, and the colours are fast although not very brilliant. Young fustic yields fugitive colours, and has been little used since 1900. Quercitron bark is an excellent dye-stuff employed by wool-dyers for the production of bright orange and yellow colours. Persian berries and weld, a species of wild mignonette, are both excellent dye-stuffs, but their employment is now limited. Logwood is largely employed by wool, silk, and cotton dyers for dyeing black and dark-blues, which, although fast to washing, are only moderately so towards light. During the 20th century dyewoods were gradually replaced by coal-tar colours.
Among miscellaneous colours are several dye-stuffs applied in a distinct manner. Indigo is a dark-blue powder quite insoluble in water, but can be rendered soluble for dyeing purposes by two methods. The first method converts the indigo into so-called indigo extract, which is sold as a blue paste and applied as an acid colour in dyeing wool and silk. In the second method the indigo-blue is converted into indigo-white, which readily dissolves in the alkalipresent, the solution thus obtained being called an indigo-vat. If cotton, wool, or silk is steeped for some time in the clear yellow solution of such a vat, and then exposed to the oxidizing influence of the air, they are dyed a permanent blue. The indigo-white absorbed by the fibre loses its acquired hydrogen, and thus insoluble indigo-blue is regenerated within and upon the fibre. Aniline black is a valuable colour, produced direct upon the fibre by the oxidation of aniline, and remarkable for its extreme permanency.
Catechu is a vegetable dye-stuff used in dyeing cotton and woollen brown. On wool, catechu yields khaki browns in single bath by using copper sulphate as the mordant. On silk it is largely employed for weighting purposes in the process of dyeing black. Chrome Yellow, Iron Buff, Prussian Blue, and Manganese Brown, employed in cotton dyeing, are frequently classed as mineral colours. Chrome yellow is obtained by immersing cotton successively in solutions of acetate of lead and bichromate of potash, whereby the yellow precipitate of chromate of lead is fixed upon the fibre. Iron buff is obtained in a similar manner by the successive application of iron sulphate and carbonate of soda, and finally developing the full colour by washing with water and exposure to air. The buff colour is really due to the precipitation of oxide of iron on the cotton. Prussian blue is at once developed by passing the buff-dyed cotton through an acidified solution of potassium ferrocyanide. The production of manganese brown on cotton is similar to that of iron buff. The brown colour ultimately produced upon the fibre is an oxide of manganese. The mineral colours are very useful for certain purposes, and are to be regarded as very fast to light. Research Dyeing
Enamel is a vitreous glaze of various colours fused to the surface of gold, silver, copper, and other substances. The art of enamelling, which is of great antiquity, was practised by the Assyrians and by the Egyptians, from whom it may have passed into Greece, and thence into Rome and its provinces, including Great Britain, where various Roman antiquities with enamelled ornamentation have been discovered. The enamelled gold cup given by King John to the corporation of Lynn, in Norfolk, proves that the art was known among the Normans. The Byzantines of the 10th century produced excellent cloisonne enamels on a gold base, the cloisonne process consisting in tracing the design in fillets of gold upon the gold plate and filling up the small moulds thus formed with enamels the design appearing in coloured enamels separated by thin gold partitions or cloisons. In some cases, however, the enamels were filled into hollows beaten out in the gold plate, which formed part of the field.
In the 12th century the town of Limoges acquired the high reputation for inlaid enamels which it held until the 14th century, aud re-acquired in the 16th for its painted enamels. The costliness of the sculptured ground had led the Italians early in the 14th century to substitute the practice of incising the design on the face of the plate, and then covering it with a transparent enamel. The further step, which made the Limousin workshops famous, consisted in the method of superficial enamelling, in which opaque colours or colours laid on a white opaque ground were used. The Limoges school degenerated greatly in the 17th century, but its method with certain modifications in detail is still employed.
The basis of all kinds of enamel is a perfectly transparent and fusibleglass, which is rendered either semitransparent or opaque by the admixture of metallic oxides. White enamels are composed by melting the oxide of tin with glass, and adding a small quantity of manganese or phosphate of calcium to increase the brilliancy of the colour. The addition of the oxide of lead, or antimony, or oxide of silver, produces a yellow enamel. Reds are formed by copper, and by an intermixture of the oxides of gold and iron. Greens, violets, and blues are formed from the oxides of copper, cobalt, and iron.
In the middle of the 18th century enamelling was largely applied to the decoration of snuff-boxes, tea-canisters, candlesticks, and other small articles. Of later years it was extensively applied to the coating of iron vessels for domestic purposes, the protection of the insides of baths, cisterns, and boilers, and the like. Enamelling in colours upon iron was common, iron plates being thus treated by means of various mixtures, and words and designs of various kinds being permanently fixed upon them by stencilling, for advertising, signboards, etc.
Faience is imitation porcelain, a kind of fine pottery, superior to the common pottery in its glazing, beauty of form, and richness of painting, and of which several kinds are distinguished by critics. It derived its name from the town of Faenza, in Italy, where a fine sort of pottery called majolica was manufactured as early as the 14th century. The majolica reached its greatest perfection between 1530 and 1560. In the Louvre, at Berlin, and at Dresden are rich collections of it. The modern faience appears to have been invented about the middle of the 16th century, at Faenza, as an imitation of majolica, and obtained its name in France, where a man from Faenza, having discovered a similar kind of clay at Nevers, had introduced the manufacture of it. True faience is made of a yellowish or ruddy earth, covered with an enamel which is usually white, but may be coloured. This enamel is a glass rendered opaque by oxide of tin or other suitable material, and is intended not only to glaze the body, but to conceal it entirely. Research Faience
A fantasy is something imaginary, made up. In films the term fantasy is applied to stories in which completely made-up events occur, such as stories about imaginary or mythical creatures such as dragons, elves and fairies. The term fantasy is also applied to role-playing games in which a scenario is imagined and the players pretend to be someone or something else, for example at a murder weekend in which the players pretend to be investigators or a murderer and act their role for the duration of the fantasy. Children start engaging in fantasy at a young age, playing games of cowboys and Indians, cops and robbers, spacemen, or even cooking with dirt, tin cans and spoons.
Gilding is the art of applying gold-leaf or gold in a finely-divided state to surfaces of wood, stone, or metals. It is a very ancient art, being practised among the Egyptians, Greeks, Romans, and Ancient Persians. The processes employed through more modern times have been very varied. Metals are gilded either by what is called chemical gilding, mercurial gilding, by electro-gilding (electro-plating), or by the application of gold-leaf. Copper and brass, for instance, may be gilded by the process called wash or water gilding, with an amalgam of gold and mercury. The surface of the copper, freed from oxide, is covered with the amalgam, and afterwards exposed to heat until the mercury is driven off, leaving a thin coat of gold.
Gilding is also performed by dipping a linen rag in a saturated solution of gold, and burning it to tinder, the black powder thus obtained being rubbed on the metal to be gilded, with a cork dipped in salt water, until the gilding appears. Iron or steel is often gilded by applying gold-leaf, after the surface has been well cleaned, and heated until it has acquired the blue colour which at a certain temperature it assumes. Several leaves of gold are thus applied in succession, and the last is burnished down cold.
One process of chemical gilding was by dipping the article into a solution of gold, what is termed Elkington's solution being composed as follows: 5 oz. (troy) of fine gold; nitro-muriatic acid, 52 oz. (avoirdupois); dissolve by heat, and continue the heat until the cessation of red or yellow vapours; decant the clear liquid; add 4 gallons of distilled water, 20 lbs of pure bicarbonate of potassa and boiling for two hours.
Gilding on wood, plaster, leather, parchment, or paper, is performed by different processes of mechanical gilding. The first of these is oil-gilding, in which gold-leaf is cemented to the work by means of oil-size. In the case of paper or vellum the parts to be gilt receive a coat of gum-water or fine size, and the gold-leaf is applied before the parts are dry. They are afterwards burnished with agate. Lettering and other gilding on bound books are applied without size. The gold-leaf is laid on the leather and imprinted with hot brass types. Brass rollers with thin edges are employed in the same way for lines, and similar tools for other ornaments. When the edges of the leaves of books are to be gilt they are first cut smooth in the press, after which a solution of isinglass in spirits is laid on, and the gold-leaf is applied when the edges are in a proper state of dryness.
Japanner's gilding is another kind of mechanical gilding, which is performed in the same way as oil-gilding, except that instead of gold-leaf a gold dust or powder is employed. Frames of pictures and mirrors, mouldings, etc, are gilt by the application of gold-leaf, or by the cheaper process of 'German gilding,' that is, by tin-foil or silver-leaf, with a yellow varnish above.
Porcelain and other kinds of earthenware, as well as glass, may be gilt by fixing a layer of gold in a powdered state by the action of fire. The gold-dust or powder required in this operation may be obtained by precipitating it from a solution in aqua regia, either by means of iron sulphate or proto-nitrate of mercury. In order that the gold powder may be applied to the surface of the article to be gilt it must be well mixed with some viscous vehicle, such as strongly-gummed water. It is then laid on with a fine camel's-hair brush. Research Gilding
An herbarium, or Hortus Siccus is , a collection of dried plants systematically arranged. Herbariums were popular among the Victorians, and a Victorian text describes the process for collecting specimens thus:
'The specimens should be collected in dry weather, and carried home in a japanned tin-box or vasculum, a small pocket-box being desirable, however, for mosses and small plants. Very delicate specimens should be at once placed in a small field-book of unsized blotting-paper carried tightly strapped between suitable boards, At home they are carefully arranged upon bibulous paper, and pressed between smoothly planed deal boards either by putting weights upon the boards or by using a screw-press. The paper is changed every day or two, as they are found to part with their moisture more or less freely.
Succulent plants (such as stone-crops) should be killed by immersion in boiling water, and left for some time to drain, before pressing. If the stem be thick and woody, or if the flower be thick and globular, as in the thistle, one half may be cut away without depriving it of its character. When the process of desiccation has been completed specimens are fastened upon stiff paper with a mixture of gum-tragacanth and gum-arabic, or thin glue, or with slips of gummed paper, or a needle and thread. To preserve the specimens from the ravages of insects, camphor should be placed in the cabinet and frequently renewed.' Research Herbarium
Most British boroughs came into being through the action of the King or some great noble or bishop in selecting a strong point, primarily as a centre of defence, in late Anglo-Saxon or early Norman times. In the more peaceful days, the twelfth and thirteenth centuries, town burgesses began to increase their freedom to control markets and trade by purchasing charters, or documents setting out the town's right to the status of borough, free to conduct its own affairs in return for an annual payment to the King. The wording of the charter often included the right to hold a weekly market and an annual fair. The market was the most important weekly event in the life of a mediaeval town, and the essential nucleus of the town became the market square. This was the place where agricultural produce from the surrounding countryside could be sold, and where the town craftsmen could display their wares. Stalls and booths, at first temporary and later permanent, began to be erected in the centre of the market place, and outlying parts of the
market were set aside for the sale of livestock. Later, many towns acquired a market hall, or town hall, with a meeting hall for the transaction of business on the upper floor and open arches at ground level where goods might be displayed out of the rain. The market was concerned with supplying local needs; a similar form of business held in certain towns was the fair which had a wider significance because they attracted traders from other parts of England and even from the Continent. At fairs one might buy the specialised products of certain parts of England, such as Sussex iron, Worcestershiresalt, Derbyshire lead or Cornishtin, or spectacle lenses ground at Augsburg in Germany, beaten copperware from Dinant in modern Belgium or cutlery from Solingen in Germany. Research Market Towns
The Probert Encyclopaedia was designed, edited and programed by
Matt and Leela Probert
Abbreviations
Research Calico-Printing
