IMPROVEMENTS IN THE MANUFACTURE OF ARTISTIC HANGINGS OR FABRICS IN IMITATION OF TAPESTRY WORK AND OTHERWISE, FOR THE DECORATION OF WALLS, FURNITURE, ARTICLES OF DRESS, AND OTHER LIKE PURPOSES, AND IN THE MEANS EMPLOYED THEREIN
Year: 1881

page_text: LETTERS PATENT to Alexander Melville Clark, of 53, Chancery Lane, in the
County of Middlesex, Patent Agent, for an Invention of "IMPROVEMENTS IN
THE MANUFACTURE OF ARTISTIC HANGINGS OR FABRICS IN IMITATION
OF TAPESTRY WORK AND OTHERWISE, FOR THE DECORATION OF WALLS,
FURNITURE, ARTICLES OF DRESS, AND OTHER LIKE PURPOSES, AND IN THE
MEANS EMPLOYED THEREIN." A communication from abroad by Alexandre
Letorey, of Paris, France.
PROVISIONAL SPECIFICATION left by the said Alexander Melville Clark
at the Office of the Commissioners of Patents on the 24th May 1881.
ALEXANDER MELVILLE CLARK, of 53, Chancery Lane, in the County of
Middlesex, Patent Agent. "IMPROVEMENTS IN THE MANUFACTURE OF ARTISTIC
HANGINGS OR FABRICS IN IMITATION OF TAPESTRY WORK AND OTHERWISE, FOR
THE DECORATION OF WALLS, FURNITURE, ARTICLES OF DRESS, AND OTHER LIKE
PURPOSES, AND IN THE MEANS EMPLOYED THEREIN." [A communication from
abroad by Alexandre Letorey, of Paris, France.]
This Invention relates to the manufacture of artistic hangings or fabrics capable
of rivalling in their appearance and applications the most celebrated ancient or
modern tapestries. The tissues or fabrics obtained by this Invention are capable of
reproducing antique frescoes and pictures, and they likewise admit of the direct
production of original artistic creations for the decoration of walls, furniture, dress,
fancy goods, &c., under the most varied forms. The process and method which
constitute this Invention place at the disposal of the artistic producer of
intellectual work the means of exercising his skill with the aid of the most
improved resources of industry grouped and combined in the manner hereinafter
clearly described.
The obtainment of the above results involves the following operations :—
(1) weaving, (2) preparing the fabrics, (3) preparation of the colors, (4) mounting
on stretching frames of special construction, (5) drawing to scale the original
artistic designs or copies thereof, (6) pricking through the design drawn in,

page_text: GOBELIN TAPESTRY. WEAVING.
For weaving the same kind of loom is employed as now used for the
manufacture of Aubusson, Beauvais, and Gobelin tapestry, or those employed in
weaving reps, poplins, woollens, satin, woollen or silk velvet, figured silk, damask,
brocade, &c., but any other suitable kind of loom may be used for the purpose.
A jacquard is used when any given patterns are to be produced in different
materials. For making panels, hangings, seatings, folding or hand screens, &c.,
undyed materials or a mixture therewith of dyed materials (care being taken to
ensure fastness of color) are woven to form the border or ground, or to produce
damask effects.
The materials chiefly employed in making the fabrics are silks, such as spun,
raw, organzine, &c., or tussore silk; wools, such as English merino, mohairs, &c.,
thoroughly scoured and bleached as perfectly as possible without being sulphured;
cotton, flax, and jute, and other suitable textile materials.
Preparing the Fabrics.-The woollen fabrics as they come from the loom should
be carefully singed or sheared, and then scoured and thoroughly washed in order
to remove all vestiges of grease, after which the wool is burled or picked to remove
any burrs, straw, or other foreign matters which may adhere thereto, and would
cause imperfections.
Colors. The colors employed are those which are found in practice to be the
most permanent and most capable of resisting the action of the weather, air, or sun,
and of remaining unchanged by washing and cleaning by the methods ordinarily
employed for woollen and silk fabrics, without regard to the cost of the raw
materials. As the coloring requires to be performed at one operation, the colors
composing the artist's palette, each contains its own particular mordant, of which the
principal are oxalic, tartaric, hydrochloric, acetic, sulphuric, and nitric acids;
sulphates of copper, iron, alumina, and soda, vinous and wood alcohols, and salts of
tin with the addition of a thickening of gum, gelatine, or glycerine. The colors
after being prepared by the aid of heat, rendered perfectly liquid, and strained
through the finest silk sieves are placed in bottles on the palette in the following
order, which may however be inverted at the discretion of the artist:-(1) yellow
(pale chrome), (2) yellow (deep chrome), (3) light brown, (4) dark brown, (5) grey,
(6) purple, (7) red (No. 1, crimson), (8) red (No. 2, bright red), put up in small
phials, it being recommended that this color be used as much as possible unblended,
(9) pink, ammoniacal cochineal, (10) Prussian blue, (11) ultramarine (in small
phials with the same recommendation as for No. 8), (12) violet (same recom-
mendation), (13) bright green (same recommendation), (14) intense black,
(15) colorless gum to be used as a vehicle for the above colors, (16) decolorising
liquid for removing any spots or correcting any errors committed by the artist
before steaming. After steaming, any defects are repaired or modifications made
by the substitution or superposition of woollen or silk threads. Any suitable
known colors may be used, or any new ones that may be discovered and found
suitable.
Mounting. Description of the Frames.-The fabrics must be properly stretched
upon frames of proper construction, which may vary according to the size, kind of
fabric, or subject to be produced. One arrangement consists of a wood frame
furnished with iron plates at the ends upon each face of boards enclosing the sides.
These iron plates have square holes which correspond through the wood, and are
intended to retain bolts with squared shoulders and wing nuts, which in traversing
the two parts crossing each other at right angles maintain the opposite sides at the

page_text: required distance apart. The fabric is attached to these wood bars by means of
bands or strips nailed to the wood and sewn to the fabric to be stretched.
Another construction of frame resembles those used for stretching picture canvas
with the addition of laths applied upon the side faces of the frame for the purpose
of raising the fabric from the cross bars during the operation of painting, as
hereinafter described.
According to another arrangement, also forming part of the Invention, strong
strips of webbing, made of hemp or other textile, are nailed strongly to the outer
edges and provided with eyelets or eyelet hooks of attachment for a purpose
hereafter described. To the four sides of the fabric to be stretched eyelets or
eyelet hooks are also attached in such positions that when the fabric is laid squaro
upon the frame with the warp threads parallel to two of the sides, and the weft
parallel to the two other sides, the two sets of cyelét hooks may be placed together
with whipcord, twine, or other lacing, in such manner as to just sufficiently stretch
it, but without distortion, especial care being taken to keep the threads straight.
Other kinds of frames may however be employed for stretching the fabrics by
means of nails, tightening screws, elastic bands, &c.
Drawing the Design to Scale.-In cases where the design or work is to be
reproduced on a large scale on the tapestry, various methods may be employed for
enlarging the design to the desired size; for example, the method of drawing either
upon the original design or upon transparent paper or cloth laid over it, squares of
uniform size and an equal number of squares upon the surface of the fabric
proportional to the dimensions of the tapestry picture to be produced. The lines
forming the rectangles as well as the spaces which they contain serve as guides in
reproducing the various details of the design.
Instead of the above method a pantograph may be employed, which needs no
description, some few modifications only being necessary in order to adapt it to work
of such large dimensions. The enlargement may also be effected with the aid of a
solar or electric microscope which is adapted for the purpose by suitably arranging
the objective and making it of the necessary dimensions to receive the image and
throw it enlarged to the desired proportions upon the screen or paper upon which
it is traced either directly or by transparency with a pencil, pen, brush, or
otherwise. Any other means than those described may also be employed for the
purpose.
Pricking and Pouncing.-After the design has been drawn in by one or other
of the methods above described it is pricked with fine needle points either by hand
or by special machines, such as now in use or improved, and which need not be
described. The pricking is performed through three sheets of thin paper.
The designs are traced upon the fabric. to be decorated by means of pounce or a
mixture of white lead in powder, colophony, sandarac, or other resin. In soine
cases, and more especially for white or light coloured fabrics, I employ bitumen, or
ivory or lamp black ground to an impalpable powder with a resinous substance.
For drawing on certain delicate fabrics, especially silk, finely crushed charcoal,
such as used for making crayons, is employed, which is spread with the aid of a
pounce bag or a small roll of cloth or felt whose end forms the rubbing surface.
If necessary a hot iron may be applied on the design after pouncing in order to fix
it by making the resinous particles adhere more firmly and retain the molecules of
coloring powder. Sugar may in certain cases be used instead of resin or gum.
Preparation of the Brushes and other Instruments.-The brushes used are made
of selected bristles or very short sable hair so as to possess the necessary stiffness
This is more particularly
for more effectively applying the color upon the fabric.
necessary in the case of wool than of silk. Besides the brushes similar to those
employed in oil painting, modified as described, it is necessary to use scrapers of
metal, ivory, or wood for a purpose hereafter described. In addition to these, sponges
and brushes similar to coat and boot brushes are required for removing the particles
of pounce as soon as the outline is no longer required, as the further presence of
these particles would be prejudicial in the different operations which remain to be

page_text: .
described. The other apparatus employed include an earthenware pallette mounted
upon a wood backing having compartments for the bottles and their stoppers, as
well as for the saucers, which are made of glass; the use of earthenware and glass
is indispensable, as the mordants or acids contained in the colors would act
chemically upon metal saucers and affect the purity of the colors. The earthenware
palette may be furnished with a rim similar to that of a photographer's dish.
Special Method of Painting-The following is the method adopted after many
experiments, although it may be modified by the artist:-After the fabric has been
stretched and the design applied in the manner before described, the principal
outlines should be gone over with a fine pointed conté crayon, after which any
particles left by the pouncing are brushed off. These precautions being taken, the
painting is proceeded with as for water colors, the light parts or high. lights being
reserved till the last, and care being taken to allow the first tint to dry before
applying another in close proximity when it is desired to have a strong contrast of
colors; on the other hand, the tints are applied one over the other while still
moist when it is desired to blend the colours. The gummy composition, hereinafter
described, only is to be used for diluting the colors when it is desired to produce
fine and sharp touches. For large flat tints the colour is to be thinned down to
one half its strength with gum and two coats applied. Finally, the light parts are
varnished and the high lights put in with a scraper either at the moment the gum
color begins to set or after it has become perfectly dry for the highly gumined
parts. To obtain effects of great intensity, the tints are applied several times over
as well as on the back of the fabric. To obtain bold transparent lights, a very
light tint is applied on both sides of the fabric. The above indications of the
method of using the colors are not intended to exclude the adoption of any
modifications which experience may suggest.
Stencil plates of paper, cardboard, or metal, or even wood blocks, may be used
for certain parts requiring to be reproduced a number of times, which are after-
wards finished in the manner before described.
Transparencies suitable for use as a substitute for stained glass or for use as
dioramic or panoramic pictures may be produced with fabrics of the homogeneous
composition described, or by applying the design upon both sides of the fabric, or
by the superposition of two similar or different fabrics so as to obtain combined
effects by the blending of designs and colors presenting a different appearance,
according to the side on which they are illuminated.
Steaming and Fixing.-This forms a very important feature of the Invention,
and needs considerable regularity in the procedure. The apparatus employed is a
steam generator capable of supporting a pressure of 6 atmospheres, and of propor-
tionate size to the vat or steam chamber which forms the important part of the
apparatus. The vat is constructed of wood or brickwork lined internally or not
with deal, this wood being used in preference to oak, as the action of the tannin
in the latter would be prejudicial. The steam vat or chamber is put in communi-
cation with the generator by a copper pipe furnished with a stop cock valve or
register. The steam introduced circulates in a worm, the form and arrangement of
which is adapted to that of the steam chamber itself. The worm is placed in the
bottom of the chamber and may be immersed in water if it is desired to obtain a
large production of steam of low tension. Supposing the pressure in the boiler to
be at 4 atmospheres, the steam vaporises a considerable proportion of the water in
passing through it, and thus the necessary quantity of steam at 100° C. is furnished
throughout the whole time of the operation. When the vat is circular it is pro-
vided at top with a suspension frame formed of concentric rings of tinned copper
connected to a common centre by radial arms and provided with books of the saine
metal. In order to avoid the oxidation of the metal under the action of the steam
and acid vapors during the liquefaction of the coloring matters by the steam, all
parts of the apparatus are lined with strips of cloth which are frequently changed.
The suspension frame is supported and lifted out of the vat by means of a tackle

page_text: so as to enable the fabric to be removed with the care necessary in its damp
condition.
The operation of steaming is as follows:-The fabric after being painted in the
manner described is first exposed in a cool place, which may be slightly humid, in
a cellar for instance, the floor of which is covered with sand previously watered.
The time during which it is allowed to remain will vary according to the degree
of dryness of the painting, or the time it has taken to paint, it being necessary
that the colors should regain a certain degree of moisture to favor the fixing
operation. When the fabric is considered in a fit condition for fixing it is hooked
onto the suspension frame above described in the form of a spiral with a spiral
sheet of cloth interposed between the coils of the painting in order to prevent the
colors which liquify during the operation from depositing on the back of the painted
When the
fabric, and by passing through, spoiling the harmony of the colors.
painted fabric has been suspended with all necessary care and precaution, the
apparatus is let down by the tackle into the vat, and the top closed by covers con-
sisting of several thicknesses so as to oppose the escape of steam sufficiently to
ensure its equal distribution through all parts of the fabric contained in the vat.
The fabrics are kept in the vat a longer or shorter time, according to the number
of pieces to be steamed, their thickness, and the nature of the fabric. The "object
of this operation is to liquefy the coloring matters again as completely as possible
after they have been artistically applied upon the surface of the fibres composing
the fabric, and to ensure their absorption by the fibres, the pores, of which are
opened by the heat. After this physical result has been attained the fabrics are
allowed to dry and cool, and the pores again closing by the contraction due to the
decrease of the temperature the colors become imprisoned and cannot be removed
by the most thorough washing. The operation such as described for a round vat
will also apply to vats of other forms; the steam chainber may also he made of
square or other form, and the painted fabrics may be introduced therein while
still stretched on their frames so as to avoid any distortion during the several
operations.
Washing, Draining, and Drying.-When the fabric is sufficiently cool and dry
it should be exposed to the air for a certain time, varying from 2 to 24 hours,
according to the dimensions and thickness of the fabric. This being done the
fabric is thoroughly washed in order to remove any superfluous colors, gummy
matters, &c., which have not been absorbed by the textile fibres, this washing
rendering the fabric as soft as if it had been woven with threads dyed in the
bank. The washing may be effected either in running water or in a series of tanks
placed at different levels. For small pieces water under a pressure of one or more
atmospheres may be discharged through a perforated tube upon the fabric suspended
over a vat of oblong form upon a drum which is rotated by crank handle in such
manner that all parts of the fabric will be successively presented to the action of
the water forcibly discharged thereon, and will be afterwards raised by passing
through the water in the vat beneath. The fabric after washing is then submitted
to the action of a heater, and afterwards placed in a hydro-extractor of any kind
of sufficient size; this is an important feature, as should the fabric be allowed to dry
naturally after being thoroughly wetted in the vat the colors would be liable to
run and become blended. After draining the drying should be effected as rapidly
as possible, either in the air or in a hot chamber.
Touching up, Putting in High Lights, Finishing Touches by Artist.-The
pieces, when thoroughly dry, are examined by the artist, and if necessary,
again stretched on the frames and regummed to admit of being touched up.
In some cases the work is purposely thus performed in several successive stages
or operations. After each retouching by the artist it is necessary that the different
operations before described should be repeated.
In some old manufactures a mixture of woollen, silk, and metallic threads has
been employed, these being introduced either in the act of weaving or afterwards.
This latter method is generally adopted in the present case (the needle or a sewing

page_text: "
or embroidering machine being employed) but not exclusively, as under the heading
Weaving," mention has been made of the employment of a jacquard and other
apparatus for producing certain prearranged effects in weaving. These effects are
directly produced of the proper color indicated by the application of tints composed
of pasty colors obtained by grinding the color with gum, alcohol, and ox-gall, or
gouache color may be used for the purpose. After the desired effects have been
worked in with the needle the colors are carefully removed from off the surface of
the fabric by brushing. Another method consists in simply introducing white
threads of wool or silk at the desired points, the piece being then returned to the
artist for the purpose of being colored at these parts if necessary by means of the
colors previously described. In the case of velvet, another method is employed,
also forming part of this Invention, which consists in the production of high
lights and bright or incandescent effects by means of heated irons applied at any
point according to the taste of the artist.
Preparation for Sale. The last of the series of operations comprised in the
improved process of this Invention is that by which these imitation tapestries are
caused to closely resemble in appearance the most noted manufactures of the kind.
This preparation consists in so stretching them as to bring all the lines traced by
the designer or artist into their proper positions and smooth out any wrinkles
produced by the washing, draining, and other operations. The pieces are then
sized with a composition of starch, fecula, and gum tragacanth in equal proportions,
to which is added a small quantity of alcohol to prevent putrefaction. The size is
applied more or less lightly according to the discretion of the operator and the
nature of the fabric upon the reverse side of the piece, which is for this purpose
restretched upon the frame. The pieces are then dried as quickly as possible in a
hot room or in the open air. Ironing or calendering is objectionable, as it would
produce a glazed effect, which would greatly detract from the decorative appearance
of the tapestry. For finishing velvet the reverse side is passed over a cylinder or
hot iron while still damp after washing or after being subsequently wetted.

page_text: SPECIFICATION in pursuance of the conditions of the Letters Patent filed
by the said Alexander Melville Clark in the Great Seal Patent Office on the
24th November 1881.
"
ALEXANDER MELVILLE CLARK, of 53, Chancery Lane, in the County of
Middlesex, Patent Agent. IMPROVEMENTS IN THE MANUFACTURE OF ARTISTIC
HANGINGS OR FABRICS IN IMITATION OF TAPESTRY WORK AND OTHERWISE, FOR
THE DECORATION OF WALLS, FURNITURE, ARTICLES OF DRESS, AND OTHER LIKE
PURPOSES, AND IN THE MEANS EMPLOYED THEREIN.' A communication from
abroad by Alexandre Letorey, of Paris, France.
"
This Invention relates to the manufacture of artistic hangings or fabrics capable
of rivalling in their appearance and applications the most celebrated ancient or
modern tapestries. The tissues or fabrics obtained by this Invention are capable
of reproducing antique frescoes and pictures, and they likewise admit of the direct
production of original artistic creations for the decoration of walls, furniture,
dress, fancy goods, &c., under the most varied forms. The process and method
which constitute this Invention place at the disposal of the artistic producer of
intellectual work the means of exercising his skill with the aid of the most
improved resources of industry grouped and combined in the manner hereinafter
clearly described.
The obtainment of the above results involves the following operations:-
(1) weaving, (2) preparing the fabrics, (3) preparation of the colors, (4) mounting
on stretching frames of special construction, (5) drawing to scale the original
artistic designs or copies thereof, (6) pricking through the design drawn in,
(7) pouncing with special materials, (8) preparing the brushes and arrangement of
the materials, (9) painting in accordance with a special method, (10) steaming or
fixing, (11) washing, (12) draining, (13) drying, (14) retouching by the artist,
(15) putting in high lights, (16) finishing touches by artist, (17) preparing for
sale.
Gobelin Tapestry. Weaving.-For weaving the same kind of loom is employed as
now used for the manufacture of Aubusson, Beauvais, and Gobelin tapestries, or
those employed in weaving reps, poplins, wollen, satin, cotton or silk velvet,
figured silk, damask, brocade, &c., but any other suitable kind of loom may be used
for the purpose.
A jacquard is used when any given patterns are to be produced
in different materials. For making panels, hangings, seatings, folding or hand
screens, &c., undyed materials or a mixture therewith of dyed materials (care being
taken to ensure fastness of color) are woven to form the border or ground, or to
produce damask effects. The materials chiefly employed in making the fabrics are
silks, such as spun, raw, organzine, &c., or tussore silk; wools, such as English
merino, mobairs, &c., thoroughly scoured and bleached as perfectly as possible
without being sulphured; cotton, flax, and jute, and other suitable textile
materials.
Preparing the Fabrics. The woollen fabrics as they come from the loom should
be carefully singed or sheared and then scoured and thoroughly washed in order to
remove all vestiges of grease, after which the wool is burled or picked to remove
any burrs, straw, or other foreign matters which may adhere thereto and would
cause imperfections.
Colors. The colors employed are those which are found in practice to be the
most permanent and most capable of resisting the action of the weather, air, or sun,
and of remaining unchanged by washing and cleaning by the methods ordinarily
employed for woollen and silk fabrics, without regard to the cost of the raw

page_text: materials. As the coloring requires to be performed at one operation the colors
composing the artist's palette each contains its own particular mordant, of which
the principal are oxalic, tartaric, hydrochloric, acetic, sulphuric, and nitric acids;
sulphates of iron, copper, alumina, and soda, vinous and wood alcohols, and salts of
tin, with the addition of a thickening of gum, gelatine, or glycerine. The colors
after being prepared by the aid of heat, rendered perfectly liquid, and strained
through the finest silk sieves, are placed in bottles on the palette in the following
order, which may however be inverted at the discretion of the artist:-(1) Yellow
(pale chrome), (2) yellow (deep chrome), (3) light brown, (4) dark brown, (5) grey,
(6) purple, (7) red (No. 1, crimson), (8) red (No. 2, bright red), put up in small
phials, it being recommended that this color be used as much as possible unblended,
(9) pink, ammoniacal cochineal, (10) Prussian blue, (11) ultramarine (in small
phials, with the same recommendation as for No. 8), (12) violet (same recommen-
dation), (13) bright green (same recommendation), (14) intense black, (15) colorless
gum, to be used as a vehicle for the above colors, (16) decolorising liquid for
removing any spots or correcting any errors committed by the artist before
steaming. After steaming, any defects are repaired or modifications made by the
substitution or superposition of woollen or silk threads. Any suitable known
colors may be used or any new ones that may be discovered and found suitable.
Mounting. Description of the Frames.-The fabrics must be properly stretched
upon frames of proper construction, which may vary according to the size, kind of
fabric, or subject to be produced. One arrangement consists of a wood frame
furnished with iron plates at the ends upon each face of boards enclosing the sides.
These iron plates have square holes, which correspond through the wood, and are
intended to retain bolts with squared shoulders and wing nuts, which in traversing
the two parts crossing each other at right angles maintain the opposite sides at the
required distance apart. The fabric is attached to these wood bars by means of
bands or strips nailed to the wood, and sewn to the fabric to be stretched.
Another construction of frame resembles those used for stretching picture canvas,
with the addition of laths applied upon the side faces of the frame for the purpose
of raising the fabric from the cross bars during the operation of painting, as herein-
after described.
According to another arrangement, also forming part of the Invention, strong
strips of webbing made of hemp or other textile are nailed strongly to the outer
edges, and provided with eyelets or eyelet hooks of attachment, for a purpose
hereafter described. To the four sides of the fabric to be stretched eyelets or eyelet
hooks are also attached in such positions that when the fabric is laid square upon
the frame with the warp threads parallel to two of the sides, and the weft parallel
to the two other sides, the two sets of eyelet hooks may be laced together with
whipcord, twine, or other lacing in such manner as to just sufficiently stretch it,
but without distortion, especial care being taken to keep the threads straight.
Other kinds of frames may however be employed for stretching the fabrics. by
means of nails, tightening screws, elastic bands, &c.
Drawing the Design to Scale.-In cases where the design or work is to be
reproduced on a large scale on the tapestry various methods may be employed for
enlarging the design to the desired size; for example, the method of drawing either
upon the original design or upon transparent paper or cloth laid over it squares of
uniform size, and an equal number of squares upon the surface of the fabric, pro-
portional to the dimensions of the tapestry picture to be produced. The lines
forming the rectangles, as well as the spaces which they contain, serve as guides in
reproducing the various details of the design.
Instead of the above method a pantograph may be employed, which needs no
description, some few modifications only being necessary in order to adapt it to
work of such large dimensions. The enlargement may also be effected with the
aid of a solar or electric microscope, which is adapted for the purpose by suitably
arranging the objective and making it of the necessary dimensions to receive the
image and throw it enlarged to the desired proportions upon the screen or paper,

page_text: purpose.
The
upon which it is traced either directly or by transparency with a pencil, pen, brush,
or otherwise.
Any other means than those described may also be employed for the
Pricking and Pouncing. After the design has been drawn in by one or other of
the methods above described it is pricked with fine needle points, either by hand
or by special machines, such as now in use, or improved, and which need not be
described. The pricking is performed through three sheets of thin paper.
designs are traced upon the fabric to be decorated by means of pounce or a mixture
of white lead in powder, colophony, sandarac, or other resin. In some cases, and
more especially for white or light colored fabrics, I employ bitumen or ivory, or
lamp black, ground to an impalpable powder with a resinous substance. For
drawing on certain delicate fabrics, especially silk, finely crushed charcoal, such as
used for making crayons, is employed, which is spread with the aid of a pounce
bag, or a small roll of cloth or felt, whose end forms the rubbing surface. If
necessary a hot iron may be applied on the design after pouncing in order to fix
it by making the resinous particles adhere more firmly and retain the molecules
of coloring powder. Sugar may in certain cases be used instead of resin or gum.
Preparation of the Brushes and other Instruments.-The brushes used are made
of selected bristles or very short sable hair, so as to possess the necessary stiffness
for more effectively applying the color upon the fabric. This is more particularly
necessary in the case of wool than of silk. Besides the brushes similar to those
employed in oil painting, modified as described, it is necessary to use scrapers of
metal, ivory, or wood, for a purpose hereafter described. In addition to these,
sponges and brushes similar to coat and boot brushes are required for removing the
particles of pounce as soon as the outline is no longer required, as the further
presence of these particles would be prejudicial in the different operations which
remain to be described. The other apparatus employed include an earthenware
palette mounted upon a wood backing, having compartments for the bottles and
their stoppers, as well as for the saucers which are made of glass; the use of
earthenware and glass is indispensable, as the mordants or acids contained in the
colors would act chemically upon metal saucers and affect the purity of the colors.
The earthenware palette may be furnished with a rim similar to that of a
photographer's dish.
Special Method of Painting-The following is the method adopted after many
experiments, although it may be modified by the artist. After the fabric has been
stretched and the design applied in the manner before described, the principal
outlines should be gone over with a fine pointed conté crayon, after which any
particles left by the pouncing are brushed off. These precautions being taken, the
painting is proceeded with as for water colors, the light parts or high lights being
reserved till the last, and care being taken to allow the first tint to dry before
applying another in close proximity when it is desired to have a strong contrast of
colors; on the other hand the tints are applied one over the other while still moist
when it is desired to blend the colors. The gummy composition hereinafter
described only is to be used for diluting the colors when it is desired to produce
fine and sharp touches. For large flat tints the color is to be thinned down to one
half its strength with gum, and two coats applied. Finally the light parts are
varnished and the high lights put in with a scraper, either at the moment the gum
color begins to set, or after it has become perfectly dry for the highly gummed
parts. To obtain effects of great intensity the tints are applied several times over,
as well as on the back of the fabric. To obtain bold transparent lights a very
light tint is applied on both sides of the fabric. The above indications of the
method of using the colors are not intended to exclude the adoption of any modifi-
cations which experience may suggest. Stencil plates of paper, cardboard, or metal,
or even wood blocks may be used for certain parts requiring to be reproduced a
number of times, which are afterwards finished in the manner before described.
Transparencies suitable for use as a substitute for stained glass, or for use as
dioramic or panoramic pictures may be produced with fabrics of the homogeneous

page_text: composition described, or by applying the design upon both sides of the fabric, or
by the superposition of two similar or different fabrics, so as to obtain combined
effects by the blending of designs and colors presenting a different appearance,
according to the side on which they are illuminated.
Steaming and Fixing-This forms a very important feature of the Invention,
and needs considerable regularity in the procedure. The apparatus employed is a
steam generator capable of supporting a pressure of G atmospheres, and of proportional
size to the vat or steam chamber which forms the important part of the apparatus.
The vat is constructed of wood or brickwork lined internally or not with deal, this
wood being used in preference to oak, as the action of the tannin in the latter
would be prejudicial. The steam vat or chamber is put in communication with the
generator by a copper pipe furnished with a stop cock, valve, or register. The
steam introduced circulates in a worm, the form and arrangement of which is
adapted to that of the steam chamber itself. The worm is placed in the bottom of
the chamber, and may be immersed in water if it is desired to obtain a large
production of steam of low tension. Supposing the pressure in the boiler to be at
4 atmospheres, the steam vaporises a considerable proportion of the water in
passing through it, and thus the necessary quantity of steam at 100° C. is furnished
throughout the whole time of the operation. When the vat is circular it is provided
at top with a suspension frame formed of concentric rings of tinned copper con-
nected to a common centre by radial arms, and provided with hooks of the same
metal. In order to avoid the oxidation of the metal under the action of the stean
and acid vapors during the liquefaction of the coloring matters by the steam, all
parts of the apparatus are lined with strips of cloth which are frequently changed.
The suspension frame is supported and lifted out of the vat by means of a tackle so
as to enable the fabric to be removed with the care necessary in its damp condition.
The operation of steaming is as follows:-The fabric after being painted in the
manner described is first exposed in a cool place which may be slightly humid,
in a cellar, for instance, the floor of which is covered with sand previously watered.
The time during which it is allowed to remain will vary according to the degree
of dryness of the painting, or the time it has taken to paint, it being necessary
that the colors should regain a certain degree. of moisture to favor the fixing
operation. When the fabric is considered in a fit condition for fixing it is hooked
on to the suspension frame above described in the form of a spiral with a sheet of
cloth interposed between the coils of the painting in order to prevent the colors
which liquefy during the operation from depositing on the back of the painted
fabric, and by passing through, spoiling the harmony of the colors. When the
painted fabric has been suspended with all necessary care and precaution the
apparatus is let down by the tackle into the vat, and the top closed by covers
consisting of several thicknesses so as to oppose the escape of steam sufficiently to
ensure its equal distribution through all parts of the fabric contained in the vat.
The fabrics are kept in the vat a longer or shorter time according to the number
of pieces to be steamed, their thickness, and the nature of the fabric. The object
of this operation is to liquefy the coloring matters again as completely as possible
after they have been artistically applied upon the surface of the fibres composing
the fabric, and to ensure their absorption by the fibres, the pores of which are
opened by the heat. After this physical result has been attained the fabrics are
allowed to dry and cool, and the pores again closing by the contraction due to the
decrease of the temperature the colors become imprisoned and cannot be removed
by the most thorough washing. The operation such as described for a round vat
will also apply to vats of other forms; the steam chamber may also be made of
square or other form, and the painted fabrics may be introduced therein while
still stretched on their frames so as to avoid any distortion during the several
operations.
Washing, Draining, and Drying.-When the fabric is sufficiently cool and dry
it should be exposed to the air for a certain time varying from 2 to 24 hours,
according to the dimensions and thickness of the fabric. This being done the

page_text: fabric is thoroughly washed in order to remove any superfluous colors, gummy
matters, &c. which have not been absorbed by the textile fibres, this washing
rendering the fabric as soft as if it had been woven with threads dyed in the hank.
The washing may be effected either in running water or in a series of tanks placed
at different levels. For small pieces water under a pressure of one or more
atmospheres may be discharged through a perforated tube upon the fabric suspended
over a vat of oblong form upon a drum which is rotated by crank handle in such
manner that all parts of the fabric will be successively presented to the action of
the water forcibly discharged thereon, and will be afterwards rinsed by passing
through the water in the vat beneath; the fabric after washing is then submitted
to the action of a heater, and afterwards placed in a hydro-extractor of any kind
of sufficient size; this is an important feature, as should the fabric be allowed to
dry naturally after being thoroughly wetted in the vat the colors would be liable
to run and become blended. After draining the drying should be effected as
rapidly as possible either in the air or in a hot chamber.
Touching up, Putting in High Lights, Finishing Touches by Artist.-The pieces
when thoroughly dry are examined by the artist, and if necessary again stretched
on the frames and regummed to admit of being touched up. In some cases the
work is purposely thus performed in several successive stages or operations. After
each retouching by the artist it is necessary that the different operations before
described should be repeated.
In some old manufactures a mixture of woollen silk and metallic threads has
been employed, these being introduced either in the act of weaving or afterwards.
This latter method is generally adopted in the present case (the needle or a
sewing or embroidering machine being employed) but not exclusively, as under the
headweaving "mention has been made of the employment of a jacquard and other
apparatus for producing certain prearranged effects in weaving. These effects are
directly produced of the proper color indicated by the application of tints composed
of moist colors obtained by grinding the color with gum, alcohol, and ox-gall, or
gouache color may be used for the purpose. After the desired effects have been
worked in with the needle the colors are carefully removed from off the surface of
the fabric by brushing. Another method consists in simply introducing white
threads of wool or silk at the desired points, the piece being then returned to the
artist for the purpose of being colored at these parts if necessary by means of the
colors previously described. In the case of velvet another method is employed also
forming part of this Invention, which consists in the production of high lights and
bright or incandescent effects by means of heated irons applied at any point
according to the taste of the artist.
Preparation for Sale.-The last of the series of operations comprised in the
improved process of this Invention is that by which these imitation tapestries are
caused to closely resemble in appearance the most noted manufactures of the kind.
This preparation consists in so stretching them as to bring all the lines traced by
the designer or artist into their proper positions, and smooth out any wrinkles
produced by the washing, draining, and other operations; the pieces are then sized
with a composition of starch, fecula, and gum tragacanth in equal proportions, to
which is added a small quantity of alcohol to prevent putrefaction. The size is
applied more or less lightly according to the discretion of the operator and the
nature of the fabric upon the reverse side of the piece, which is for this purpose
restretched upon the frame; the pieces are then dried as quickly as possible in a
hot room or in the open air. Ironing or calendering is objectionable, as it would
produce a glazed effect which would greatly detract from the decorative appearance
of the tapestry. For finishing velvet the reverse side is passed over a cylinder or
hot iron while still damp after washing, or after being subsequently wetted.
Having described the nature of the said Invention and the manner of performing
the same, I declare that what I claim as the Invention to be protected by the
herein before in part recited Letters Patent is,-
The improved process of manufacturing artistic hangings or fabrics consisting in

page_text: the combination of the operations of weaving, preparing the fabrics, preparing the
colors, stretching the fabrics on special frames, drawing the designs to scale, pricking
through the designs drawn in, pouncing with special materials, preparing the brushes
and arrangement of materials, special method of painting, steaming or fixing,
washing, draining, drying, retouching, putting in high lights, finishing and
preparation for sale; the whole substantially as above described and for the
purposes specified.
In witness whereof, I, the said Alexander Melville Clark, have hereunto set
my hand and seal, this Twenty fourth day of November, A.D. 1881.