The Puering, Bating & Drenching of Skins — Reading Notes

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Wood, Joseph Turney, 1865-1924 Project Gutenberg 2018 Not confirmed
Leather Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 74,825
Reading time 326 min
Text sections 21

The Puering, Bating & Drenching of Skins — Reading Notes can be approached with a clearer sense of reading commitment from its source measurements: 74,825 words, 5 hr 26 min estimated reading time, and 21 detected text sections.

The text analysis averages about 17.4 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Leather,” connecting these edition facts with the source record’s subject description.

An editorial note on Joseph Turney Wood's 1912 technical treatise, focusing on its structure, recurring chemical and biological imagery, and movement between laboratory experiments and practical tanning operations.
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Editorial Edition Score 4.9/5

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ndung einzugehen im Stande sind, wodurch derselbe löslich und somit vollständig unschädlich wird, sondern auch den gegenseitigen festen Schluss der einzelnen Wandungen der Zellenelemente mechanisch lockern, den ganzen Bau der Haut in sich nachgiebiger machen und so die Verschiebbarkeit der einzelnen Hautgebilde erhöhen.”--J. C. H. LIETZMANN, 1862.

“Bates are materials which are not only able to enter into chemical combinations with the lime, whereby it becomes soluble, and is thereby rendered completely harmless, but they also mechanically loosen the cementing substance of the separate cell elements, and render the whole structure of the hide more pliable, and thus increase the mobility of the various parts.”

The object of bating or puering is to render the skins, and the resulting leather, soft and supple. Skins which have undergone the liming process, must be thoroughly freed from lime before going into the tan liquors, and, for light and soft leathers, they must be reduced or “brought down,” so that the elasticity or resilience of the skin fibres is got rid of, and the skin, when tanned, can be stretched without springing back. This is usually done in the case of light leathers, by passing the skins through a bate or puer, composed of an infusion of dogs’ dung in water at a temperature of 35° to 40° C., until the required result is obtained. This condition is known to the workman by the feel of the skin. A good indication is, that the skin when “down” retains the impression of the thumb and finger if squeezed. A properly puered skin, when dropped on the floor, will also be perfectly flaccid, the folds lying closely together. It may, however, be said that it is only by experience and a kind of instinct that the exactly correct condition of the skin can be judged.

I know of no very early works on leather manufacture giving an account of bating. It was a “secret process,” and the results obtained depended almost entirely upon the judgment of the operator; and this judgment was frequently in error, owing to the fact that he did not understand what took place in the bate.

The earliest account I have been able to find is in a book[5] in the possession of Mr. Seymour-Jones, of Wrexham, entitled “The Art of Tanning and Currying Leather, with an Account of all the Different Processes made use of in Europe and Asia for Dying Leather Red and Yellow, Collected and Published at the Expense of the Dublin Society, to which are added Mr. Philippo’s Method of Dying the Turkey Leather as approved of by the Society for the Encouragement of Arts, etc., and for which he had a Reward of £100, and their Gold Medal, for the Secret. Also the New Method of Tanning invented by the late David Macbride, M.D., London. Reprinted for J. Nourse, on the Strand, Bookseller to His Majesty, 1780.”

[5] There is a copy in the British Museum and also in the Patent Office Library.

In the chapter entitled “Alumed Calf Skins for Bookbinding” (p. 138), after the limed skins have been fleshed, the writer continues--

“To alum them, put into a large vat, three or four pails of dogs’ turd (this dogs’ turd is called alum); on this they fling a large pail of water to dilute it; this done, the workman goes into the vat, and, with his wooden shoes, tramples it, filling the vat half full of water. The _alumer_, on his part, pours water out of his boiler into this vat, mixing it with the cold water, after which he flings in the skins, stirring them and turning them for some moments with great sticks.”

The work is described pretty much as now practised, the puer tub being kept at a uniform heat by constantly taking out liquor, heating it, and returning it. But neither these goods, nor morocco, are put through a “drench” _after_ the puer, as we do now; they are scudded on the flesh, and well washed several times in clear water before being tanned.

*Morocco Leather* (p. 204).--The dry skins are soaked three or four days, “pared” on the beam, and unhaired in weak lime pits one month. At Nicosia they put the skins into lime, reduced to powder, for twenty days in summer, or twenty-five to thirty in winter; out of the lime, the skins are well washed and drained. The author continues--

Joseph Turney Wood's 1912 treatise on leather processing moves between two distinct settings: the laboratory bench, where bacterial cultures and chemical solutions are measured in grams and cubic centimeters, and the tannery floor, where skins are handled in bulk. The book's structure reflects this oscillation, alternating between theoretical chapters on enzyme action and practical sections on vat management. Wood frequently borrows vocabulary from brewing—'pitching,' 'pure culture,' 'Carlsberg vessels'—to describe his bacteriological work, a telling choice that links his methods to an established industrial process.

A Work Built on Experiments

The book's argument is carried not by assertion but by numbered experimental steps. In one passage, Wood describes preparing a nutrient medium by digesting gelatin with lactic acid under pressure, then isolating gelatose lactates and gelatones through precipitation and dialysis. The prose follows the logic of a lab notebook: '1. A small quantity of the liquid poured into absolute alcohol, gives a white precipitate... 2. On saturating with ammonium sulphate, a brownish precipitate is thrown down.' This stepwise structure gives the reader a replicable procedure, not merely a conclusion.

Wood also reports negative results candidly. He notes that it was 'impossible for me to ascertain its exact composition' of the brown liquid, then proceeds to list what he did determine. The text thus models scientific humility while pushing forward.

Recurring Images: From Vessel to Vat

A striking pattern in the excerpts is the repeated image of containment and transfer. Wood moves organisms from 'test tube' to 'Pasteur flask of 250 c.c. capacity,' then to a 'Carlsberg vessel' holding 10 litres, and finally to a 'clean barrel' of 100 litres. Each container is a step in scale, and each transfer is described with care for sterility. The 'barrel standing in a room' at 37°C is a homely counterpart to the precision glassware, yet Wood acknowledges that this large culture 'could not be supplied with germ-free air.'

This progression from small to large mirrors the book's own movement from theory to application. The reader is led from chemical analysis of gelatin breakdown to practical advice on bating skins in bulk.

The Language of Transformation

Wood's vocabulary emphasizes change: 'breaking down,' 'transformed,' 'digesting,' 'peptonised.' The gelatin molecule is 'broken down' into nitrogenous bodies; 87 percent of original gelatin becomes 'true peptones.' These are not static descriptions but records of process. The author also uses terms from organic chemistry—'melanoidic acid,' 'protamines,' 'hexones'—to classify the products of decomposition.

This focus on transformation extends to the bacteria themselves. Wood tests 'pure and mixed cultures' and measures their 'bating effect' in days. The organisms are agents of change, and the book's structure follows their action: from isolation to cultivation to application on skin.

Movement Between Theory and Practice

The excerpts show Wood moving fluidly between abstract chemical discussion and concrete industrial advice. He cites Dr. A. Kossel's paper on protamines, then immediately describes neutralizing a solution with sodium carbonate for bacterial growth. The Bacon epigraph at the book's opening—'nature is only subdued by submission'—frames this dual approach: understanding the cause (chemistry) enables control of the effect (tanning).

Wood also acknowledges gaps in knowledge. He notes that he 'was unable to obtain any information' on Carlsberg vessels in England, and that the apparatus 'is very little used' there. This admission of novelty situates his work as an introduction of foreign technique to British practice, a movement of knowledge across borders.

Readers approaching this text should attend to its dual nature: it is both a record of original research and a manual for practitioners. Wood's habit of embedding experimental details within practical instructions rewards careful reading. The book's structure—alternating between laboratory and tannery, between chemical analysis and biological culture—mirrors the transformation it describes. To follow Wood's argument is to watch a substance become something else, step by measured step.

The rain streaked the windows while I lingered over Wood’s curious pairing of lime and enzymes, the way his lab notes smelled faintly of the tannery floor. That same quiet preservation instinct—halting decay, guarding against weather—led me eventually to The Preservation of the Exterior of Wooden Buildings — Context and Discussion. Different craft, same stubborn tenderness against time.

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