diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-02-04 22:38:48 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-04 22:38:48 -0800 |
| commit | 39c8f2343df6824e152ffbd5ae7c14d6df9fb33d (patch) | |
| tree | 61e29adbe9cd29ea44d20b8fb69e27d6b01670e5 | |
| parent | 254d6f5d8b13da5845b803a9e3e1d279a4123506 (diff) | |
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/50079-8.txt | 4543 | ||||
| -rw-r--r-- | old/50079-8.zip | bin | 70535 -> 0 bytes | |||
| -rw-r--r-- | old/50079-h.zip | bin | 242359 -> 0 bytes | |||
| -rw-r--r-- | old/50079-h/50079-h.htm | 5756 | ||||
| -rw-r--r-- | old/50079-h/images/i-006.jpg | bin | 5366 -> 0 bytes | |||
| -rw-r--r-- | old/50079-h/images/i-145.jpg | bin | 11566 -> 0 bytes | |||
| -rw-r--r-- | old/50079-h/images/i-162.jpg | bin | 75585 -> 0 bytes | |||
| -rw-r--r-- | old/50079-h/images/logo.jpg | bin | 5316 -> 0 bytes | |||
| -rw-r--r-- | old/50079-h/images/title-page.jpg | bin | 69596 -> 0 bytes | |||
| -rw-r--r-- | old/50079.txt | 4543 | ||||
| -rw-r--r-- | old/50079.zip | bin | 70508 -> 0 bytes |
14 files changed, 17 insertions, 14842 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..f8c4321 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #50079 (https://www.gutenberg.org/ebooks/50079) diff --git a/old/50079-8.txt b/old/50079-8.txt deleted file mode 100644 index 61621e0..0000000 --- a/old/50079-8.txt +++ /dev/null @@ -1,4543 +0,0 @@ -The Project Gutenberg EBook of A Book on Vegetable Dyes, by Ethel Mairet - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: A Book on Vegetable Dyes - -Author: Ethel Mairet - -Release Date: September 30, 2015 [EBook #50079] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK A BOOK ON VEGETABLE DYES *** - - - - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - -Transcriber's Note: - - Inconsistent hyphenation and spelling in the original document have - been preserved. Obvious typographical errors have been corrected. - - Italic text is denoted by _underscores_ and bold text by =equal - signs=. - - D'Appligny was changed to D'Apligny. - - Gallium was changed to Galium. - - Page 132: a "Note" was anchored, and added to the footnote sequence. - - Inconsistent punctuation and capitalization of lists, chapter headings, - and footnotes was retained. - - The listed Errata were corrected. - - - - - A BOOK ON - VEGETABLE - DYES - - BY - ETHEL M. MAIRET - - A.D. 1916 - - PUBLISHED BY DOUGLAS PEPLER - AT THE HAMPSHIRE HOUSE - WORKSHOPS HAMMERSMITH W - - Price 5s. net. - - - - - _PRINTED by DOUGLAS PEPLER - at - DITCHLING in the COUNTY of SUSSEX - & PUBLISHED BY HIM AT - THE HAMPSHIRE HOUSE WORKSHOPS - HAMMERSMITH - ON S. JOHN THE BAPTIST'S DAY - A.D. MDCCCCXVI_ - - - - -PUBLISHER'S NOTE - - IN PRINCIPIO ERAT VERBUM - ET VERBUM ERAT APUD DEUM - ET DEUS ERAT VERBUM. - _Sc. Joannem_ 1.1. - - VIDITQUE DEUS CUNCTA QUÆ - FECERAT: ET ERANT VALDE BONA. - _Genesis._ 1.31. - - -MAN uses these good things, and when MAN first discovers how to make -anything, that thing which he makes is good. - -For example: this book is printed upon one of the first iron presses -to be made in this country. The press is a good press; it would be -difficult to make a press which would enable the printer to print more -clearly. The wooden press was a good press & the printing from it has -not been surpassed. - -Further, this quality of goodness of a first discovery may persist for -many years. - -But there is a tendency to avoid _Quality Street_. We are choosing -rather _Quantity Street_ & the Bye paths of _Facility & Cleverness_; -we have become accustomed to the hum of the _Time & Labour saving_ -machinery; and we are in danger of forgetting the use of good things: -indeed the tradition & practice of goodness has been lost in a -considerable number of trades. - -For instance: a carpenter has become so used to buying his timber in -planks from a yard that he has nearly forgotten its relation to the -tree. The man who works to designs conceived by somebody else with -wood sawn by another man's machine must be deprived of the natural -strength of the tree. - -And this is not an exception to, but an example of, the way we are -choosing to do things. - -It is impossible to buy linen as good as that normally used by every -tradesman in the XVIII century. It is nearly impossible to get cloth, -paper, bread, beer, bacon and leather equal to that in common use 150 -years ago. - -IN VIEW OF THE BEGINNING it is desirable to record what still survives -of the traditions of making good things; and I shall endeavour to -publish the instructions & advice of men & women who still follow -these good traditions. - - Douglas Pepler. - - - - -CONTENTS - - - PAGE - I. INTRODUCTION 1 - II. WOOL, SILK, COTTON AND LINEN 11 - III. MORDANTS 24 - IV. BRITISH DYE PLANTS 37 - V. THE LICHEN DYES 45 - VI. BLUE 63 - VII. RED 87 - VIII. YELLOW 107 - IX. BROWN AND BLACK 122 - X. GREEN 133 - - - - -CHAPTER I. - - -Dyeing has almost ceased to exist as a traditional art. In this 20th -century the importance of colour in our lives seems to be realized -less and less. It has been forgotten that strong and beautiful colour, -such as used to abound in all every day things, is an essential to the -full joy of life. A sort of fear or nervousness of bright colour is -one of the features of our age, it is especially evident in the things -we wear. - -There is unfortunately good reason for it. We fear bright colour -because our modern colours are bad, and they are bad because the -tradition of dyeing has been broken. The chemist has invaded the -domain of the dyer, driven him out and taken over his business, with -the result that ugly colour has become the rule for the first time in -the history of mankind. It is not that chemists never produce -beautiful colour. Dyeing as a chemical science has not been studied -for the last 50 years without producing good results. But there is -this great difference between the chemical commercial dyes and the -traditional dyes--that with the commercial dyes it is very easy to -produce ugly colours, the beautiful colour is rare; but with -traditional dyes it is difficult to make an ugly colour, and good -colour is the rule. - -It was in 1856 that mauve was produced from coal tar by an English -chemist, and this began a new era in dyeing. The discovery was -developed in Germany, and the result was the creation of a science of -chemical colouring. - -The advantages of the new colours were ease and simplicity of use, -general reliability with regard to strength and composition, and -certainty in reproducing the same colour again without trouble. With -regard to fastness, to light and to washing there is practically -little difference between the two. It is more the method by which they -are dyed and not the dye itself (although of course in some cases -this is not so) that determines their fastness. The natural dyes are -more trouble and take longer time to prepare. Chemical colours can be -dyed now as fast as the natural colours, although at first this could -not be done. Some of the chemical colours as well as the natural, are -not fast to light and washing, and ought never to be used; but there -are natural colours, such as madder, some of the lichens, catechu -etc., which are as fast as any chemical dye, if not more so. BUT there -is this general difference between the results of the two -methods,--that when a chemical colour fades it becomes a different -colour and generally a bad one: when a natural colour fades, it -becomes a lighter tone of the same colour. - -Since the middle of the 19th century our colour sense has been getting -rude shocks. At first came the hideous aniline colours, crude and -ugly, and people said, "How wonderful, are they really made out of -coal!" They were told to like them and they did, and admired the -chemists who made them. Then came more discoveries, and colour began -to go to the opposite extreme, and the fashion was muddy -indeterminate colours--'art' colours as they were called, just as -remote from pure good colouring in one direction as the early aniline -colours were in the other. We are now emerging from the mud colours, -as I would call them, to the period of the brilliant colouring of the -Futurist. Here we have scientific colouring used with real skill. The -Futurist has perhaps indicated a possible way in which chemical -colours may be used by the artist and is teaching people the value of -simple combinations of brilliant colour. - -And yet do they satisfy the artist? Are they as beautiful as the -colours in a Persian Khelim? Is there a blue in the world as fine as -the blue in a Bokhara rug, or a red to touch the red of a Persian -brocade or Indian silk?--the new fresh colours as they come out of the -dyer's vat, not as they are after years of wear and tear, though that -is beautiful enough. And yet they are not more beautiful than the -colours once made by dyers in England. They are as brilliant as the -chemical colours, but they are not hard and unsympathetic and -correct. They are alive and varied, holding the light as no chemical -colour can hold it; and they are beautiful from their birth to their -old age, when they mellow, one with the other, into a blend of -richness that has never yet been got by the chemical dyer and never -will be. - -Perhaps it is the scientific method that kills the imagination. -Dealing with exactly known quantities, and striving for precise -uniformity, the chemist has no use for the accidents and -irregularities which the artist's imagination seizes and which the -traditional worker well knew how to use. - -William Morris says that "all degradation of art veils itself in the -semblance of an intellectual advance," and nothing is truer than this -with regard to the art of dyeing. As a tradition it is practically -dead in Britain, and is threatened with gradual extinction all over -the world. It will not recover itself as an art till individual -artists set themselves to make beautiful colours again, and ignore the -colour made for them by commerce and the chemists. - -Handicraft workers should make their own colours. Leather workers -should dye their own leather, the embroiderers their own silks and -wools, the basket makers their own materials, the weavers and spinners -their own flax, cotton and wool; and until they do this the best work -will not be done. This is the necessity for the present. _If any craft -worker wants sound colour he must make it for himself, he cannot get -it done for him by artists._ The hope for the future is that dyeing -may be reinstated as a craft, co-operating with the other crafts and -practiced by craftsmen. - -The way to beauty is not by the broad and easy road; it is along -difficult and adventurous paths. Every piece of craft work should be -an adventure. It cannot be an adventure if commerce steps in and says -"I will dye all your yarn for you; you will always then be able to -match your colour again; there need be no variation; every skein shall -be as all the others; you can order so many pounds of such a number -and you can get it by return of post; and you can have six or seven -hundred shades to choose from." It is all so easy, so temptingly -easy,--but how DULL! the deadly yards of stuff all so even and so -exactly dyed; so perfect that the commerce-ridden person says, "this -is almost as good as the stuff you can buy in a shop, it is as perfect -as machine made stuff." - -What would have been the use of all this to the great colourists of -the world, the ancient Egyptians, the mediæval Italians or the great -Oriental dyers? They could not get six hundred shades to order; six -was more like their range, they did not need more, and in those they -could not command precise uniformity. They knew that the slight -variations caused by natural human methods add to the beauty and -interest of a thing, and that a few good colours are worth any number -of indifferent ones. - -It is quite certain that a great many of the handicrafts that have -depended upon commercial dyes would produce _infinitely better work_ -if they dyed their raw material themselves. - -It may be objected that life is not long enough; but the handicrafts -are out to create more life, not out to produce quantity nor to save -time. - -The aim of commerce is material gain; the aim of the crafts is to make -life, and no trouble must be spared to reach that end. It must always -be before the craft worker. Dyeing is an art; the moment science -dominates it, it is an art no longer, and the craftsman must go back -to the time before science touched it, and begin all over again. - -The tradition is nearly lost in England. - -It lingers in a few places in Scotland and Ireland. In Norway, Russia, -Central Asia, India and other places where science has not entered too -much into the life of the people, it is still practiced. Is dyeing as -a tradition to be doomed, as traditional weaving was doomed? Yes, -unless it be consciously studied again and remade into an art. - -This book is intended for the use of craftsmen and others who are -trying to dye their materials by hand and on a small scale. -Information and recipes, useful to such workers, are to be found in -books and pamphlets dating onwards from the 17th century, and in this -book I have drawn largely upon these sources of dyeing knowledge, as -well as upon the traditions still followed by present workers, and -upon the experience of my own work. - -All dyeing recipes, however, should guide rather than rule the worker; -they are better applied with imagination and experience than with the -slavishness of minute imitation. Every dyer should keep a record of -his experiments, for this will become invaluable as it grows, and as -one thing is learnt from another. The ideal way of working is not by a -too rigid accuracy nor by loose guess-work, but by the way which -practice has proved best: nevertheless, some of the greatest dyers -have done their work by rule-of-thumb methods just as others have -certainly worked with systematic exactness. - -The dyer, like any other artist, is free to find his own methods, -subject to the requirements of good and permanent craftsmanship, -provided that he achieves the effects at which he aims. But it is -supremely important that he should aim at the right effects; or, -rather, at the use of the right materials, for if these are right the -effects may safely be left to take care of themselves. In order to -develop the taste and temperament of a good colourist, it is necessary -to use good colour and to live with good colour. In this book I -attempt to show where good colour can be obtained. But one may begin -to live with good colour which has been found by others. - -This part of the dyer's education is not prohibitively costly, even in -these days of inferior colour. Indian and Persian embroideries are -still to be obtained, though care must be taken in their selection, as -most modern pieces are dyed with chemical dyes and are very ugly. -Persian Khelim rugs are cheap and often of the most beautiful colours. -Russian embroideries and woven stuffs, both old and new, are -obtainable, and are good in colour, as are most of the embroideries -and weavings of Eastern Europe and the East. What are popularly known -as "coffee towels" are often embroidered in the finest coloured silks. -Bokhara rugs and embroideries are still to be purchased, and many of -the weavings of the far East, although, alas, very few of the modern -ones are of good colour. I would say to dyers, do not be satisfied -with seeing beautiful coloured stuffs in museums. It is possible still -to get them, and to live with a piece of good colour is of much more -use than occasional hours spent in museums. - - - - -CHAPTER II. - -WOOL SILK COTTON LINEN - - Various kinds of wool. Wool from goats. Fleeces. Wool - dyeing. Scouring of wool. Silk, preparation for dyeing. - Cotton, cleansing and galling of. Indian methods of - preparing cotton and linen for dyeing. BANCROFT on the - preparing of cotton and linen for dyeing. Linen. On water - for dyeing. - - -ON WOOL.--The quality of wool varies considerably. British wools are -of various kinds:-- - -_Highland, Welsh and Irish_ wools are from small sheep, not far -removed from the wild state, with irregular short stapled fleeces. - -_Forest or Mountain sheep_ (Herdwick, Exmoor, Blackfaced, Limestone, -Cheviot) have better wool, especially the Cheviot which is very thick -& good for milling. - -_Ancient Upland_, such as South Down, are smaller sheep than the last -named, but the wool is softer and finer. - -_Long Woolled sheep_ (Lincolns, Leicester) with long staple wool -(record length, 36 in.) and the fleeces weighing up to 12 lbs. The -Leicester fleece is softer, finer and better than the Lincoln. - -To the end of the 18th century _Spanish wool_ was the finest and best -wool in the world. Spanish sheep have since been introduced into -various countries, such as Saxony, Australia, Cape Colony, New -Zealand, and some of the best wools now come from the colonies. - -_Alpaca, Vicuna and Llama_ wools are obtained from different species -of South American goats. - -_Mohair_ is obtained from the Angora goat of Asia Minor. - -_Kashmir_ wool is got from the Thibetan goat. - -_Camel_ hair is the soft under wool of the camel, which is shed -annually. It is of a brown colour. - -The colour of wool varies from white to a very dark brown black, with -all shades of fawn, grey and brown in between. The natural colours are -not absolutely fast to light but tend to bleach slightly with the sun. - -Fleeces are of various kinds, the principal being: _Lambs_, 3 to 6 -months growth, the finest, softest and most elastic of wool. _Hogs and -Tegs_: the first shearing of sheep that have not been shorn as lambs. -_Wethers_: all clips succeeding the first shearing. - -Wool comes into the market in the following condition. 1) _In the -grease_, not having been washed and containing all impurities. 2) -_Washed_, with some of the grease removed and fairly clean. 3) -_Scoured_, thoroughly cleaned & all grease removed. - - -ON WOOL DYEING.--There are four principal methods of dyeing wool. - -1st.--The wool is boiled first with the mordant and then in a fresh -bath with the dye. This method of dyeing is the most satisfactory and -gives brighter and faster colours than the other methods. It is not -necessary to throw away the solution after the mordanting has been -done, but it can be replenished for a fresh lot of wool; a separate -bath is used for the dye. - -2nd.--The wool is boiled first with the dye and, when it has absorbed -as much of the colour as possible, the mordant is added to the same -bath, thus fixing the colour. This is called the "stuffing" and -"saddening" method; the "stuffing" being the boiling of the wool with -the dye stuff and the "saddening" the fixing the colour by the -mordant. - -A separate bath can be used for each of these processes, in which case -each bath can be replenished and used again for a fresh lot of wool. - -3rd.--The wool is boiled with the mordant and dye in the same bath -together. The colour, as a rule, is not so fast & good as with a -separate bath, though with some dyes a brighter colour is obtained. - -4th.--The wool is mordanted, then dyed, then mordanted again -(saddened). This method is adopted to ensure an extremely fast colour. -The mordant in this case should be used rather sparingly. - -Wool can be dyed either in the fleece, in the yarn or in the woven -cloth. Raw wool always contains a certain amount of natural grease. -This should not be washed out until it is ready for dyeing, as the -grease keeps the moth out to a considerable extent. Hand spun wool is -always spun in the oil to facilitate spinning. All grease and oil must -be scoured out before dyeing is begun, and this must be done very -thoroughly or the wool will take the colour unevenly. - -The principal detergent known from earliest times is stale urine. In -the Highlands this is used in the proportion of 1 part to 5 of water. -It is the best scouring agent and leaves the wool soft and elastic. -Carbonate of soda is also used. But a good pure soap is the most -convenient scouring agent. A suds should be made with hot water, and -the wool, which has been soaked in warm water previously, should be -well squeezed and worked in the suds till all the grease is removed. -This should be done two or three times if needed, and then the wool -rinsed out thoroughly in clean water. Soda is apt to make the wool -harsh and should be avoided. A little Ammonia added to the washing -water helps. - -To prevent yarn felting when it is scoured, it should be first steeped -in hot water and left to cool. Soft soap is best for long fine wool. -Urine for short wools; or urine and soda ash. - -_Another way of cleansing wool._ Make a hot bath of 4 parts water and -1 part urine, enter wool, teasing it and opening it out to admit the -full action of the liquid. After 20 minutes immersion, remove and -allow to drain. Then rinse in clear running water and allow to dry. -Use no soap. The liquid can be used again. The wool often loses one -fifth of its weight in the process of washing. - -_To soften yarn_--In a gallon of hot water dissolve half pound of -common soda, then add half-pint of sweet oil and stir well. A little -of this added to the washing water, for some colours, will soften the -yarn. - -_To bleach wool_--The wool is suspended in a closed room on hoops, and -under the wool chafing dishes are placed with lighted coals on which -powdered sulphur is cast. The room door is afterwards shut so that the -smoke may be the longer retained to act on the wool, which is to -remain until it is entirely whitened. - - -ON SILK.--There are two kinds of silk, 1) _raw silk_ (reeled silk, -thrown silk, drawn silk), and 2) _waste silk_ or spun silk. - -Raw silk is that directly taken from the cocoons. Waste silk is the -silk from cocoons that are damaged in some way so that they cannot be -reeled off direct. They are therefore carded and spun, like wool or -cotton. - -Silk in the raw state is covered with a silk gum which must be boiled -off before dyeing is begun. It is tied up in canvas bags and boiled up -in a strong solution of soap for three or four hours until all the gum -is boiled off. If it is yellow gum, the silk is wrought first in a -solution of soft soap at a temperature just below boiling point for -about an hour, then put into bags and boiled. After boiling, the soap -is well washed out. - -Generally speaking, the affinity of silk for dyes is similar but -weaker in character to that of wool. The general method for dyeing is -the same as for wool, except that in most cases lower temperatures are -used in the mordanting. In some cases, soaking in a cold concentrated -solution of the mordant is sufficient. The dyeing of some colours is -also at a low temperature. - -_Of the preparation of raw silk._ For every pound of raw silk, take -¼ lb. of soap; first put the silk into a bag, or so make it up that -tangling may be prevented, then let it boil together for 2 hours, -after which it must be very well cleansed, and so it is ready to dye -all sorts of colours, being first allomed.[1] - -_How the boiled silk must be allomed._ In proportion to every pound of -silk, take ¼ lb. of Allom, melt in a little kettle or skillet, and -when melted, throw it in to a tub of water, into which put the silk to -steep, where let it lie a whole night.[1] - -_To soften silk after dyeing._ Into a large vessel nearly full of -water, a solution of soap is poured, in the proportion of from 4 to 5 -lbs. of soap for every 110 lbs. of silk. The solution of soap is -strained through a cloth into the water and well mixed. The silk is -then introduced & left for about quarter of an hour after which it is -wrung out and dried. - - -ON COTTON.--Cotton is the down surrounding the seeds in pods of -certain shrubs and trees growing in tropical and semi-tropical -countries. It was first introduced into Europe by the Saracens and was -manufactured into cloth in Spain in the early 13th century. Cotton -cloth was made in England in the early 17th century. The colour of -cotton varies from deep yellow to white. The fibre differs in length, -the long stapled being the most valued. Cotton is difficult to dye and -requires a special preparation. It is first boiled with water till -thoroughly softened and wetted. Then alumed in the proportion of 1 of -alum to 4 of the cotton (see page 28). It is then galled. The galling -is done with different proportions of gall-nuts and other astringents -(such as tannic acid, myrobalams, sumach, catechu) according to the -quality of the astringents and the effect wished to be obtained. If -gall-nuts are used they are bruised, then boiled for about two hours -in a quantity of water. The bath is then allowed to cool till the hand -can bear it. The cotton is worked well in this solution and then left -for 24 hours. After which it is wrung out and dried. - -Cotton is sometimes boiled in sour water in order to cleanse it: -sometimes an alkaline ley is used: the cotton must be boiled in it for -2 hours, then wrung out and rinsed in clean water and dried. Cotton -dyeing has been carried on for centuries in the East. In India "before -a cloth is ready to be dyed with a fast colour, it has generally to -undergo a preliminary process of preparation more or less elaborate, -the different stages of which may be recited as washing, bleaching, -dunging, galling, aluming, or mordanting, and again washing." (_A -Monograph on dyes and dyeing in the Bombay Presidency_, by C. G. H. -Fawcett, 1896.) It is washed first of all to remove all impurities, -whether those naturally belonging to the fibre or those purposely -introduced during the processes of spinning and weaving. The bleaching -removes grease, etc. This is done in India by the sun, air and -moisture. The dunging process consists of passing the cotton through a -hot solution of cow dung, which renders the dye fast. This is -sometimes replaced by substitutes, such as the phosphates of soda and -lime, silicates of soda, etc. The next operation of galling is an -important step in the Indian process of dyeing. It is applied to -cotton, linen and silk. Vegetable infusions containing tannin are -applied to the cloth. Those mostly used are myrobalams, pomegranate -rind, tamarisk galls, and pistachio galls. The cloth is then alumed, -washed, and is then ready to be dyed. - -_Bancroft_ says:--"The fibres of linen or cotton when spun or woven -are prepared for the dyer by being first boiled in water with a -suitable proportion of potash (which for linen should be made caustic, -in order that it may act more strongly upon the oily and resinous -matters abounding in flax) and afterwards bleached by exposure upon -the grass to sun and air. But as this operation commonly leaves a -portion of earthy matter in the linen or cotton, it ought to be soaked -or steeped in water soured by sulphuric acid, to dissolve and remove -this earthy matter, taking care afterwards to wash or rinse off the -acid." - -A few of the natural dye stuffs are capable of dyeing cotton direct, -without a mordant, such as Turmeric, Barberry bark, safflower, -annatto. For other dyes cotton has a special attraction, such as -catechu, fustic, logwood. - - -ON LINEN.--Linen is flax, derived from the decomposed stalks of a -plant of the genus of Linum. It grows chiefly in Russia, Belgium, -France, Holland, and Ireland. The plants after being gathered are -subjected to a process called "retting", which separates the fibre -from the decaying part of the plant. In Ireland and Russia this is -usually done in stagnant water, producing a dark coloured flax. In -Belgium, Holland and France, retting is carried out in running water, -and the resulting flax is a lighter colour. Linen is more difficult to -dye than cotton, probably on account of the hard nature of the fibre. -The same processes are used for dyeing linen as for cotton. - -"Linen thread is dyed in the same manner as cotton, only, that -previous to its being purged like cotton thread, it is usual to boil -it in water, adding for every pound of thread a quarter pound of -chopped sorrel. Oil of vitriol is, however, more convenient and better -than sorrel."--D'Apligny. - -_To Bleach Linen._--(For 13 to 15 yards linen) Boil ½ lb. soap and -½ lb. soda in a gallon of water. Put it in a copper and fill up with -water, leaving room for the linen to be put in. Put in the linen and -bring to the boil. Boil for 2 hours, keeping it under the water and -covered. Stir occasionally. Then spread out on the grass for 3 days, -watering it when it gets dry. Repeat this boiling and grassing for 3 -weeks. Your linen is then pure white. - -_To bleach linen a cream colour._--Boil ½ lb. soap and ½ lb. soda in a -gallon of water. Fill copper up with water and put in linen. Boil for -2 hours. Repeat this once a day for 4 days. The linen should not be -wrung out but kept in the water till ready to be put into the fresh -bath. - - -ON WATER.--A constant supply of clean soft water is a necessity for -the dyer. Rain water should be collected as much as possible, as this -is the best water to use. The dye house should be by a river or -stream, so that the dyer can wash with a continuous supply. Spring and -well water is as a rule hard, and should be avoided. In washing, as -well as in dyeing, hard water is altogether injurious for wool. It -ruins the brilliancy of colour, and prevents the dyeing of some -colours. Temporary hardness can be overcome by boiling the water (20 -to 30 minutes) before using. An old method of purifying water, which -is still used by some silk and wool scourers, is to boil the water -with a little soap, skimming off the surface as it boils. In many -cases it is sufficient to add a little acetic acid to the water. - -_Berthollet_ says,--"Whenever, therefore, a water is limpid, when its -flow is constant, when it has no sensible taste, and dissolves soap -well, it may be regarded as very proper for dyeing." He also goes on -to say that for correcting water that is bad, sour water is -principally used, that is, water in which bran has been fermented. - - -FOOTNOTE: - -[1] From a dye book of 1705. - - - - -CHAPTER III. - -MORDANTS - - Definition of mordant. The principal mordants. The - mordanting of silk and wool. Of linen and cotton. - Astringents for cotton. Alum. Various examples of using - alum for wool, silk, cotton and linen. Iron. Examples of - iron mordants. Tin. Examples of tin mordants. Chrome. - Examples of chrome mordants. Copper. Examples of copper - mordants. General observations. Tannin and the galling of - cotton and linen. Examples of various galling processes. - - -MORDANTS.--Dyes are divided into two classes. First, the _substantive_ -dyes, which give their colour directly to the material with which they -are boiled: and second, the _adjective_ dyes, as they are sometimes -called. These latter include the greater number of dyes and require -the use of a mordant to bring out their colour. - -There are thus two processes concerned with the dyeing of most -colours; the first is mordanting and the second is the colouring or -actual dyeing. The mordanting prepares the stuff to receive the -dye--(_mordere_, to bite.) The early French dyers thought that a -mordant had the effect of opening the pores of the fibres, so that the -dye could more easily enter; but according to Hummel and later dyers -the action of the mordant is purely chemical; and he gives a -definition of a mordant as "that body, whatever it may be, which is -fixed on the fibre in combination with any given colouring matter." -The mordant is first precipitated on to the fibre and combines with -the colouring matter in the subsequent dye bath. But, whether the -action is chemical or merely physical, the fact remains that all -adjective dyes need this preparation of the fibre before they will fix -themselves on it. The use of a mordant, though not a necessity, is -sometimes an advantage when using substantive dyes. - -In early days the leaves and roots of certain plants were used. This -is the case even now in India and other parts where primitive dyeing -methods are still carried on. Alum has been known for centuries in -Europe. Iron and tin filings have also been used. Alum and copperas -have been known in the Highlands for long ages. Stale urine is also -much used in Scotland and Ireland, but perhaps more as a clearing -agent than as an actual mordant. - -Silk and wool require very much the same preparation except that in -the case of silk high temperatures should be avoided. Wool is -generally boiled in a weak solution of whatever mordant is used. With -silk, as a rule, it is better to use a cold solution, or a solution at -a temperature below boiling point. Cotton and linen are more difficult -to dye than wool or silk. Their fibre is not so porous and will not -hold the dye stuff without a more complicated preparation. The usual -method of preparing linen or cotton is to boil it first with some -astringent. The use of astringents in dyeing depends upon the tannic -acid they contain. In combination with ordinary mordants, tannic acid -aids the attraction of the colouring matter to the fibre and adds -brilliancy to the colours. The astringents mostly used are tannic -acid, gall nuts, sumach and myrobalams. Cotton has a natural -attraction for tannic acid, so that when once steeped in its solution -it is not easily removed by washing. - - -ALUM. (_Aluminium sulphate._)--This is the most generally used of all -the mordants, and has been known as such from early times in many -parts of the world. For most colours a certain proportion of cream of -tartar should be added to the alum bath as it helps to brighten the -ultimate colour. The usual amount of alum used is a quarter of a pound -to every pound of wool. As a rule, less mordant is needed for light -colours than for dark. An excess of alum is apt to make the wool -sticky. - -"For dyeing worsted and stuffs yellow, you make use of the usual -preparation, viz., of tartar and alum. You allow four ounces of alum -to every pound of wool, or twenty-five pounds to every hundred. With -regard to the tartar, one ounce to every pound is sufficient for -yellow, though it requires two for red."--Hellot. - -The usual length of time for boiling with alum is from ½ an hour to 1 -hour; but some dyers give as much as 2½ hours. - -_Various examples of mordanting with alum._-- - -_For silk._ Wet out the silk thoroughly with water and wring out. Then -work it about a little in a strong solution of alum, previously -dissolved in hot water, and steep for several hours (or over night). -Then wash well. It should not be allowed to dry before dyeing. "Silks -are always alumed in the cold, because when they are alumed in a hot -bath, they are apt to lose a portion of their lustre." _Berthollet._ - -_For wool._ ¼ lb. of Alum and 1 oz. Cream of tartar for every pound of -wool. This is dissolved and when the water is warm the wool is -entered. Raise to boiling point and boil for one hour. The bath is -then taken off the fire and allowed to cool over night. The wool is -then wrung out (not washed) and put away in a linen bag in cool place -for four or five days, when it is ready for dyeing. - -_For cotton and linen._ After boiling in water (some use a sour water, -some an alkaline ley) the cotton is put into the alum bath, ¼ lb. of -Alum to 1 lb. of cotton. The alum is dissolved in hot water with soda -in the proportion of 1 part soda to 16 of alum. (Some add a small -quantity of tartar and arsenic). The cotton is well worked in this -solution and left 24 hours. It is then washed, and afterwards galled. - -_For linen._ ¼ lb. alum for every pound of linen. Boil for 2½ hours -and immediately put into the dye bath. - -_For wool._ 6 to 8 per cent. of alum and 5 to 7 per cent. of tartar of -the weight of wool. - - -IRON. (_Ferrous Sulphate_, _copperas_, _green vitriol_) - -Iron is one of the oldest mordants known and is largely used in wool -and cotton dyeing. It is almost as important as alum. With wool it -should be used in combination with cream of tartar. The temperature of -the mordanting bath must be raised very gradually to boiling point or -the wool will dye unevenly. A general method of dealing with copperas -is to boil the wool first in a decoction of the colouring matter and -then add the mordant to the same bath in a proportion of 5 to 8 per -cent. of the weight of wool: and continue boiling for half an hour or -so longer. With some dyes a separate bath is needed, such as with -Camwood or Catechu. If used for cotton, the cotton is first dyed in a -boiling decoction of the dye stuff and then passed through a cold -solution of ferrous sulphate. Probably the commonest way of applying -copperas in cotton dyeing is to prepare the cotton with tannin, pass -through clear lime water and then through a copperas solution. Great -care is needed in the using of copperas, as, unless it is thoroughly -dissolved and mixed with the water before the wool is entered, it is -apt to stain the wool. It also hardens wool if used in excess, or if -boiled too long. - -Copperas is mostly used for the fixing of wool colours (Fustic etc.) -to produce brown shades by the "stuffing and saddening" method (see -page 14), the wool being boiled first in a decoction of the dye for -about an hour, and then for ½ an hour with the addition of 5 to 8 per -cent. of copperas. If used for darkening colours, copperas is added to -the bath, after the dyeing, and the boiling continued for 15 to 20 -minutes. - -_Examples of various proportions for Mordanting._-- - -8 per cent. of copperas and 20 per cent. of cream of tartar is a -mordant used for some colours. - -4 per cent. copperas, 10 per cent. cream of tartar gives good olive -colours with weld. - -8 per cent. copperas without tartar with single bath method, for dark -olive brown with old fustic. - -2 oz. copperas and 2 oz. cream of tartar to 2½ lbs. wool. - -2 oz. copperas, 1½ oz. oxalic acid to 2½ lbs. wool. - - -TIN.--(_Stannous chloride_, _tin crystals_, _tin salts_, _muriate of -tin_.) - -Tin is not so useful as a mordant in itself, but as a modifying agent -with other mordants. It must be always used with great care, as it -tends to harden the wool, making it harsh and brittle. Its general -effect is to give brighter, clearer and faster colours than the other -mordants. When used as a mordant before dyeing, the wool is entered -into the cold mordanting bath, containing 4 per cent. of stannous -chloride and 2 per cent. oxalic acid: the temperature is gradually -raised to boiling, and kept at this temperature for 1 hour. It is -sometimes added to the dye bath towards the end of dyeing, to -intensify and brighten the colour. It is also used with cochineal for -scarlet on wool, in the proportion of 6 per cent. of stannous chloride -and 4 per cent. of cream of tartar. Boil for 1 to 1½ hours. Then wash -well. The washing after mordanting is not always essential. Also 6 to -8 per cent. of oxalic acid and 6 per cent. of stannous chloride, for -cochineal on wool. This mordant produces bright fast yellows from old -fustic, by boiling the wool from 1 to 1¼ hours, with 8 per cent. of -stannous chloride and 8 per cent. of cream of tartar. One recipe -gives 2 oz. tin and 4¼ oz. cream of tartar to 2½ lbs. wool in 10 -gallons of water. It is not a suitable mordant alone for cotton, but -can be used to brighten the colour in combination with other mordants. -"The nitro-muriate of tin (dyer's spirit) although it produces good -yellows with quercitron bark, produces them in a much weaker degree -than the murio-sulphate of that metal, which is really the cheapest -and most efficacious of all the solutions or preparations of tin for -dyeing quercitron as well as the cochineal colours."-- _Bancroft._ - - -CHROME. (_Potassium dichromate_, _Bichromate of Potash._) - -Chrome is a modern mordant, unknown to the dyer of 50 years ago. It is -excellent for wool and is easy to use and very effective in its -action. Its great advantage is that it leaves the wool soft to the -touch, whereas the other mordants are apt to harden the wool. In -commercial dyeing it is now almost exclusively used, as it has proved -itself the most generally convenient. By some it is said not to be so -fast to light as the other mordants, but it produces brighter colours. -The wool should be boiled for one to one & a half hours with -bichromate of potash in the proportion of 2 to 4 per cent. of the -wool. It is then washed well and immediately dyed. Wool mordanted with -chrome should not be exposed to light, but should be kept well covered -with the liquid while being mordanted, else it is liable to dye -unevenly. An excess of chrome impairs the colour. 3 per cent. of -chrome is a safe quantity to use for ordinary dyeing. One recipe gives -1½ oz. of chrome to 2½ lbs. of wool. It should be dissolved in the -bath while the water is heating. The wool is entered and the bath -gradually raised to the boiling point, and boiled for three quarters -of an hour. - -In the dyeing of cotton, it is used for catechu browns and other -colours. The cotton is soaked in a decoction of catechu, and -afterwards passed through a boiling solution of chrome, or it is -worked for half an hour in a bath of chrome at 60°C., and then washed. -It is usual to wash wool or cotton after mordanting with chrome, but -some dyers do not think it necessary. - - -COPPER. (_Copper Sulphate_, _Verdigris_, _blue vitriol_, -_blue-stone_.) - -Copper is rarely used as a mordant. It is usually applied as a -saddening agent, that is, the wool is dyed first, and the mordant -applied afterwards to fix the colour. With cream of tartar it is used -sometimes as an ordinary mordant before dyeing, but the colours so -produced have no advantage over colours mordanted by easier methods\. - - -EXAMPLES.--6 per cent. of copper is used as a mordant for weld to -produce an olive yellow. 4 to 5 per cent. is used with old fustic for -yellow. 10 per cent. of copper gives to wool a reddish purple with -cochineal. - -Mordants should not affect the physical characteristics of the fibres. -Sufficient time must be allowed for the mordant to penetrate the fibre -thoroughly. If the mordant is only superficial, the dye will be -uneven: it will fade and will not be as brilliant as it should be. The -brilliancy and fastness of Eastern dyes are probably due to a great -extent to the length of time taken over the various processes of -dyeing. _The longer time that can be given to each process, the more -satisfactory will be the result._ - -Different mordants give different colours with the same dye stuff. For -example:--Cochineal, if mordanted with alum, will give a crimson -colour; with iron, purple; with tin, scarlet; and with chrome or -copper, purple. Logwood, also, if mordanted with alum, gives a mauve -colour; if mordanted with chrome, it gives a blue. Fustic, weld, and -most of the yellow dyes, give a greeny yellow with alum, but an old -gold colour with chrome; and fawns of various shades with other -mordants. - - -TANNIN.--(_Tannic Acid_.)--Tannins are used in the dyeing of cotton -and linen. Cotton and linen possess the remarkable power of attracting -tannins from their aqueous solution, and when these substances are -prepared with tannins, they are able to retain dyes permanently. -Cotton saturated with tannin, attracts the dye stuff more rapidly, and -holds it. Tannic acid is the best tannin for mordanting cotton and -linen, as it is the purest and is free from any other colouring -matter. It is, therefore, used for pale and bright shades. But for -dark shades, substances containing tannic acid are used, such as -sumach, myrobalans, valonia, divi-divi, oak galls, chestnut (8 to 10 -per cent. of tannin), catechu. - -Cotton and linen are prepared with tannin after they have been through -the required cleansing, and if necessary, bleaching operations. A -bath is prepared with 2 to 5 per cent. of tannic acid of the weight of -the cotton, and a sufficient quantity of water. For dark shades, 5 to -10 per cent. should be used. The bath is used either hot or cold. It -should not be above 60°C. The cotton is worked in this for some time, -and then left to soak for 3 to 12 hours, while the bath cools. It is -then wrung out and slightly washed. - -The following gives the relative proportions of the various substances -containing tannin:--1 lb. tannin _equals_ 4 lbs. sumach, 18 lbs. -myrobalans, 14 lbs. divi-divi, 11 lbs. oak galls. - -A few examples taken from various recipes of cotton dyeing:-- - - For 10 lbs. cotton use 12 oz. tannin. - For 50 lbs. cotton use 10 lbs. sumach. - For 40 lbs. cotton use 10 lbs. sumach. - For 20 lbs. cotton use 2 lbs. yellow catechu or black catechu. - For 20 lbs cotton spend 3 lbs. of catechu with 3 oz. of blue - vitriol. - -Some recipes soak the cotton for 24 hours, others for 48 hours. - - - - -CHAPTER IV. - -BRITISH DYE PLANTS - - -The introduction of foreign dye woods and other dyes during the 17th -and 18th centuries rapidly displaced the native dye plants, except in -certain out of the way places such as the Highlands and parts of -Ireland. Some of these British dye plants had been used from early -historical times for dyeing. Some few are still in use in commercial -dye work (pear, sloe, and a few others); but their disuse was -practically completed during the 19th century when the chemical dyes -ousted them from the market. - -The majority of these plants are not very important as dyes, and could -not probably now be collected in sufficient quantities. Some few -however are important, such as woad, weld, heather, walnut, alder, -oak, some lichens; and many of the less important ones would produce -valuable colours if experiments were made with the right mordants. -Those which have been in use in the Highlands are most of them good -dyes. Among these are Ladies Bedstraw, whortleberry, yellow iris, -bracken, bramble, meadow sweet, alder, heather and many others. The -yellow dyes are the most plentiful, and many of these are good fast -colours. Practically no good red, in quantity, is obtainable. Madder -is the only reliable red dye among plants, and that is no longer -indigenous in England. Most of the dye plants require a preparation of -the material to be dyed, with alum, or some other mordant, but a few, -such as Barberry, and some of the lichens, are substantive dyes, and -require no mordant. - - -PLANTS WHICH DYE RED.-- - - Potentil. _Potentilla Tormentilla._ Roots. - - Wild Madder. _Rubia peregrina._ - - Lady's Bedstraw. _Galium verum._ Roots. - - Gromwell. _Lithospermum arvense._ - - Marsh Potentil. _Potentilla Comarum._ Roots. - - Birch. _Betula alba._ Fresh inner bark. - - Bed-straw. _Galium boreale._ Roots. - - Common Sorrel. _Rumex acetosa._ Roots. - - Evergreen Alkanet. _Anchusa sempervirens._ With chloride of tin. - - Dyer's Woodruff. _Asperula tinctoria._ Roots. - - -PLANTS WHICH DYE BLUE.-- - - Woad. _Isatis Tinctoria._ - - Whortleberry or blaeberry. _Vaccinium Myrtillus._ Berries. - - Elder. _Sambucus nigra._ Berries. - - Privet. _Ligustrum vulgare._ Berries, with alum and salt. - - [2]Sloe. _Prunus communis._ Fruit. - - Red bearberry. _Arctostaphylos Uva-Ursi._ - - Dogs Mercury. _Mercurialis perennis._ - - Yellow Iris. _Iris Pseudacorus._ Root. - - Devil's Bit. _Scabiosa succisa._ Leaves prepared like woad. - - -PLANTS WHICH DYE YELLOW.-- - - Weld. _Reseda luteola._ - - Meadow Rue. _Thalictrum flavum._ Roots. - - Marsh Marigold. _Caltha palustris._ Flowers. - - S. John's Wort. _Hypericum perforatum._ - - Heath. _Erica vulgaris._ With Alum. - - Spindle tree. _Euonymus Europæus._ - - Buckthorn. _Rhamnus frangula_ and _R. cathartica._ Berries and - Bark. - - [3]Dyer's Greenwood. _Genista tinctoria._ Young shoots and leaves. - - Kidney Vetch. _Anthyllis Vulnararia._ - - Marsh Potentil. _Potentilla Comarum._ - - Ling. _Calluna vulgaris._ - - Yellow Centaury. _Chlora perfoliata._ - - Hornbeam. _Carpinus Betulus._ Bark. - - Hedge stachys. _Stachys palustris._ - - Polygonum Persecaria. - - Polygonum Hydropiper. - - Hop. _Humulus lupulus._ - - Stinking Willy, or Ragweed. _Senecio Jacobæa._ - - Yellow Camomile. _Anthemis tinctoria._ - - Common dock. _Rumex obtusifolius._ Root. - - [4]Sawwort. - - _Serratula tinctoria._ - - Gorse. _Ulex Europæus._ Bark, flowers and young shoots. - - Broom. _Sarothamnus scoparius._ - - Bracken. _Pteris aquilina._ Roots. Also young tops. - - Way-faring tree. _Viburnum lantana._ Leaves, with alum. - - Bramble. _Rubus fructicosus._ - - Nettle. _Urtica._ With alum. - - Bog Myrtle or Sweet Gale. _Myrica Gale._ - - Teasel. _Dipsacus Sylvestris._ - - Sundew. _Drosera._ - - Barberry. _Berberis vulgaris._ Stem and root. - - Bog asphodel. _Narthecium ossifragum._ - - Agrimony. _Agrimonia Eupatoria._ - - Yellow corydal. _Corydalis lutea._ - - Privet. _Ligustrum vulgare._ Leaves. - - Crab Apple. _Pyrus Malus._ Fresh inner bark. - - Ash. _Fraxinus excelsior._ Fresh inner bark. - - Pear. Leaves. - - Poplar. Leaves. - - Plum. Leaves. - - Birch. Leaves. - - [5]Willow. Leaves. - - -PLANTS WHICH DYE GREEN.-- - - Privet. _Ligustrum vulgare._ Berries and leaves, with - alum. - - Flowering reed. _Phragmites communis._ Flowering tops, - with copperas. - - Elder. _Sambucus nigra._ Leaves with alum. - - Nettle. _Urtica dioica_ and _U. Urens_. - - Lily of the valley. _Convalaria majalis._ Leaves. - - Larch. Bark, with alum. - - -PLANTS WHICH DYE BROWN.-- - - Whortleberry. _Vaccinium Myrtillus._ Young shoots, with - nut galls. - - Larch. Pine needles, collected in Autumn. - - Walnut. Root and green husks of nut. - - Water Lily. _Nymphæa alba._ Root. - - Alder. _Alnus glutinosa._ Bark. - - Birch. _Betula alba._ Bark. - - Oak. _Quercus Rohur._ Bark. - - Red currants, with alum. - - Hop. _Humulus lupulus._ Stalks give a brownish red colour. - - -PLANTS WHICH DYE PURPLE.-- - - Whortleberry or blaeberry. _Vaccinium myrtillus._ Berries. - "It contains a blue or purple dye which will dye wool and - silk without mordant." - - Deadly nightshade. _Atropa Belladonna._ - - Sundew. _Drosera._ - - Bryony. _Bryonia dioica._ Berries. - - Danewort. _Sambucus Ebulus._ Berries. - - Elder. _Sambucus nigra._ Berries, with alum, a violet; - with alum and salt, a lilac colour. - - Dandelion. _Taraxacum Dens-leonis._ Roots. Dyes a magenta - colour. - - Damson. Fruit, with alum. - - -PLANTS WHICH DYE BLACK.-- - - Alder. _Alnus glutinosa._ Bark with copperas. - - Blackberry. _Rubus fruticosus._ Young shoots, with salts - of iron. - - Dock. _Rumex._ Root. - - Iris. _Iris Pseudacorus._ Root. - - Meadowsweet. _Spirea Ulmaria._ - - Oak. Bark and acorns. - - Elder. Bark, with copperas. - - -FOOTNOTES: - -[2] "On boiling sloes, their juice becomes red, and the red dye which -it imparts to linen changes, when washed with soap, into a bluish -colour, which is permanent." - -[3] "For giving very inferior yellow upon coarser woollens, the dyer's -broom, _genista tinctoria_, is sometimes employed, with the common -preparation of alum and tartar." - -[4] Sawwort which grows abundantly in meadows affords a very fine pure -yellow with alum mordant, which greatly resembles weld yellow. It is -extremely permanent. - -[5] "The leaves of the sweet willow, _salix pentandra_, gathered at -the end of August and dried in the shade, afford, if boiled with about -one thirtieth potash, a fine yellow colour to wool, silk and thread, -with alum basis. All the 5 species of Erica or heath growing on this -island are capable of affording yellows much like those from the -dyer's broom; also the bark and shoots of the Lombardy poplar, -_populus pyramidalis_. The three leaved hellebore, _helleborus -trifolius_, for dyeing wool yellow is used in Canada. The seeds of the -purple trefoil, lucerne, and fenugreek, the flowers of the French -marigold, the chamomile, _antemis tinctoria_, the ash, _fraxinus -excelsior_, fumitory, _fumaria officinalis_, dye wool yellow." "The -American golden rod, _solidago canadensis_, affords a very beautiful -yellow to wool, silk and cotton upon an aluminous basis."--Bancroft. - - - - -CHAPTER V. - -THE LICHEN DYES - - -Some of the most useful dyes and the least known are to be found among -the Lichens. They seem to have been used among peasant dyers from -remote ages, but apparently none of the great French dyers used them, -nor are they mentioned in any of the old books on dyeing. The only -Lichen dyes that are known generally among dyers are Orchil and -Cudbear, and these are preparations of lichens, not the lichens -themselves. They are still used in some quantity and are prepared -rather elaborately. But a great many of the ordinary Lichens yield -very good and permanent dyes. The Parmelia saxatilis and P. -omphaloides, are largely used in the Highlands & West Ireland, for -dyeing brown of all shades. No mordant is needed, and the colours -produced are the fastest known. "Crottle," is the general name for -Lichens, in Scotland. They are gathered off the rocks in July and -August, dried in the sun, and used to dye wool, without any -preparation. The crottle is put into the dye bath with a sufficient -quantity of water, boiled up and allowed to cool and then boiled up -with the wool until the shade required is got. This may take from one -to three or four hours, as the dye is not rapidly taken up by the -wool. Other dyers use it in the following way:--A layer of crottle, a -layer of wool, and so on until the bath is full; fill up with cold -water and bring to the boil, and boil till the colour is deep enough. -Some of the finest browns are got in this way. The wool does not seem -to be affected by keeping it in the dye a long time. A small quantity -of acetic acid put in with the Lichen is said to assist in exhausting -the colour. - -The grey Lichen _Ramalina scopulorum_, dyes a fine shade of yellow -brown. It grows very plentifully on old stone walls, especially by the -sea, and in damp woods, on trees, and on old rotten wood. Boil the -Lichen up in sufficient water one day, and the next day put in the -wool, and boil up again till the right colour is got. If the wool is -left in the dye for a day or more after boiling, it absorbs more -colour, and it does not hurt the wool, but leaves it soft and silky to -the touch, though apt to be uneven in colour. Some mordant the wool -first with alum, but it does not seem to need it. - -The best known of the dye Lichens are Parmelia saxatilis, and Parmelia -omphalodes, which are still largely used in Scotland and Ireland for -dyeing wool for tweeds. The well known Harris tweed smell is partly -due to the use of this dye. - -Other Lichens also known for their dyeing properties are:--Parmelia -caperata or Stone Crottle which contains a yellow dye, P. -ceratophylla, or Dark Crottle, and P. parietina, the common wall -lichen, which gives a colour similar to the colour of the lichen -itself, yellowish brown. In _Bancroft's_ "Philosophy of Permanent -Colours" is to be found the following--"Besides the lichens, whose -colour depends upon a combination with the ammonia, there are some -which afford substantive colours, less beautiful indeed, but more -durable, by merely boiling with water. One of these is the muscus -pulmonarius of Caspar Bauhine, or the lichenoides pulmonium -reticulatum vulgare marginibus peltiferus of Dillenius, called Rags -and Stone Rags, in the northern parts of England, which, without any -mordant, dyes a very durable dark brown colour upon white wool or -cloth, and a fine lasting black upon wool or cloth which has -previously received a dark blue from Indigo." The following occurs in -an old Scottish history.--"There is one excresence gotton off the -craigs which they call cork-lit, and make use thereof for litting, or -dyeing a kind of purple colour." Another lichen, taken from trees in -Scotland, was used for producing an orange tint, called Philamort. The -tree lichen was called wood-raw, or rags, to distinguish it from stone -lichen, or stone-raw. A deep red colour was got from the dull grey -friable lichen, common on old stone walls, which was scraped off, with -a metal scraper. The bright yellow lichen, growing on rocks and walls, -and old roofs, dyes a fine plum colour, if the wool is mordanted first -with Bichromate of Potash. There is a difficulty, however, in getting -enough of this lichen to make the dyeing with it practicable. - -The colour of the plant is no indication of the colorific power. That -is often greatly modified by the conditions of its growth,--such as -climate, elevation above the sea, nearness or distance from the sea, -age, season when gathered, habitat. The best season for gathering most -lichens, is late summer and autumn. - -In Sweden, Scotland and other countries, the peasantry use a lichen, -called _Lecanora tartarea_, to furnish a red or crimson dye. - -In Shetland, the _Parmelia saxatilis_ (Scrottyie) is used to dye -brown. It is found in abundance on argillaceous rocks. It is -considered best if gathered late in the year, and is generally -collected in August. Immediately after being collected, an iron vessel -is filled with it, and stale urine then poured over it, till the -vessel is full. This is slowly boiled until the plant begins to assume -a mucillaginous appearance, which generally takes place in about 2 -hours. When taken off the fire, it has the consistence of a thin -jelly, but it speedily hardens until it is nearly as thick as -porridge, and its colour becomes a dark rusty grey. It is then folded -in the cloth, layer by layer of Scrottyie and cloth alternately, and -all is boiled for about 20 minutes, in soft water, in which a little -alum has been dissolved. It is then taken off the fire and the cloth -washed in cold water, when the process of dyeing is complete. The -Scrottyie, taken from between the folds of the cloth, is used several -times for dyeing, on being treated again in the same manner. - -The plant used in Shetland for the red dye is the _Lecanora tartarea_. -It is found abundantly on almost all rocks and also grows on dry -moors, along with _Cladonia sangiferina_. (If a particle of the latter -is allowed to be intermixed with the dye, it is supposed to be -spoiled.) The lichen, and the dye made from it, are called Korkalett. -This lichen is collected in May and June, and steeped in stale urine -for about 3 weeks, being kept at a moderate heat all the time. The -substance having then a thick and strong texture, like bread, and -being of a bluish black colour, is taken out and made into small cakes -of about ¾ lb. in weight, which are wrapped in dock leaves and hung up -to dry in peat smoke. When dry it may be preserved fit for use for -many years; when wanted for dyeing it is partially dissolved in warm -water till of the consistence of Scrottyie, the dyeing proceeds in the -same manner; 5 lbs. of korkalett being considered sufficient for about -4 Scotch ells of cloth. The colour produced is a light red. It is -much used in the dyeing of yarn as well as cloth. The yarn is simply -boiled in it without folding as in the case of cloth.[6] - -Linnæus mentions that a beautiful red colour may be prepared from -Lichen pustulatus, _Gyrophora pustulata_. _G. cylindrica_ is used by -Icelanders for dyeing woollen stuffs a brownish green colour. In -Sweden and Norway, _Evernia vulpina_ is used for dyeing woollen stuffs -yellow. Iceland moss, _Cetraria Islandica_, is used in Iceland for -dyeing brown. _Usnea barbata_ is collected from trees in Pennsylvania -& used for an orange colour for yarn. - -_Lecanora tartarea_ (corcur of the Scottish Highlanders) dyes a -claret. It is usually prepared by pounding the lichen and mixing it -with stale chamberley, to which a little salt or kelp is added; this -mixture is kept for several weeks, and frequently stirred; being then -brought to the consistence of coarse paste, it is made up into balls, -with a little lime or burnt shells, and is kept ready for use. When -used, it is coarsely powdered and a small portion of alum is generally -added. - -A general method for using lichens is suggested by Dr. Westring of -Sweden, in his "Experiments on Lichens for Dyeing Wools and Silks." He -says: - -"The Lichens should be gathered after some days of rain, they can then -be more easily detached from the rocks. They should be well washed, -dried and reduced to a fine powder: 25 parts pure river water are -added to 1 of powdered lichen, and 1 part of fresh quick lime to 10 -parts powdered lichen. To 10 lbs. lichen ½ lb. sal ammoniac is -sufficient when lime and sal ammoniac are used together. The vessel -containing them should be kept covered for the first 2 or 3 days. -Sometimes the addition of a little common salt or salt-petre will give -greater lustre to the colours."[7] - -This method can be followed by anyone wishing to experiment with -Lichens. Dr. Westring did not use a mordant as a rule. Where the same -species of Lichen grows on both rocks and trees, the specimens taken -from rocks give the better colours. - - -ORCHIL OR ARCHIL AND CUDBEAR are substantive or non mordant dyes, -obtained from Lichens of various species of Roccella growing on rocks -in the Canary Islands and other tropical and sub-tropical countries. -They used to be made in certain parts of Great Britain from various -lichens, but the manufacture of these has almost entirely disappeared. -They have been known from early times as dyes. They give beautiful -purples and reds, but the colour is not very fast. The dye is produced -by the action of ammonia and oxygen upon the crushed Lichens or weeds -as they are called. The early way of producing the colour was by -treating the Lichen with stale urine and slaked lime, and this method -was followed in Scotland. Orchil is applied to wool by the simple -process of boiling it in a neutral or slightly acid solution of the -colouring matter. 3% Sulphuric acid is a useful combination. -Sometimes alum and tartar are used. It dyes slowly and evenly. It is -used as a bottom for Indigo on wool and also for compound shades on -wool and silk. For cotton and linen dyeing it is not used. It is -rarely used by itself as the colour is fugitive, but by using a -mordant of tin, the colour is made much more permanent. - -"Archil is in general a very useful ingredient in dyeing; but as it is -rich in colour, and communicates an alluring bloom, dyers are often -tempted to abuse it, and to exceed the proportions that can add to the -beauty, without, at the same time, injuring in a dangerous manner the -permanence of the colours. Nevertheless, the colour obtained when -solution of tin is employed, is less fugitive than without this -addition."[8] - -Many of the British lichens produce colours by the same treatment as -is used for producing Orchil. Large quantities were manufactured in -Scotland from lichens gathered in the Shetland Islands and Western -Highlands. This was called Cudbear. The species used by the Scottish -Cudbear makers were generally _Lecanora tartarea_ and _Urceolaria -calcarea_; but the following lichens also give the purple colour on -treatment with ammonia.--_Evernia prunastri_, _Lecanora pallescens_, -_Umbilicaria vellea_, _U. pustulata_, _Parmelia perlata_; whilst -several others give colours of similar character, but of little -commercial value. The manufacture of Archil and Cudbear from the -various lichens is simple in principle. In all cases the plant is -reduced to a pulp with water and ammonia, and the mass kept at a -moderate heat and allowed to ferment, the process taking two or three -weeks to complete. The ammonia used to be added in the form of stale -urine, and additions of slaked lime were made from time to time.[9] -The general mode of treatment for the development from the dye lichens -of orchil and cudbear consists of the following steps:-- - - 1.--Careful washing, drying and cleaning, to separate - earthy and other impurities. - - 2.--Pulverisation into a coarse or fine pulp with water. - - 3.--Regulated addition of ammonia of a certain strength - and derived from various sources (putrid urine, gas - liquor, etc.) - - 4.--Frequent stirring of the fermenting mass so as to - ensure full exposure of every part thereof to the action - of atmospheric oxygen. - - 5.--Addition of alkalis in some cases (e.g. potash or - soda) to heighten or modify the colour; and of chalk, - gypsum and other substances, to impart consistence. - Various accessories are employed, e.g. the application of - continued, moderate and carefully regulated heat during - the process of fermentation.[10] - - -RECIPES FOR DYEING WITH LICHENS. - -_To dye Brown with Crotal._ - -For 6¼ lbs. (100 oz.) of wool. Dye baths may be used of varying -strengths of from 10 to 50 oz. of Crotal. Raise the bath to the boil, -and boil for an hour. A light tan shade is got by first dipping the -wool in a strong solution of Crotal, a darker shade by boiling for -half-an-hour, and a dark brown by boiling for two hours or so. It is -better, however, to get the shade by altering the quantity of Crotal -used. The addition of sufficient oil of vitriol to make the bath -slightly acid will be an improvement. (A very small quantity should be -used). - -_To Dye Red with Crotal._-- - -Gather the lichen off the rocks--it is best in winter. Put layers of -lichen and wool alternately in a pot, fill up with water and boil -until you get the desired tint. Too much crotal will make the wool a -dark red brown, but a very pretty terra cotta red can be got. No -mordant is required. - -_To Dye Pink from a bright yellow Lichen._ (_Parmelia parietina_). - -Mordant the wool with 3% of Bichromate of Potash, then boil with the -lichen for 1 hour or more. - -_To Dye Brown from Crotal._ - -Boil the wool with an equal quantity of lichen for 1 or 1½ hours. No -mordant is required. - -_To dye red purple from Cudbear & Logwood._ - -Dye with equal quantities of Cudbear and Logwood, the wool having been -mordanted with chrome. A lighter colour is got by dyeing with 8 lbs. -cudbear and ½ lb. logwood (for 30 lbs. wool). - -_To Dye Yellow on Linen with the Lichen Peltigera canina_ (a large -flat lichen growing on rocks in woods). - -Mordant with alum, (¼ lb. to a lb. of linen) boil for 2 hours. Then -boil up with sufficient quantity of the lichen till the desired colour -is got. - - -LIST OF LICHENS USED BY THE PEASANTRY OF DIFFERENT COUNTRIES FOR WOOL -DYEING.[11] - -SHADES OF RED, PURPLE AND ORANGE. - -_Roccella tinctoria._ Orseille. Grows in the South of France, on rocks -by the sea. - -_Lecanora tartarea._ Crotal, Crottle, Corkur, Corcir, Korkir. Found in -the Scotch Highlands and Islands, growing on rocks; used for the -manufacture of Cudbear in Leith & Glasgow. - -_L. parella._ Light Crottle, Crabs Eye Lichen. Found in Scotland, -France, and England, on rocks and trees, formerly celebrated in the -South of France in the making of the dye called Orseille d'Auvergne. - -_L. hæmatomma._--Bloody spotted lecanora, Black lecanora. Found in -Scotland on rocks and trees. - -_Umbilicaria pustulata._--Blistered umbilicaria. Found on rocks in -Norway and Sweden. - -_Isidium corallinum._ White crottle. Found on rocks in Scotland. - -_I. Westringii._ Westring's Isidium. Norway and Sweden. - -_Urceolaria calcarea._ Corkir, Limestone Urceolaria. Found in -Scotland, Western Islands, Shetland and Wales, growing on limestone -rocks. - -_U. Scruposa._ Rock Urceolaria. Grows on rocks in hilly districts in -England. - -_U. cinerea._ Greyish Urceolaria. In England, on rocks. - -_Parmelia saxatilis._ Crottle, stane-raw, Staney-raw, (Scotland). -Scrottyie, (Shetland). Sten-laf, Sten-mossa, (Norway and Sweden). -Found on rocks and stones in Scotland, Shetland, and Scandinavia. In -winter the Swedish peasantry wear home made garments dyed purple by -this lichen. By the Shetlanders it is usually collected in August, -when it is considered richest in colouring matter. - -_P. omphalodes._ Black Crottle, Cork, Corker, Crostil or Crostal, -(Scotch Highlands). Arcel, (Ireland). Kenkerig, (Wales). -Alaforel-leaf, (Sweden). Found on rocks, especially Alpine, in -Scotland, Ireland, Wales and Scandinavia. One of the most extensively -used dye-lichens. It yields a dark brown dye readily to boiling water, -and it is easily fixed to yarns by simple mordants. It is stated to -yield a red, crimson or purple dye. - -_P. caperata._ Stone crottle, Arcel. Found in North of Ireland and -Isle of Man, on trees. Said to dye yarn brown, orange and lemon -yellow. - -_P. conspersa._ Sprinkled parmelia. Found growing on rocks in England. - -_Evernia prunastri._ Ragged hoary lichen. Stag's horn lichen. Found in -Scotland, on trees. - -_Ramalina scopulorum._ Ivory-like ramalina. Scotland, on maritime -rocks. A red dye. - -_R. farinacea._ Mealy ramalina. On trees in England. - -_Borrera ashney._ Chutcheleera. India. - -_Solorina crocea._ Saffron yellow solorina. In Scotland, on mountain -summits. The colouring matter is ready formed and abundant in the -thallus. - -_Nephroma parilis._ Chocolate colored nephroma. Scotland, on stones. -Said to dye blue. - -_Sticta pulmonacea._ On trees. - -_Lecidea sanguinaria._ Red fruited lecidea. In Scotland, on rocks. - -_Conicularia aculeata._ var. _spadicea_. Brown prickly cornicularia. -Canary Islands, Highland Mountains. - -_Usnea barbata._ Bearded Usnea. Pennsylvania and South America. On old -trees. Stated to dye yarn orange. - -_U. florida._ Flowering Usnea. Pale greenish yellow or reddish brown. - -_U. plicata._ Plaited usnea. On trees. - - -SHADES OF BROWN - -_Cetraria Islandica._ Iceland moss. Iceland heaths, and hills. It -yields a good brown to boiling water, but this dye appears only to -have been made available to the Icelanders. - -_Parmelia physoides._ Dark crottle, Bjork-laf. Found in Sweden, -Scotland & Scandinavia, on rocks and trees. - -_P. omphalodes._ In Scandinavia and Scotland. Withering asserts that -it yields a purple dye paler, but more permanent, than orchil; which -is prepared in Iceland by steeping in stale lye, adding a little salt -and making it up into balls with lime. - -_Sticta pulmonacea._ Oak lung, Lungwort, Aikraw, Hazel-raw, Oak rag, -Hazel rag, Hazel crottle, Rags. Found on trees in England, Scotland, -North of Ireland, Scandinavia. It dyes wool orange and is said to have -been used by the Herefordshire peasantry to dye stockings brown. Some -species yield beautiful saffron or gamboge coloured dyes, e.g. _S. -flava_, _crocata_, _aurata_. - -_For continuation of list see Appendix._ - - -FOOTNOTES: - -[6] T. Edmonston. _On the Native Dyes of the Shetland Islands_ 1841. - -[7] The _Annales de Chimie_. Stockholm Transactions 1792. - -[8] The Art of Dyeing. _Berthollet._ He gives minute directions for -the preparation of Archil. See page 365. - -[9] Some British Dye Lichens. _Alfred Edge._ - -[10] From Dr. W. L. Lindsay, On Dyeing Properties of Lichens. - -[11] From an article by Dr. Lauder Lindsay on the "Dyeing Properties -of Lichens," in the _Edinburgh Philosophical Journal._ July to October -1855. - - - - -CHAPTER VI. - -[12]BLUE - -INDIGO, WOAD, LOGWOOD. - - -"Notwithstanding the very great facility of dyeing wool blue, when the -blue vat is once prepared, it is far otherwise with regard to the -preparation of this vat, which is actually the most difficult -operation in the whole art of dyeing."--Hellot. - - -_INDIGO_ - -Indigo is the blue matter extracted from a plant, _Indigofera -tinctoria_ & other species, growing in Asia, South America and Egypt. -It reaches the market in a fine powder, which is insoluble in water. -There are two ways of dyeing with indigo. It may be dissolved in -sulphuric acid or oil of vitriol, thereby making an indigo extract. -This process was discovered in 1740. It gives good blue colours, but -is not very permanent. Darker colours by this method are more -permanent than the paler ones. It does not dye cotton or linen. - -The other method is by the indigo vat process, which produces fast -colours, but is complicated and difficult. In order to colour with -indigo, it has to be deprived of its oxygen. The deoxydised indigo is -yellow, and in this state penetrates the woollen fibre; the more -perfectly the indigo in a vat is deoxydised, the brighter and faster -will be the colour. For the dyeing of wool, the vats are usually -heated to a temperature of 50°C. Cotton and linen are generally dyed -cold. - -_Hellot_ says "when the vat, of whatsoever kind it be, is once -prepared in a proper state, there is no difficulty in dyeing woollens -or stuffs, as it is requisite only to soak them in clean warm water, -to wring them, and then to immerse them in the vat, for a longer or -shorter time, according as you would have the colour more or less -deep. The stuff should be from time to time opened, that is to say, -taken out and wrung over the vat and exposed to the air for a minute -or two, till it becomes blue. For let your vat be what it will, the -stuff will be green when taken out and will become blue when exposed -to the air. In this manner it is very proper to let the colour change -before you immerse your stuffs a second time, as you are thereby -better enabled to judge whether they will require only one or several -dips."--"The Art of Dyeing Wool," by _Hellot_. - -The colour of the blue is brightened by passing the wool through -boiling water after it comes out of the dye. Indigo is a substantive -dye and consequently requires no mordant. - -[13]1). TO MAKE EXTRACT OF INDIGO.-- - -Put 2 lbs. of oil of vitriol into a glass bottle or jar, stir into it -8 oz. of powdered indigo, stirring briskly for ½ hour, then cover up -and stir 4 or 5 times a day for a few days, then add a little powdered -chalk to neutralise the acid. It should be added slowly, little by -little, as the chalk makes the acid bubble up. Keep it closely corked. - -2). TO MAKE EXTRACT OF INDIGO.-- - -4 oz. sulphuric acid, ½ oz. finely ground Indigo. Mix like mustard, -and leave to stand over-night. Prepare the wool by mordanting with 5 oz. -alum to 1 lb. wool. Boil for ½ hour and dye without drying. - -3). TO DYE WOOL WITH INDIGO EXTRACT - -For 4 to 6 lbs. of wool. Stir 2 to 3 oz. of Indigo extract into the -water of the dye bath. The amount is determined by the depth of shade -required. When warm, enter the wool, and bring slowly to boiling point -(about ½ hour) and continue boiling for another ½ hour. By keeping it -below boiling point while dyeing, better colours are got, but it is -apt to be uneven. Boiling levels the colour but makes the shade -greener. This is corrected by adding to the dye bath a little logwood, -10 to 20 per cent. This should be boiled up separately, strained, and -put in the bath before the wool is entered. Too much should be -avoided however, as it dims the colour. It can be done in the same -bath, but better results are got by separate baths. Instead of logwood -a little madder is sometimes used; also Cudbear or Barwood. - -4). TO DYE SILK WITH INDIGO EXTRACT. - -Dye at a temperature of 40 to 50°C. in a bath with a little sulphuric -acid and the amount of indigo as is needed for the colour. Another -method is to mordant the silk first with alum by steeping it for 12 -hours in a solution of 25 per cent. and then, without washing, to dye -with the Indigo Extract and about 10% of alum added to the dye bath. -By this means compound colours can be made by the addition of -cochineal, for purple, or old Fustic, Logwood, etc., for greys, browns -and other colours. - -5). SAXON BLUE.-- - -Put into a glazed earthen pot 4 lbs. of good oil of vitriol with 12 -oz. of choice Indigo, stir this mixture very hastily and frequently in -order to excite a fermentation. It is customary with some Dyers to put -into this composition a little antimony or salt-petre, tartar, chalk, -alum and other things, but I find it sufficient to mix the oil and -Indigo alone, and the colours will be finer, for those neutral salts -destroy the acid of the vitriol and sully the colour. In 24 hours it -is fit for use. Then a copper of a good size is to be filled with fair -water (into which one peck of bran is put in a bag) and made pretty -warm, the bran after yielding its flower must be taken out, and the -Chymie, (Indigo Extract) mixed well with water in a Piggin, (a small -pot) is put in according to the shade required, having first put in a -hand-ful of powdered tartar; the cloth is to be well wet and worked -very quick over the winch (stick on which it is hung) for half an -hour. The liquor must not be made hotter than for madder red (just -under boiling point). The hot acid of the vitriol would cause the blue -to incline to green if too much heat was given. (From an old Dye -Book). - -6). TO MAKE UP A BLUE VAT.-- - -Take 1 lb. Indigo thoroughly ground, put this into a deep vessel with -about 12 gallons of water, add 2 lbs. copperas, and 3 lbs. newly -slaked lime, and stir for 15 minutes. Stir again after 2 hours and -repeat every 2 hours for 5 or 6 times. Towards the end, the liquor -should be a greenish yellow colour, with blackish veins through it, -and a rich froth of Indigo on the surface. After standing 8 hours to -settle, the vat is fit to use. - -7). TURQUOISE FOR WOOL.-- - -Mordant with alum. For a pale shade use 1 teaspoonful of Indigo -Extract (see No. 2) for 1 lb. of wool. Boil ¼ hour. - -8). BLUE FOR WOOL. (Highlands). - -Take a sufficiency of Indigo. (For medium shade about 1 oz. to every -pound of wool). Dissolve it in about as much stale urine (about a -fortnight old) as will make a bath for the wool. Make it lukewarm. Put -in the wool and keep it at the same temperature till the dyeing is -done. For a deep navy blue it will take a month, but a pale blue will -be done in 3 or 4 days. Every morning and evening the wool must be -taken out of the dye bath, wrung out and put back again. The bath must -be kept covered and the temperature carefully attended to. Some add a -decoction of dock roots the last day, which is said to fix the blue. -The wool must then be thoroughly washed. This is a fast dye. - -9). INDIGO VAT. (For small dyers). - -Add to 500 litres of stale urine 3 to 4 kilos of common salt and heat -the mixture to 50° to 60°C., for 4 to 5 hours with frequent stirring, -then add 1 kilo of madder, 1 kilo of ground Indigo, stir well, and -allow to ferment till the Indigo is reduced. - -10). SAXON BLUE. (_Berthollet_). - -Prepare the wool with alum and tartar. A smaller or greater proportion -of the Indigo solution is put into the bath, (1 part of Indigo with 8 -parts of sulphuric acid, digested for 24 hours), according to the -depth of shade wished to be obtained. For deep shades it is -advantageous to pour in the solution by portions, lifting out the wool -from the bath while it is being added. The cold bath acts as well as -the hot. - -11). THE COLD INDIGO VAT WITH URINE. - -Take 4 lbs. of powdered Indigo and put it into a gallon of vinegar, -leaving it to digest over a slow fire for 24 hours. At the end of this -time the Indigo should be quite dissolved. If not dissolved pound it -up with some of the liquor adding a little urine. Put into it ½ lb. -madder, mixing it well. Then pour it into a cask containing 60 -gallons of urine (fresh or stale). Mix and stir the whole together; -this should be done morning and evening for 8 days or until the -surface becomes green when stirred, and produces froth. It may be -worked immediately without any other preparation than stirring it 3 or -4 hours before-hand. This kind of vat is extremely convenient, because -when once prepared it remains so always until it is entirely -exhausted. According as you would have your vat larger or smaller you -reduce or enlarge the amount of the ingredients used in the same -proportion as the original. This vat is sooner prepared in summer than -in winter. - -12). INDIGO VAT ON A SMALL SCALE FOR WOOLLENS AND COTTONS.-- - -Have a strong 9 gallon cask, put into it 8 gallons of urine, have a 4 -quart pickle jar, into which put 1 lb. ground Indigo and 3 pints of -best vinegar; put the jar into a saucepan filled with water, and make -it boil well for 2 hours, stirring it all the time. Let it stand in a -warm place for 3 days, then pour it into the cask; rake it up twice a -day for a month. It must be covered from the air. - -13). BLUE VAT FOR WOOLLENS.-- - -For every 20 gallons of water add 5 oz. ground Indigo, 8 oz. of -potash, 3 oz. madder, and 4 oz. bran. Keep the solution at 140°F.; -after 24 hours the whole will have begun to ferment, then add 2 oz. -madder, stir and allow the whole to settle, after which the vat is -ready for use. - -14). TO DYE INDIGO BLUE. Urine Vat.-- - -Prepare vat as follows:--To 3½ gallons of stale urine add 4½ oz. of -common salt, and heat the mixture to 125°F. (as hot as the hand can -bear). Keep at this heat for 4 to 5 hours, frequently stirring, then -add 1¼ oz. thoroughly ground Indigo and 1¼ oz. Madder, stir well and -allow to ferment till the Indigo is reduced. This is recognized by the -appearance of the vat, which should be of a greenish yellow colour, -with streaks of blue. Allow the vat to settle, when you can proceed -with dyeing. Process of dyeing the same as in No. 15. - -15). TO DYE INDIGO BLUE.--Potash Vat.-- - -Into a pot 3 parts full of water put 1½ oz. Madder and 1½ oz. bran. -Heat to nearly boiling, and keep at this heat for 3 hours. Then add 5 -oz. Carbonate of Potash; allow Potash to dissolve and let the liquor -cool down till luke-warm. Then add 5 oz. thoroughly ground Indigo, -stir well and leave to ferment for two days, occasionally stirring, -every 12 hours or so. Wool dyed in this vat must be thoroughly washed -after the colour is obtained. - -_Process of Dyeing._--Into a vat prepared as above, dip the wool. Keep -it under the vat liquor, gently moving about a sufficient time to -obtain the colour required. A light blue is obtained in a few seconds, -darker blues take longer. Take out wool, and thoroughly squeeze out of -it all the dye liquor back into the vat. Spread out the wool on the -ground, exposed to the air till the full depth of colour is developed. -The wool comes out of the vat a greenish shade, but the oxygen in the -air darkens it, through oxydation, to indigo blue. The wool should now -be washed in cold water with a little acid added to it, and again -thoroughly rinsed and dried. - -16). BLUE VAT FOR COTTON.-- - -In a clean tub put 10 pails of water, slacken 1 bushel of lime into -it, and cover while slackening; put 6 lbs. ground Indigo in a pot and -mix it into a paste with hot water and then put 4 pails of boiling -water on to it, stir it, cover it, and leave it. In another pot, put -20 lbs. copperas, pour 4 pails of water on this, stir it and leave it -covered. Pour 4 pails of water on the top of the lime that is -slackening, rake it up well and put in the melted copperas; rake it -well and put in the Indigo; stir well and leave covered for a couple -of days, stirring occasionally. Half fill a new vat with the mixture. -Rake it well and while you are raking, fill it up with clean water, -continue raking for an hour. Cover it over; it can be used the next -day. This is a colour that never washes out. - -17). GLOUCESTERSHIRE INDIGO VAT. - -Size 5 feet over the top: 7 feet deep, 6 to 7 feet at the bottom. - -Take ½ cwt. bran, ¼ peck lime and 40 lbs. indigo. Warm up to 180 to -200°F., rake it 4 times a day. If it ferments too much add more lime: -if not enough, more bran. An experienced eye or nose will soon tell -when it is ripe or fit to use, which should be in about 3 days. -Regulate the strength of the vat from time to time to the colour -required. No madder or woad is used when much permanency is wanted. - -18). COLD INDIGO VAT FOR DYEING WOOL, SILK, LINEN AND COTTON. - -1 part Indigo, 3 parts good quicklime, 3 parts English vitriol, and 1½ -parts of orpiment. The Indigo is mixed with water, and the lime added, -stirred well, covered up, and left for some hours. The powdered -vitriol is then added, and the vat stirred and covered up. After some -hours the orpiment powder is thrown in and the mixture is left for -some hours. It is then stirred well and allowed to rest till the -liquid at the top becomes clear. It is then fit for dyeing. - - -_WOAD_ - -Woad is derived from a plant, _Isatis tinctoria_, growing in the North -of France and in England. It was the only blue dye in the West before -Indigo was introduced from India. Since then woad has been little used -except as a fermenting agent for the indigo vat. It dyes woollen cloth -a greenish colour which changes to a deep blue in the air. It is said -to be inferior in colour to indigo but the colour is much more -permanent. The leaves when cut are reduced to a paste, kept in heaps -for about fifteen days to ferment, and then formed into balls which -are dried in the sun; these have a rather agreeable smell and are of a -violet colour. These balls are subjected to a further fermentation of -9 weeks before being used by the dyer. When woad is now used it is -always in combination with Indigo, to improve the colour. Even by -itself, however, it yields a good and very permanent blue. - -It is not now known how the ancients prepared the blue dye, but it has -been stated (Dr. Plowright) that woad leaves when covered with boiling -water, weighted down for half-an-hour, the water then poured off, -treated with caustic potash and subsequently with hydrochloric acid, -yield a good Indigo blue. If the time of infusion be increased, greens -and browns are obtained. It is supposed that woad was "vitrum," the -dye with which Cæsar said almost all the Britons stained their bodies. -It is said to grow near Tewkesbury, also Banbury. It was cultivated -till quite lately in Lincolnshire. There were four farms in 1896; one -at Parson Drove, near Wisbech, two farms at Holbeach, and one near -Boston. Indigo has quite superseded it in commerce.[14] - -"It is like the Indigo plant, but less delicate and rich. It is put in -vats with Indigo and madder to dye a never-fading dark blue on wool, -and was called woad-vats before Indigo was known." (Thomas Love). And -again "Woad, or what is much stronger, pastel, always dyed the blue -woollens of Europe until Indigo was brought over here." - -Bancroft says "Woad alone dyes a blue colour very durable, but less -vivid and beautiful than that of Indigo." - - -_LOGWOOD_ - -(Bois de Campêche, Campeachy Wood) - -Logwood is a dye wood from Central America, used for producing blues -and purples on wool, black on cotton and wool, and black and violet on -silk. It is called by the old dyers, one of the Lesser Dyes, because -the colour loses all its brightness when exposed to the air. But with -proper mordants and with careful dyeing this dye can produce fast and -good colours. Queen Elizabeth's government issued an enactment -entirely forbidding the use of logwood. The act is entitled "An Act -for the abolishing of certeine deceitful stuffe used in the dyeing of -clothes," and it goes on to state that "Whereas there hath been -brought from beyond the seas a certeine kind of stuff called logwood, -alias blockwood, wherewith divers dyers," etc., and "Whereas the -clothes therewith dyed, are not only solde and uttered to the great -deceit of the Queene's loving subjects, but beyond the seas, to the -great discredit and sclaunder of the dyers of this realme. For -reformation whereof, be it enacted by the Queene our Soveraygne Ladie, -that all such logwood, in whose handes soever founde, shall be openly -burned by authoritie of the maior." The person so offending was liable -to imprisonment and the pillory. This is quoted from "The Art of -Dyeing," by James Napier, written in 1853. He goes on to say, "Upwards -of eighty years elapsed before the real virtues of this dyeing agent -were acknowledged; and there is no dyewood we know so universally -used, and so universally useful." The principal use for logwood is in -making blacks and greys. The logwood chips should be put in a bag and -boiled for 20 minutes to ½ hour, just before using. "Logwood is used -with galls and copperas for the various shades of greys, inclining to -slate, lavender, dove, and lead colour, etc. For this purpose you fill -a cauldron full of clean water, putting into it as much nut galls as -you think proper. You then add a bag of logwood, and when the whole is -boiled, having cooled the liquor, you immerse the stuff, throwing in -by degrees some copperas, partly dissolved in water."--Hellot. Hellot -is very scornful of logwood, naming it as one of the lesser dyes, and -not to be used by good dyers. - - -_RECIPES FOR DYEING WITH LOGWOOD._ - -1). BLACK FOR COTTON.-- - -After washing, work the cotton in a cold infusion of 30% to 40% of -Sumach, or its equivalent in other tannin matter[15] (ground gall -nuts, myrobalans, etc.) and let steep over-night. Squeeze out and -without washing pass through a bath containing a diluted solution of -lime water, or soda. Work in a cold solution of copperas for ½ hour, -then back into the soda for a ¼ hour at a temperature of 50° to 60°C. -Then wash. Dye in a freshly made bath of logwood with a small -proportion of old Fustic or Quercitron Bark. The cotton is introduced -into the cold dye liquor and the temperature gradually raised to -boiling. Boil for ½ an hour. After dyeing, the cotton should be passed -through a warm solution of Bichromate of Potash. (5 grains per litre). -It is then washed and worked in a warm solution of soap and dried. -More Fustic makes a greener black. - -When catechu is the tanning matter employed, the cotton should be -worked in a boiling decoction of it and allowed to steep till cold. - -2). GREY DRAB FOR WOOL. - -(10 lbs.) Dissolve ½ oz. Bichromate of Potash in water, and then boil -for ½ hour; lift the wool and add 1 oz. logwood: boil for ½ hour. Lift -out, wash and dry. - -3). LOGWOOD GREY ON COTTON. - -The cotton is worked in a weak decoction of logwood at 40° to 50°C., -and then in a separate bath containing a weak solution of ferrous -sulphate or Bichromate of Potash. Wash. - -4). GREEN BLACK FOR WOOL.-- - -Mordant wool with 3% Bichromate of Potash and 1% Sulphuric acid (or -4% Tartar) for 1 to 1½ hours. Then wash and dye with 35% to 50% of -Logwood. This gives a blue black. It is greened by adding 5% old -Fustic to the dye bath. The more Fustic the greener the black becomes. -If 3% to 4% alum is added to the mordanting bath, a still greener -shade is obtained. Sulphuric acid in the mordant produces a dead -looking blue black. Tartar yields a bright bluish black. - -5). LOGWOOD BLUE FOR WOOL. - -Mordant the wool for 1 to 1½ hours at 100°C., with 4% alum and 4 to 5% -cream of Tartar. Wash well and dye for 1 to 1½ hours at boiling -point with 15 to 30% logwood and 2 to 3% chalk. This colour is not -very fast, but can be made faster by adding 1 to 3% bichromate of -potash and 1% sulphuric acid. The brightest logwood blues are -obtained by dyeing just below boiling point. Long boiling dulls the -colour. - -6). GREEN BLACK FOR WOOL. - -Mordant with 2% Chrome and 25% sulphuric acid. Boil 1½ hours and -leave overnight. Dye with 40% logwood and 10% Fustic. Boil 1 hour. - -7). LOGWOOD BLUE FOR WOOL. - -Chrome 1%, Alum 3%, Tartar 1½%. Boil 1½ hours and leave over-night. -Dye with logwood 20% and Cudbear 1%. Boil one hour, then throw in 20 -quarts of single muriate of tin, diluted with 20 to 30 gallons of -water. Immerse 15 minutes and wash. - -8). FAST PURPLE FOR COTTON. - -(For 20 lbs. cotton.) Mordant with copperas. Wash slightly; then a -bath of muriate of tin. Dye with 4 to 5 lbs. logwood. - -9). FAST BLACK ON WOOL.-- - -Put wool into a strong logwood bath, the stronger the better, and boil -for 1 hour. Take out and drain, and put into a Bichromate of Potash -bath and keep at 150°F. for about 5 minutes. Then a bath of Fustic or -Quercitron. After which wash well in cold water. - -10). BLACK FOR COTTON.-- - -(For 10 lbs.) Steep cotton in hot decoction of 3 lbs. Sumach and let -stay over night. Wring out and work for 10 minutes through lime water: -then work for ½ hour in a solution of 2 lbs. copperas. It may be -either washed from this, or worked again through lime water for 10 -minutes. Dye for ½ hour in a warm decoction of 3 lbs. logwood adding -½ pint chamber lye. Take out cotton and add to the same bath 2 oz. -copperas. Work 10 minutes, then wash and dry. 1 lb. Fustic is added -for jet black. - -11). FAST BLACK FOR WOOLLENS.-- - -(For 50 lbs.) Mordant with 2 lbs. chrome, 1 lb. Tartar, 1 quart -Muriate of Tin. Boil 1 hour and wash well. Dye with 25 lbs. logwood -and 3 lbs. Fustic. Boil 30 minutes. Take out and add 1 pint Vitriol. -Return for 10 minutes, wash and dry. - -12). JET BLACK FOR SILK. - -(For 50 lbs.) Mordant in hot solution of Nitro-Sulphate of Iron at -150°F., work for ½ hour. Wash well, then boil up 18 lbs. Fustic. Put -off the boil, enter silk and work for 30 minutes. Take out. Boil 16 -lbs. logwood, put off the boil and decant the liquor into fresh bath, -add 1 lb. white soap, enter and work from 30 to 40 minutes. Wash -well. - -13). LAVENDER FOR WOOL. - -(For 6¼ lbs.) Mordant with 3 oz. Bichromate of Potash, for 45 minutes -and wash. Dye with 2 oz. madder, 1 oz. logwood. Enter the wool, raise -to the boil and boil for 45 minutes. The proportion of logwood to -madder can be so adjusted as to give various shades of claret to -purple. - -14). BLACK FOR WOOL. - -Mordant 6¼ lbs. wool with 4 oz. Chrome. Boil for 45 minutes. Dye with -50 oz. logwood, 1 oz. Fustic. Raise to boil and boil for 45 minutes. - -15). FAST CHROME BLACK FOR WOOL. - -(For 40 lbs. wool.) Dissolve 3 lbs. copperas and boil for a short -time. Then dip the wool in this for ¾ hour, airing frequently. Take -out wool and make dye with 24 lbs. logwood. Boil for ½ hour. Dip ¾ -hour, air wool, dip ¼ hour longer and then wash in strong soap suds. - -16). LIGHT SILVER DRAB FOR WOOL. - -(For 50 lbs. wool). ½ lb. logwood, ½ lb. alum. Boil well and enter -wool and dip for 1 hour. - -17). A FAST LOGWOOD BLUE FOR WOOL. - -(Highland recipe). Mordant with 3% Bichromate of Potash and boil wool -in it for 1½ hours. Wash and dry wool. Make a bath of 15 to 20% -logwood with about 3% chalk added to it. Boil the wool for 1 hour, -wash and dry. The wool can be greened by steeping it all night in a -hot solution of heather, or boiling it in heather till the desired -tint is obtained. - -18). GREEN BLACK FOR WOOL. - -(For 50 lbs. wool). Boil 20 minutes with 1 lb. chrome. Dye with 20 -lbs. Fustic, 8 lbs. logwood. Boil for ½ hour. - -19). SLATE PURPLE. - -(For 80 lbs. yarn). Mordant with 2 lbs. chrome for 20 minutes. Dye -with 10 lbs. logwood & 1 lb. Cudbear. Boil for ½ hour. - -20). RAVEN GREY FOR WOOL. - -(For 60 lbs.) Dissolve 8 oz. Alum and work the wool very quickly for -½ hour at boiling heat; then take it out and add to the same liquor 3 -or 4 lbs. copperas, & work it at boiling heat for ½ hour. Then wash. -In another copper, boil 1 pailfull of logwood chips for 20 minutes. Put -the wool into this for ½ hour; then return it into the alum and -copperas for 10 to 15 minutes. - -21). DARK RED PURPLE WITH LOGWOOD FOR WOOL.--(For 2½ lbs.) - -Mordant with 10 oz. alum and 2½ oz. cream of tartar for 1 hour. Let -cool in the mordant, then wring out and put away for 4 or 5 days in a -linen (or other) bag in the dark. - -Dye with 1 lb. logwood, and ½ lb. madder. Boil up the logwood and -madder in a separate bath and pour through a sieve into the dye bath. -Enter the wool when warm and bring to boil. Boil from ½ hour to 1½ -hours. Wash thoroughly. - -22). VIOLET WITH LOGWOOD FOR SILK. - -The silk is washed from the soap and drained. For every pound of silk, -dissolve in cold water 1 oz. verdigris; when it is well mixed with the -water, the silk is immersed and kept in this liquor for an hour. This -does not give colour. It is then wrung & aired. A logwood liquor is -then made; the silk dipped in it when cold; it takes a blue colour -sufficiently dark. The silk is taken out and dipped in a clear -solution of alum; it acquires a red which produces a violet on the -silk just dyed blue. The quantity of alum is undetermined; the more -alum the redder the violet. The silk is then washed. - -23). ORDINARY LOGWOOD PURPLE FOR WOOL. - -(For 1 lb.) Mordant wool with ¼ lb. alum and ½ oz. tartar for 1 hour; -wring out and put away in a bag for some days. Dye with ¼ lb. logwood -for 1 hour. - - -FOOTNOTES: - -[12] Early dyers were particular as to the naming of their colours. -Here is a list of blues, published in 1669.--"White blue, pearl blue, -pale blue, faint blue, delicate blue, sky blue, queen's blue, turkey -blue, king's blue, garter blue, Persian blue, aldego blue, and -infernal blue." - -[13] I give here recipes for the simpler vats which can be used on a -small scale. The more complicated recipes can only be done in a -well-fitted dye house. I would refer the reader to those in "The Art -of Dyeing" by Hellot, Macquer and D'Apligny, and "Elements of the Art -of Dyeing" by Berthollet. - -[14] Woad, pastel and Indigo are used in some dye books to mean the -same dye, and they evidently have very much the same preparation in -making. - -[15] See page 36. - - - - -CHAPTER VII. - -RED. - -KERMES, COCHINEAL, LAC-DYE, MADDER. - - -_KERMES._ - -Kermes, or Kerms, from which is got the "Scarlet of Grain" of the old -dyers, is one of the old insect dyes. It is considered by most dyers -to be the first of the red dyes, being more permanent than cochineal -and brighter than madder. In the 10th century it was in general use in -Europe. The reds of the Gothic tapestries were dyed with it, and are -very permanent, much more so than the reds of later tapestries, which -were dyed with cochineal. Bancroft says "The Kermes red or scarlet, -though less vivid, is more durable than that of cochineal. The fine -blood-red seen at this time on old tapestries in different parts of -Europe, unfaded, though many of them are two or three hundred years -old, were all dyed from Kermes, with the aluminous basis, on woollen -yarn." - -Kermes consists of the dried bodies of a small scale insect, _Coccus -ilicis_, found principally on the ilex oak, in the South of Europe. It -is said to be still in use in Italy, Turkey, Morocco and other places. - -William Morris speaks of the "Al-kermes or coccus which produces with -an ordinary aluminous mordant a central red, true vermilion, and with -a good dose of acid a full scarlet, which is the scarlet of the Middle -Ages, and was used till about the year 1656, when a Dutch chemist -discovered the secret of getting a scarlet from cochineal by the use -of tin, and so produced a cheaper, brighter and uglier scarlet." - -Kermes is employed exactly like cochineal. It has a pleasant aromatic -smell which it gives to the wool dyed with it. - -The following recipe for its use is from an old French dye book:-- - -20 lbs. of wool and ½ a bushel of bran are put into a copper with a -sufficient quantity of water, and suffered to boil half-an-hour, -stirring every now and then. It is then taken out to drain. While the -wool is draining the copper is emptied and fresh water put in, to -which is added about a fifth of sour water, four pounds of Roman Allum -grossly powdered and two pounds of red Tartar. The whole is brought to -boil, and that instant the hanks are dipped in, which are to remain in -for two hours, stirring them continually. When the wool has boiled two -hours in this liquor, it is taken out, left to drain, gently squeezed -and put into a linen bag in a cool place for five or six days and -sometimes longer. This is called leaving the wool in preparation. -After the wool has been covered for five or six days, it is fitted to -receive the dye. A fresh liquor is then prepared, and when it begins -to be lukewarm, take 12 oz. of powdered Kermes for each pound of wool -to be dyed, if a full and well coloured scarlet is wanted. If the -Kermes was old and flat, a pound of it would be required for each -pound of wool. When the liquor begins to boil, the yarn, still moist, -(which it will be, if it has been well wrapped in a bag and kept in a -cool place) is put in. Previous to its being dipped in the copper with -the Kermes, a handful of wool is cast in, which is let to boil for a -minute. This takes up a kind of scum which the Kermes cast up, by -which the wool that is afterwards dipped, acquires a finer colour. The -handful of wool being taken out, the prepared is put in. The hanks are -passed on sticks continually stirring and airing them one after the -other. It must boil after this manner an hour at least, then taken out -and placed on poles to drain, afterwards wrung and washed. The dye -still remaining in the liquor may serve to dip a little fresh parcel -of prepared wool; it will take some colour in proportion to the -goodness and quality of the Kermes put into the copper. - -_Another Recipe for Dyeing with Kermes._--The wool is first boiled in -water along with bran for half-an-hour (½ bushel of bran for 20 lbs. -of wool) stirring it from time to time. Drain. Next boil for 2 hours -in a fresh bath with a fifth of its weight of alum and a tenth of -Tartar. Sour water is usually added. It is then wrung, put into a bag -and left in a cool place for some days. The Kermes is then thrown into -warm water in the proportion of 12 oz. to every pound of wool. When -the liquor boils, a handful of waste wool is thrown in, to take up the -dross of the Kermes, and removed. The wool is then put in and boiled -for an hour. It is afterwards washed in warm water in which a small -quantity of soap has been dissolved. Then washed and dried. - - "To prepare wool for the Kermes dye, it is to be boiled in - water with about â…• of its weight in alum, and half as - much of Tartar, for the space of two hours and afterwards - left in the same liquor four or five days, when being - rinsed, it is to be dyed in the usual way with about 12 - oz. of Kermes for every pound of wool. Scarlets, etc., - given from Kermes, were called grain colours, because that - insect was mistaken for a grain. Wool prepared with a - nitro-muriatic solution of tin (as is now practised for - the cochineal scarlet) and dyed with Kermes takes a kind - of aurora, or reddish orange colour."--Bancroft. - - -_COCHINEAL_ - -The dried red bodies of an insect (_Coccus Cacti_) found in Mexico are -named Cochineal. - - -RECIPES FOR DYEING. - -1). SCARLET FOR WOOL. - -For each pound of wool put 20 quarts of water. When the water is warm, -add 2 oz. Cream of Tartar, 1½ drachms of powdered Cochineal. When the -liquor is nearly boiling, put in 2 oz. of Solution of Tin (which the -Dyers call Composition for Scarlet). As soon as it begins to boil, the -wool, which has been wetted, is dipped and worked in the liquor for an -hour and a half. A fresh liquor is then prepared, 1½ oz. of starch is -put in and when the water is warm 6½ drachms of Cochineal. When nearly -boiling 2 oz. of solution of tin is put in. It must boil, and then the -wool is put in and stirred continually for 1½ hours. It is then taken -out, wrung and washed. The Scarlet is then in its Perfection. - -2). COCHINEAL FOR COTTON. - -Prepare 50 lbs. of cotton with 15 lbs. Sumach, 10 lbs. Alum. Dye with -2¼ lbs. of Cochineal. Leave for 24 hours in the Sumach; lift; winch 2 -to 3 hours in a hot solution of Alum; wash in two waters, then boil up -the cochineal; put off the boil, enter cotton & winch till colour be -full enough; then wash and dry. - -3). ORANGE RED FOR WOOL. - - 1). Mordant wool with Alum. - - 2). Dye in a bath of weak Fustic. Wash and Dry. - - 3). Put into cold water, Cream of Tartar, Tin, Pepper and - Cochineal. When warm, enter the wool and boil. - -4). PINK WITH COCHINEAL FOR WOOL. - -(For 60 lbs. wool). 5 lbs. 12 oz. alum. Boil and immerse wool for 50 -minutes. Then add 1 lb. Cochineal and 5 lbs. cream of tartar. Boil and -enter wool while boiling, till the required colour is got. - -5). SCARLET FOR WOOL. - -(For 100 lbs.) 6 lbs. of Tartar are thrown into the water when warm. -The bath is stirred briskly and when hot ½ lb. powdered cochineal is -added and well mixed. Then 5 lbs. of clear solution of Tin is -carefully mixed in. When it is boiling the wool is put in and moved -briskly. After 2 hours it is taken out, aired and washed. - -The second bath. When the water is nearly boiling 5¾ lbs. of powdered -cochineal is put in. A crust will form on the surface which will open -in several places. Then 13 to 14 lbs. of solution of tin is poured in. -After this is well mixed, the wool is entered and stirred well. Boil -for an hour, then wash and dry. - -These two processes can be done together with good result. The colour -can be yellowed by fustic or turmeric. More tartar in the second bath -increases the colour. The scarlet may be brightened by common salt. -Alum will change the scarlet to crimson, the wool being boiled in a -solution of it for one hour. - -6). CRIMSON FOR WOOL. - -Mordant with 2½ oz. alum and 1½ oz. tartar for every lb. of wool. Then -dye with 1 oz. cochineal. Solution of tin is sometimes added. Also -salt. - -7). VIOLET FOR WOOL. - -Mordant with 2 oz. alum for 1 lb. wool. Dye with 1 oz. cochineal and 1 -oz. of solution of iron in which the wool is kept till the shade is -reached. - -8). SCARLET WITH COCHINEAL, FOR WOOL. - -(For 100 oz. clean wool). Put 6 oz. Oxalic acid, 6 oz. Stannous -Chloride (Tin Crystals), 8 oz. powdered cochineal in a bath containing -about half the quantity of water required to cover wool. Boil 10 -minutes, then add sufficient water to cover wool. Enter the wool, work -well in the dye and boil for ¾ hour, after which take out the wool, -wash and dry. - -9). PURPLE, FOR WOOL. - -(For 2½ lbs. wool). Mordant with Bichromate of Potash, 1½ oz. in 10 -gallons of water. Dye with 6 to 8 oz. cochineal. With alum mordant (4 -oz.) a crimson colour is got. With tin mordant (2 oz.) a scarlet. With -iron mordant (2 oz.) a purplish slate or lilac. - -10). SCARLET, FOR WOOL. - -Mordant the wool for 1 to 1½ hours with 6% stannous chloride and 4% -cream of tartar. Wash. Dye with 5 to 12% of ground cochineal for 1 to -1¼ hours. To dye the wool evenly, enter it in both the mordant and the -dye when the water is warm, and raise gradually to boiling. - -11). SCARLET, FOR WOOL. - -Fill the dye bath half full of water, add 6 to 8% of Oxalic acid, 6% -of stannous chloride and 5 to 12 per cent. ground cochineal, boil up -for 5 to 10 minutes, then fill up the dye bath with cold water. -Introduce the wool, heat up the bath to the boiling point in the -course of ¾ to 1 hour and boil ½ hour. Washing between mordanting and -dyeing is not absolutely essential. The addition of tartar up to 8 per -cent. increases the intensity and yellowness of the colour. - -In order to obtain bright yellow shades of scarlet it is usual to add -a small proportion of some yellow dye to the bath. - -Wool mordanted with 10 per cent. of Copper sulphate and dyed in a -separate bath with cochineal gives a reddish purple, or claret colour. - -With ferrous sulphate as mordant very good purplish slate or lilac -colours can be got. Mordant and dye in separate baths. Use 8 per cent. -of ferrous sulphate and 20 per cent. of tartar. - -12). CRIMSON FOR SILK. - -Mordant the silk by working for ½ hour in a concentrated solution of -alum, then leave to steep over night. Wash well and dye in a fresh -bath containing 40 per cent. of cochineal. Enter the silk at a low -temperature and heat gradually to boiling. - -13). SCARLET FOR SILK. - -After boiling and washing, the silk is first slightly dyed with yellow -by working it for ¼ hour at 50°C., in a weak soap bath containing -about 10 per cent. of Annatto; it is then well washed. Mordant the -silk by working it for ½ hour, then steeping it over night in a cold -solution of 40 per cent. of nitro-muriate of tin. Wash and dye in a -fresh bath with a decoction of 20 to 40 per cent. of cochineal and 5 -to 10 per cent. cream of tartar. Enter the silk at a low temperature -and heat gradually to boiling. Brighten in a fresh bath of cold water, -slightly acidified with tartaric acid. Good results can also be -obtained with the single bath method with cochineal, stannous chloride -and oxalic acid. - -With the use of iron mordants very fine shades of lilac may be -obtained on silk with cochineal. - - -_LAC DYE._ - -Like Cochineal and Kermes, Lac is a small scale insect, _Coccus -lacca_. It is found in India, Burmah and other Eastern countries; it -was introduced into England in 1796. - -The method of dyeing with lac is very much the same as with cochineal; -it yields its colour less readily however, and should be ground into a -paste with the tin solution employed and a little hydrochloric acid -and allowed to stand for a day before using. It is said to be a faster -dye than cochineal, but is often used in combination with it, being a -fuller colour though not so bright. - -A good fast scarlet is produced by the following recipe:--For 100 lbs. -wool. 8 lbs. lac, previously ground up with part of the tin spirits, 5 -lbs. cochineal, 5 lbs. tartar, 20 lbs. tin spirit. - - -_MADDER._ - -Madder consists of the ground up dried roots of a plant, (Rubia -tinctorum) cultivated in France, Holland, and other parts of Europe, -as well as in India. Madder is not much used for silk dyeing, but for -wool, linen and cotton it is one of the best dyes. It is also used -largely in combination with other dyes to produce compound colours. -When used for cotton the colour is much improved by boiling in a weak -solution of soap after the dyeing. The gradual raising of the -temperature of the dye bath is essential in order to develop the full -colouring power of madder; long boiling should be avoided, as it dulls -the colour. If the water is deficient in lime, brighter shades are got -by adding a little ground chalk to the dye bath, 1 to 2 per cent. - -Berthollet distinguishes two kinds of madder red on cotton, one of -which is given in No. 4. The other is the well-known Turkey red or -Adrianople red, a very difficult and complicated dye, but one of the -most permanent dyes known. Madder reds are said to be not so beautiful -as those from Kermes, lac or cochineal, but my experience has been -that with care, the finest reds can be got with madder. - -Birch leaves are used in Russia to improve the colour of madder. They -are added to the dye bath. - - -RECIPES FOR USE OF MADDER. - -1). RED FOR WOOL. - -For 100 oz. (6¼ lbs.) wool. - -Mordant 8 oz. Alum and 2 oz. Tartar. Boil the wool in the mordant for -one hour and wash in cold water. Dye: 50 oz. Madder. Enter the -mordanted wool, raise to boil and boil gently for one hour. Wash -thoroughly in cold water and dry. If the water is very soft, a small -quantity of lime or chalk added to the dye bath improves the shade. -Alder bark or alder leaves added to the dye bath darkens the colour. -The best results are obtained when the dye bath is maintained just -under the boiling point. - -2). REDDISH BROWN FOR WOOL. - -Mordant with 3% bichromate of potash and dye with Madder. Good -results can be got by the single bath method. (See page 14, No. 3.) - -3). BROWNISH RED FOR WOOL. - -Mordant the wool with 6 to 8 per cent. of alum and 5 to 7 per cent. of -tartar. Dye with 60 to 80% of Madder. Begin the dyeing at about -40°C., and raise the temperature of the bath gradually to 80° to -100°C., in the course of an hour, and continue the dyeing about an -hour. Wash and dry. The colour can be brightened by adding a small -proportion of stannous chloride to the mordant or it can be added to -the dye bath towards the end of the dyeing. - -Brighter shades are got by keeping the temperature at about 80°C., and -prolonging the dyeing process. After dyeing, the colour can be -brightened by working the wool at 70°C., in a weak soap bath, or a -bath containing bran. - -4). BRIGHT RED FOR COTTON.[16] - -(For 22 lbs.). The cotton must be scoured, then galled in the -proportion of 1 part of nut galls to 4 of cotton, and lastly alumed in -the proportion of 1 of alum to 4 of cotton. To the solution of alum is -added one twentieth of solution of soda ley (½ lb. ordinary soda to 1¾ -pints water). It is then dried slowly and alumed again. Then dried -slowly again. The more slowly the drying takes place the better the -colour. The cotton is then ready to be dyed. - -Heat the water of the dye bath as hot as the hand can bear; mix in -6½ lbs. madder and stir carefully. When thoroughly mixed, put in the -cotton & work for ¾ hour without boiling. Take it out & add about a -pint of soda ley. The cotton is then returned to the bath and boiled -for 15 to 20 minutes. It is then brightened by passing it quickly -thro' a tepid bath with a pint of ley in it. It is then washed and -dried. - -5). BRIGHT ORANGE RED FOR WOOL. - -For 1 lb. scoured fleece, mordant with 4 oz. alum and 1 oz. cream of -tartar. Dissolve the mordant, enter the wool and raise to boiling -point and boil for 1 hour. Allow the wool to cool in the mordant. Then -wring out and put in a linen bag in a cool place for 4 or 5 days. Soak -8 oz. madder over night in water and boil up before using. Put into -dye bath, enter wool when warm, bring gradually to the boil and boil -for ¾ hour. - -6). BRIGHT RED FOR WOOL. - -Mordant 1 lb. wool with 5 oz. of Alum, and 1 oz. of Tartar; leave to -drain and then wring out; put into a linen bag and leave in a cool -place for several days. (The wool should still be damp when taken out -to dye; if it is dry, damp with warm water). If the Tartar is -increased a cinnamon colour is got. Dye with ½ lb. of madder for every -pound of wool. The water should not boil, but kept just below boiling -for an hour; then boil up for 5 minutes before taking out and washing. - -With sulphate of copper as a mordant, madder gives a clear brown -bordering on yellow (one part of sulphate of copper and 2 parts of -madder). - -7). RED FOR SILK. - -The silk is mordanted over night with alum, by steeping it in a cold -concentrated solution; wash well and dye in a separate bath with 50 -per cent. of madder. Begin dyeing at a low temperature and gradually -raise to 100°C. The addition of bran tends to give brighter colours. A -small quantity of Sumach could be added if a fuller colour is wanted. -After dyeing, wash and then brighten in a boiling solution of soap, to -which a small percentage of stannous chloride has been added. -Afterwards wash well. - -By mordanting with Copperas, either alone or after an Alum bath, -violet and brown shades can be got. - -8). RED WITH MADDER FOR WOOL. - -Pound up carefully without heating some roots of madder. Mordant the -wool with Alum, adding some cayenne pepper. Dye with the madder, -adding cream of tartar to the dye bath. Birch leaves improve the -colour. - -9). MADDER RED FOR COTTON. - -Take a piece of white cotton, about 20 yards. Melt in some water 1 lb. -of potash; boil the cotton in this for 20 minutes, then rinse it. Put -4 lbs. of the best Sumach in the copper and fill it up with boiling -water, and boil for 10 minutes. Put to cool and work the cotton well -in this for an hour. Take it out and give it a scalding hot alum and -sugar of lead bath for half-an-hour; rinse in two waters; put it back -in the sumach for half-an-hour; then alum again for 20 minutes. Rinse. -Put 2 lbs. of madder into hot water and boil gently for a few minutes. -Put in the cotton, work well and boil for half-an-hour gently. After, -give it a hot alum for 20 minutes, and rinse. Put 1 lb. fresh madder -in the copper, put in the cotton and boil for 20 minutes. Then wash. - -10). RED FOR COTTON. - -Scour the cotton. Then gall in the proportion of 1 of gall nuts to 4 -of cotton. Then alum in the proportion of 1 of alum to 4 of cotton, -with a little soda and tartar added. Dissolve the alum, etc., and put -in the cotton, and boil half-an-hour. Cool down and ring out. Then dry -slowly. Repeat the aluming. Put madder into water and when hot dip in -cotton for ½ hour, keeping it under boiling point, then boil up for ¼ -hour and wash. Dry. - -11). MADDER RED FOR COTTON & LINEN. - -(For 1 lb.) 1st Mordant.--Boil 1 oz. ground gall nuts in 5 quarts of -water for ½ hour. Put in thread and soak for 24 hours. Dry. - -2nd Mordant.--Melt 2 oz. of alum, â…› oz. of Turmeric, and ½ oz. of -gum Arabic in two quarts of water, over a slow fire. Let cool. Melt 1 -oz. soda, 1 oz. arsenic, ¼ oz. potash (crushed) in a bath, and when -dissolved, add the alum, turmeric and gum Arabic mixture. Stew ½ hour. -Put in thread, which should be covered with the liquid, and let it -soak for 24 hours. Dry. - -1st. Bath.--Put 2 oz. Madder into 10 quarts of water, heat up to -boiling but do not let it boil. Put in thread and stir well for 1 -hour. - -2nd. Bath.--Put 3 oz. Madder in 10 quarts of water; treat as in first -bath, from which the thread should be taken and put straight into the -2nd. bath. Stir for 1 hour. Soak for 24 hours; wash and dry. - -3rd. Bath.--Put 3 oz. Madder in 10 quarts water; repeat the process -described for 2nd. bath. The thread should be washed in cold water & -lastly in warm water in which a little soft soap has been dissolved. -When drying do not wring the skeins as this is likely to make the -colour uneven. - -There are a few other red dyes of minor importance which should be -mentioned. - -_BRAZIL WOODS_, various leguminous trees, including lima, sapan and -peach wood, dye red with alum and tartar, and a purplish slate colour -with bichromate of potash. They are not fast colours. - -Some old dyers used Brazil wood to heighten the red of madder. - -_CAMWOOD_, _BARWOOD_, _SANDALWOOD or SANDERSWOOD_, are chiefly used in -wool dyeing, with other dye woods such as Old Fustic, and Logwood for -browns. They dye good but fugitive red with bichromate of potash, or -alum. - -_RED from LADIES BEDSTRAW._ - -The crushed roots of this plant are used. Mordant the wool with either -alum or bichromate of potash. The red with alum is an orange red, with -chrome, a crimson red. Make the dye bath with 30 to 50% of bedstraw -roots and boil the mordanted wool in it for an hour. - -_RED for COTTON._ - -For 10 lbs. cotton boil 3 lbs. Sumach, let the cotton steep in this -over night: wring out and work in red spirits (1 gill to a gallon of -water). Wring out and wash well. Boil up 3 lbs. limawood (or Brazil or -Peach wood) and 1 lb. fustic. Work the cotton in this ½ hour, as warm -as the hand can bear; add 1 gill red spirits and work 15 minutes -longer. Wash. - - -FOOTNOTE: - -[16] This recipe can also be used for linen, but linen takes the -colour less easily than cotton, and should have the various operations -repeated as much as possible. - - - - -CHAPTER VIII. - -YELLOW. - -WELD. OLD FUSTIC. TURMERIC. QUERCITRON. DYER'S BROOM. HEATHER, -AND OTHER YELLOW DYES. - - -"There are ten species of drugs for dyeing yellow, but we find from -experience that of these ten there are only five fit to be used for -the good dye--viz. Weld, savory, green wood, yellow wood and -fenugrec". "Weld or wold yields the truest yellow, and is generally -preferred to all the others. Savory and green wood, being naturally -greenish, are the best for the preparation of wool to be dyed green: -the two others yield different shades yellow".--Hellot. - - -_WELD_ - -Weld, _Reseda luteola_, an annual plant growing in waste sandy places. -The whole plant is used for dyeing except the root. It is the best and -fastest of the yellow natural dyes. - - Hellot's directions for dyeing with weld are the - following:--"Allow 5 or 6 lbs. of weld to every pound of - stuff: some enclose the weld in a clean woollen bag, to - prevent it from mixing in the stuff; and to keep the bag - down in the copper, they put on it a cross of heavy wood. - Others hold it in the liquor till it has communicated all - its colour, and till it falls to the bottom: the stuff is - then suspended in a net, which falls into the liquor, but - others, when it has boiled, take out the weld with a rake - and throw it away." - -The plant is gathered in June and July, it is then carefully dried in -the shade and tied up into bundles. When needed for dyeing it is -broken up into pieces or chopped finely, the roots being discarded and -a decoction is made by boiling it up in water for about ¾ hour. It -gives a bright yellow with alum and tartar as mordant. With chrome it -yields an old gold shade; with tin it produces more orange coloured -yellows; with copper and iron, olive shades. The quantity of weld used -must be determined by the depth of colour required. The dye bath is -prepared just before dyeing, the chopped weld being put into weighted -bags and boiled in soft water for ½ to 1 hour. 2% of Stannous -chloride added to the mordant gives brilliancy and fastness to the -colour. Bright and fast orange yellows are got by mordanting with 8% -Stannous chloride instead of alum. With 6% copper sulphate and 8% -chalk, weld gives a good orange yellow. Wool mordanted with 4% of -ferrous sulphate and 10% tartar and dyed in a separate bath with weld -with 8% chalk, takes a good olive yellow. 8% of alum is often used -for mordant for weld. The dye bath should not be above 90°C. It is -good to add a little chalk to the dye bath as it makes the colour more -intense, while common salt makes the colour richer and deeper. - - "Woollen dyers frequently add a little stale urine or lime - and potash to the water in which it is boiled. They - commonly employ 3 or 4 oz. of alum and one of tartar for - each pound of the wool. Tartar is supposed to render the - yellow colour a little more clear and - lively."--Bancroft. - -Weld is of greater antiquity than most, if not all other natural -yellow dyes. It is cultivated for dyeing in France, Germany and Italy. -It is important for the silk dyer, as it dyes silk with a fast colour. -The silk is mordanted in the usual way with alum, washed and dyed in a -separate bath of 20 to 40% weld, with a small quantity of soap added. -After dyeing, the colour is brightened by working the silk for 10 -minutes in a fresh soap bath with a little weld added to it. Wring out -without washing. - - -RECIPES FOR DYEING WITH WELD. - -1). YELLOW FOR SILK. - -Scour the silk in the proportion of 20 lbs. soap to 100 lbs. of silk. -Afterwards alum and wash. A bath is made of 2 parts weld for 1 of -silk, and after ¼ hour's boiling, it is filtered through a cloth into -another bath. When this bath is cooled a little, the silk is immersed -and turned about till dyed. The weld is in the meantime boiled up -again with a little pearl ash, and after being strained, it is added -to the first bath (part of the first bath having been thrown away) -until the desired colour is got. The bath must not be too hot. If more -golden yellows are wanted, add some annotto to the second bath. - -2). YELLOW FOR COTTON. - -Scour the cotton in a lixivium of wood ashes, wash and dry. It is -alumed with ¼ of its weight of alum. After 24 hours it is taken out of -the bath and dried without washing. A weld bath is prepared with 1¼ -parts weld to 1 of cotton, and the cotton dipped in till the shade is -got. It is then worked in a bath of sulphate of copper (¼ copper to 1 -of cotton) for 1½ hours. It is next thrown, without washing, into a -boiling solution of white soap (¼ soap to 1 cotton). It is boiled for -1 hour, then washed and dried. - -3). DEEP YELLOW FOR COTTON OR LINEN. - -2½ parts of weld for 1 of cotton, with a little copper sulphate added -to the bath. The cotton is well worked in this till the cotton has the -desired colour. It is then taken out and a little soda ley is poured -in. It is returned and worked in this for ¼ hour, then washed and -dried. - -4). OLD GOLD FOR WOOL. - -Mordant with 2% chrome and dye with 60% of weld in a separate bath. -3% of chalk adds to the intensity of colour. - -5). YELLOW FOR WOOL. - -Boil wool with 4% of alum for 1 to 2 hours, and dye in a separate -bath of 50 to 100% weld for 20 minutes to an hour at 90°C. - -6). YELLOW FOR WOOL. - -Mordant with alum and tartar, and dye with 5 or 6 lbs. of weld for -every lb. of wool. Common salt deepens the colour. If alum is added to -the dye bath, the colour becomes paler and more lively. Sulphate of -iron inclines it to brown. - -7). WELD YELLOW FOR SILK. - -Work the silk (1 lb.) for an hour in a solution of alum, 1 lb. to the -gallon, wring out and wash in warm water. Boil 2 lbs. weld for ½ hour; -strain and work the silk in this for ½ hour. Add 1 pint alum solution -to the weld bath and return the silk; work ten minutes, wring out and -dry. - - -_OLD FUSTIC._ - -Fustic is the wood of _Morus tinctoria_, a tree of Central America. It -is used principally for wool. It does not produce a fast dye for -cotton. With Bichromate of Potash as mordant, Old Fustic gives old -gold colour. With alum it gives yellow, inclining to lemon yellow. The -brightest yellows are got from it by mordanting with Tin. With copper -sulphate it yields olive colours. (4 to 5% copper sulphate and 3 to 4% -tartar). With ferrous sulphate, darker olives are obtained (8% -ferrous sulphate). For silk it does not produce as bright yellows as -weld, but can be used for various shades of green and olive. Prolonged -dyeing should always be avoided, as the yellows are apt to become -brownish and dull. The chips should be tied up in a bag and boiled for -½ hour before using. It is still better to soak the wood over-night, -or boil up in a small vessel and strain into the dye bath. The -proportion of Fustic to be used for a good yellow is 5 to 6 parts to -16 parts of wool. - - -RECIPES FOR DYEING WITH OLD FUSTIC. - -1). OLD GOLD FOR WOOL. Boil the wool with 3 to 4% Chrome for 1 to 1½ -hours. Wash, and dye in a separate bath for 1 to 1½ hours at 100°C. -with 20 to 80% of Old Fustic. - -2). LIGHT YELLOW FOR SILK. Work the silk for ¼ to ½ hour at 50° to -60°C. in a bath containing 16% alum and a decoction of 8 to 16% of -old Fustic. For dark yellow the silk is mordanted with alum, washed -and dyed for about an hour at 50°C., with 50 to 100% of Fustic. The -colour can be made faster and brighter by working the silk in a cold -solution of nitro-muriate of Tin for an hour. - -3). BRIGHT YELLOW FOR WOOL. Mordant wool with 8% of stannous chloride -for 1 to 1½ hours, and 8% of tartar. Wash, and dye with 20 to 40% of -Fustic at 80° to 100°C. for 30 to 40 minutes. - -4). OLD GOLD FOR WOOL. Mordant 6¼ lbs. (100 oz.) wool with 3 oz. -chrome, for ¾ hour and wash. Dye with 24 oz. Fustic & 4 oz. madder for -45 minutes. - -5). YELLOW FOR WOOL. Mordant 6¼ lbs. wool with 3 oz. chrome, for ¾ -hour and wash. Dye with 6 oz. Fustic, 2 drachms logwood. Boil ¾ hour. - -6). BRIGHT YELLOW FOR WOOL. (Single bath method). Fill the dye bath -½ full of water, add 2% oxalic acid, 8% stannous chloride, 4% tartar -and 40 per cent. of Fustic. Boil up for 5 or 10 minutes, then fill the -bath with cold water. Put in the wool & heat up the bath to boiling in -the course of ¾ to 1 hour, & boil for ½ hour. - -7). YELLOW FOR WOOL. (Single bath). 4% stannous chloride, 4% oxalic -acid and 50% Fustic. - -8). YELLOW FOR SILK. (5 lbs.) Work the silk through an alum solution -of 1 lb. to a gallon of water. Wash in warm water. Boil 2 lbs. Fustic -for ½ hour in water and in this work the silk for ½ hour. Lift and add -1 pint of the alum solution. Work 10 minutes longer, then wash and -dry. - -9). FUSTIC YELLOW FOR SILK. (5 lbs.) Alum the silk. Boil up 3 lbs. -Fustic and work silk in it while hot for ½ hour. Lift, add 2 oz. red -spirits. Work for 15 minutes. Wash out in cold water. Work 10 minutes -in a soap solution. Wring out and dry. - -10). BUFF COLOUR ON WOOL. (45 lbs.) Boil 4½ lbs. Fustic and 1½ lbs. -madder. Add 7 lbs. alum and boil up together. Allow to cool a little, -enter wool and boil for ½ hour. - -11). YELLOW FOR WOOL. Mordant with alum and tartar. Solution of tin -increases the colour; salt makes it deeper. 5 or 6 oz. Fustic for -every pound of wool. - - -_TURMERIC_ - -Turmeric is a powder obtained from the ground up tubers of _Curcuma -tinctoria_, a plant found in India and other Eastern countries. It -gives a brilliant orange yellow, but it has little permanence. It is -one of the substantive colours and does not need any mordant. Cotton -has a strong attraction for it, and is simply dyed by working in a -solution of Turmeric at 60°C. for about ½ hour. With silk and wool it -gives a brighter colour if mordanted with alum or tin. Boiling should -be avoided. It is used sometimes for deepening the colour of Fustic or -Weld, but its use is not recommended as although it gives very -beautiful colours, it is a fugitive dye. As Berthollet says "The shade -arising from the Turmeric is not long of disappearing in the air." - - -_QUERCITRON._ - -Quercitron is the inner bark of the _Quercus nigra_ or _Q. tinctoria_, -a species of oak growing in the United States and Central America. It -was first introduced into England by Bancroft in 1775 as a cheap -substitute for weld. He says, "The wool should be boiled for the space -of 1 or 1¼ hours with one sixth or one eighth of its weight of alum; -then without being rinsed, it should be put into a dyeing vessel with -clean water and also as many pounds of powdered bark (tied up in a -bag) as there were used of alum to prepare the wool, which is to be -then turned in the boiling liquor until the colour appears to have -taken sufficiently: and then about 1 lb. clean powdered chalk for -every 100 lbs. of wool may be mixed with the dyeing liquor and the -operation continued 8 or 10 minutes longer, when the yellow will have -become both lighter and brighter by this addition of chalk." - -QUERCITRON FOR SILK. _Bancroft._ - -1 to 2 lbs. of bark to every 12 lbs. silk according to shade required. -The bark, tied up in a bag, should be put into the dyeing vessel -whilst the water is cold, as soon as it gets warm the silk, previously -alumed, should also be put in and dyed as usual. A little chalk should -be added towards the end of the operation. A little murio sulphate of -tin is used where more lively shades of yellow are wanted. - -Boil at the rate of 4 lbs. bark to every 3 lbs. of alum & 2 lbs. murio -sulphate of tin with a suitable quantity of water, for 10 to 15 -minutes. Reduce the heat so that the hand can bear it, put in the silk -and dye till it has acquired the shade. By adding suitable proportions -of sulphate of indigo to this yellow liquor and keeping it well -stirred, various and beautiful shades of Saxon green may be dyed. - -By dissolving different proportions of copperas or copperas and alum -in the warm decoction of bark, silk may in the same way be dyed of all -the different shades of olive and drab colours\. - - -FOR COTTON AND LINEN. Soak the yarn in a liquor made by dissolving ¼ -of its weight of alum in the necessary water, to which it will be -highly advantageous to add at the rate of 1 lb. potash or 10 oz. chalk -for every 6 or 7 lbs. alum. The yarn is taken out and dried well: -being afterwards rinsed, it is to be dyed in cold liquor made by -boiling 1¼ lbs. of the plant for each lb. of yarn, which, after having -received a sufficient body of colour, is to be taken out of the dyeing -liquor and soaked for an hour and more in a solution of sulphate of -copper (blue vitriol) containing at the rate of 3 or 4 oz. for every -pound of yarn: it is then removed without being washed, put into a -boiling solution of hard soap, containing 3 or 4 oz. soap for each -pound of yarn. Stir well and boil for about ¾ hour or more. Then wash -and dry. - -And again, take a sufficient quantity of acetate of alumina. This is -made by dissolving 3 lbs. alum in a gallon of hot water, then adding 1 -lb. sugar of lead, stirring well for 2 or 3 days, afterwards adding -about 2 oz. potash and 2 oz. powdered chalk, (carbonate of lime), mix -with warm water and soak linen or cotton well in this for 2 hours, -keeping warm; squeeze out, dry; soak again in mordant, squeeze; dry; -soak in lime water, dry; this mordanting and liming can be repeated if -a fast yellow is required: it should then be well washed. 12 to 18 -lbs. of Quercitron bark, for every 100 lbs. cotton or linen, is tied -up in a bag and put in cold water, and slightly heated. The cotton is -put in, stirring for an hour to an hour and a half while the water -gets warm: then the liquor is heated to boiling point and the cotton -boiled a few minutes only. Slow raising to boiling point gives the -best colour. Instead of using acetate of alumina, the cotton can be -impregnated with some astringent such as galls or myrobalans (1 lb. in -2 or 3 gallons of water with a little soda). Macerate the cotton an -hour or two in this and dry, then a solution of alum (8 lbs. alum, 1 -lb. chalk, in 6 gallons of water) soak cotton 2 hours, and dry, then -soak in lime water and dry. Second time in alum and dry. Then wash and -dye slowly in the Quercitron. This is a lasting yellow for cotton or -linen. - - -_OTHER YELLOW DYES._ - - "Root of the dock, bark of the Ash tree, leaves of the - almond, peach and pear trees, all give good yellow dyes, - more or less fine according to the time they are boiled - and in proportion to the Tartar and alum used. A proper - quantity of alum brings these yellows to the beautiful - yellows of the weld. If the Tartar is in greater quantity, - these yellows will border on the orange, if too much - boiled they take brown shades." From a dyeing book, 1778. - -_BARBERRY._ The roots and bark of _Berberis Vulgaris_, used -principally for silk dyeing, without a mordant. The silk is worked at -50° to 60°C. in a solution of the dye wood slightly acidified with -sulphuric, acetic or tartaric acid. For dark shades, mordant with -stannous chloride. - -_DYERS BROOM._ _Genista tinctoria._ The plant grows on waste ground. -It should be picked in June or July & dried. It can be used with an -alum and tartar mordant and gives a good bright yellow. It is called -greening weed and used to be much used for greening blue wool. - -_PRIVET LEAVES_, _Ligustrum vulgare_, dye a good fast yellow with alum -and tartar. - -_HEATHER._ Most of the heathers make a yellow dye, but the one chiefly -used is the Ling, _Calluna vulgaris_. The tips are gathered just -before flowering. They are boiled in water for about half an hour. The -wool, previously mordanted with alum, is put into the dye bath with -the liquor, which has been strained. It is then covered up closely and -left till the morning. Or the wool can be boiled in the heather liquor -till the desired colour is obtained\. - - -RECIPES:--1). YELLOW FOR WOOL. For 6¼ lbs. mordant with 5 oz. alum for -1 hour and wash. Boil up 8 oz. heather twigs, leaves and flowers. -Enter the wool and boil for 1 hour. Wash in cold water & dry. - -2). GOLDEN YELLOW FOR WOOL. For 6¼ lbs. mordant with 3 oz. bichromate -of potash for ¾ hour. Wash in cold water. Dye with 50 oz. heather and -boil for 45 minutes. - - - - -CHAPTER IX. - -BROWN AND BLACK. - -CATECHU. ALDER BARK. SUMACH. WALNUT. PEAT SOOT. LOGWOOD, AND OTHER DYES - - -_CATECHU._ - -Catechu, (Cutch) is an old Indian dye for cotton. It can be used for -wool, and gives a fine rich brown. It is obtained from the wood of -various species of Areca, Acacia, and Mimosa trees. Bombay Catechu is -considered the best for dyeing purposes. - -Catechu is soluble in boiling water. It is largely used by the cotton -dyer for brown, olive, drab, grey, and black. The ordinary method of -dyeing cutch brown on cotton is to steep the cotton in a hot solution -of catechu, containing a small addition of copper sulphate, and leave -it in the solution for several hours. To 7 or 8 gallons of water put 1 -lb. catechu and boil till all is dissolved, then add 1 to 2 ozs. of -sulphate of copper and stir. It is then put into a boiling chrome bath -(3%) for ½ hour. For deep shades the dyeing and chroming operations -are repeated. With alum mordanted cotton, the colour is a yellowish -brown, with tin it becomes still yellower. With iron it is brownish or -greenish grey. When catechu only is used, a darker shade of brown is -got by adding to the catechu 6% of its weight of copper sulphate. -When mordants are used, they may be applied before or after the chrome -bath, the cotton being worked in their cold solution. - -1). CATECHU BROWN FOR COTTON. (10 lbs.) Work the cotton at a boiling -heat for 2 hours, or steep for several hours in a cool liquid, in 2 -lbs. catechu. (To each 7 or 8 gallons of water put 1 lb. of catechu, -and boil till all is dissolved, then add 2 oz. sulphate of copper and -stir). Wring out and then work for ½ hour in a hot solution of chrome, -6 oz. Wash in hot water. If soap is added the colour is improved. Any -depth of colour can be got by repeating the operations. - -2). BROWN FOR COTTON. Soak cotton in warm water. Boil for ½ hour in a -solution of catechu, in the proportion of 1 oz. of catechu to 5 oz. of -cotton. Put it into a 3% solution of chrome for ½ hour and boil. Then -repeat these two operations till the colour is obtained. Then boil in -a bath of Fustic. - -3). BROWN FOR COTTON. (100 lbs.) Boil 20 lbs. catechu in water: -dissolve in the liquid 10 lbs. alum and let it settle: enter the yarn -into the hot liquid and after working well take out and enter into a -fresh bath of boiling water with 4 lbs. of chrome. Rinse and soften -with oil and soap. - -4). CREAM COLOUR FOR COTTON WITH CATECHU. (11 lbs). Boil out ¾ oz. of -catechu in water, and dissolve 2 lbs. 3 oz. curd soap in the clear -liquid. Enter the cotton at 190° F. and work for an hour. - -5). CATECHU FAST BROWN. (50 lbs.) Steep yarn over-night in a decoction -of 10 lbs. cutch. Lift & work in a hot solution of chrome, rinse & -dry. - -6). LIGHT FAST CATECHU BROWN FOR COTTON. (50 lbs.) Boil 20 lbs. -catechu in one boiler and 5 lbs. chrome in another. Enter in the -catechu bath first, work 20 minutes, and wring out: then through the -chrome 10 minutes, and wring out. Through catechu again, then chrome. -Repeat this till dark enough, finishing with catechu. - -7). LIGHT CATECHU BROWN FOR COTTON. (20 lbs). 3 lbs. of catechu and 3 -oz. copper sulphate, boil up, and put into a bath of warm water. Enter -cotton and work for ½ hour; wring out. In another bath of hot water -dissolve 8 oz. of chrome. Enter cotton when boiling, and work for -½ hour. Then wash. - -8). CATECHU BLACK FOR COTTON. Work the cotton in a hot decoction of -catechu, allowing it to steep in the bath till cold, then work it in a -cold solution of iron. Wash, and dye in a cold or tepid bath of -logwood, and finally pass through a solution of chrome. - -9). CATECHU BROWN FOR WOOL. The wool is boiled for 1 to 1½ hours, with -10 to 20% catechu, then sadden with 2 to 4% of copper sulphate, -ferrous sulphate, or chrome, at 80° to 100°C., in a separate bath for -½ hour. - -10). CATECHU STONE DRAB. (10 lbs. cotton). Work the cotton for ¼ hour -with 2 pints catechu (1 lb. catechu to 7 or 8 gallons water; boil and -add 2 oz. copper sulphate) in hot water, lift and add 2 oz. copperas -in solution. Work for ¼ hour and wash. Add 2 oz. logwood to a bath of -warm water & work cotton in this for 10 minutes. Lift and add ½ oz. -alum. Work 10 minutes; wring out and dry. - - -_ALDER BARK_ - -The bark and twigs of alder are used for dyeing brown and black. For 1 -lb. wool use 1 lb. alder bark. Boil the wool with it for 2 hours, when -it should be a dull reddish brown. Add ½ oz. copperas for every pound -of wool for black. - - -_SUMACH_ - -Sumach is the ground up leaves and twigs of the _Rhus coriaria_ -growing in Southern Europe. It dyes wool a yellow and a yellow brown, -but it is chiefly used in cotton dyeing. - - -_WALNUT_ - -The green shells of the walnut fruit and the root are used for dyeing -brown. The husks are collected when the fruit is ripe, put into a cask -and covered with water. In this way they can be kept for a year or -more; it is said the longer they are kept the better colour they give. -Without a mordant the colour is quite fast, but if the wool is -mordanted with alum a brighter and richer colour is got. When used -they are boiled in water for ¼ hour, then the wool is entered and -boiled till the colour is obtained. Long boiling is not good as it -makes the wool harsh. It is much used as a "saddening" agent; that is -for darkening other colours. William Morris says:-- - - "The best and most enduring blacks were done with this - simple dye stuff, the goods being first dyed in the indigo - or woad vat till they were a very dark blue, and then - browned into black by means of the walnut root." - - * * * * * - - "Of all the ingredients used for the brown dye, the walnut - rind is the best. Its shades are finer, its colour is - lasting, it softens the wool, renders it of a better - quality, and easier to work. To make use of this rind, a - copper is half filled, and when it begins to grow - luke-warm, the rind is added in proportion to the - quantities of stuffs to be dyed and the colour intended. - The copper is then made to boil, and when it has boiled a - quarter-of-an-hour, the stuffs which were before dipped in - warm water, are put in. They are to be stirred and turned - until they acquire the desired colour."--James Haigh, - 1797. - - -_PEAT SOOT_ gives a good shade of brown to wool. Boil the wool for 1 -to 2 hours with peat soot. Careful washing is required in several -changes of water. It is used sometimes for producing a hazel colour, -after the wool has been dyed with weld and madder. - - -_OAK BARK._ Mordant with alum and dye in a decoction of oak bark. - - -_ONION SKINS._ (Brown.) Mordant the wool with alum and a little -cayenne pepper. Boil it up lightly and keep warm for 6 days. Drying 2 -or 3 times in between makes the colour more durable. Dry. Boil a -quantity of onion skins, and cool; then put in wool and boil lightly -for half-an-hour to an hour; then keep warm for a while. Wring out and -wash. - - -_MADDER for BROWN._ (For 2½ lbs. wool). Mordant with 2 oz. copperas -and 2 oz. cream of tartar. Dye with madder. - - -_MADDER, ETC., for FRENCH BROWN._ (For 50 lbs. wool.) Mordant with -1½ lbs. chrome. Dye with 6 lbs. Fustic, 1 lb. madder, ½ lb. cudbear, -1 lb. Tartar. If not dark enough add 8 oz. logwood. Boil for ½ hour. -Wash and dry. - - -_FOR BLACK THREAD._ (From an old Dutch book on Dyeing. 1583). "Take a -quantity of broken or bruised galls and boil them in water in a small -pot and when they have a little boiled, take out all the galls and put -into the same pot so much Copperas as ye had of galles and put -therewith a little gumme of Arabic and then give it again another -boiling. So let it boil a little, and with the said dye ye shall -colour therein your thread, then take it forth and ye shall see it a -fair shining black." - - -_TAN SHADE._ (for 6¼ lbs. wool). Mordant with 3 oz. Chrome for 45 -minutes and wash in cold water. Boil for ½ hour, in a bag, 5 oz. -madder, 4 oz. Fustic, ½ oz. logwood. Enter the wool, raise to the -boil, and boil for 45 minutes. By altering the proportions of madder & -fustic various shades of brown can be got. - - -_A GOOD BLACK_ for cotton, (20 lbs.) to stand milling and scouring. -Steep all night with 6 lbs. of Sumach, pass through lime liquor and -sadden with copperas; repeat in each of the last 2 tubs, adding more -lime and copperas to each. Pass through logwood and wash. Soften with -a little oil and soda ash. - - -_A GOOD BLACK_ for cotton, (20 lbs.) In a tub of cold water add 5 lbs. -sumach, give a few turns and let it steep in it all night; then in -another tub of cold water add a few pails of lime water, wring out; in -another tub add 2 lbs. dissolved copperas and a pailful of old Sumach -liquor. Enter, give 6 turns, wring out. In lime tub put two pails more -lime liquor. Scald 2 lbs. logwood, 1 lb. Fustic in water; enter -cotton, give 10 turns, sadden with a little copperas in the same -liquor. Soften with a little oil and soda ash. - - -_BLACK FOR LINEN AND COTTON._ The yarn is first of all scoured in the -ordinary way, galled, alumed, and then turned through a bath of weld. -It is then dyed in a decoction of logwood to which one fourth part of -sulphate of copper must be added for one part of yarn. It is then -washed. It is dyed in a bath made with one part of madder for two of -yarn. The yarn is then turned through a bath of boiling soap water, -washed and dried. - - -_DOESKIN BLACK._ (For 100 lbs. wool.) Camwood 8%. Boil for 50 -minutes. Then add Chrome 3%, Alum 1%, Argol 1%. Boil for 50 -minutes, take out of dye and allow to stand overnight. Dye in 45% -logwood, 8% Fustic, 4% Sumac. Boil for 1½ hours, wash and dry. A -fast permanent colour. - - -_GREEN BLACK FOR WOOL._ Mordant with 2% Chrome and 25% Sulphuric -acid. Boil 1½ hours; and leave over-night. Dye with 40% logwood, and -10% Fustic. Boil 1 hour. Wash. - - -_BROWNISH BLACK FOR WOOL._ (For 1 lb.) Mordant with 3 per cent. -Chrome. Dye with 2 oz. Fustic, 2 oz. logwood, 1 oz. madder, and 1 oz. -copperas. - - -_BROWN FOR WOOL._ Mordant 2½ hours with alum; dye with pine needles -(larch) collected in Autumn when they drop. - - -"_BLACK_ is obtained from the whole plant of _Spirea Ulmaria_, but -especially the root. It is gathered then dried in the sun, and a -strong decoction made by boiling for some hours, (a large handful to 3 -pints of water). After it has boiled slowly for 2 to 3 hours, stale -urine is added to supply the loss by evaporation. Then set aside to -cool. The cloth to be dyed, is rubbed strongly with bog iron ore, -previously roughened and moistened with water. It is then rolled up -and boiled in the decoction. This is of a brilliant black. A fine -black is said to have been formerly obtained from the roots of -_Angelica Sylvestris_."--(Edmonstone on the Native Dyes of the -Shetland Islands, 1841.) William Morris says; - - "[17]Black is best made by dyeing dark blue wool with - brown; and walnut is better than iron for the brown part, - because the iron-brown is apt to rot the fibre; as you - will see in some pieces of old tapestry, or old Persian - carpets, where the black is quite perished, or at least in - the case of the carpet--gone down to the knots. All - intermediate shades of flesh colour can be got by means of - weak baths of madder and walnut "saddening;" madder or - cochineal mixed with weld gives us orange, and with - saddening (walnut) all imaginable shades between yellow - and red, including the ambers, maize-colour, etc." - - From a Dye Book of 1705.--"Black may be compared to Night - and Death, not only because all other colours are deepened - and buried in the Black Dye, but that as Death puts an end - to all Evils of Life, tis necessary that the Black Dye - should remedy the faults of other colours, which have been - occasioned by the deficiency of the Dyer or the Dye, or - the change of Fashion according to the times and caprice - of man." - - -FOOTNOTE: - -[17]--For other recipes for Black, see Chapter VI on Logwood. - - - - -CHAPTER X. - -GREEN - - -Green results from the mixing of blue and yellow in varying -proportions according to the shade of colour required. _Berthollet_ -says:-- - - "Many different plants are capable of affording green - colours; such as, the field broom grass, _Bromus - secalinus_; the green berries of the berry bearing alder, - _Rhamnus frangula_; wild chervil, _Chærophyllum - silvestre_; purple clover, _Trifolium pratense_; common - reed, _Arundo phragmites_; but these colours have no - permanence."[18] - - _Hellot_ says:--"It is impossible to obtain more than one - colour from a mixture of blue and yellow, which is green; - but this colour comprehends an infinite variety of shades, - the principal of which are the Yellow green, the Light - green, the Gay green, the Grass green, the Laurel green, - the Molequin green, the Deep green, the Sea green, the - Celadon green, the Parrot green, and, I shall add, the - Duck-wing green, and the Celadon green with Blue. All - these shades and the intermediate ones are made after the - same manner and with the same ease. The stuff or wool dyed - blue, light or dark, is boiled with Alum and Tartar, as is - usually done to make white stuff yellow, and then with - Weld, Savory, or Greening Wood. The Weld and the Savory - are the two plants that afford the finest greens." - -Another old Dye book says:-- - - "If you would dye your goods green, you must first dye - them yellow with Broom or Dyer's Weed, otherwise Yellow - Weed; after which put them into the Blue vat." - -Every dyer has his particular yellow weed with which he greens his -blue dyed stuff. But the best greens are undoubtedly got from weld and -fustic. - -The wool is dyed first in the blue vat; then washed and dried; then -after mordanting dyed in the yellow bath. This method is not arbitrary -as some dyers consider a better green is got by dyeing it yellow -before the blue. But the first method produces the fastest and -brightest greens as the aluming after the blue vat clears the wool of -the loose particles of indigo and seems to fix the colour. - -If a bright yellow green is wanted, then mordant with alum after the -indigo bath; if olive green, then mordant with chrome. - -The wool can be dyed blue for green in 3 different ways:--1st. in the -indigo vat (see page 68 et seq.); 2nd. with Indigo Extract (see pages -65-67); 3rd. with logwood, the wool having been previously mordanted -with chrome (see p. 82, No. 7, and p. 85 No. 17). For a good bright -green, dye the wool a rather light blue, then wash and dry; green it -with a good yellow dye, such as weld or fustic, varying the proportion -of each according to the shade of green required. Heather tips, dyer's -broom, dock roots, poplar leaves, saw wort are also good yellows for -dyeing green. If Indigo Extract is used for the blue, fustic is the -best yellow for greening, its colour is less affected by the sulphuric -acid than other yellows. - -_Bancroft_ gives many recipes for dyeing green with quercitron. He -says:-- - - "Wool which has been first properly dyed blue in the - common indigo vat may be made to receive any of the - various shades of green which are usually given in this - way from weld, by boiling the blue wool (after it has been - well rinsed) in water, with about one eighth of its - weight in alum, and afterwards dyeing it unrinsed with - about the same quantity of Quercitron bark and a little - chalk which should be added towards the end of the - process. - - In the same way cloth that has previously received the - proper shade of Saxon blue, may be dyed to a beautiful - Saxon green: it will be proper to add about 3 lbs. chalk - with 10 to 12 pounds of alum for the preparation liquor - for 100 lbs. weight of wool which is to be turned and - boiled as usual for about an hour, and then without - changing the liquor, 10 or 12 lbs. of Quercitron bark, - powdered and tied up in a bag, may be put into it, and the - dyeing continued. When the dyeing has continued about 15 - minutes, it will be proper to add another lb. of powdered - chalk, stirring it well in, and to repeat this addition - once, twice or three times at intervals of 6 or 8 minutes. - The chalk does not merely answer the purpose of - decomposing the acid left in the wool by the sulphate of - indigo, but it helps to raise the colour and to render it - more durable." - -According to _Bancroft_, Quercitron is the yellow above all others for -dyeing greens. He says:-- - - "The most beautiful Saxon greens may be produced very - cheaply and expeditiously by combining the lively yellow - which results from Quercitron bark, murio sulphate of tin - and alum, with the blue afforded by indigo when dissolved - in sulphuric acid, as for dyeing the Saxon blue". - - For a full bodied green he says "6 or 8 lbs. of powdered - bark should be put into a dyeing vessel for every hundred -  lbs. wool with a similar quantity of water. When it - begins to boil, 6 lbs. murio-sulphate of tin should be - added (with the usual precaution) and a few minutes - afterwards 4 lbs. alum: these having boiled 5 or 6 - minutes, cold water should be added, and then as much - sulphate of Indigo as needed for the shade of green to be - dyed, stirring thoroughly. The wool is then put into the - liquor and stirred briskly for about ½ hour. It is best to - keep the water just at the boiling point." - - -RECIPES FOR DYEING GREEN. - -1). BOTTLE GREEN FOR SILK WITH FUSTIC. (5 lbs.) Dissolve 2 lbs. alum -and 1 lb. copperas in water; work the silk in this for ½ hour; wash in -warm water. Work for ½ an hour in a decoction of 6 lbs. Fustic. Lift, -and add 2 oz. Indigo Extract. Work 20 minutes. Wash and dry. - -2). GREEN FOR WOOL WITH FUSTIC. ½ lb. of wool is mordanted with â…› -oz. chrome and â…› oz. Cream of Tartar for ½ an hour to 1 hour. Soak -overnight in water, 3 oz. Fustic and 2½ oz. logwood, and boil for 2 -hours. Strain, and enter wool. Boil for 2 hours. - -3). GREEN FOR LINEN WITH LARCH BARK. Mordant 4 lbs. linen with ½ lb. -alum. Boil for 2½ hours; wring out but do not dry. Boil up a quantity -of larch bark and boil linen in this for 2½ hours. - -4). FUSTIC GREEN FOR WOOL. (50 lbs.) Mordant wool with 11 lbs. alum. -Soak 50 lbs. Fustic over-night, and boil up. Enter the wool and boil -for half-an-hour or more. Add Extract of Indigo in small quantities at -a time, till the desired colour is got. - -5). SAXON GREEN FOR WOOL. Mordant the wool with alum and tartar for -half-an-hour; it is then taken out and aired, but not washed. The bath -is refreshed with cold water, and half the amount of the solution of -Indigo which is to be used is well mixed in. The wool is entered and -rapidly stirred for 5 or 6 minutes, without boiling. It is taken out -and the rest of the Indigo solution is well mixed in. The wool is put -in and boiled for ten minutes; then taken out and cooled. The bath is -then three-quarters emptied and filled up with a decoction of fustic. -When the bath is very hot, the wool is put in until the desired shade -of green is got. - -6). GREEN WITH QUERCITRON FOR WOOL. Dye the wool blue in the Indigo -vat. Wash well. For 100 parts of wool, put 3 parts of chalk and 10 or -12 of alum. Boil the wool in this for 1 hour. Then to the same bath, -add 10 or 12 parts of Quercitron, and continue the boiling for ¼ hour. -Then add 1 part of chalk, and this addition is repeated at intervals -of 6 to 8 minutes till a fine green colour is brought out. - -7). GREEN WITH QUERCITRON FOR COTTON. First, the cotton is dyed a sky -blue colour by means of indigo dissolved by potash and orpiment; then -it is passed through a strong decoction of sumach, in which it is left -until well cooled. It is then dried, passed through the mordant of -acetate of alumina, dried again, washed, worked for 2 hours in tepid -bath of Quercitron, (26¼ lbs. to 110 lbs. cotton). - -8). GREEN WITH INDIGO EXTRACT & WELD FOR WOOL. Mordant 1 lb. wool with -4 oz. alum and ½ oz. cream of tartar. Dye blue with sufficient -quantity of Indigo Extract. Wash and dry. Prepare a dye bath with weld -which has been previously chopped up and boiled. Enter wool and boil -for half-an-hour or more. - - -FOOTNOTE: - -[18] Note page 42 on British plants which dye green. - - - - -APPENDIX - -LICHENS USED FOR DYEING WOOL BROWN. - -_Continued from page 62_ - - -_S. scrobiculata._ Aik-raw, Oak rag. Found on trees in Scotland and -England. - -_Gyrophora deusta._ Scorched looking gyrophora. Found on rocks in -Scandinavia. Linnæus states that it furnishes a paint called "Tousch," -much used in Sweden. - -_G. cylindrica._ Cylindrical gyrophora. On rocks in Iceland. Greenish -brown. Also G. deusta. - -_Alectoria jubata._ Horse hair lichen, Rock hair. On fir trees in -England, pale greenish brown. - -_Parmelia parietina._ Common yellow wall lichen, Wäg-mässa, Wag-laf. -England and Sweden on trees, rocks, walls, palings. Used to dye Easter -eggs. Used in Sweden for wool dyeing. - -_Cetraria juniperina._ En-mossa. On trees in Scandinavia. - -_Borrera flavicans._ Yellow borrera. On trees in Germany, gamboge -yellow. - -_Lecanora candelaria._ Ljus mässa. On trees in Sweden. - -_Evernia flavicans._ Wolf's-bane evernia. On trees in Scandinavia, -gamboge yellow. - -_Lecidea atro-virens._ Map lichen. On rocks in Scandinavia. - -_Lepraria chlorina._ Brimstone coloured lepraria. Scandinavia, on -rocks. - -_L. Iolithus._ Viol-mässa. Sweden, on stones. Gives to stones the -appearance of blood stains. - - - - -BIBLIOGRAPHY - - -Prof. G. Henslow. Uses of British Plants. - -Dr. Plowright. British Dye Plants. (Journal of the Royal Horticultural -Society, Vol. 26. 1901.) - -Sowerby. Useful Plants of Great Britain. - -Sowerby. English Botany. - -Professor G. S. Boulger. The Uses of Plants. 1889. - -Alfred Edge. Some British Dye Lichens. (Journal of the Society of -Dyers and Colourists. May 1914). - -J. J. Hummel. The Dyeing of Textile Fabrics. - -Clement Bolton. A Manual of Wool Dyeing. 1913. - -W. Crooks. Dyeing and Tissue Printing. 1882. - -Rawson, Gardiner and Laycock. A Dictionary of Dyes, Mordants, 1901. - -James Haigh. The Dyer's Assistant. 1778. - -James Napier. A Manual of Dyeing Receipts. 1855. - -James Napier. A Manual of the Art of Dyeing. 1853. - -A Profitable Boke. (On Dyeing). Translated from the Dutch. 1583. - -Darwin and Meldola. Woad. ("Nature", Nov. 12, 1896). - -Mrs. Anstruther Mackay. Simple Home Dyeing. - -English Encyclopædia. Dyeing. 1802. - -Gardiner D. Hiscock. 20th Century Book of Recipes, Formulas and -Processes. 1907. - -F. J. Bird. The Dyer's Hand Book. 1875. - -Hurst. Silk Dyeing and Printing. (Technological Hand Book. 1892). - -Smith. Practical Dyers' Guide. 1849. - -T. Sims. Dyeing and Bleaching. (British Manufacturing Industries. -1877.) - -David Smith. The Dyers' Instructor. 1857. - -The Dyer and Colour Maker's Companion. 1859. - -Thomas Love. The Practical Dyer and Scourer. 1854. - -Knecht, Rawson and Lowenthal. A Manual of Dyeing. 1893. - -Berthollet. The Art of Dyeing. 1824. - -George Jarmain. On Wool Dyeing. 6 Lectures. 1876. - -Hellot, Macquer, M. le Pilleur D'Apligny. The Art of Dyeing Wool, Silk -and Cotton. (Translated from the French, 1789. New Edition, 1901.) - -The Art of Dyeing. (Translated from the German. 1705. Reprint 1913.) - -R. P. Milroy. Handbook on Dyeing for Woollen Homespun Workers. -(Congested Districts Board for Ireland). - -Dr. W. L. Lindsay. On the Dyeing Properties of Lichens. (Edinburgh New -Philosophical Journal, 1855). - -T. Edmonston. "On the Native Dyes of the Shetland Islands." -(Transactions of Botanical Society of Edinburgh, Vol. I. 1841). - -Edward Bancroft. The Philosophy of Permanent Colours. 1794. - -Francheville. On Ancient and Modern Dyes, 1767. (Royal Academy of -Sciences, Berlin). - -Parnell's Applied Chemistry.--Article on Dyeing. - -William Morris. "Of Dyeing as an Art." (Essays by Members of the Arts -and Crafts Exhibition Society, 1903). - -William Morris. "The Lesser Arts of Life." (From Architecture, -Industry and Wealth. 1902). - -Brewster's Edinburgh ncyclopædia. 1830. Dyeing. - -Sansome. "Dyeing." 1888. - -John M. Thomson. The Practical Dyer's Assistant. 1849. - - - - -GLOSSARY AND INDEX. - - -A.--_Adjective dyes_, 24. Dyes which require a mordant. - -_Alder bark_, 43, 44, 100, 126. - -_Alizarin._ The chief colouring principle of madder. It is also the -name for an extensive series of chemical colours produced from -anthracene, one of the coal tar hydrocarbons, discvrd., 1868. - -_Alkaline ley_, 28. - -_Almond_, 120. - -_Amber_, 132. - -_Alum_, 26-29. - -_Aluminium sulphate_, 26. - -_Aniline_, 3. Discovered, 1826 (_añil, Span. indigo_). First prepared -from indigo by means of caustic potash. Found in coal in 1834. -Manufactured on a large scale after Perkin's discovery of mauve in -1856. - -_Anatta_, (Anotto, Arnotto, Roucou), 111. A dye obtained from the pulp -surrounding the seeds of the _Bixa orellana_; chiefly used in dyeing -silk an orange colour, but is of a fugitive nature. - -_Archil_, 52, 53, 54. - -_Argol_, 131. The tartar deposited from wines completely fermented, and -adhering to the sides of casks as a hard crust. When purified it -becomes Cream of Tartar. - -_Ash_, 41, 120. - -_Astringents_, 19, 26. - - -B.--_Barberry_, 41, 120. - -_Barwood_, 67, 106. - -_Beck._--A large vessel or tub used in dyeing. - -_Bichromate of Potash_, 32. - -_Birch_, 38, 42, 43, 99, 103. - -_Black_, 122-123; from logwood, 79-85. - -_Black Dye Plants_, 44. - -_Blue_, 63; from Indigo, 66-75; from lichen, 61; from logwood, 79-85. - -_Blue black_, 81. - -_Blue Dye Plants_, 39. - -_Blue stone_, 33. - -_Blue vitriol_, 33-36. - -_Bois de Campêche_, 77. - -_Bois jaune_, Fustic, yellow wood. - -_Brazil woods_, 106. - -_British Dye Plants_, 37-44. - -_Broom_, 41, 134. - -_Brown_, 122-133; from lichens, 45-49, 51, 56, 57, 60-62, 140; from -madder, 102, 106; from weld, 112; from woad, 76. - -_Brown Dye Plants_, 43. - -_Buff_, 115. - - -C.--_Campeachy Wood_, 77. - -_Camwood_, 106, 131. - -_Carthamus._ Safflower, an annual plant cultivated in S. Europe, Egypt -and Asia for the red dye from its flowers. - -_Catechu_, 33, 35, 36, 122-6. - -_Caustic Soda._ Carbonate of soda, boiled with lime. - -_Chestnut_, 35. - -_Chrome_, 32, 33. - -_Cinnamon_, 102. - -_Claret_, 51, 84. - -_Coal Tar Colours._ Colours obtained by distillation and chemical -treatment from coal tar, a product of coal during the making of gas. -There are over 2,000 colours in use. - -_Cochineal_, 92-7, 132. - -_Copper_, 33-5. - -_Copper sulphate_, 33. - -_Copperas_, 29, 30, 129. - -_Corcur_, 51. - -_Cotton_, 18; the dyeing of, 19; without mordant, 21; method in India, -19, 20; the mordanting of, 26. - -_Cream_, from catechu, 124. - -_Cream of Tartar_, 28-32, 34. See argol. - -_Crimson_, 94-96, 106; from lichens, 49, 60. - -_Crottle_, 46, 56-60, 62. - -_Cudbear_, 45, 52, 54, 55, 57, 58, 67, 85, 129. - - -D.--_Detergent_, 15. A cleansing agent. - -_Dip._ Generally applied to immersing cloth etc. in the blue vat. - -_Divi-divi_, 35, 36. The dried pods of _Cæsalpina coriaria_, growing -in the West Indies and S. America. They contain 20 to 35% tannin and -a brown colouring matter. - -_Dock_, 40, 44, 50, 69, 120, 135. - -_Drab_, 80, 118, 126. - -_Dyer's Broom_, 40, 121, 135. - -_Dyer's Spirit_, 32. Aqua fortis, 10 parts; Sal Ammoniac, 5 parts; -Tin, 2 parts; dissolved together. - -_Dyer's Weed_, 40, 134. - - -E.--_Enter._ To enter wool, to put it into the dye or mordant liquor. - -_Extract of Indigo_, 65-69. - - -F.--_Felting_, to prevent, 15. - -_Fenugrec_, Fenugreek, 107. _Trigonnella fÅ“nugræcum._ - -_Ferrous sulphate_, 29. - -_Flavin._ A colouring matter extracted from quercitron. - -_Fleece_, various kinds of, 13. - -_Flesh colour_, 132. - -_Full, to._ To tread or beat cloth for the purpose of cleansing and -thickening it. - -_Fuller's Herb._ _Saponaria officinalis._ A plant used in the process of -fulling. - -_Fuller's Thistle_ or Teasle. _Dipsacus fullonum._ Used for fulling -cloth. - -_Fustet._ Young fustic. Venetian Sumach. _Rhus cotinus._ It gives a -fine orange colour, which has not much permanence. - -_Fustic_, 113-116, 130, 131, 135. - - -G.--_Galls_, _Gall nuts_, 26, 129. Oak galls produced by the egg of an -insect,--the female gall wasp. An excrescence is produced round the -egg, & the insect, when developed, pierces a hole & escapes. Those -gall nuts which are not pierced contain most tannic acid. The best -come from Aleppo and Turkey. - -_Gramme_ or _Gram_. About 15½ grains (Troy). - -_Green_, 133-9; with fustic, 137-8; with weld, 139. - -_Green Dye Plants_, 42. - -_Green Vitriol_, 29. - -_Green wood_, 107, 108, 134. - -_Greening weed_, 121. - -_Grey_, 67, 79; from logwood, 80, 85. - - -H.--_Hazel colour_, 128. - -_Heather_, 40, 85, 121, 135. - - -I.--_Iceland moss_, 51, 61. - -_Indigo_, 63-75, 135-139. - -_Indigo Extract_, 64-70; for green, 135-139. - -_Iron_, 29-30. - - -K.--_Kermes_, 87-91. - -_Kilo. Kilogramme._ Equals 2 lbs. 3·2 oz. - -_Korkalett_, 50. - - -L.--_Lac_, 97, 98. - -_Larch_, 43, 131, 137. - -_Lavender_, 84. - -_Lesser Dye_, 77, 79. - -_Ley_, see lye. - -_Lichen_, 45-62, 140. - -_Lilac_, 95, 96, 97. - -_Lima Wood_, 106, 107. - -_Linen_, 21; to bleach, 22; the mordanting of, 26; various kinds of, -21. - -_Litre_, 80. Nearly 1¾ pints. - -_Lixiviation._ The process of separating a soluble substance from an -insoluble by the percolation of water. - -_Lixivium._ (Lye). A term often used in old dye books. Water -impregnated with alkaline salts extracted by lixiviation from wood -ashes. - -_Logwood_, 77, 130, 131, 137. - -_Lye_ or _Ley_. Any strong alkaline solution, especially one used for -the purpose of washing, such as soda lye, soap lye. - - -M.--_Madder_, 38, 98-105, 132. - -_Magenta_, 44. - -_Maize_, 132. - -_Mercerised Cotton._ Cotton prepared by treating with a solution of -caustic potash or soda or certain other chemicals. Discovered by John -Mercer in 1844. - -_Milling._ The operation of fulling cloth. - -_Mordants_, 24; general remarks on, 34; primitive mordants, 25. - -_Muriate of Tin_, 31. - -_Myrobalans_, 26, 35, 36. The fruit of several species of trees, -growing in China & the East Indies, containing tannic acid, (25-40% -tannin). - - -O.--_Oak bark_, 128. - -_Oak galls_, 35, 36. - -_Oil of Vitriol_, 64, 65, 67. Sulphuric acid. - -_Old Fustic_, see Fustic. - -_Old Gold_, 109, 112-114. - -_Olive_, 109, 113, 118, 135. - -_Onion skins_, 128. - -_Orange_, 91, 93, 102, 106, 109, 120, 132; from lichens, 48, 51, 58, -60-2. - -_Orchil_, 45, 52-55. - -_Organzine._ Twisted raw silk from best cocoons, used for warp. - -_Orseille_, 58. - -_Oxalic Acid_, 30, 31. - - -P.--_Pastel_, 77. Woad. - -_Peach_, 120. - -_Peach wood_, 106-107. - -_Pear_, 41, 120. - -_Pearl ash._ Carbonate of Potash. - -_Peat Soot_, 128. - -_Persian Berries._ The dried unripe fruit of various species of -Rhamnus. Also called French berries, Grains of Avignon. - -_Philamort_, 48. - -_Pink_, 93; from lichen, 57. - -_Plum colour_, from lichen, 48. - -_Poplar_, 42, 135. - -_Potassium Carbonate._ (Potashes). Carbonate of Potash has been known -since ancient times as a constituent of the ashes of land plants, -from which it is obtained by extraction with water. In most cases -Sodium Carbonate, which it strongly resembles, can be used in its -place. - -_Potassium dichromate_, 32. - -_Privet_, 39, 41, 42, 121. - -_Purple_, from lichens, 53, 57-60, 62; with cochineal, 95, 96; with -logwood, 82, 85, 86, 87. - -_Purple Dye Plants_, 43. - - -Q.--_Quercitron_, 116-120; for green, 135-137. - - -R.--_Red_, 87-107; from lichens, 48-51, 53, 56, 58, 60. - -_Red Dye Plants_, 38. - -_Red Spirits._ Tin spirits. Applied to tin mordants generally. A -solution of Stannous chloride. - -_Red woods._ Camwood, Barwood, Sanderswood (Santal, Sandal, Red -Sanders), Brazil wood, Sapan wood, Peach wood. - -_Retting_, 21. - -_Roucou._ Anatta, Arnotto. - - -S.--_Sandalwood_ or Saunderswood, 106. - -_Sadden, to_, _saddening_, 14, 30, 34, 127, 130, 132. To darken or dull -in colour. - -_Sapan wood_, 106. - -_Savory_, 107, 108. - -_Sawwort_, 41, 135. - -_Saxon blue_, 67, 70, 136. The dye made by Indigo dissolved in oil of -vitriol. - -_Saxon green_, 118, 136, 138. - -_Scarlet_, 88, 91, 92, 93, 94, 95, 97, 98. - -_Scarlet of Grain_, 87. - -_Scotch ell._ 37·2 inches. - -_Scour, to._ To wash. - -_Scroop._ The rustling property of silk. - -_Scrottyie_, 49, 50, 59. - -_Silk_, 16-18; to alum, 18; general method of dyeing, 17; to mordant, -26; the preparation of, 17; to soften, 18; various kinds of, 16; raw, -16, 17; waste, 16. - -_Silver drab_, 84. - -_Sloe_, 39. - -_Soda ash._ Carbonate of soda. - -_Soda ley_, 101. - -_Sour water_, 28. To every gallon of water, add 1 gill vitriol; stir -thoroughly. Stuff steeped in this should be covered with the liquor, -otherwise it will rot. - -(2). Water in which bran has been made to grow sour. 24 bushels of -bran are put in a tub, about 10 hogsheads of nearly boiling water is -poured into it; acid fermentation soon begins, and in 24 hours it is -ready to use. - -(3). Throw some handfuls of bran into hot water and let it stand for -24 hours, or till the water becomes sour, when it is fit for use. - -_Stannous Chloride_, 31. - -_Staple_, 11, 12. A term applied to cotton and wool, indicating length -of fibre. - -_Stuffing and Saddening_, 14, 30. - -_Substantive Dye_, 24, 52, 65, 116. A dye not requiring a mordant. - -_Sulphuric Acid_, 64, 66, 67, 70, 120, 131. - -_Sumach_, 26, 35, 36, 126. Leaves and twigs of several species of -Rhus, containing Tannic acid. It is sold in the form of crushed leaves -or as a powder, (15-20% tannin). - - -T.--_Tannic Acid_, 26, 35. - -_Tannin_, 35, 36. - -_Tin_, 31, 32. - -_Tin crystals_, 31. - -_Tin salts_, 31. - -_Tram._ Slightly twisted raw silk, used for weft. - -_Turkey Red_, 99. - -_Turmeric_, 116. - -_Turquoise_, 69. - -_Tyrian purple._ A purple colour obtained from certain shell fish, -such as Buccinum & Purpura. It is mentioned by Pliny as being -discovered in 1400 B.C. It was a lost art in the middle ages. - - -V.--_Valonia_, 35. Acorn cups of certain species of oak from S. -Europe, containing 25-35% of tannic acid. - -_Vegetable alkali._ Potash. - -_Verdigris_, 33. Acetate of copper. - -_Violet_, 86, 94, 103. - -_Vitrum_, 76. - - -W.--_Walnut_, 43, 127, 132. - -_Water_ for dyeing, 23. - -_Weld_, 107-112, 120, 130, 134, 135. - -_Wet out_, to. To damp, before putting the yarn or cloth into the dye. - -_Woad_, 39, 75-77. - -_Wool_, 11; to bleach, 16; to cleanse, 15, 16; long staple wool, 12; -various kinds of, 11, 12, 13. - -_Wool Dyeing_, general methods, 13-16. - - -Y.--_Yarn_, to soften, 16. - -_Yellow_, 107-122; from lichens, 51, 57, 140; from sumach, 126. - -_Yellow Dye Plants_, 39. - -_Yellow Weed_, 134. - -_Yellow Wood_, 107. - - - - -ERRATA - - - page 59. Rock Urcolaria shld. be Rock Urceolaria. - - page 61. Flowering lusnea shld. be Flowering Usnea. - - page 144. (printed without being corrected). - - Add:--_Alder bark_, 43, 44, 100, 126. - - _Almond_, 120. - - _Amber_, 132. - - _Argol_, 131. - - _Ash_, 41, 120. - - _Barwood_, 67, 106. - - Correct:-- - - authracene to anthracene - - _anie_ to _añil_ - - Roucon to Roucou - - sorrounding to surrounding - - -_Printed by Douglas Pepler at Ditchling_ - - - - -[Illustration: A WOOD CUT ILLUSTRATION FROM THE DEVIL'S DEVICES (_see -advert_.)] - - - - - BOOKS - Published by DOUGLAS PEPLER - AT THE - HAMPSHIRE HOUSE WORKSHOPS - HAMMERSMITH - - - COTTAGE ECONOMY BY WILLIAM - COBBETT with an INTRODUCTION - BY G. K. CHESTERSON - Price 2s. 6d. net (Postage 3d.) - - A REPRINT of a STANDARD WORK - Which should be of use, in these days, to - Many beside Cottagers. - - - A CAROL AND OTHER RHYMES - By EDWARD JOHNSTON - Price 1s. net. (Postage 2d.) - - - A BOOK ON VEGETABLE DYES - By ETHEL M. MAIRET - Price 5s. net (Postage 4d.) - - - - -THE DEVIL'S DEVICES or Control versus Service by DOUGLAS PEPLER, with -Wood-cut Illustrations by Eric Gill. Price 2s. 6d. net. The first 200 -copies will be numbered and signed. Price 3s. 6d. net. - -This book contains an account of a cinematograph entertainment in -Satan's Circuit; a crafty devil; and an appreciation of No. 27, an -English working-man. - - -_THE REVIEWERS ON THE DEVIL'S DEVICES._ - -WHAT WILL THEY SAY NEXT? - -But we believe that the effect upon most people will be what it -certainly is upon one reader, who is NOT IN THE LEAST SHOCKED, but is -considerably - - BORED. - - --_C. O. Review._ - -A verse may find him who a sermon flies, and there is likely to be -here and there one, who seeing in a bookseller's window the red cover -and the black, the very black, cart thereon, will incontinently -purchase. - - --_The New Witness._ - -His arguments are closely logical when he chooses to make them so, -though their sequence and arrangement are bewilderingly haphazard. - - --_The Herald._ - -The whole effect is of a hotch-potch composed in a lunatic asylum; and -the pictures seem madder than the letterpress.... Much to the -irritation of my wife, for supper was waiting, I read on till I had -read the book right through.... The "mad" author of this book is -Douglas Pepler, the "mad" artist is Eric Gill. When I say "mad" I am, -for the moment, taking it for granted that the world is sane.-- - - _Labour Leader._ - - * * * * * - -(and so on very nicely for several columns.)-- - - _Land and Water._ - -The drama is skilfully unfolded (though the author fails over the -spelling of Nietzsche, page 29) and interspersed with wood-cuts ... -and a still more excellent account of the passing of the poor man's -parlour. - - _The Cambridge Magazine._ - -The author has marked with the toe of his boot the moral weakness on -which the Devil depends for his power over the modern world.-- - - _Red Feather._ - -Mr. Pepler perpetually _DROPS_ into dialogue with - - FATAL - RESULTS. - - _New Age._ - - - - - -End of Project Gutenberg's A Book on Vegetable Dyes, by Ethel Mairet - -*** END OF THIS PROJECT GUTENBERG EBOOK A BOOK ON VEGETABLE DYES *** - -***** This file should be named 50079-8.txt or 50079-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/0/7/50079/ - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - diff --git a/old/50079-8.zip b/old/50079-8.zip Binary files differdeleted file mode 100644 index ae8123b..0000000 --- a/old/50079-8.zip +++ /dev/null diff --git a/old/50079-h.zip b/old/50079-h.zip Binary files differdeleted file mode 100644 index 94b5286..0000000 --- a/old/50079-h.zip +++ /dev/null diff --git a/old/50079-h/50079-h.htm b/old/50079-h/50079-h.htm deleted file mode 100644 index 975735f..0000000 --- a/old/50079-h/50079-h.htm +++ /dev/null @@ -1,5756 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> - -<html xmlns="http://www.w3.org/1999/xhtml"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of A Book on Vegetable Dyes, by Ethel Mairet. - </title> - <link rel="coverpage" href="images/title-page.jpg" /> - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1{ - text-align: center; - clear: both; - font-size: 2.5em; -} - -h2 {text-align: center; - clear: both; - margin-top: 4em; - margin-bottom: 1em; - font-size: 1.2em; -} -.chap1 {margin-top: 1em;} - -p { - margin-top: .75em; - text-align: left; - margin-bottom: .75em; -} - -.pagenum { - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; - font-style: normal; -} -hr { - width: 100%; - margin-top: 1em; - margin-bottom: 1em; - margin-right: auto; - clear: both; -} - -hr.l15 { width: 15%; - margin-left: 42%; } - - -.center { text-align: center; } - - -.left45 { margin-left: 45%; } -.left65 { margin-left: 65%; } - -.smcap { font-variant: small-caps; } - -.caption { - font-weight: bold; - margin-left: 15%; - margin-right: 15%; - text-align: center; -} - -ul.none { list-style-type:none; } - -li.hanging {margin-left: .5em; - text-indent: -.5em;} - -li.ind {margin-left: -.5em; - text-indent: .5em;} - - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; -} - -p.hanging { - margin-left: 1em; - text-indent: -1em; -} - -.footnote { - margin-left: 10%; - margin-right: 10%; - font-size: 0.9em; -} - -.footnotes { border: dashed 1px; - margin-top: 6em; } - -.footnote .label { - position: absolute; - right: 84%; - text-align: right; -} - -.fnanchor { - vertical-align: super; - font-size: .8em; - text-decoration: - none; -} - -img.drop-cap { - float: left; - margin: 0 0.5em 0 0; - position: relative; - z-index: 1; -} -p.drop-cap { text-indent: 0em;} - -@media handheld { - h1 {text-align: center; - clear: both; - font-size: 1.5em; - } - .newpage {page-break-before: always;} - .b20 {font-size:1.6em;} - .b15 {font-size:1.2em;} - - img.drop-cap { display: none; - visibility: hidden;} - - .transnote { - page-break-inside: avoid; - margin-left: 2%; - margin-right: 2%; - margin-top: 1em; - margin-bottom: 1em; - padding: .5em; - } - -} - - -.p2 {margin-top: 2em;} -.p4 {margin-top: 4em;} -.p6 {margin-top: 6em;} - -.i2 { margin-left: 2em; } -.b20 {font-size:2.0em;} -.b15 {font-size:1.5em;} -.b12 {font-size:1.2em;} -.s09 {font-size:.9em;} - -.blockquot { - margin-left: 5%; - margin-right: 10%; - font-size: 90%; -} - -table { - margin-left: auto; - margin-right: auto; - empty-cells: show; -} - -td {padding-left: 1em; - padding-right: 1em; -} -.tdr { - text-align: right;} - -.transnote { - background-color: #EEE; - border: thin dotted; - font-family: sans-serif, serif; - color: #000; - margin-left: 5%; - margin-right: 5%; - margin-top: 4em; - margin-bottom: 2em; - padding: 1em; -} - -.ch_summ { - font-size: .85em; - margin-top: 1.5em; - margin-bottom: 2.5em; -} - -.bbox { - border: solid 2px; - padding-bottom: .5em; - padding-top: .5em; - padding-left: .5em; - padding-right: .5em; -} - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of A Book on Vegetable Dyes, by Ethel Mairet - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: A Book on Vegetable Dyes - -Author: Ethel Mairet - -Release Date: September 30, 2015 [EBook #50079] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK A BOOK ON VEGETABLE DYES *** - - - - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - - -<div class="bbox"> -<h1>A BOOK ON<br /> -<span class="b20">VEGETABLE</span><br /> -<span class="b20">DYES</span></h1> -<hr /> -<p class="center b20">BY<br /> -ETHEL M. MAIRET</p> -<hr /> - -<div class="figcenter"> -<img src="images/logo.jpg" width="119" height="79" alt="Logo" /> -</div> -<p class="center b20">A.D. 1916</p> -<hr /> -<p class="center b15">PUBLISHED BY DOUGLAS PEPLER<br /> -AT THE HAMPSHIRE HOUSE<br /> -WORKSHOPS HAMMERSMITH W</p> -</div> -<p class="center b15">Price 5s. net.</p> - -<p class="center p4"> -<i>PRINTED by DOUGLAS PEPLER</i><br /> -<i>at</i><br /> -<i>DITCHLING in the COUNTY of SUSSEX</i><br /> -<i>& PUBLISHED BY HIM AT</i><br /> -<i>THE HAMPSHIRE HOUSE WORKSHOPS</i><br /> -<i>HAMMERSMITH</i><br /> -<i>ON S. JOHN THE BAPTIST'S DAY</i><br /> -<i>A.D. MDCCCCXVI</i></p> - -<h2>PUBLISHER'S NOTE</h2> -<hr class="l15" /> -<p class="center"> - IN PRINCIPIO ERAT VERBUM<br /> - ET VERBUM ERAT APUD DEUM<br /> -ET DEUS ERAT VERBUM.<br /><i>Sc. Joannem</i> 1.1.<br /> - VIDITQUE DEUS CUNCTA QUÆ<br /> -FECERAT: ET ERANT VALDE BONA.<br /> -<i>Genesis.</i> 1.31.</p> - -<p class="p2">MAN uses these good things, and when MAN -first discovers how to make anything, that thing -which he makes is good.</p> - -<p>For example: this book is printed upon one of -the first iron presses to be made in this country. -The press is a good press; it would be difficult to -make a press which would enable the printer to -print more clearly. The wooden press was a good -press & the printing from it has not been surpassed.</p> - -<p>Further, this quality of goodness of a first discovery -may persist for many years.</p> - -<p>But there is a tendency to avoid <i>Quality Street</i>. -We are choosing rather <i>Quantity Street</i> & the Bye -paths of <i>Facility & Cleverness</i>; we have become accustomed -to the hum of the <i>Time & Labour saving</i> -machinery; and we are in danger of forgetting the -use of good things: indeed the tradition & practice -of goodness has been lost in a considerable number -of trades.</p> - -<p>For instance: a carpenter has become so used to -buying his timber in planks from a yard that he has -nearly forgotten its relation to the tree. The man -who works to designs conceived by somebody else -with wood sawn by another man's machine must -be deprived of the natural strength of the tree.</p> - -<p>And this is not an exception to, but an example -of, the way we are choosing to do things.</p> - -<p>It is impossible to buy linen as good as that normally -used by every tradesman in the XVIII century. -It is nearly impossible to get cloth, paper, -bread, beer, bacon and leather equal to that in common -use 150 years ago.</p> - -<p>IN VIEW OF THE BEGINNING it is desirable -to record what still survives of the traditions -of making good things; and I shall endeavour to -publish the instructions & advice of men & women -who still follow these good traditions.</p> - -<p class="left45"> -Douglas Pepler.</p> - -<h2>CONTENTS</h2> - -<table summary="Table of Contents"> -<tr> -<td> </td> -<td> </td> -<td class="tdr">PAGE</td> -</tr> -<tr> -<td>I.</td> -<td>INTRODUCTION</td> -<td class="tdr"><a href="#Page_1">1</a></td> -</tr> -<tr> -<td>II.</td> -<td>WOOL, SILK, COTTON AND LINEN</td> -<td class="tdr"><a href="#Page_11">11</a></td> -</tr> -<tr> -<td>III.</td> -<td>MORDANTS</td> -<td class="tdr"><a href="#Page_24">24</a></td> -</tr> -<tr> -<td>IV.</td> -<td>BRITISH DYE PLANTS</td> -<td class="tdr"><a href="#Page_37">37</a></td> -</tr> -<tr> -<td>V.</td> -<td>THE LICHEN DYES</td> -<td class="tdr"><a href="#Page_45">45</a></td> -</tr> -<tr> -<td>VI.</td> -<td>BLUE</td> -<td class="tdr"><a href="#Page_63">63</a></td> -</tr> -<tr> -<td>VII.</td> -<td>RED</td> -<td class="tdr"><a href="#Page_87">87</a></td> -</tr> -<tr> -<td>VIII.</td> -<td>YELLOW</td> -<td class="tdr"><a href="#Page_107">107</a></td> -</tr> -<tr> -<td>IX.</td> -<td>BROWN AND BLACK</td> -<td class="tdr"><a href="#Page_122">122</a></td> -</tr> -<tr> -<td>X.</td> -<td>GREEN</td> -<td class="tdr"><a href="#Page_133">133</a></td> -</tr> -</table> - -<p><span class="pagenum"><a name="Page_1" id="Page_1">1</a></span></p> - -<h2>CHAPTER I.</h2> -<div> -<img class="drop-cap" src="images/i-006.jpg" width="101" height="94" alt="D" /> -</div> -<p class="drop-cap">DYEING has almost ceased to exist as a -traditional art. In this 20th century the -importance of colour in our lives seems -to be realized less and less. It has been forgotten -that strong and beautiful colour, such as used to -abound in all every day things, is an essential to -the full joy of life. A sort of fear or nervousness -of bright colour is one of the features of our age, it -is especially evident in the things we wear.</p> - -<p>There is unfortunately good reason for it. We -fear bright colour because our modern colours are -bad, and they are bad because the tradition of dyeing -has been broken. The chemist has invaded the -domain of the dyer, driven him out and taken over -his business, with the result that ugly colour has -become the rule for the first time in the history of -mankind. It is not that chemists never produce -<span class="pagenum"><a name="Page_2" id="Page_2">2</a></span> -beautiful colour. Dyeing as a chemical science has -not been studied for the last 50 years without producing -good results. But there is this great difference -between the chemical commercial dyes and -the traditional dyes—that with the commercial -dyes it is very easy to produce ugly colours, the -beautiful colour is rare; but with traditional dyes -it is difficult to make an ugly colour, and good -colour is the rule.</p> - -<p>It was in 1856 that mauve was produced from -coal tar by an English chemist, and this began -a new era in dyeing. The discovery was developed -in Germany, and the result was the creation -of a science of chemical colouring.</p> - -<p>The advantages of the new colours were ease and -simplicity of use, general reliability with regard to -strength and composition, and certainty in reproducing -the same colour again without trouble. -With regard to fastness, to light and to washing -there is practically little difference between the -two. It is more the method by which they are -dyed and not the dye itself (although of course in -<span class="pagenum"><a name="Page_3" id="Page_3">3</a></span> -some cases this is not so) that determines their fastness. -The natural dyes are more trouble and take -longer time to prepare. Chemical colours can be -dyed now as fast as the natural colours, although at -first this could not be done. Some of the chemical -colours as well as the natural, are not fast to light and -washing, and ought never to be used; but there are -natural colours, such as madder, some of the lichens, -catechu etc., which are as fast as any chemical dye, if -not more so. BUT there is this general difference -between the results of the two methods,—that when -a chemical colour fades it becomes a different colour -and generally a bad one: when a natural colour -fades, it becomes a lighter tone of the same colour.</p> - -<p>Since the middle of the 19th century our colour -sense has been getting rude shocks. At first came -the hideous aniline colours, crude and ugly, and -people said, "How wonderful, are they really made -out of coal!" They were told to like them and they -did, and admired the chemists who made them. -Then came more discoveries, and colour began to -go to the opposite extreme, and the fashion was -<span class="pagenum"><a name="Page_4" id="Page_4">4</a></span> -muddy indeterminate colours—'art' colours as -they were called, just as remote from pure good -colouring in one direction as the early aniline -colours were in the other. We are now emerging -from the mud colours, as I would call them, to the -period of the brilliant colouring of the Futurist. -Here we have scientific colouring used with real -skill. The Futurist has perhaps indicated a -possible way in which chemical colours may be -used by the artist and is teaching people the value -of simple combinations of brilliant colour.</p> - -<p>And yet do they satisfy the artist? Are they -as beautiful as the colours in a Persian Khelim? -Is there a blue in the world as fine as the blue in -a Bokhara rug, or a red to touch the red of a -Persian brocade or Indian silk?—the new fresh -colours as they come out of the dyer's vat, not as -they are after years of wear and tear, though that -is beautiful enough. And yet they are not more -beautiful than the colours once made by dyers in -England. They are as brilliant as the chemical -colours, but they are not hard and unsympathetic -<span class="pagenum"><a name="Page_5" id="Page_5">5</a></span> -and correct. They are alive and varied, holding -the light as no chemical colour can hold it; and -they are beautiful from their birth to their old age, -when they mellow, one with the other, into a blend -of richness that has never yet been got by the chemical -dyer and never will be.</p> - -<p>Perhaps it is the scientific method that kills the -imagination. Dealing with exactly known quantities, -and striving for precise uniformity, the chemist -has no use for the accidents and irregularities -which the artist's imagination seizes and which the -traditional worker well knew how to use.</p> - -<p>William Morris says that "all degradation of art -veils itself in the semblance of an intellectual advance," -and nothing is truer than this with regard -to the art of dyeing. As a tradition it is practically -dead in Britain, and is threatened with gradual extinction -all over the world. It will not recover itself -as an art till individual artists set themselves to -make beautiful colours again, and ignore the colour -made for them by commerce and the chemists.</p> - -<p>Handicraft workers should make their own -<span class="pagenum"><a name="Page_6" id="Page_6">6</a></span> -colours. Leather workers should dye their own -leather, the embroiderers their own silks and wools, -the basket makers their own materials, the weavers -and spinners their own flax, cotton and wool; and -until they do this the best work will not be done. -This is the necessity for the present. <i>If any craft -worker wants sound colour he must make it for himself, -he cannot get it done for him by artists.</i> The hope for -the future is that dyeing may be reinstated as a craft, -co-operating with the other crafts and practiced by -craftsmen.</p> - -<p>The way to beauty is not by the broad and easy -road; it is along difficult and adventurous paths. -Every piece of craft work should be an adventure. -It cannot be an adventure if commerce steps in and -says "I will dye all your yarn for you; you will always -then be able to match your colour again; there -need be no variation; every skein shall be as all the -others; you can order so many pounds of such a -number and you can get it by return of post; and -you can have six or seven hundred shades to choose -from." It is all so easy, so temptingly easy,—but -<span class="pagenum"><a name="Page_7" id="Page_7">7</a></span> -how DULL! the deadly yards of stuff all so even -and so exactly dyed; so perfect that the commerce-ridden -person says, "this is almost as good as the -stuff you can buy in a shop, it is as perfect as machine -made stuff."</p> - -<p>What would have been the use of all this to the -great colourists of the world, the ancient Egyptians, -the mediæval Italians or the great Oriental dyers? -They could not get six hundred shades to order; six -was more like their range, they did not need more, -and in those they could not command precise uniformity. -They knew that the slight variations -caused by natural human methods add to the beauty -and interest of a thing, and that a few good colours -are worth any number of indifferent ones.</p> - -<p>It is quite certain that a great many of the handicrafts -that have depended upon commercial dyes -would produce <i>infinitely better work</i> if they dyed their -raw material themselves.</p> - -<p>It may be objected that life is not long enough; -but the handicrafts are out to create more life, not -out to produce quantity nor to save time. -<span class="pagenum"><a name="Page_8" id="Page_8">8</a></span></p> - -<p>The aim of commerce is material gain; the aim -of the crafts is to make life, and no trouble must be -spared to reach that end. It must always be before -the craft worker. Dyeing is an art; the moment -science dominates it, it is an art no longer, and the -craftsman must go back to the time before science -touched it, and begin all over again.</p> - -<p>The tradition is nearly lost in England.</p> - -<p>It lingers in a few places in Scotland and Ireland. -In Norway, Russia, Central Asia, India and other -places where science has not entered too much into -the life of the people, it is still practiced. Is dyeing -as a tradition to be doomed, as traditional weaving -was doomed? Yes, unless it be consciously studied -again and remade into an art.</p> - -<p class="p2">This book is intended for the use of craftsmen -and others who are trying to dye their materials by -hand and on a small scale. Information and recipes, -useful to such workers, are to be found in books and -pamphlets dating onwards from the 17th century, -and in this book I have drawn largely upon these -<span class="pagenum"><a name="Page_9" id="Page_9">9</a></span> -sources of dyeing knowledge, as well as upon the -traditions still followed by present workers, and upon -the experience of my own work.</p> - -<p>All dyeing recipes, however, should guide rather -than rule the worker; they are better applied with -imagination and experience than with the slavishness -of minute imitation. Every dyer should keep -a record of his experiments, for this will become invaluable -as it grows, and as one thing is learnt from -another. The ideal way of working is not by a too -rigid accuracy nor by loose guess-work, but by the -way which practice has proved best: nevertheless, -some of the greatest dyers have done their work by -rule-of-thumb methods just as others have certainly -worked with systematic exactness.</p> - -<p>The dyer, like any other artist, is free to find his -own methods, subject to the requirements of good -and permanent craftsmanship, provided that he -achieves the effects at which he aims. But it is -supremely important that he should aim at the right -effects; or, rather, at the use of the right materials, -for if these are right the effects may safely be left to -<span class="pagenum"><a name="Page_10" id="Page_10">10</a></span> -take care of themselves. In order to develop the -taste and temperament of a good colourist, it is necessary -to use good colour and to live with good colour. -In this book I attempt to show where good -colour can be obtained. But one may begin to live -with good colour which has been found by others.</p> - -<p>This part of the dyer's education is not prohibitively -costly, even in these days of inferior colour. -Indian and Persian embroideries are still to be obtained, -though care must be taken in their selection, -as most modern pieces are dyed with chemical dyes -and are very ugly. Persian Khelim rugs are cheap -and often of the most beautiful colours. Russian -embroideries and woven stuffs, both old and new, -are obtainable, and are good in colour, as are most of -the embroideries and weavings of Eastern Europe -and the East. What are popularly known as "coffee -towels" are often embroidered in the finest coloured -silks. Bokhara rugs and embroideries are still to be -purchased, and many of the weavings of the far East, -although, alas, very few of the modern ones are of -good colour. I would say to dyers, do not be satisfied -<span class="pagenum"><a name="Page_11" id="Page_11">11</a></span> -with seeing beautiful coloured stuffs in museums. -It is possible still to get them, and to live with -a piece of good colour is of much more use than occasional -hours spent in museums.</p> - -<h2>CHAPTER II.<br /><br /><br /> -WOOL SILK COTTON LINEN</h2> - -<p class="ch_summ"> -Various kinds of wool. Wool from goats. Fleeces. Wool -dyeing. Scouring of wool. Silk, preparation for dyeing. -Cotton, cleansing and galling of. Indian methods of preparing -cotton and linen for dyeing. BANCROFT on the preparing of -cotton and linen for dyeing. Linen. On water for dyeing.</p> - -<p>ON WOOL.—The quality of wool varies considerably. -British wools are of various kinds:—</p> - -<p><i>Highland, Welsh and Irish</i> wools are from small -sheep, not far removed from the wild state, with irregular -short stapled fleeces. -<span class="pagenum"><a name="Page_12" id="Page_12">12</a></span></p> - -<p><i>Forest or Mountain sheep</i> (Herdwick, Exmoor, -Blackfaced, Limestone, Cheviot) have better wool, -especially the Cheviot which is very thick & good -for milling.</p> - -<p><i>Ancient Upland</i>, such as South Down, are smaller -sheep than the last named, but the wool is softer and -finer.</p> - -<p><i>Long Woolled sheep</i> (Lincolns, Leicester) with -long staple wool (record length, 36 in.) and the -fleeces weighing up to 12 lbs. The Leicester fleece -is softer, finer and better than the Lincoln.</p> - -<p>To the end of the 18th century <i>Spanish wool</i> was -the finest and best wool in the world. Spanish sheep -have since been introduced into various countries, -such as Saxony, Australia, Cape Colony, New Zealand, -and some of the best wools now come from the -colonies.</p> - -<p><i>Alpaca, Vicuna and Llama</i> wools are obtained -from different species of South American goats.</p> - -<p><i>Mohair</i> is obtained from the Angora goat of Asia -Minor.</p> - -<p><i>Kashmir</i> wool is got from the Thibetan goat.</p> - -<p><i>Camel</i> hair is the soft under wool of the camel, -which is shed annually. It is of a brown colour. -<span class="pagenum"><a name="Page_13" id="Page_13">13</a></span></p> - -<p>The colour of wool varies from white to a very -dark brown black, with all shades of fawn, grey and -brown in between. The natural colours are not -absolutely fast to light but tend to bleach slightly -with the sun.</p> - -<p>Fleeces are of various kinds, the principal being: -<i>Lambs</i>, 3 to 6 months growth, the finest, softest and -most elastic of wool. <i>Hogs and Tegs</i>: the first -shearing of sheep that have not been shorn as lambs. -<i>Wethers</i>: all clips succeeding the first shearing.</p> - -<p>Wool comes into the market in the following -condition. 1) <i>In the grease</i>, not having been washed -and containing all impurities. 2) <i>Washed</i>, with -some of the grease removed and fairly clean. 3) -<i>Scoured</i>, thoroughly cleaned & all grease removed.</p> - -<p>ON WOOL DYEING.—There are four principal -methods of dyeing wool.</p> - -<p>1st.—The wool is boiled first with the mordant and -then in a fresh bath with the dye. This method of -dyeing is the most satisfactory and gives brighter -and faster colours than the other methods. It is -not necessary to throw away the solution after the -mordanting has been done, but it can be replenished -<span class="pagenum"><a name="Page_14" id="Page_14">14</a></span> -for a fresh lot of wool; a separate bath is used for -the dye.</p> - -<p>2nd.—The wool is boiled first with the dye and, -when it has absorbed as much of the colour as possible, -the mordant is added to the same bath, thus fixing -the colour. This is called the "stuffing" and -"saddening" method; the "stuffing" being the -boiling of the wool with the dye stuff and the "saddening" -the fixing the colour by the mordant.</p> - -<p>A separate bath can be used for each of these processes, -in which case each bath can be replenished -and used again for a fresh lot of wool.</p> - -<p>3rd.—The wool is boiled with the mordant and dye -in the same bath together. The colour, as a rule, -is not so fast & good as with a separate bath, though -with some dyes a brighter colour is obtained.</p> - -<p>4th.—The wool is mordanted, then dyed, then -mordanted again (saddened). This method is adopted -to ensure an extremely fast colour. The mordant -in this case should be used rather sparingly.</p> - -<p>Wool can be dyed either in the fleece, in the yarn -or in the woven cloth. Raw wool always contains a -certain amount of natural grease. This should not -be washed out until it is ready for dyeing, as the -<span class="pagenum"><a name="Page_15" id="Page_15">15</a></span> -grease keeps the moth out to a considerable extent. -Hand spun wool is always spun in the oil to facilitate -spinning. All grease and oil must be scoured -out before dyeing is begun, and this must be done -very thoroughly or the wool will take the colour -unevenly.</p> - -<p>The principal detergent known from earliest -times is stale urine. In the Highlands this is used in -the proportion of 1 part to 5 of water. It is the best -scouring agent and leaves the wool soft and elastic. -Carbonate of soda is also used. But a good pure -soap is the most convenient scouring agent. A -suds should be made with hot water, and the wool, -which has been soaked in warm water previously, -should be well squeezed and worked in the suds till -all the grease is removed. This should be done two -or three times if needed, and then the wool rinsed -out thoroughly in clean water. Soda is apt to make -the wool harsh and should be avoided. A little -Ammonia added to the washing water helps.</p> - -<p>To prevent yarn felting when it is scoured, it -should be first steeped in hot water and left to cool. -Soft soap is best for long fine wool. Urine for short -wools; or urine and soda ash. -<span class="pagenum"><a name="Page_16" id="Page_16">16</a></span></p> - -<p><i>Another way of cleansing wool.</i> Make a hot bath of -4 parts water and 1 part urine, enter wool, teasing -it and opening it out to admit the full action of the -liquid. After 20 minutes immersion, remove and -allow to drain. Then rinse in clear running water -and allow to dry. Use no soap. The liquid can be -used again. The wool often loses one fifth of its -weight in the process of washing.</p> - -<p><i>To soften yarn</i>—In a gallon of hot water dissolve half -pound of common soda, then add half-pint of sweet -oil and stir well. A little of this added to the washing -water, for some colours, will soften the yarn.</p> - -<p><i>To bleach wool</i>—The wool is suspended in a closed -room on hoops, and under the wool chafing dishes -are placed with lighted coals on which powdered -sulphur is cast. The room door is afterwards shut -so that the smoke may be the longer retained to act -on the wool, which is to remain until it is entirely -whitened.</p> - -<p>ON SILK.—There are two kinds of silk, 1) <i>raw -silk</i> (reeled silk, thrown silk, drawn silk), and 2) -<i>waste silk</i> or spun silk.</p> - -<p>Raw silk is that directly taken from the cocoons. -Waste silk is the silk from cocoons that are damaged -<span class="pagenum"><a name="Page_17" id="Page_17">17</a></span> -in some way so that they cannot be reeled off -direct. They are therefore carded and spun, like -wool or cotton.</p> - -<p>Silk in the raw state is covered with a silk gum -which must be boiled off before dyeing is begun. -It is tied up in canvas bags and boiled up in a strong -solution of soap for three or four hours until all the -gum is boiled off. If it is yellow gum, the silk is -wrought first in a solution of soft soap at a temperature -just below boiling point for about an hour, then -put into bags and boiled. After boiling, the soap is -well washed out.</p> - -<p>Generally speaking, the affinity of silk for dyes is -similar but weaker in character to that of wool. -The general method for dyeing is the same as for -wool, except that in most cases lower temperatures -are used in the mordanting. In some cases, soaking -in a cold concentrated solution of the mordant is -sufficient. The dyeing of some colours is also at a -low temperature.</p> - -<p><i>Of the preparation of raw silk.</i> For every pound of -raw silk, take ¼ lb. of soap; first put the silk into a -bag, or so make it up that tangling may be prevented, -then let it boil together for 2 hours, after which -<span class="pagenum"><a name="Page_18" id="Page_18">18</a></span> -it must be very well cleansed, and so it is ready to dye -all sorts of colours, being first allomed.<a name="FNanchor_1" id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a></p> - -<p><i>How the boiled silk must be allomed.</i> In proportion -to every pound of silk, take ¼ lb. of Allom, melt in a -little kettle or skillet, and when melted, throw it in -to a tub of water, into which put the silk to steep, -where let it lie a whole night.<a href="#Footnote_1" class="fnanchor">[1]</a> -</p> - -<p><i>To soften silk after dyeing.</i> Into a large vessel nearly -full of water, a solution of soap is poured, in the proportion -of from 4 to 5 lbs. of soap for every 110 lbs. -of silk. The solution of soap is strained through a -cloth into the water and well mixed. The silk is -then introduced & left for about quarter of an hour -after which it is wrung out and dried.</p> - -<p>ON COTTON.—Cotton is the down surrounding -the seeds in pods of certain shrubs and trees -growing in tropical and semi-tropical countries. -It was first introduced into Europe by the Saracens -and was manufactured into cloth in Spain in the -early 13th century. Cotton cloth was made in -England in the early 17th century. The colour -of cotton varies from deep yellow to white. The -<span class="pagenum"><a name="Page_19" id="Page_19">19</a></span> -fibre differs in length, the long stapled being the -most valued. Cotton is difficult to dye and requires -a special preparation. It is first boiled with water -till thoroughly softened and wetted. Then alumed -in the proportion of 1 of alum to 4 of the cotton (see -page 28). It is then galled. The galling is done -with different proportions of gall-nuts and other astringents -(such as tannic acid, myrobalams, sumach, -catechu) according to the quality of the astringents -and the effect wished to be obtained. If gall-nuts -are used they are bruised, then boiled for about two -hours in a quantity of water. The bath is then allowed -to cool till the hand can bear it. The cotton -is worked well in this solution and then left for 24 -hours. After which it is wrung out and dried.</p> - -<p class="p2">Cotton is sometimes boiled in sour water in order -to cleanse it: sometimes an alkaline ley is used: the -cotton must be boiled in it for 2 hours, then wrung -out and rinsed in clean water and dried. Cotton -dyeing has been carried on for centuries in the East. -In India "before a cloth is ready to be dyed with a -fast colour, it has generally to undergo a preliminary -process of preparation more or less elaborate, the -different stages of which may be recited as washing, -<span class="pagenum"><a name="Page_20" id="Page_20">20</a></span> -bleaching, dunging, galling, aluming, or mordanting, -and again washing." (<i>A Monograph on dyes and -dyeing in the Bombay Presidency</i>, by C. G. H. Fawcett, -1896.) It is washed first of all to remove all impurities, -whether those naturally belonging to the fibre -or those purposely introduced during the processes -of spinning and weaving. The bleaching removes -grease, etc. This is done in India by the sun, air and -moisture. The dunging process consists of passing -the cotton through a hot solution of cow dung, -which renders the dye fast. This is sometimes replaced -by substitutes, such as the phosphates of soda -and lime, silicates of soda, etc. The next operation -of galling is an important step in the Indian process -of dyeing. It is applied to cotton, linen and silk. -Vegetable infusions containing tannin are applied -to the cloth. Those mostly used are myrobalams, -pomegranate rind, tamarisk galls, and pistachio -galls. The cloth is then alumed, washed, and is then -ready to be dyed.</p> - -<p><i>Bancroft</i> says:—"The fibres of linen or cotton -when spun or woven are prepared for the dyer by -being first boiled in water with a suitable proportion -of potash (which for linen should be made caustic, -in order that it may act more strongly upon the oily -<span class="pagenum"><a name="Page_21" id="Page_21">21</a></span> -and resinous matters abounding in flax) and afterwards -bleached by exposure upon the grass to sun -and air. But as this operation commonly leaves a -portion of earthy matter in the linen or cotton, it -ought to be soaked or steeped in water soured by sulphuric -acid, to dissolve and remove this earthy matter, -taking care afterwards to wash or rinse off the -acid."</p> - -<p>A few of the natural dye stuffs are capable of dyeing -cotton direct, without a mordant, such as Turmeric, -Barberry bark, safflower, annatto. For other -dyes cotton has a special attraction, such as catechu, -fustic, logwood.</p> - -<p>ON LINEN.—Linen is flax, derived from the -decomposed stalks of a plant of the genus of Linum. -It grows chiefly in Russia, Belgium, France, Holland, -and Ireland. The plants after being gathered -are subjected to a process called "retting", which -separates the fibre from the decaying part of the -plant. In Ireland and Russia this is usually done in -stagnant water, producing a dark coloured flax. In -Belgium, Holland and France, retting is carried out -in running water, and the resulting flax is a lighter -colour. Linen is more difficult to dye than cotton, -probably on account of the hard nature of the fibre. -<span class="pagenum"><a name="Page_22" id="Page_22">22</a></span> -The same processes are used for dyeing linen as for -cotton.</p> - -<p>"Linen thread is dyed in the same manner as cotton, -only, that previous to its being purged like cotton -thread, it is usual to boil it in water, adding for -every pound of thread a quarter pound of chopped -sorrel. Oil of vitriol is, however, more convenient -and better than sorrel."—<i>D'Apligny.</i></p> - -<p><i>To Bleach Linen.</i>—(For 13 to 15 yards linen) Boil -½ lb. soap and ½ lb. soda in a gallon of water. Put it -in a copper and fill up with water, leaving room for -the linen to be put in. Put in the linen and bring to -the boil. Boil for 2 hours, keeping it under the -water and covered. Stir occasionally. Then -spread out on the grass for 3 days, watering it when -it gets dry. Repeat this boiling and grassing for 3 -weeks. Your linen is then pure white.</p> - -<p><i>To bleach linen a cream colour.</i>—Boil ½ lb. soap and -½ lb. soda in a gallon of water. Fill copper up with -water and put in linen. Boil for 2 hours. Repeat -this once a day for 4 days. The linen should not be -wrung out but kept in the water till ready to be put -into the fresh bath. -<span class="pagenum"><a name="Page_23" id="Page_23">23</a></span></p> - -<p>ON WATER.—A constant supply of clean soft -water is a necessity for the dyer. Rain water should -be collected as much as possible, as this is the best -water to use. The dye house should be by a river or -stream, so that the dyer can wash with a continuous -supply. Spring and well water is as a rule hard, and -should be avoided. In washing, as well as in dyeing, -hard water is altogether injurious for wool. It ruins -the brilliancy of colour, and prevents the dyeing of -some colours. Temporary hardness can be overcome -by boiling the water (20 to 30 minutes) before -using. An old method of purifying water, which -is still used by some silk and wool scourers, is to boil -the water with a little soap, skimming off the surface -as it boils. In many cases it is sufficient to add a little -acetic acid to the water.</p> - -<p><i>Berthollet</i> says,—"Whenever, therefore, a water -is limpid, when its flow is constant, when it has no -sensible taste, and dissolves soap well, it may be regarded -as very proper for dyeing." He also goes on -to say that for correcting water that is bad, sour -water is principally used, that is, water in which -bran has been fermented. -<span class="pagenum"><a name="Page_24" id="Page_24">24</a></span></p> - -<h2>CHAPTER III.<br /><br /><br /> -MORDANTS</h2> - -<p class="ch_summ">Definition of mordant. The principal mordants. The mordanting -of silk and wool. Of linen and cotton. Astringents for cotton. -Alum. Various examples of using alum for wool, silk, cotton and -linen. Iron. Examples of iron mordants. Tin. Examples -of tin mordants. Chrome. Examples of chrome mordants. -Copper. Examples of copper mordants. General observations. -Tannin and the galling of cotton and linen. Examples of various -galling processes.</p> - -<p><span class="smcap">Mordants.</span>—Dyes are divided into two classes. -First, the <i>substantive</i> dyes, which give their colour -directly to the material with which they are boiled: -and second, the <i>adjective</i> dyes, as they are sometimes -called. These latter include the greater number of -dyes and require the use of a mordant to bring out -their colour.</p> - -<p>There are thus two processes concerned with the -dyeing of most colours; the first is mordanting and -<span class="pagenum"><a name="Page_25" id="Page_25">25</a></span> -the second is the colouring or actual dyeing. The -mordanting prepares the stuff to receive the dye—(<i>mordere</i>, -to bite.) The early French dyers thought -that a mordant had the effect of opening the pores of -the fibres, so that the dye could more easily enter; -but according to Hummel and later dyers the action -of the mordant is purely chemical; and he gives a -definition of a mordant as "that body, whatever it -may be, which is fixed on the fibre in combination -with any given colouring matter." The mordant -is first precipitated on to the fibre and combines with -the colouring matter in the subsequent dye bath. -But, whether the action is chemical or merely physical, -the fact remains that all adjective dyes need this -preparation of the fibre before they will fix themselves -on it. The use of a mordant, though not a necessity, -is sometimes an advantage when using substantive -dyes.</p> - -<p>In early days the leaves and roots of certain plants -were used. This is the case even now in India and -other parts where primitive dyeing methods are still -carried on. Alum has been known for centuries in -Europe. Iron and tin filings have also been used. -Alum and copperas have been known in the Highlands -<span class="pagenum"><a name="Page_26" id="Page_26">26</a></span> -for long ages. Stale urine is also much used in -Scotland and Ireland, but perhaps more as a clearing -agent than as an actual mordant.</p> - -<p>Silk and wool require very much the same preparation -except that in the case of silk high temperatures -should be avoided. Wool is generally boiled -in a weak solution of whatever mordant is used. -With silk, as a rule, it is better to use a cold solution, -or a solution at a temperature below boiling point. -Cotton and linen are more difficult to dye than wool -or silk. Their fibre is not so porous and will not -hold the dye stuff without a more complicated preparation. -The usual method of preparing linen or -cotton is to boil it first with some astringent. The -use of astringents in dyeing depends upon the tannic -acid they contain. In combination with ordinary -mordants, tannic acid aids the attraction of the colouring -matter to the fibre and adds brilliancy to the -colours. The astringents mostly used are tannic -acid, gall nuts, sumach and myrobalams. Cotton -has a natural attraction for tannic acid, so that when -once steeped in its solution it is not easily removed -by washing.</p> - -<p>ALUM. (<i>Aluminium sulphate.</i>)—This is the most -<span class="pagenum"><a name="Page_27" id="Page_27">27</a></span> -generally used of all the mordants, and has been -known as such from early times in many parts of the -world. For most colours a certain proportion of -cream of tartar should be added to the alum bath as it -helps to brighten the ultimate colour. The usual -amount of alum used is a quarter of a pound to every -pound of wool. As a rule, less mordant is needed for -light colours than for dark. An excess of alum is -apt to make the wool sticky.</p> - -<p>"For dyeing worsted and stuffs yellow, you make -use of the usual preparation, viz., of tartar and alum. -You allow four ounces of alum to every pound of -wool, or twenty-five pounds to every hundred. -With regard to the tartar, one ounce to every pound -is sufficient for yellow, though it requires two for -red."—<i>Hellot.</i></p> - -<p>The usual length of time for boiling with alum is -from ½ an hour to 1 hour; but some dyers give as -much as 2½ hours.</p> - -<p><i>Various examples of mordanting with alum.</i>—</p> - -<p><i>For silk.</i> Wet out the silk thoroughly with water -and wring out. Then work it about a little in a -strong solution of alum, previously dissolved in hot -<span class="pagenum"><a name="Page_28" id="Page_28">28</a></span> -water, and steep for several hours (or over night). -Then wash well. It should not be allowed to dry before -dyeing. "Silks are always alumed in the cold, -because when they are alumed in a hot bath, they -are apt to lose a portion of their lustre." <i>Berthollet.</i></p> - -<p><i>For wool.</i> ¼ lb. of Alum and 1 oz. Cream of tartar -for every pound of wool. This is dissolved and when -the water is warm the wool is entered. Raise to -boiling point and boil for one hour. The bath is -then taken off the fire and allowed to cool over night. -The wool is then wrung out (not washed) and put -away in a linen bag in cool place for four or five days, -when it is ready for dyeing.</p> - -<p><i>For cotton and linen.</i> After boiling in water (some -use a sour water, some an alkaline ley) the cotton is -put into the alum bath, ¼ lb. of Alum to 1 lb. of -cotton. The alum is dissolved in hot water with -soda in the proportion of 1 part soda to 16 of alum. -(Some add a small quantity of tartar and arsenic). -The cotton is well worked in this solution and left -24 hours. It is then washed, and afterwards galled.</p> - -<p><i>For linen.</i> ¼ lb. alum for every pound of linen. -Boil for 2½ hours and immediately put into the dye -bath. -<span class="pagenum"><a name="Page_29" id="Page_29">29</a></span></p> - -<p><i>For wool.</i> 6 to 8 per cent. of alum and 5 to 7 per -cent. of tartar of the weight of wool.</p> - -<p>IRON. (<i>Ferrous Sulphate</i>, <i>copperas</i>, <i>green vitriol</i>)</p> - -<p>Iron is one of the oldest mordants known and is -largely used in wool and cotton dyeing. It is almost -as important as alum. With wool it should be used -in combination with cream of tartar. The temperature -of the mordanting bath must be raised very -gradually to boiling point or the wool will dye unevenly. -A general method of dealing with copperas -is to boil the wool first in a decoction of -the colouring matter and then add the mordant to -the same bath in a proportion of 5 to 8 per cent. of -the weight of wool: and continue boiling for half an -hour or so longer. With some dyes a separate bath -is needed, such as with Camwood or Catechu. If -used for cotton, the cotton is first dyed in a boiling -decoction of the dye stuff and then passed through a -cold solution of ferrous sulphate. Probably the -commonest way of applying copperas in cotton -dyeing is to prepare the cotton with tannin, pass -through clear lime water and then through a copperas -solution. Great care is needed in the using of -<span class="pagenum"><a name="Page_30" id="Page_30">30</a></span> -copperas, as, unless it is thoroughly dissolved and -mixed with the water before the wool is entered, it is -apt to stain the wool. It also hardens wool if used -in excess, or if boiled too long.</p> - -<p>Copperas is mostly used for the fixing of wool colours -(Fustic etc.) to produce brown shades by the -"stuffing and saddening" method (see <a href="#Page_14">page 14</a>), the -wool being boiled first in a decoction of the dye for -about an hour, and then for ½ an hour with the addition -of 5 to 8 per cent. of copperas. If used for -darkening colours, copperas is added to the bath, -after the dyeing, and the boiling continued for 15 to -20 minutes.</p> - -<p><i>Examples of various proportions for Mordanting.</i>—</p> - -<p>8 per cent. of copperas and 20 per cent. of cream -of tartar is a mordant used for some colours.</p> - -<p>4 per cent. copperas, 10 per cent. cream of tartar -gives good olive colours with weld.</p> - -<p>8 per cent. copperas without tartar with single -bath method, for dark olive brown with old fustic.</p> - -<p>2 oz. copperas and 2 oz. cream of tartar to 2½ lbs. -wool.</p> - -<p>2 oz. copperas, 1½ oz. oxalic acid to 2½ lbs. wool. -<span class="pagenum"><a name="Page_31" id="Page_31">31</a></span></p> - -<p>TIN.—(<i>Stannous chloride</i>, <i>tin crystals</i>, <i>tin salts</i>, -<i>muriate of tin</i>.)</p> - -<p>Tin is not so useful as a mordant in itself, but as a -modifying agent with other mordants. It must be -always used with great care, as it tends to harden the -wool, making it harsh and brittle. Its general -effect is to give brighter, clearer and faster colours -than the other mordants. When used as a mordant -before dyeing, the wool is entered into the cold mordanting -bath, containing 4 per cent. of stannous -chloride and 2 per cent. oxalic acid: the temperature -is gradually raised to boiling, and kept at this -temperature for 1 hour. It is sometimes added to -the dye bath towards the end of dyeing, to intensify -and brighten the colour. It is also used with cochineal -for scarlet on wool, in the proportion of 6 per -cent. of stannous chloride and 4 per cent. of cream of -tartar. Boil for 1 to 1½ hours. Then wash well. -The washing after mordanting is not always essential. -Also 6 to 8 per cent. of oxalic acid and 6 per -cent. of stannous chloride, for cochineal on wool. -This mordant produces bright fast yellows from old -fustic, by boiling the wool from 1 to 1¼ hours, with -8 per cent. of stannous chloride and 8 per cent. of -<span class="pagenum"><a name="Page_32" id="Page_32">32</a></span> -cream of tartar. One recipe gives 2 oz. tin and 4¼ -oz. cream of tartar to 2½ lbs. wool in 10 gallons of -water. It is not a suitable mordant alone for cotton, -but can be used to brighten the colour in combination -with other mordants. "The nitro-muriate of -tin (dyer's spirit) although it produces good yellows -with quercitron bark, produces them in a much -weaker degree than the murio-sulphate of that -metal, which is really the cheapest and most efficacious -of all the solutions or preparations of tin for -dyeing quercitron as well as the cochineal colours." -—<i>Bancroft.</i></p> - -<p>CHROME. (<i>Potassium dichromate</i>, <i>Bichromate -of Potash.</i>)</p> - -<p>Chrome is a modern mordant, unknown to the -dyer of 50 years ago. It is excellent for wool and is -easy to use and very effective in its action. Its great -advantage is that it leaves the wool soft to the touch, -whereas the other mordants are apt to harden the -wool. In commercial dyeing it is now almost exclusively -used, as it has proved itself the most generally -convenient. By some it is said not to be so fast -to light as the other mordants, but it produces -brighter colours. The wool should be boiled for -<span class="pagenum"><a name="Page_33" id="Page_33">33</a></span> -one to one & a half hours with bichromate of potash -in the proportion of 2 to 4 per cent. of the wool. It -is then washed well and immediately dyed. Wool -mordanted with chrome should not be exposed to -light, but should be kept well covered with the -liquid while being mordanted, else it is liable to dye -unevenly. An excess of chrome impairs the colour. -3 per cent. of chrome is a safe quantity to use for ordinary -dyeing. One recipe gives 1½ oz. of chrome -to 2½ lbs. of wool. It should be dissolved in the bath -while the water is heating. The wool is entered -and the bath gradually raised to the boiling point, -and boiled for three quarters of an hour.</p> - -<p>In the dyeing of cotton, it is used for catechu -browns and other colours. The cotton is soaked in -a decoction of catechu, and afterwards passed -through a boiling solution of chrome, or it is worked -for half an hour in a bath of chrome at 60°C., and -then washed. It is usual to wash wool or cotton -after mordanting with chrome, but some dyers do -not think it necessary.</p> - -<p>COPPER. (<i>Copper Sulphate</i>, <i>Verdigris</i>, <i>blue -vitriol</i>, <i>blue-stone</i>.)</p> - -<p>Copper is rarely used as a mordant. It is usually -<span class="pagenum"><a name="Page_34" id="Page_34">34</a></span> -applied as a saddening agent, that is, the wool is dyed -first, and the mordant applied afterwards to fix the -colour. With cream of tartar it is used sometimes -as an ordinary mordant before dyeing, but the colours -so produced have no advantage over colours -mordanted by easier methods.</p> - -<p><span class="smcap">Examples.</span>—6 per cent. of copper is used as a mordant -for weld to produce an olive yellow. 4 to 5 -per cent. is used with old fustic for yellow. 10 per -cent. of copper gives to wool a reddish purple with -cochineal.</p> - -<p class="p2">Mordants should not affect the physical characteristics -of the fibres. Sufficient time must be allowed -for the mordant to penetrate the fibre thoroughly. -If the mordant is only superficial, the dye will be -uneven: it will fade and will not be as brilliant as it -should be. The brilliancy and fastness of Eastern -dyes are probably due to a great extent to the length -of time taken over the various processes of dyeing. -<i>The longer time that can be given to each process, the more -satisfactory will be the result.</i></p> - -<p class="p2">Different mordants give different colours with -the same dye stuff. For example:—Cochineal, if -<span class="pagenum"><a name="Page_35" id="Page_35">35</a></span> -mordanted with alum, will give a crimson colour; -with iron, purple; with tin, scarlet; and with -chrome or copper, purple. Logwood, also, if mordanted -with alum, gives a mauve colour; if mordanted -with chrome, it gives a blue. Fustic, weld, and -most of the yellow dyes, give a greeny yellow with -alum, but an old gold colour with chrome; and -fawns of various shades with other mordants.</p> - -<p>TANNIN.—(<i>Tannic Acid</i>.)—Tannins are used -in the dyeing of cotton and linen. Cotton and linen -possess the remarkable power of attracting tannins -from their aqueous solution, and when these substances -are prepared with tannins, they are able to -retain dyes permanently. Cotton saturated with -tannin, attracts the dye stuff more rapidly, and holds -it. Tannic acid is the best tannin for mordanting -cotton and linen, as it is the purest and is free from -any other colouring matter. It is, therefore, used -for pale and bright shades. But for dark shades, -substances containing tannic acid are used, such as -sumach, myrobalans, valonia, divi-divi, oak galls, -chestnut (8 to 10 per cent. of tannin), catechu.</p> - -<p>Cotton and linen are prepared with tannin after -they have been through the required cleansing, and -<span class="pagenum"><a name="Page_36" id="Page_36">36</a></span> -if necessary, bleaching operations. A bath is prepared -with 2 to 5 per cent. of tannic acid of the -weight of the cotton, and a sufficient quantity of -water. For dark shades, 5 to 10 per cent. should be -used. The bath is used either hot or cold. It -should not be above 60°C. The cotton is worked in -this for some time, and then left to soak for 3 to 12 -hours, while the bath cools. It is then wrung out -and slightly washed.</p> - -<p>The following gives the relative proportions of -the various substances containing tannin:—1 lb. -tannin <i>equals</i> 4 lbs. sumach, 18 lbs. myrobalans, 14 -lbs. divi-divi, 11 lbs. oak galls.</p> - -<p class="p2">A few examples taken from various recipes of -cotton dyeing:—</p> - -<p class="i2"> -For 10 lbs. cotton use 12 oz. tannin.<br /> -For 50 lbs. cotton use 10 lbs. sumach.<br /> -For 40 lbs. cotton use 10 lbs. sumach.<br /> -For 20 lbs. cotton use 2 lbs. yellow catechu or black catechu.<br /> -For 20 lbs. cotton spend 3 lbs. of catechu with 3 oz. of blue vitriol. -</p> - -<p>Some recipes soak the cotton for 24 hours, others -for 48 hours. -<span class="pagenum"><a name="Page_37" id="Page_37">37</a></span></p> - -<h2>CHAPTER IV.<br /><br /><br /> -BRITISH DYE PLANTS</h2> - -<p>The introduction of foreign dye woods and other -dyes during the 17th and 18th centuries rapidly displaced -the native dye plants, except in certain out of -the way places such as the Highlands and parts of -Ireland. Some of these British dye plants had been -used from early historical times for dyeing. Some -few are still in use in commercial dye work (pear, -sloe, and a few others); but their disuse was practically -completed during the 19th century when the -chemical dyes ousted them from the market.</p> - -<p>The majority of these plants are not very important -as dyes, and could not probably now be collected -in sufficient quantities. Some few however are -important, such as woad, weld, heather, walnut, -alder, oak, some lichens; and many of the less -<span class="pagenum"><a name="Page_38" id="Page_38">38</a></span> -important ones would produce valuable colours if -experiments were made with the right mordants. -Those which have been in use in the Highlands are -most of them good dyes. Among these are Ladies -Bedstraw, whortleberry, yellow iris, bracken, bramble, -meadow sweet, alder, heather and many others. -The yellow dyes are the most plentiful, and many of -these are good fast colours. Practically no good -red, in quantity, is obtainable. Madder is the only -reliable red dye among plants, and that is no longer -indigenous in England. Most of the dye plants require -a preparation of the material to be dyed, with -alum, or some other mordant, but a few, such as Barberry, -and some of the lichens, are substantive dyes, -and require no mordant.</p> - -<p class="p2"><span class="smcap">Plants which Dye Red.</span>—</p> - -<ul class="none"> -<li class="hanging">Potentil. <i>Potentilla Tormentilla.</i> Roots.</li> - -<li class="hanging">Wild Madder. <i>Rubia peregrina.</i></li> -<li class="hanging">Lady's Bedstraw. <i>Galium verum.</i> Roots.</li> - -<li class="hanging">Gromwell. <i>Lithospermum arvense.</i></li> - -<li class="hanging">Marsh Potentil. <i>Potentilla Comarum.</i> Roots.</li> - -<li class="hanging">Birch. <i>Betula alba.</i> Fresh inner bark.</li> - -<li class="hanging">Bed-straw. <i>Galium boreale.</i> Roots. -<span class="pagenum"><a name="Page_39" id="Page_39">39</a></span></li> - -<li class="hanging">Common Sorrel. <i>Rumex acetosa.</i> Roots.</li> - -<li class="hanging">Evergreen Alkanet. <i>Anchusa sempervirens.</i> -With chloride of tin.</li> - -<li class="hanging">Dyer's Woodruff. <i>Asperula tinctoria.</i> Roots.</li> -</ul> - -<p class="p2"><span class="smcap">Plants which Dye Blue.</span>—</p> -<ul class="none"> -<li class="hanging"> -Woad. <i>Isatis Tinctoria.</i></li> - -<li class="hanging">Whortleberry or blaeberry. <i>Vaccinium Myrtillus.</i> -Berries.</li> - -<li class="hanging">Elder. <i>Sambucus nigra.</i> Berries.</li> - -<li class="hanging">Privet. <i>Ligustrum vulgare.</i> Berries, with alum -and salt.</li> - -<li class="hanging"><a name="FNanchor_2" id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> -Sloe. <i>Prunus communis.</i> Fruit.</li> - -<li class="hanging">Red bearberry. <i>Arctostaphylos Uva-Ursi.</i></li> - -<li class="hanging">Dogs Mercury. <i>Mercurialis perennis.</i></li> - -<li class="hanging">Yellow Iris. <i>Iris Pseudacorus.</i> Root.</li> - -<li class="hanging">Devil's Bit. <i>Scabiosa succisa.</i> Leaves prepared -like woad.</li> -</ul> - -<p class="p2"><span class="smcap">Plants which Dye Yellow.</span>—</p> -<ul class="none"> -<li class="hanging"> -Weld. <i>Reseda luteola.</i> -<span class="pagenum"><a name="Page_40" id="Page_40">40</a></span></li> - -<li class="hanging">Meadow Rue. <i>Thalictrum flavum.</i> Roots.</li> - -<li class="hanging">Marsh Marigold. <i>Caltha palustris.</i> Flowers.</li> - -<li class="hanging">S. John's Wort. <i>Hypericum perforatum.</i></li> - -<li class="hanging">Heath. <i>Erica vulgaris.</i> With Alum.</li> - -<li class="hanging">Spindle tree. <i>Euonymus Europæus.</i></li> - -<li class="hanging">Buckthorn. <i>Rhamnus frangula</i> and <i>R. cathartica.</i> -Berries and Bark.</li> - -<li class="hanging"><a name="FNanchor_3" id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a> -Dyer's Greenwood. <i>Genista tinctoria.</i> Young -shoots and leaves.</li> - -<li class="hanging">Kidney Vetch. <i>Anthyllis Vulnararia.</i></li> - -<li class="hanging">Marsh Potentil. <i>Potentilla Comarum.</i></li> - -<li class="hanging">Ling. <i>Calluna vulgaris.</i></li> - -<li class="hanging">Yellow Centaury. <i>Chlora perfoliata.</i></li> - -<li class="hanging">Hornbeam. <i>Carpinus Betulus.</i> Bark.</li> - -<li class="hanging">Hedge stachys. <i>Stachys palustris.</i></li> - -<li class="hanging">Polygonum Persecaria.</li> - -<li class="hanging">Polygonum Hydropiper.</li> - -<li class="hanging">Hop. <i>Humulus lupulus.</i></li> - -<li class="hanging">Stinking Willy, or Ragweed. <i>Senecio Jacobæa.</i></li> - -<li class="hanging">Yellow Camomile. <i>Anthemis tinctoria.</i></li> - -<li class="hanging">Common dock. <i>Rumex obtusifolius.</i> Root. -<span class="pagenum"><a name="Page_41" id="Page_41">41</a></span></li> - -<li class="hanging"><a name="FNanchor_4" id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a> -Sawwort. <i>Serratula tinctoria.</i></li> - -<li class="hanging">Gorse. <i>Ulex Europæus.</i> Bark, flowers and young shoots.</li> - -<li class="hanging">Broom. <i>Sarothamnus scoparius.</i></li> - -<li class="hanging">Bracken. <i>Pteris aquilina.</i> Roots. Also young tops.</li> - -<li class="hanging">Way-faring tree. <i>Viburnum lantana.</i> Leaves, with alum.</li> - -<li class="hanging">Bramble. <i>Rubus fructicosus.</i></li> - -<li class="hanging">Nettle. <i>Urtica.</i> With alum.</li> - -<li class="hanging">Bog Myrtle or Sweet Gale. <i>Myrica Gale.</i></li> - -<li class="hanging">Teasel. <i>Dipsacus Sylvestris.</i></li> - -<li class="hanging">Sundew. <i>Drosera.</i></li> - -<li class="hanging">Barberry. <i>Berberis vulgaris.</i> Stem and root.</li> - -<li class="hanging">Bog asphodel. <i>Narthecium ossifragum.</i></li> - -<li class="hanging">Agrimony. <i>Agrimonia Eupatoria.</i></li> - -<li class="hanging">Yellow corydal. <i>Corydalis lutea.</i></li> - -<li class="hanging">Privet. <i>Ligustrum vulgare.</i> Leaves.</li> - -<li class="hanging">Crab Apple. <i>Pyrus Malus.</i> Fresh inner bark.</li> - -<li class="hanging">Ash. <i>Fraxinus excelsior.</i> Fresh inner bark.</li> - -<li class="hanging">Pear. Leaves. -<span class="pagenum"><a name="Page_42" id="Page_42">42</a></span></li> - -<li class="hanging">Poplar. Leaves.</li> - -<li class="hanging">Plum. Leaves.</li> - -<li class="hanging">Birch. Leaves.</li> - -<li class="hanging"><a name="FNanchor_5" id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a> -Willow. Leaves.</li> -</ul> - -<p class="p2"><span class="smcap">Plants which Dye Green.</span>—</p> -<ul class="none"> -<li class="hanging"> -Privet. <i>Ligustrum vulgare.</i> Berries and leaves, with alum.</li> - -<li class="hanging">Flowering reed. <i>Phragmites communis.</i> Flowering tops, with copperas.</li> - -<li class="hanging">Elder. <i>Sambucus nigra.</i> Leaves with alum.</li> - -<li class="hanging">Nettle. <i>Urtica dioica</i> and <i>U. Urens</i>. -<span class="pagenum"><a name="Page_43" id="Page_43">43</a></span></li> - -<li class="hanging">Lily of the valley. <i>Convalaria majalis.</i> Leaves.</li> - -<li class="hanging">Larch. Bark, with alum.</li> -</ul> - -<p class="p2"><span class="smcap">Plants which Dye Brown.</span>—</p> -<ul class="none"> -<li class="hanging"> -Whortleberry. <i>Vaccinium Myrtillus.</i> Young shoots, with nut galls.</li> - -<li class="hanging">Larch. Pine needles, collected in Autumn.</li> - -<li class="hanging">Walnut. Root and green husks of nut.</li> - -<li class="hanging">Water Lily. <i>Nymphæa alba.</i> Root.</li> - -<li class="hanging">Alder. <i>Alnus glutinosa.</i> Bark.</li> - -<li class="hanging">Birch. <i>Betula alba.</i> Bark.</li> - -<li class="hanging">Oak. <i>Quercus Rohur.</i> Bark.</li> - -<li class="hanging">Red currants, with alum.</li> - -<li class="hanging">Hop. <i>Humulus lupulus.</i> Stalks give a brownish red colour.</li> -</ul> - -<p class="p2"><span class="smcap">Plants which Dye Purple.</span>—</p> -<ul class="none"> -<li class="hanging"> -Whortleberry or blaeberry. <i>Vaccinium myrtillus.</i> Berries. -"It contains a blue or purple dye which will dye wool and silk without mordant."</li> - -<li class="hanging">Deadly nightshade. <i>Atropa Belladonna.</i></li> - -<li class="hanging">Sundew. <i>Drosera.</i></li> - -<li class="hanging">Bryony. <i>Bryonia dioica.</i> Berries.</li> - -<li class="hanging">Danewort. <i>Sambucus Ebulus.</i> Berries. -<span class="pagenum"><a name="Page_44" id="Page_44">44</a></span></li> - -<li class="hanging">Elder. <i>Sambucus nigra.</i> Berries, with alum, a violet; with alum and salt, a lilac colour.</li> - -<li class="hanging">Dandelion. <i>Taraxacum Dens-leonis.</i> Roots. Dyes a magenta colour.</li> - -<li class="hanging">Damson. Fruit, with alum.</li> -</ul> - -<p class="p2"><span class="smcap">Plants which Dye Black.</span>—</p> -<ul class="none"> -<li class="hanging"> -Alder. <i>Alnus glutinosa.</i> Bark with copperas.</li> - -<li class="hanging">Blackberry. <i>Rubus fruticosus.</i> Young shoots, with salts of iron.</li> - -<li class="hanging">Dock. <i>Rumex.</i> Root.</li> - -<li class="hanging">Iris. <i>Iris Pseudacorus.</i> Root.</li> - -<li class="hanging">Meadowsweet. <i>Spirea Ulmaria.</i></li> - -<li class="hanging">Oak. Bark and acorns.</li> - -<li class="hanging">Elder. Bark, with copperas.</li> -</ul> -<p><span class="pagenum"><a name="Page_45" id="Page_45">45</a></span></p> - -<h2>CHAPTER V.<br /><br /><br /> - -THE LICHEN DYES</h2> - -<p>Some of the most useful dyes and the least known -are to be found among the Lichens. They seem to -have been used among peasant dyers from remote -ages, but apparently none of the great French dyers -used them, nor are they mentioned in any of the old -books on dyeing. The only Lichen dyes that are -known generally among dyers are Orchil and Cudbear, -and these are preparations of lichens, not the -lichens themselves. They are still used in some -quantity and are prepared rather elaborately. But a -great many of the ordinary Lichens yield very good -and permanent dyes. The Parmelia saxatilis and -P. omphaloides, are largely used in the Highlands & -West Ireland, for dyeing brown of all shades. No -<span class="pagenum"><a name="Page_46" id="Page_46">46</a></span> -mordant is needed, and the colours produced are the -fastest known. "Crottle," is the general name for -Lichens, in Scotland. They are gathered off the -rocks in July and August, dried in the sun, and used -to dye wool, without any preparation. The crottle -is put into the dye bath with a sufficient quantity of -water, boiled up and allowed to cool and then boiled -up with the wool until the shade required is got. -This may take from one to three or four hours, as the -dye is not rapidly taken up by the wool. Other -dyers use it in the following way:—A layer of crottle, -a layer of wool, and so on until the bath is full; -fill up with cold water and bring to the boil, and boil -till the colour is deep enough. Some of the finest -browns are got in this way. The wool does not -seem to be affected by keeping it in the dye a long -time. A small quantity of acetic acid put in with -the Lichen is said to assist in exhausting the colour.</p> - -<p>The grey Lichen <i>Ramalina scopulorum</i>, dyes a fine -shade of yellow brown. It grows very plentifully -on old stone walls, especially by the sea, and in damp -woods, on trees, and on old rotten wood. Boil the -Lichen up in sufficient water one day, and the next -day put in the wool, and boil up again till the right -<span class="pagenum"><a name="Page_47" id="Page_47">47</a></span> -colour is got. If the wool is left in the dye for a day -or more after boiling, it absorbs more colour, and it -does not hurt the wool, but leaves it soft and silky to -the touch, though apt to be uneven in colour. Some -mordant the wool first with alum, but it does not -seem to need it.</p> - -<p>The best known of the dye Lichens are Parmelia -saxatilis, and Parmelia omphalodes, which are still -largely used in Scotland and Ireland for dyeing wool -for tweeds. The well known Harris tweed smell is -partly due to the use of this dye.</p> - -<p>Other Lichens also known for their dyeing properties -are:—Parmelia caperata or Stone Crottle -which contains a yellow dye, P. ceratophylla, or -Dark Crottle, and P. parietina, the common wall -lichen, which gives a colour similar to the colour of -the lichen itself, yellowish brown. In <i>Bancroft's</i> -"Philosophy of Permanent Colours" is to be found -the following—"Besides the lichens, whose colour -depends upon a combination with the ammonia, -there are some which afford substantive colours, less -beautiful indeed, but more durable, by merely boiling -with water. One of these is the muscus pulmonarius -of Caspar Bauhine, or the lichenoides pulmonium -<span class="pagenum"><a name="Page_48" id="Page_48">48</a></span> -reticulatum vulgare marginibus peltiferus of -Dillenius, called Rags and Stone Rags, in the northern -parts of England, which, without any mordant, -dyes a very durable dark brown colour upon white -wool or cloth, and a fine lasting black upon wool or -cloth which has previously received a dark blue -from Indigo." The following occurs in an old -Scottish history.—"There is one excresence gotton -off the craigs which they call cork-lit, and make use -thereof for litting, or dyeing a kind of purple colour." -Another lichen, taken from trees in Scotland, -was used for producing an orange tint, called -Philamort. The tree lichen was called wood-raw, -or rags, to distinguish it from stone lichen, or stone-raw. -A deep red colour was got from the dull grey -friable lichen, common on old stone walls, which -was scraped off, with a metal scraper. The bright -yellow lichen, growing on rocks and walls, and old -roofs, dyes a fine plum colour, if the wool is mordanted -first with Bichromate of Potash. There is -a difficulty, however, in getting enough of this -lichen to make the dyeing with it practicable.</p> - -<p>The colour of the plant is no indication of the -colorific power. That is often greatly modified by -<span class="pagenum"><a name="Page_49" id="Page_49">49</a></span> -the conditions of its growth,—such as climate, elevation -above the sea, nearness or distance from the -sea, age, season when gathered, habitat. The best -season for gathering most lichens, is late summer -and autumn.</p> - -<p>In Sweden, Scotland and other countries, the -peasantry use a lichen, called <i>Lecanora tartarea</i>, to -furnish a red or crimson dye.</p> - -<p>In Shetland, the <i>Parmelia saxatilis</i> (Scrottyie) -is used to dye brown. It is found in abundance on -argillaceous rocks. It is considered best if gathered -late in the year, and is generally collected in August. -Immediately after being collected, an iron vessel is -filled with it, and stale urine then poured over it, -till the vessel is full. This is slowly boiled until the -plant begins to assume a mucillaginous appearance, -which generally takes place in about 2 hours. -When taken off the fire, it has the consistence of a -thin jelly, but it speedily hardens until it is nearly -as thick as porridge, and its colour becomes a dark -rusty grey. It is then folded in the cloth, layer by -layer of Scrottyie and cloth alternately, and all is -boiled for about 20 minutes, in soft water, in which -a little alum has been dissolved. It is then taken off -<span class="pagenum"><a name="Page_50" id="Page_50">50</a></span> -the fire and the cloth washed in cold water, when -the process of dyeing is complete. The Scrottyie, -taken from between the folds of the cloth, is used -several times for dyeing, on being treated again in -the same manner.</p> - -<p>The plant used in Shetland for the red dye is the -<i>Lecanora tartarea</i>. It is found abundantly on almost -all rocks and also grows on dry moors, along -with <i>Cladonia sangiferina</i>. (If a particle of the -latter is allowed to be intermixed with the dye, it is -supposed to be spoiled.) The lichen, and the dye -made from it, are called Korkalett. This lichen -is collected in May and June, and steeped in stale -urine for about 3 weeks, being kept at a moderate -heat all the time. The substance having then a thick -and strong texture, like bread, and being of a bluish -black colour, is taken out and made into small cakes -of about ¾ lb. in weight, which are wrapped in dock -leaves and hung up to dry in peat smoke. When -dry it may be preserved fit for use for many years; -when wanted for dyeing it is partially dissolved in -warm water till of the consistence of Scrottyie, the -dyeing proceeds in the same manner; 5 lbs. of korkalett -being considered sufficient for about 4 Scotch -<span class="pagenum"><a name="Page_51" id="Page_51">51</a></span> -ells of cloth. The colour produced is a light red. -It is much used in the dyeing of yarn as well as cloth. -The yarn is simply boiled in it without folding as in -the case of cloth.<a name="FNanchor_6" id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a> -</p> - -<p>Linnæus mentions that a beautiful red colour may -be prepared from Lichen pustulatus, <i>Gyrophora -pustulata</i>. <i>G. cylindrica</i> is used by Icelanders -for dyeing woollen stuffs a brownish green colour. -In Sweden and Norway, <i>Evernia vulpina</i> is used -for dyeing woollen stuffs yellow. Iceland moss, -<i>Cetraria Islandica</i>, is used in Iceland for dyeing -brown. <i>Usnea barbata</i> is collected from trees in -Pennsylvania & used for an orange colour for yarn.</p> - -<p><i>Lecanora tartarea</i> (corcur of the Scottish Highlanders) -dyes a claret. It is usually prepared by -pounding the lichen and mixing it with stale chamberley, -to which a little salt or kelp is added; this -mixture is kept for several weeks, and frequently -stirred; being then brought to the consistence of -coarse paste, it is made up into balls, with a little -lime or burnt shells, and is kept ready for use. When -used, it is coarsely powdered and a small portion of -alum is generally added.</p> - -<p> -<span class="pagenum"><a name="Page_52" id="Page_52">52</a></span></p> - -<p>A general method for using lichens is suggested -by Dr. Westring of Sweden, in his "Experiments -on Lichens for Dyeing Wools and Silks." He says:</p> - -<p>"The Lichens should be gathered after some days -of rain, they can then be more easily detached from -the rocks. They should be well washed, dried and -reduced to a fine powder: 25 parts pure river water -are added to 1 of powdered lichen, and 1 part of fresh -quick lime to 10 parts powdered lichen. To 10 lbs. -lichen ½ lb. sal ammoniac is sufficient when lime and -sal ammoniac are used together. The vessel containing -them should be kept covered for the first 2 -or 3 days. Sometimes the addition of a little common -salt or salt-petre will give greater lustre to the -colours."<a name="FNanchor_7" id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a> -</p> - -<p>This method can be followed by anyone wishing -to experiment with Lichens. Dr. Westring did -not use a mordant as a rule. Where the same species -of Lichen grows on both rocks and trees, the -specimens taken from rocks give the better colours.</p> - -<p class="p2"><span class="smcap">Orchil or Archil and Cudbear</span> are substantive -or non mordant dyes, obtained from Lichens of -<span class="pagenum"><a name="Page_53" id="Page_53">53</a></span> -various species of Roccella growing on rocks in the -Canary Islands and other tropical and sub-tropical -countries. They used to be made in certain parts -of Great Britain from various lichens, but the manufacture -of these has almost entirely disappeared. -They have been known from early times as dyes. -They give beautiful purples and reds, but the colour -is not very fast. The dye is produced by the action -of ammonia and oxygen upon the crushed Lichens -or weeds as they are called. The early way of producing -the colour was by treating the Lichen with -stale urine and slaked lime, and this method was followed -in Scotland. Orchil is applied to wool by -the simple process of boiling it in a neutral or slightly -acid solution of the colouring matter. 3% Sulphuric -acid is a useful combination. Sometimes -alum and tartar are used. It dyes slowly and evenly. -It is used as a bottom for Indigo on wool and also for -compound shades on wool and silk. For cotton and -linen dyeing it is not used. It is rarely used by itself -as the colour is fugitive, but by using a mordant of -tin, the colour is made much more permanent.</p> - -<p>"Archil is in general a very useful ingredient in -dyeing; but as it is rich in colour, and communicates -<span class="pagenum"><a name="Page_54" id="Page_54">54</a></span> -an alluring bloom, dyers are often tempted to -abuse it, and to exceed the proportions that can add -to the beauty, without, at the same time, injuring in -a dangerous manner the permanence of the colours. -Nevertheless, the colour obtained when solution of -tin is employed, is less fugitive than without this -addition."<a name="FNanchor_8" id="FNanchor_8" href="#Footnote_8" class="fnanchor">[8]</a> -</p> - -<p>Many of the British lichens produce colours by -the same treatment as is used for producing Orchil. -Large quantities were manufactured in Scotland -from lichens gathered in the Shetland Islands and -Western Highlands. This was called Cudbear. -The species used by the Scottish Cudbear makers -were generally <i>Lecanora tartarea</i> and <i>Urceolaria -calcarea</i>; but the following lichens also give the -purple colour on treatment with ammonia.—<i>Evernia -prunastri</i>, <i>Lecanora pallescens</i>, <i>Umbilicaria vellea</i>, -<i>U. pustulata</i>, <i>Parmelia perlata</i>; whilst several -others give colours of similar character, but of -little commercial value. The manufacture of -Archil and Cudbear from the various lichens is -simple in principle. In all cases the plant is reduced -<span class="pagenum"><a name="Page_55" id="Page_55">55</a></span> -to a pulp with water and ammonia, and the mass -kept at a moderate heat and allowed to ferment, the -process taking two or three weeks to complete. The -ammonia used to be added in the form of stale urine, -and additions of slaked lime were made from time -to time.<a name="FNanchor_9" id="FNanchor_9" href="#Footnote_9" class="fnanchor">[9]</a> - The general mode of treatment for the -development from the dye lichens of orchil and -cudbear consists of the following steps:—</p> - -<ul class="none"> -<li class="ind"> -1.—Careful washing, drying and cleaning, to -separate earthy and other impurities.</li> - -<li class="ind">2.—Pulverisation into a coarse or fine pulp -with water.</li> - -<li class="ind">3.—Regulated addition of ammonia of a certain -strength and derived from various sources -(putrid urine, gas liquor, etc.)</li> - -<li class="ind">4.—Frequent stirring of the fermenting mass -so as to ensure full exposure of every part thereof -to the action of atmospheric oxygen.</li> - -<li class="ind">5.—Addition of alkalis in some cases (e.g. potash -or soda) to heighten or modify the colour; -and of chalk, gypsum and other substances, to -<span class="pagenum"><a name="Page_56" id="Page_56">56</a></span> -impart consistence. Various accessories are employed, -e.g. the application of continued, moderate -and carefully regulated heat during the process -of fermentation.<a name="FNanchor_10" id="FNanchor_10" href="#Footnote_10" class="fnanchor">[10]</a> -</li> -</ul> - -<p class="center p2">RECIPES FOR DYEING WITH LICHENS.</p> - -<p> -<i>To dye Brown with Crotal.</i> -</p> - -<p>For 6¼ lbs. (100 oz.) of wool. Dye baths may be -used of varying strengths of from 10 to 50 oz. of -Crotal. Raise the bath to the boil, and boil for an -hour. A light tan shade is got by first dipping the -wool in a strong solution of Crotal, a darker shade by -boiling for half-an-hour, and a dark brown by boiling -for two hours or so. It is better, however, to -get the shade by altering the quantity of Crotal -used. The addition of sufficient oil of vitriol to -make the bath slightly acid will be an improvement. -(A very small quantity should be used).</p> - -<p> -<i>To Dye Red with Crotal.</i>— -</p> - -<p>Gather the lichen off the rocks—it is best in winter. -Put layers of lichen and wool alternately in a -<span class="pagenum"><a name="Page_57" id="Page_57">57</a></span> -pot, fill up with water and boil until you get the desired -tint. Too much crotal will make the wool a -dark red brown, but a very pretty terra cotta red can -be got. No mordant is required.</p> - -<p> -<i>To Dye Pink from a bright yellow Lichen. (Parmelia -parietina).</i> -</p> - -<p>Mordant the wool with 3% of Bichromate of -Potash, then boil with the lichen for 1 hour or more.</p> - -<p> -<i>To Dye Brown from Crotal.</i> -</p> - -<p>Boil the wool with an equal quantity of lichen for -1 or 1½ hours. No mordant is required.</p> - -<p> -<i>To dye red purple from Cudbear & Logwood.</i> -</p> - -<p>Dye with equal quantities of Cudbear and Logwood, -the wool having been mordanted with -chrome. A lighter colour is got by dyeing with -8 lbs. cudbear and ½ lb. logwood (for 30 lbs. wool).</p> - -<p> -<i>To Dye Yellow on Linen with the Lichen Peltigera -canina</i> (a large flat lichen growing on rocks in -woods). -</p> - -<p>Mordant with alum, (¼ lb. to a lb. of linen) boil -for 2 hours. Then boil up with sufficient quantity -of the lichen till the desired colour is got. -<span class="pagenum"><a name="Page_58" id="Page_58">58</a></span></p> - -<p class="center p2 b12">LIST OF LICHENS USED BY THE<br /> -PEASANTRY OF DIFFERENT<br /> -COUNTRIES FOR WOOL<br /> -DYEING.<a name="FNanchor_11" id="FNanchor_11" href="#Footnote_11" class="fnanchor">[11]</a> -</p> - -<p class="center"><span class="smcap">Shades of Red, Purple and Orange.</span></p> - -<p class="hanging"> -<i>Roccella tinctoria.</i> Orseille. Grows in the South -of France, on rocks by the sea.</p> - -<p class="hanging"><i>Lecanora tartarea.</i> Crotal, Crottle, Corkur, Corcir, -Korkir. Found in the Scotch Highlands -and Islands, growing on rocks; used for the -manufacture of Cudbear in Leith & Glasgow.</p> - -<p class="hanging"><i>L. parella.</i> Light Crottle, Crabs Eye Lichen. -Found in Scotland, France, and England, on -rocks and trees, formerly celebrated in the -South of France in the making of the dye called -Orseille d'Auvergne.</p> - -<p class="hanging"><i>L. hæmatomma.</i>—Bloody spotted lecanora, Black -lecanora. Found in Scotland on rocks and -trees. -<span class="pagenum"><a name="Page_59" id="Page_59">59</a></span></p> - -<p class="hanging"><i>Umbilicaria pustulata.</i>—Blistered umbilicaria. -Found on rocks in Norway and Sweden.</p> - -<p class="hanging"><i>Isidium corallinum.</i> White crottle. Found on rocks -in Scotland.</p> - -<p class="hanging"><i>I. Westringii.</i> Westring's Isidium. Norway and -Sweden.</p> - -<p class="hanging"><i>Urceolaria calcarea.</i> Corkir, Limestone Urceolaria. -Found in Scotland, Western Islands, -Shetland and Wales, growing on limestone -rocks.</p> - -<p class="hanging"><i>U. Scruposa.</i> <a name="urceolaria" id="urceolaria">Rock Urceolaria</a>. Grows on rocks -in hilly districts in England.</p> - -<p class="hanging"><i>U. cinerea.</i> Greyish Urceolaria. In England, on -rocks.</p> - -<p class="hanging"><i>Parmelia saxatilis.</i> Crottle, stane-raw, Staney-raw, -(Scotland). Scrottyie, (Shetland). Sten-laf, -Sten-mossa, (Norway and Sweden). Found -on rocks and stones in Scotland, Shetland, and -Scandinavia. In winter the Swedish peasantry -wear home made garments dyed purple -by this lichen. By the Shetlanders it is usually -collected in August, when it is considered richest -in colouring matter. -<span class="pagenum"><a name="Page_60" id="Page_60">60</a></span></p> - -<p class="hanging"><i>P. omphalodes.</i> Black Crottle, Cork, Corker, Crostil -or Crostal, (Scotch Highlands). Arcel, (Ireland). -Kenkerig, (Wales). Alaforel-leaf, -(Sweden). Found on rocks, especially Alpine, -in Scotland, Ireland, Wales and Scandinavia. -One of the most extensively used dye-lichens. -It yields a dark brown dye readily to boiling -water, and it is easily fixed to yarns by simple -mordants. It is stated to yield a red, crimson -or purple dye.</p> - -<p class="hanging"><i>P. caperata.</i> Stone crottle, Arcel. Found in North -of Ireland and Isle of Man, on trees. Said to -dye yarn brown, orange and lemon yellow.</p> - -<p class="hanging"><i>P. conspersa.</i> Sprinkled parmelia. Found growing -on rocks in England.</p> - -<p class="hanging"><i>Evernia prunastri.</i> Ragged hoary lichen. Stag's -horn lichen. Found in Scotland, on trees.</p> - -<p class="hanging"><i>Ramalina scopulorum.</i> Ivory-like ramalina. Scotland, -on maritime rocks. A red dye.</p> - -<p class="hanging"><i>R. farinacea.</i> Mealy ramalina. On trees in -England.</p> - -<p class="hanging"><i>Borrera ashney.</i> Chutcheleera. India. -<span class="pagenum"><a name="Page_61" id="Page_61">61</a></span></p> - -<p class="hanging"><i>Solorina crocea.</i> Saffron yellow solorina. In Scotland, -on mountain summits. The colouring -matter is ready formed and abundant in the -thallus.</p> - -<p class="hanging"><i>Nephroma parilis.</i> Chocolate colored nephroma. -Scotland, on stones. Said to dye blue.</p> - -<p class="hanging"><i>Sticta pulmonacea.</i> On trees.</p> - -<p class="hanging"><i>Lecidea sanguinaria.</i> Red fruited lecidea. In -Scotland, on rocks.</p> - -<p class="hanging"><i>Conicularia aculeata.</i> var. <i>spadicea</i>. Brown prickly -cornicularia. Canary Islands, Highland -Mountains.</p> - -<p class="hanging"><i>Usnea barbata.</i> Bearded Usnea. Pennsylvania -and South America. On old trees. Stated to -dye yarn orange.</p> - -<p class="hanging"><i>U. florida.</i> Flowering <a name="usnea" id="usnea">Usnea</a>. Pale greenish yellow -or reddish brown.</p> - -<p class="hanging"><i>U. plicata.</i> Plaited usnea. On trees.</p> - -<p class="center p2"><span class="smcap">Shades of Brown</span></p> - -<p class="hanging"> -<i>Cetraria Islandica.</i> Iceland moss. Iceland heaths, -and hills. It yields a good brown to boiling -<span class="pagenum"><a name="Page_62" id="Page_62">62</a></span> -water, but this dye appears only to have been -made available to the Icelanders.</p> - -<p class="hanging"><i>Parmelia physoides.</i> Dark crottle, Bjork-laf. Found -in Sweden, Scotland & Scandinavia, on rocks -and trees.</p> - -<p class="hanging"><i>P. omphalodes.</i> In Scandinavia and Scotland. -Withering asserts that it yields a purple dye -paler, but more permanent, than orchil; -which is prepared in Iceland by steeping in -stale lye, adding a little salt and making it up -into balls with lime.</p> - -<p class="hanging"><i>Sticta pulmonacea.</i> Oak lung, Lungwort, Aikraw, -Hazel-raw, Oak rag, Hazel rag, Hazel crottle, -Rags. Found on trees in England, Scotland, -North of Ireland, Scandinavia. It dyes wool -orange and is said to have been used by the -Herefordshire peasantry to dye stockings -brown. Some species yield beautiful saffron -or gamboge coloured dyes, e.g. <i>S. flava</i>, -<i>crocata</i>, <i>aurata</i>.</p> - -<p class="center p2"><i>For continuation of list see <a href="#appendix">Appendix</a>.</i> -<span class="pagenum"><a name="Page_63" id="Page_63">63</a></span></p> - -<h2>CHAPTER VI.<br /><br /><br /><a name="FNanchor_12" id="FNanchor_12" href="#Footnote_12" class="fnanchor">[12]</a> -BLUE<br /> -<span class="s09">INDIGO, WOAD, LOGWOOD.</span></h2> - -<p>"Notwithstanding the very great facility of dyeing -wool blue, when the blue vat is once prepared, it -is far otherwise with regard to the preparation of -this vat, which is actually the most difficult operation -in the whole art of dyeing."—<i>Hellot.</i></p> - -<p class="center p2 b12"><i>INDIGO</i></p> - -<p>Indigo is the blue matter extracted from a plant, -<i>Indigofera tinctoria</i> & other species, growing in Asia, -<span class="pagenum"><a name="Page_64" id="Page_64">64</a></span> -South America and Egypt. It reaches the market -in a fine powder, which is insoluble in water. There -are two ways of dyeing with indigo. It may be dissolved -in sulphuric acid or oil of vitriol, thereby -making an indigo extract. This process was discovered -in 1740. It gives good blue colours, but is -not very permanent. Darker colours by this method -are more permanent than the paler ones. It -does not dye cotton or linen.</p> - -<p>The other method is by the indigo vat process, -which produces fast colours, but is complicated and -difficult. In order to colour with indigo, it has to -be deprived of its oxygen. The deoxydised indigo -is yellow, and in this state penetrates the woollen -fibre; the more perfectly the indigo in a vat is deoxydised, -the brighter and faster will be the colour. -For the dyeing of wool, the vats are usually heated -to a temperature of 50°C. Cotton and linen are -generally dyed cold.</p> - -<p><i>Hellot</i> says "when the vat, of whatsoever kind it -be, is once prepared in a proper state, there is no -difficulty in dyeing woollens or stuffs, as it is requisite -only to soak them in clean warm water, to wring -them, and then to immerse them in the vat, for a -<span class="pagenum"><a name="Page_65" id="Page_65">65</a></span> -longer or shorter time, according as you would have -the colour more or less deep. The stuff should be -from time to time opened, that is to say, taken out -and wrung over the vat and exposed to the air for a -minute or two, till it becomes blue. For let your -vat be what it will, the stuff will be green when -taken out and will become blue when exposed to the -air. In this manner it is very proper to let the colour -change before you immerse your stuffs a second -time, as you are thereby better enabled to judge -whether they will require only one or several dips."—"The -Art of Dyeing Wool," by <i>Hellot</i>.</p> - -<p>The colour of the blue is brightened by passing -the wool through boiling water after it comes out of -the dye. Indigo is a substantive dye and consequently -requires no mordant.</p> - -<p><a name="FNanchor_13" id="FNanchor_13" href="#Footnote_13" class="fnanchor">[13]</a> -1). <span class="smcap">To Make Extract of Indigo.</span>—</p> - -<p>Put 2 lbs. of oil of vitriol into a glass bottle or jar, -stir into it 8 oz. of powdered indigo, stirring briskly -<span class="pagenum"><a name="Page_66" id="Page_66">66</a></span> -for ½ hour, then cover up and stir 4 or 5 times a day -for a few days, then add a little powdered chalk to -neutralise the acid. It should be added slowly, little -by little, as the chalk makes the acid bubble up. -Keep it closely corked.</p> - -<p>2). <span class="smcap"><a name="No2" id="No2">To Make Extract of Indigo</a>.</span>—</p> - -<p>4 oz. sulphuric acid, ½ oz. finely ground Indigo. -Mix like mustard, and leave to stand over-night. -Prepare the wool by mordanting with 5 oz. alum to -1 lb. wool. Boil for ½ hour and dye without drying.</p> - -<p>3). <span class="smcap">To Dye Wool with Indigo Extract</span></p> - -<p>For 4 to 6 lbs. of wool. Stir 2 to 3 oz. of Indigo -extract into the water of the dye bath. The amount -is determined by the depth of shade required. -When warm, enter the wool, and bring slowly to -boiling point (about ½ hour) and continue boiling -for another ½ hour. By keeping it below boiling -point while dyeing, better colours are got, but it is -apt to be uneven. Boiling levels the colour but -makes the shade greener. This is corrected by adding -to the dye bath a little logwood, 10 to 20 per -cent. This should be boiled up separately, strained, -and put in the bath before the wool is entered. Too -<span class="pagenum"><a name="Page_67" id="Page_67">67</a></span> -much should be avoided however, as it dims the -colour. It can be done in the same bath, but better -results are got by separate baths. Instead of logwood -a little madder is sometimes used; also Cudbear -or Barwood.</p> - -<p>4). <span class="smcap">To Dye Silk with Indigo Extract.</span></p> - -<p>Dye at a temperature of 40 to 50°C. in a bath -with a little sulphuric acid and the amount of indigo -as is needed for the colour. Another method is to -mordant the silk first with alum by steeping it for -12 hours in a solution of 25 per cent. and then, without -washing, to dye with the Indigo Extract and -about 10% of alum added to the dye bath. By this -means compound colours can be made by the addition -of cochineal, for purple, or old Fustic, Logwood, -etc., for greys, browns and other colours.</p> - -<p>5). <span class="smcap">Saxon Blue.</span>—</p> - -<p>Put into a glazed earthen pot 4 lbs. of good oil of -vitriol with 12 oz. of choice Indigo, stir this mixture -very hastily and frequently in order to excite a -fermentation. It is customary with some Dyers to -put into this composition a little antimony or salt-petre, -tartar, chalk, alum and other things, but I find -<span class="pagenum"><a name="Page_68" id="Page_68">68</a></span> -it sufficient to mix the oil and Indigo alone, and the -colours will be finer, for those neutral salts destroy -the acid of the vitriol and sully the colour. In 24 -hours it is fit for use. Then a copper of a good size -is to be filled with fair water (into which one peck of -bran is put in a bag) and made pretty warm, the bran -after yielding its flower must be taken out, and the -Chymie, (Indigo Extract) mixed well with water -in a Piggin, (a small pot) is put in according -to the shade required, having first put in a hand-ful -of powdered tartar; the cloth is to be well wet and -worked very quick over the winch (stick on which -it is hung) for half an hour. The liquor must not -be made hotter than for madder red (just under -boiling point). The hot acid of the vitriol would -cause the blue to incline to green if too much heat -was given. (From an old Dye Book).</p> - -<p>6). <span class="smcap">To Make up a Blue Vat.</span>—</p> - -<p>Take 1 lb. Indigo thoroughly ground, put this -into a deep vessel with about 12 gallons of water, -add 2 lbs. copperas, and 3 lbs. newly slaked lime, and -stir for 15 minutes. Stir again after 2 hours and repeat -every 2 hours for 5 or 6 times. Towards the -<span class="pagenum"><a name="Page_69" id="Page_69">69</a></span> -end, the liquor should be a greenish yellow colour, -with blackish veins through it, and a rich froth of -Indigo on the surface. After standing 8 hours to -settle, the vat is fit to use.</p> - -<p>7). <span class="smcap">Turquoise for Wool.</span>—</p> - -<p>Mordant with alum. For a pale shade use 1 teaspoonful -of Indigo Extract (see <a href="#No2">No. 2</a>) for 1 lb. of -wool. Boil ¼ hour.</p> - -<p>8). <span class="smcap">Blue for Wool.</span> (Highlands).</p> - -<p>Take a sufficiency of Indigo. (For medium -shade about 1 oz. to every pound of wool). Dissolve -it in about as much stale urine (about a fortnight -old) as will make a bath for the wool. Make it lukewarm. -Put in the wool and keep it at the same -temperature till the dyeing is done. For a deep -navy blue it will take a month, but a pale blue will -be done in 3 or 4 days. Every morning and evening -the wool must be taken out of the dye bath, wrung -out and put back again. The bath must be kept -covered and the temperature carefully attended to. -Some add a decoction of dock roots the last day, -which is said to fix the blue. The wool must then -be thoroughly washed. This is a fast dye. -<span class="pagenum"><a name="Page_70" id="Page_70">70</a></span></p> - -<p>9). <span class="smcap">Indigo Vat.</span> (For small dyers).</p> - -<p>Add to 500 litres of stale urine 3 to 4 kilos of common -salt and heat the mixture to 50° to 60°C., for -4 to 5 hours with frequent stirring, then add 1 kilo -of madder, 1 kilo of ground Indigo, stir well, and -allow to ferment till the Indigo is reduced.</p> - -<p>10). <span class="smcap">Saxon Blue.</span> (<i>Berthollet</i>).</p> - -<p>Prepare the wool with alum and tartar. A -smaller or greater proportion of the Indigo solution -is put into the bath, (1 part of Indigo with 8 parts of -sulphuric acid, digested for 24 hours), according to -the depth of shade wished to be obtained. For -deep shades it is advantageous to pour in the solution -by portions, lifting out the wool from the bath -while it is being added. The cold bath acts as well -as the hot.</p> - -<p>11). <span class="smcap">The Cold Indigo Vat with Urine.</span></p> - -<p>Take 4 lbs. of powdered Indigo and put it into a -gallon of vinegar, leaving it to digest over a slow fire -for 24 hours. At the end of this time the Indigo -should be quite dissolved. If not dissolved pound -it up with some of the liquor adding a little urine. -Put into it ½ lb. madder, mixing it well. Then pour -<span class="pagenum"><a name="Page_71" id="Page_71">71</a></span> -it into a cask containing 60 gallons of urine (fresh or -stale). Mix and stir the whole together; this -should be done morning and evening for 8 days or -until the surface becomes green when stirred, and -produces froth. It may be worked immediately -without any other preparation than stirring it 3 or -4 hours before-hand. This kind of vat is extremely -convenient, because when once prepared it remains -so always until it is entirely exhausted. According -as you would have your vat larger or smaller you reduce -or enlarge the amount of the ingredients used -in the same proportion as the original. This vat is -sooner prepared in summer than in winter.</p> - -<p>12). <span class="smcap">Indigo Vat on a small scale for -Woollens and Cottons.</span>—</p> - -<p>Have a strong 9 gallon cask, put into it 8 gallons -of urine, have a 4 quart pickle jar, into which put -1 lb. ground Indigo and 3 pints of best vinegar; put -the jar into a saucepan filled with water, and make -it boil well for 2 hours, stirring it all the time. Let -it stand in a warm place for 3 days, then pour it -into the cask; rake it up twice a day for a month. It -must be covered from the air. -<span class="pagenum"><a name="Page_72" id="Page_72">72</a></span></p> - -<p>13). <span class="smcap">Blue Vat for Woollens.</span>—</p> - -<p>For every 20 gallons of water add 5 oz. ground -Indigo, 8 oz. of potash, 3 oz. madder, and 4 oz. bran. -Keep the solution at 140°F.; after 24 hours the -whole will have begun to ferment, then add 2 oz. -madder, stir and allow the whole to settle, after -which the vat is ready for use.</p> - -<p>14). <span class="smcap">To Dye Indigo Blue.</span> Urine Vat.—</p> - -<p>Prepare vat as follows:—To 3½ gallons of stale -urine add 4½ oz. of common salt, and heat the mixture -to 125°F. (as hot as the hand can bear). Keep -at this heat for 4 to 5 hours, frequently stirring, -then add 1¼ oz. thoroughly ground Indigo and -1¼ oz. Madder, stir well and allow to ferment till the -Indigo is reduced. This is recognized by the appearance -of the vat, which should be of a greenish -yellow colour, with streaks of blue. Allow the vat -to settle, when you can proceed with dyeing. Process -of dyeing the same as in No. 15.</p> - -<p>15). <span class="smcap">To Dye Indigo Blue.</span>—Potash Vat.—</p> - -<p>Into a pot 3 parts full of water put 1½ oz. Madder -and 1½ oz. bran. Heat to nearly boiling, and keep -at this heat for 3 hours. Then add 5 oz. Carbonate -<span class="pagenum"><a name="Page_73" id="Page_73">73</a></span> -of Potash; allow Potash to dissolve and let the -liquor cool down till luke-warm. Then add 5 oz. -thoroughly ground Indigo, stir well and leave to -ferment for two days, occasionally stirring, every -12 hours or so. Wool dyed in this vat must be thoroughly -washed after the colour is obtained.</p> - -<p><i>Process of Dyeing.</i>—Into a vat prepared as above, -dip the wool. Keep it under the vat liquor, gently -moving about a sufficient time to obtain the colour -required. A light blue is obtained in a few seconds, -darker blues take longer. Take out wool, and -thoroughly squeeze out of it all the dye liquor back -into the vat. Spread out the wool on the ground, -exposed to the air till the full depth of colour is developed. -The wool comes out of the vat a greenish -shade, but the oxygen in the air darkens it, -through oxydation, to indigo blue. The wool -should now be washed in cold water with a little acid -added to it, and again thoroughly rinsed and dried.</p> - -<p>16). <span class="smcap">Blue Vat for Cotton.</span>—</p> - -<p>In a clean tub put 10 pails of water, slacken 1 -bushel of lime into it, and cover while slackening; -put 6 lbs. ground Indigo in a pot and mix it into a -<span class="pagenum"><a name="Page_74" id="Page_74">74</a></span> -paste with hot water and then put 4 pails of boiling -water on to it, stir it, cover it, and leave it. In another -pot, put 20 lbs. copperas, pour 4 pails of water -on this, stir it and leave it covered. Pour 4 pails of -water on the top of the lime that is slackening, rake -it up well and put in the melted copperas; rake it -well and put in the Indigo; stir well and leave -covered for a couple of days, stirring occasionally. -Half fill a new vat with the mixture. Rake it well -and while you are raking, fill it up with clean water, -continue raking for an hour. Cover it over; it can -be used the next day. This is a colour that never -washes out.</p> - -<p>17). <span class="smcap">Gloucestershire Indigo Vat.</span></p> - -<p>Size 5 feet over the top: 7 feet deep, 6 to 7 feet -at the bottom.</p> - -<p>Take ½ cwt. bran, ¼ peck lime and 40 lbs. indigo. -Warm up to 180 to 200°F., rake it 4 times a day. If -it ferments too much add more lime: if not enough, -more bran. An experienced eye or nose will soon -tell when it is ripe or fit to use, which should be in -about 3 days. Regulate the strength of the vat from -time to time to the colour required. No madder or -woad is used when much permanency is wanted. -<span class="pagenum"><a name="Page_75" id="Page_75">75</a></span></p> - -<p>18). <span class="smcap">Cold Indigo Vat for Dyeing Wool, -Silk, Linen and Cotton.</span></p> - -<p>1 part Indigo, 3 parts good quicklime, 3 parts -English vitriol, and 1½ parts of orpiment. The -Indigo is mixed with water, and the lime added, -stirred well, covered up, and left for some hours. -The powdered vitriol is then added, and the vat -stirred and covered up. After some hours the orpiment -powder is thrown in and the mixture is left -for some hours. It is then stirred well and allowed -to rest till the liquid at the top becomes clear. It -is then fit for dyeing.</p> - -<p class="center p2 b12"><i>WOAD</i></p> - -<p>Woad is derived from a plant, <i>Isatis tinctoria</i>, -growing in the North of France and in England. -It was the only blue dye in the West before Indigo -was introduced from India. Since then woad has -been little used except as a fermenting agent for the -indigo vat. It dyes woollen cloth a greenish colour -which changes to a deep blue in the air. It is said to -be inferior in colour to indigo but the colour is much -more permanent. The leaves when cut are reduced -to a paste, kept in heaps for about fifteen -<span class="pagenum"><a name="Page_76" id="Page_76">76</a></span> -days to ferment, and then formed into balls which -are dried in the sun; these have a rather agreeable -smell and are of a violet colour. These balls are subjected -to a further fermentation of 9 weeks before -being used by the dyer. When woad is now used it -is always in combination with Indigo, to improve -the colour. Even by itself, however, it -yields a good and very permanent blue.</p> - -<p class="p2">It is not now known how the ancients prepared -the blue dye, but it has been stated (Dr. Plowright) -that woad leaves when covered with boiling water, -weighted down for half-an-hour, the water then -poured off, treated with caustic potash and subsequently -with hydrochloric acid, yield a good Indigo -blue. If the time of infusion be increased, greens -and browns are obtained. It is supposed that woad -was "vitrum," the dye with which Cæsar said almost -all the Britons stained their bodies. It is said -to grow near Tewkesbury, also Banbury. It was -cultivated till quite lately in Lincolnshire. There -were four farms in 1896; one at Parson Drove, near -Wisbech, two farms at Holbeach, and one near Boston. -<span class="pagenum"><a name="Page_77" id="Page_77">77</a></span> -Indigo has quite superseded it in commerce.<a name="FNanchor_14" id="FNanchor_14" href="#Footnote_14" class="fnanchor">[14]</a> -</p> - -<p>"It is like the Indigo plant, but less delicate and -rich. It is put in vats with Indigo and madder to -dye a never-fading dark blue on wool, and was called -woad-vats before Indigo was known." (Thomas -Love). And again "Woad, or what is much stronger, -pastel, always dyed the blue woollens of Europe -until Indigo was brought over here."</p> - -<p>Bancroft says "Woad alone dyes a blue colour -very durable, but less vivid and beautiful than that -of Indigo."</p> - -<p class="center p2 b12"><i><a name="Logwood" id="Logwood">LOGWOOD</a></i></p> - -<p class="center">(Bois de Campêche, Campeachy Wood)</p> - -<p>Logwood is a dye wood from Central America, -used for producing blues and purples on wool, black -on cotton and wool, and black and violet on silk. It -is called by the old dyers, one of the Lesser Dyes, -because the colour loses all its brightness when exposed -to the air. But with proper mordants and -with careful dyeing this dye can produce fast and -<span class="pagenum"><a name="Page_78" id="Page_78">78</a></span> -good colours. Queen Elizabeth's government -issued an enactment entirely forbidding the use of -logwood. The act is entitled "An Act for the -abolishing of certeine deceitful stuffe used in the -dyeing of clothes," and it goes on to state that -"Whereas there hath been brought from beyond -the seas a certeine kind of stuff called logwood, -alias blockwood, wherewith divers dyers," etc., -and "Whereas the clothes therewith dyed, are not -only solde and uttered to the great deceit of the -Queene's loving subjects, but beyond the seas, to -the great discredit and sclaunder of the dyers of this -realme. For reformation whereof, be it enacted -by the Queene our Soveraygne Ladie, -that all such logwood, in whose handes soever -founde, shall be openly burned by authoritie of the -maior." The person so offending was liable to imprisonment -and the pillory. This is quoted from -"The Art of Dyeing," by James Napier, written in -1853. He goes on to say, "Upwards of eighty -years elapsed before the real virtues of this dyeing -agent were acknowledged; and there is no dyewood -we know so universally used, and so universally -useful." The principal use for logwood is in -<span class="pagenum"><a name="Page_79" id="Page_79">79</a></span> -making blacks and greys. The logwood chips -should be put in a bag and boiled for 20 minutes -to ½ hour, just before using. "Logwood is used -with galls and copperas for the various shades of -greys, inclining to slate, lavender, dove, and lead -colour, etc. For this purpose you fill a cauldron -full of clean water, putting into it as much nut galls -as you think proper. You then add a bag of logwood, -and when the whole is boiled, having cooled -the liquor, you immerse the stuff, throwing in by -degrees some copperas, partly dissolved in water."—Hellot. -Hellot is very scornful of logwood, -naming it as one of the lesser dyes, and not to be used -by good dyers.</p> - -<p class="center b12 p2">RECIPES FOR DYEING with LOGWOOD</p> - -<p>1). <span class="smcap">Black for Cotton.</span>—</p> - -<p>After washing, work the cotton in a cold infusion -of 30% to 40% of Sumach, or its equivalent in -other tannin matter<a name="FNanchor_15" id="FNanchor_15" href="#Footnote_15" class="fnanchor">[15]</a> - (ground gall nuts, myrobalans, -etc.) and let steep over-night. Squeeze out and -without washing pass through a bath containing a -diluted solution of lime water, or soda. Work in a -cold solution of copperas for ½ hour, then back into -<span class="pagenum"><a name="Page_80" id="Page_80">80</a></span> -the soda for a ¼ hour at a temperature of 50° to 60°C. -Then wash. Dye in a freshly made bath of logwood -with a small proportion of old Fustic or Quercitron -Bark. The cotton is introduced into the cold dye -liquor and the temperature gradually raised to boiling. -Boil for ½ an hour. After dyeing, the cotton -should be passed through a warm solution of Bichromate -of Potash. (5 grains per litre). It is -then washed and worked in a warm solution of soap -and dried. More Fustic makes a greener black.</p> - -<p>When catechu is the tanning matter employed, -the cotton should be worked in a boiling decoction -of it and allowed to steep till cold.</p> - -<p>2). <span class="smcap">Grey Drab for Wool.</span></p> - -<p>(10 lbs.) Dissolve ½ oz. Bichromate of Potash in -water, and then boil for ½ hour; lift the wool and -add 1 oz. logwood: boil for ½ hour. Lift out, wash -and dry.</p> - -<p>3). <span class="smcap">Logwood Grey on Cotton.</span></p> - -<p>The cotton is worked in a weak decoction of logwood -at 40° to 50°C., and then in a separate bath -containing a weak solution of ferrous sulphate or -Bichromate of Potash. Wash. -<span class="pagenum"><a name="Page_81" id="Page_81">81</a></span></p> - -<p>4). <span class="smcap">Green Black for Wool.</span>—</p> - -<p>Mordant wool with 3% Bichromate of Potash -and 1% Sulphuric acid (or 4% Tartar) for 1 to 1½ -hours. Then wash and dye with 35% to 50% of -Logwood. This gives a blue black. It is greened -by adding 5% old Fustic to the dye bath. The -more Fustic the greener the black becomes. If -3% to 4% alum is added to the mordanting bath, a -still greener shade is obtained. Sulphuric acid in -the mordant produces a dead looking blue black. -Tartar yields a bright bluish black.</p> - -<p>5). <span class="smcap">Logwood Blue for Wool.</span></p> - -<p>Mordant the wool for 1 to 1½ hours at 100°C., -with 4% alum and 4 to 5% cream of Tartar. Wash -well and dye for 1 to 1½ hours at boiling point with -15 to 30% logwood and 2 to 3% chalk. This colour -is not very fast, but can be made faster by adding -1 to 3% bichromate of potash and 1% sulphuric -acid. The brightest logwood blues are obtained -by dyeing just below boiling point. Long boiling -dulls the colour.</p> - -<p>6). <span class="smcap">Green Black for Wool.</span></p> - -<p>Mordant with 2% Chrome and 25% sulphuric -<span class="pagenum"><a name="Page_82" id="Page_82">82</a></span> -acid. Boil 1½ hours and leave overnight. Dye -with 40% logwood and 10% Fustic. Boil 1 hour.</p> - -<p>7).<span class="smcap"> Logwood Blue for Wool.</span></p> - -<p>Chrome 1%, Alum 3%, Tartar 1½%. Boil -1½ hours and leave over-night. Dye with logwood -20% and Cudbear 1%. Boil one hour, -then throw in 20 quarts of single muriate of tin, diluted -with 20 to 30 gallons of water. Immerse 15 -minutes and wash.</p> - -<p>8). <span class="smcap">Fast Purple for Cotton.</span></p> - -<p>(For 20 lbs. cotton.) Mordant with copperas. -Wash slightly; then a bath of muriate of tin. Dye -with 4 to 5 lbs. logwood.</p> - -<p>9). <span class="smcap">Fast Black on Wool.</span>—</p> - -<p>Put wool into a strong logwood bath, the stronger -the better, and boil for 1 hour. Take out and drain, -and put into a Bichromate of Potash bath and keep -at 150°F. for about 5 minutes. Then a bath of Fustic -or Quercitron. After which wash well in cold -water.</p> - -<p>10). <span class="smcap">Black for Cotton.</span>—</p> - -<p>(For 10 lbs.) Steep cotton in hot decoction of 3 -<span class="pagenum"><a name="Page_83" id="Page_83">83</a></span> -lbs. Sumach and let stay over night. Wring out and -work for 10 minutes through lime water: then -work for ½ hour in a solution of 2 lbs. copperas. It -may be either washed from this, or worked again -through lime water for 10 minutes. Dye for ½ hour -in a warm decoction of 3 lbs. logwood adding ½ pint -chamber lye. Take out cotton and add to the same -bath 2 oz. copperas. Work 10 minutes, then wash -and dry. 1 lb. Fustic is added for jet black.</p> - -<p>11). <span class="smcap">Fast Black for Woollens.</span>—</p> - -<p>(For 50 lbs.) Mordant with 2 lbs. chrome, 1 lb. -Tartar, 1 quart Muriate of Tin. Boil 1 hour and -wash well. Dye with 25 lbs. logwood and 3 lbs. -Fustic. Boil 30 minutes. Take out and add 1 -pint Vitriol. Return for 10 minutes, wash and dry.</p> - -<p>12). <span class="smcap">Jet Black for Silk.</span></p> - -<p>(For 50 lbs.) Mordant in hot solution of Nitro-Sulphate -of Iron at 150°F., work for ½ hour. Wash -well, then boil up 18 lbs. Fustic. Put off the boil, -enter silk and work for 30 minutes. Take out. -Boil 16 lbs. logwood, put off the boil and decant the -liquor into fresh bath, add 1 lb. white soap, enter and -work from 30 to 40 minutes. Wash well. -<span class="pagenum"><a name="Page_84" id="Page_84">84</a></span></p> - -<p>13). <span class="smcap">Lavender for Wool.</span></p> - -<p>(For 6¼ lbs.) Mordant with 3 oz. Bichromate -of Potash, for 45 minutes and wash. Dye with 2 -oz. madder, 1 oz. logwood. Enter the wool, raise -to the boil and boil for 45 minutes. The proportion -of logwood to madder can be so adjusted as to give -various shades of claret to purple.</p> - -<p>14). <span class="smcap">Black for Wool.</span></p> - -<p>Mordant 6¼ lbs. wool with 4 oz. Chrome. Boil -for 45 minutes. Dye with 50 oz. logwood, 1 oz. -Fustic. Raise to boil and boil for 45 minutes.</p> - -<p>15). <span class="smcap">Fast Chrome black for Wool.</span></p> - -<p>(For 40 lbs. wool.) Dissolve 3 lbs. copperas and -boil for a short time. Then dip the wool in this for -¾ hour, airing frequently. Take out wool and make -dye with 24 lbs. logwood. Boil for ½ hour. Dip -¾ hour, air wool, dip ¼ hour longer and then wash in -strong soap suds.</p> - -<p>16). <span class="smcap">Light silver drab for Wool.</span></p> - -<p>(For 50 lbs. wool). ½ lb. logwood, ½ lb. alum. -Boil well and enter wool and dip for 1 hour. -<span class="pagenum"><a name="Page_85" id="Page_85">85</a></span></p> - -<p>17). <span class="smcap">A fast Logwood Blue for Wool.</span></p> - -<p>(Highland recipe). Mordant with 3% Bichromate -of Potash and boil wool in it for 1½ hours. -Wash and dry wool. Make a bath of 15 to 20% -logwood with about 3% chalk added to it. Boil the -wool for 1 hour, wash and dry. The wool can be -greened by steeping it all night in a hot solution of -heather, or boiling it in heather till the desired tint -is obtained.</p> - -<p>18). <span class="smcap">Green Black for Wool.</span></p> - -<p>(For 50 lbs. wool). Boil 20 minutes with 1 lb. -chrome. Dye with 20 lbs. Fustic, 8 lbs. logwood. -Boil for ½ hour.</p> - -<p>19). <span class="smcap">Slate Purple.</span></p> - -<p>(For 80 lbs. yarn). Mordant with 2 lbs. chrome -for 20 minutes. Dye with 10 lbs. logwood & 1 lb. -Cudbear. Boil for ½ hour.</p> - -<p>20). <span class="smcap">Raven Grey for Wool.</span></p> - -<p>(For 60 lbs.) Dissolve 8 oz. Alum and work the -wool very quickly for ½ hour at boiling heat; then -take it out and add to the same liquor 3 or 4 lbs. copperas, -& work it at boiling heat for ½ hour. Then -<span class="pagenum"><a name="Page_86" id="Page_86">86</a></span> -wash. In another copper, boil 1 pailfull of logwood -chips for 20 minutes. Put the wool into this for ½ -hour; then return it into the alum and copperas for -10 to 15 minutes.</p> - -<p>21). <span class="smcap">Dark Red Purple with Logwood -for Wool.</span>—(For 2½ lbs.)</p> - -<p>Mordant with 10 oz. -alum and 2½ oz. cream of tartar for 1 hour. Let -cool in the mordant, then wring out and put away -for 4 or 5 days in a linen (or other) bag in the dark.</p> - -<p>Dye with 1 lb. logwood, and ½ lb. madder. Boil -up the logwood and madder in a separate bath and -pour through a sieve into the dye bath. Enter the -wool when warm and bring to boil. Boil from ½ -hour to 1½ hours. Wash thoroughly.</p> - -<p>22). <span class="smcap">Violet with Logwood for Silk.</span></p> - -<p>The silk is washed from the soap and drained. -For every pound of silk, dissolve in cold water 1 oz. -verdigris; when it is well mixed with the water, the -silk is immersed and kept in this liquor for an hour. -This does not give colour. It is then wrung & aired. -A logwood liquor is then made; the silk dipped in -it when cold; it takes a blue colour sufficiently dark. -The silk is taken out and dipped in a clear solution of -<span class="pagenum"><a name="Page_87" id="Page_87">87</a></span> -alum; it acquires a red which produces a violet on -the silk just dyed blue. The quantity of alum is undetermined; -the more alum the redder the violet. -The silk is then washed.</p> - -<p>23). <span class="smcap">Ordinary Logwood Purple for Wool.</span></p> - -<p>(For 1 lb.) Mordant wool with ¼ lb. alum and ½ -oz. tartar for 1 hour; wring out and put away in a bag -for some days. Dye with ¼ lb. logwood for 1 hour.</p> - -<h2>CHAPTER VII.<br /><br /><br /> -RED.<br /> -<span class="s09">COCHINEAL, LAC-DYE, MADDER.</span></h2> - -<p class="center b12"><i>KERMES.</i></p> - -<p>Kermes, or Kerms, from which is got the -"Scarlet of Grain" of the old dyers, is one of the old -insect dyes. It is considered by most dyers to be -the first of the red dyes, being more permanent than -cochineal and brighter than madder. In the 10th -century it was in general use in Europe. The reds -<span class="pagenum"><a name="Page_88" id="Page_88">88</a></span> -of the Gothic tapestries were dyed with it, and are -very permanent, much more so than the reds of later -tapestries, which were dyed with cochineal. Bancroft -says "The Kermes red or scarlet, though less -vivid, is more durable than that of cochineal. The -fine blood-red seen at this time on old tapestries in -different parts of Europe, unfaded, though many of -them are two or three hundred years old, were all -dyed from Kermes, with the aluminous basis, on -woollen yarn."</p> - -<p>Kermes consists of the dried bodies of a small -scale insect, <i>Coccus ilicis</i>, found principally on -the ilex oak, in the South of Europe. It is said -to be still in use in Italy, Turkey, Morocco and -other places.</p> - -<p>William Morris speaks of the "Al-kermes or -coccus which produces with an ordinary aluminous -mordant a central red, true vermilion, and with a -good dose of acid a full scarlet, which is the scarlet -of the Middle Ages, and was used till about the -year 1656, when a Dutch chemist discovered the -secret of getting a scarlet from cochineal by the -use of tin, and so produced a cheaper, brighter -and uglier scarlet." -<span class="pagenum"><a name="Page_89" id="Page_89">89</a></span></p> - -<p>Kermes is employed exactly like cochineal. It -has a pleasant aromatic smell which it gives to the -wool dyed with it.</p> - -<p>The following recipe for its use is from an old -French dye book:—</p> - -<p>20 lbs. of wool and ½ a bushel of bran are put into -a copper with a sufficient quantity of water, and -suffered to boil half-an-hour, stirring every now -and then. It is then taken out to drain. While -the wool is draining the copper is emptied and fresh -water put in, to which is added about a fifth of sour -water, four pounds of Roman Allum grossly powdered -and two pounds of red Tartar. The whole is -brought to boil, and that instant the hanks are dipped -in, which are to remain in for two hours, stirring -them continually. When the wool has boiled -two hours in this liquor, it is taken out, left to drain, -gently squeezed and put into a linen bag in a cool -place for five or six days and sometimes longer. This -is called leaving the wool in preparation. After -the wool has been covered for five or six days, it is -fitted to receive the dye. A fresh liquor is then prepared, -and when it begins to be lukewarm, take 12 -oz. of powdered Kermes for each pound of wool to -<span class="pagenum"><a name="Page_90" id="Page_90">90</a></span> -be dyed, if a full and well coloured scarlet is wanted. -If the Kermes was old and flat, a pound of it would -be required for each pound of wool. When the -liquor begins to boil, the yarn, still moist, (which it -will be, if it has been well wrapped in a bag and kept -in a cool place) is put in. Previous to its being dipped -in the copper with the Kermes, a handful of -wool is cast in, which is let to boil for a minute. This -takes up a kind of scum which the Kermes cast up, -by which the wool that is afterwards dipped, acquires -a finer colour. The handful of wool being -taken out, the prepared is put in. The hanks are -passed on sticks continually stirring and airing -them one after the other. It must boil after this -manner an hour at least, then taken out and placed -on poles to drain, afterwards wrung and washed. -The dye still remaining in the liquor may serve to -dip a little fresh parcel of prepared wool; it will -take some colour in proportion to the goodness and -quality of the Kermes put into the copper.</p> - -<p><i>Another Recipe for Dyeing with Kermes.</i>—The -wool is first boiled in water along with bran for half-an-hour -<span class="pagenum"><a name="Page_91" id="Page_91">91</a></span> -(½ bushel of bran for 20 lbs. of wool) stirring -it from time to time. Drain. Next boil for -2 hours in a fresh bath with a fifth of its weight of -alum and a tenth of Tartar. Sour water is usually -added. It is then wrung, put into a bag and left in -a cool place for some days. The Kermes is then -thrown into warm water in the proportion of 12 oz. -to every pound of wool. When the liquor boils, a -handful of waste wool is thrown in, to take up the -dross of the Kermes, and removed. The wool is -then put in and boiled for an hour. It is afterwards -washed in warm water in which a small quantity -of soap has been dissolved. Then washed and -dried.</p> - -<div class="blockquot"> -<p> -"To prepare wool for the Kermes dye, it is to be boiled in -water with about ⅕ of its weight in alum, and half as much of -Tartar, for the space of two hours and afterwards left in the -same liquor four or five days, when being rinsed, it is to be -dyed in the usual way with about 12 oz. of Kermes for every -pound of wool. Scarlets, etc., given from Kermes, were called -grain colours, because that insect was mistaken for a grain. -Wool prepared with a nitro-muriatic solution of tin (as is now -practised for the cochineal scarlet) and dyed with Kermes takes -a kind of aurora, or reddish orange colour."—<i>Bancroft.</i></p> -</div> -<p><span class="pagenum"><a name="Page_92" id="Page_92">92</a></span></p> - -<p class="center p2 b12"><i>COCHINEAL</i></p> - -<p>The dried red bodies of an insect (<i>Coccus Cacti</i>) -found in Mexico are named Cochineal.</p> - -<p class="center"><span class="smcap">Recipes for Dyeing.</span></p> - -<p>1). <span class="smcap">Scarlet for Wool.</span></p> - -<p>For each pound of wool put 20 quarts of water. -When the water is warm, add 2 oz. Cream of Tartar, -1½ drachms of powdered Cochineal. When the -liquor is nearly boiling, put in 2 oz. of Solution of -Tin (which the Dyers call Composition for Scarlet). -As soon as it begins to boil, the wool, which has been -wetted, is dipped and worked in the liquor for an -hour and a half. A fresh liquor is then prepared, -1½ oz. of starch is put in and when the water is warm -6½ drachms of Cochineal. When nearly boiling -2 oz. of solution of tin is put in. It must boil, and -then the wool is put in and stirred continually for -1½ hours. It is then taken out, wrung and washed. -The Scarlet is then in its Perfection.</p> - -<p>2). <span class="smcap">Cochineal for Cotton.</span></p> - -<p>Prepare 50 lbs. of cotton with 15 lbs. Sumach, 10 -lbs. Alum. Dye with 2¼ lbs. of Cochineal. Leave -<span class="pagenum"><a name="Page_93" id="Page_93">93</a></span> -for 24 hours in the Sumach; lift; winch 2 to 3 hours -in a hot solution of Alum; wash in two waters, then -boil up the cochineal; put off the boil, enter cotton & -winch till colour be full enough; then wash and dry.</p> - -<p>3). <span class="smcap">Orange Red for Wool.</span></p> - -<ul class="none"> -<li> -1). Mordant wool with Alum.</li> - -<li>2). Dye in a bath of weak Fustic. -Wash and Dry.</li> - -<li>3). Put into cold water, Cream of Tartar, -Tin, Pepper and Cochineal. -When warm, enter the wool -and boil.</li> -</ul> -<p>4). <span class="smcap">Pink with Cochineal for Wool.</span></p> - -<p>(For 60 lbs. wool). 5 lbs. 12 oz. alum. Boil and -immerse wool for 50 minutes. Then add 1 lb. Cochineal -and 5 lbs. cream of tartar. Boil and enter wool -while boiling, till the required colour is got.</p> - -<p>5). <span class="smcap">Scarlet for Wool.</span></p> - -<p>(For 100 lbs.) 6 lbs. of Tartar are thrown into -the water when warm. The bath is stirred briskly -and when hot ½ lb. powdered cochineal is added and -well mixed. Then 5 lbs. of clear solution of Tin is -carefully mixed in. When it is boiling the wool is -<span class="pagenum"><a name="Page_94" id="Page_94">94</a></span> -put in and moved briskly. After 2 hours it is taken -out, aired and washed.</p> - -<p>The second bath. When the water is nearly -boiling 5¾ lbs. of powdered cochineal is put in. A -crust will form on the surface which will open in -several places. Then 13 to 14 lbs. of solution of tin -is poured in. After this is well mixed, the wool is -entered and stirred well. Boil for an hour, then -wash and dry.</p> - -<p>These two processes can be done together with -good result. The colour can be yellowed by fustic -or turmeric. More tartar in the second bath increases -the colour. The scarlet may be brightened -by common salt. Alum will change the scarlet to -crimson, the wool being boiled in a solution of it for -one hour.</p> - -<p>6). <span class="smcap">Crimson for Wool.</span></p> - -<p>Mordant with 2½ oz. alum and 1½ oz. tartar for -every lb. of wool. Then dye with 1 oz. cochineal. -Solution of tin is sometimes added. Also salt.</p> - -<p>7). <span class="smcap">Violet for Wool.</span></p> - -<p>Mordant with 2 oz. alum for 1 lb. wool. Dye -with 1 oz. cochineal and 1 oz. of solution of iron in -which the wool is kept till the shade is reached. -<span class="pagenum"><a name="Page_95" id="Page_95">95</a></span></p> - -<p>8). <span class="smcap">Scarlet with Cochineal, for Wool.</span></p> - -<p>(For 100 oz. clean wool). Put 6 oz. Oxalic acid, -6 oz. Stannous Chloride (Tin Crystals), 8 oz. powdered -cochineal in a bath containing about half the -quantity of water required to cover wool. Boil 10 -minutes, then add sufficient water to cover wool. -Enter the wool, work well in the dye and boil for ¾ -hour, after which take out the wool, wash and dry.</p> - -<p>9). <span class="smcap">Purple, for Wool.</span></p> - -<p>(For 2½ lbs. wool). Mordant with Bichromate -of Potash, 1½ oz. in 10 gallons of water. Dye with -6 to 8 oz. cochineal. With alum mordant (4 oz.) -a crimson colour is got. With tin mordant (2 oz.) -a scarlet. With iron mordant (2 oz.) a purplish -slate or lilac.</p> - -<p>10). <span class="smcap">Scarlet, for Wool.</span></p> - -<p>Mordant the wool for 1 to 1½ hours with 6% stannous -chloride and 4% cream of tartar. Wash. Dye -with 5 to 12% of ground cochineal for 1 to 1¼ hours. -To dye the wool evenly, enter it in both the mordant -and the dye when the water is warm, and raise gradually -to boiling. -<span class="pagenum"><a name="Page_96" id="Page_96">96</a></span></p> - -<p>11). <span class="smcap">Scarlet, for Wool.</span></p> - -<p>Fill the dye bath half full of water, add 6 to 8% of -Oxalic acid, 6% of stannous chloride and 5 to 12 per -cent. ground cochineal, boil up for 5 to 10 minutes, -then fill up the dye bath with cold water. Introduce -the wool, heat up the bath to the boiling point in the -course of ¾ to 1 hour and boil ½ hour. Washing -between mordanting and dyeing is not absolutely -essential. The addition of tartar up to 8 per cent. -increases the intensity and yellowness of the colour.</p> - -<p>In order to obtain bright yellow shades of scarlet -it is usual to add a small proportion of some yellow -dye to the bath.</p> - -<p>Wool mordanted with 10 per cent. of Copper -sulphate and dyed in a separate bath with cochineal -gives a reddish purple, or claret colour.</p> - -<p>With ferrous sulphate as mordant very good purplish -slate or lilac colours can be got. Mordant and -dye in separate baths. Use 8 per cent. of ferrous -sulphate and 20 per cent. of tartar.</p> - -<p>12). <span class="smcap">Crimson for Silk.</span></p> - -<p>Mordant the silk by working for ½ hour in a concentrated -solution of alum, then leave to steep over -<span class="pagenum"><a name="Page_97" id="Page_97">97</a></span> -night. Wash well and dye in a fresh bath containing -40 per cent. of cochineal. Enter the silk at a low -temperature and heat gradually to boiling.</p> - -<p>13). <span class="smcap">Scarlet for Silk.</span></p> - -<p>After boiling and washing, the silk is first slightly -dyed with yellow by working it for ¼ hour at 50°C., -in a weak soap bath containing about 10 per cent. of -Annatto; it is then well washed. Mordant the silk -by working it for ½ hour, then steeping it over night -in a cold solution of 40 per cent. of nitro-muriate of -tin. Wash and dye in a fresh bath with a decoction -of 20 to 40 per cent. of cochineal and 5 to 10 per cent. -cream of tartar. Enter the silk at a low temperature -and heat gradually to boiling. Brighten in a fresh -bath of cold water, slightly acidified with tartaric -acid. Good results can also be obtained with the -single bath method with cochineal, stannous chloride -and oxalic acid.</p> - -<p>With the use of iron mordants very fine shades of -lilac may be obtained on silk with cochineal.</p> - -<p class="center b12 p2"><i>LAC DYE.</i></p> - -<p>Like Cochineal and Kermes, Lac is a small scale -insect, <i>Coccus lacca</i>. It is found in India, Burmah -<span class="pagenum"><a name="Page_98" id="Page_98">98</a></span> -and other Eastern countries; it was introduced into -England in 1796.</p> - -<p>The method of dyeing with lac is very much the -same as with cochineal; it yields its colour less readily -however, and should be ground into a paste with -the tin solution employed and a little hydrochloric -acid and allowed to stand for a day before using. It -is said to be a faster dye than cochineal, but is often -used in combination with it, being a fuller colour -though not so bright.</p> - -<p>A good fast scarlet is produced by the following -recipe:—For 100 lbs. wool. 8 lbs. lac, previously -ground up with part of the tin spirits, 5 lbs. cochineal, -5 lbs. tartar, 20 lbs. tin spirit.</p> - -<p class="center p2 b12"><i>MADDER.</i></p> - -<p>Madder consists of the ground up dried roots of -a plant, (Rubia tinctorum) cultivated in France, -Holland, and other parts of Europe, as well as in India. -Madder is not much used for silk dyeing, but -for wool, linen and cotton it is one of the best dyes. -It is also used largely in combination with other -dyes to produce compound colours. When used for -cotton the colour is much improved by boiling in a -weak solution of soap after the dyeing. The gradual -<span class="pagenum"><a name="Page_99" id="Page_99">99</a></span> -raising of the temperature of the dye bath is -essential in order to develop the full colouring power -of madder; long boiling should be avoided, as it -dulls the colour. If the water is deficient in lime, -brighter shades are got by adding a little ground -chalk to the dye bath, 1 to 2 per cent.</p> - -<p>Berthollet distinguishes two kinds of madder red -on cotton, one of which is given in <a href="#No4">No. 4</a>. The -other is the well-known Turkey red or Adrianople -red, a very difficult and complicated dye, but one of -the most permanent dyes known. Madder reds -are said to be not so beautiful as those from Kermes, -lac or cochineal, but my experience has been that -with care, the finest reds can be got with madder.</p> - -<p>Birch leaves are used in Russia to improve the -colour of madder. They are added to the dye bath.</p> - -<p class="center p2"><span class="smcap">Recipes for use of Madder.</span></p> - -<p>1). <span class="smcap">Red for Wool.</span></p> - -<p>For 100 oz. (6¼ lbs.) wool.</p> - -<p>Mordant 8 oz. Alum and 2 oz. Tartar. Boil the -wool in the mordant for one hour and wash in cold -water. Dye: 50 oz. Madder. Enter the mordanted -wool, raise to boil and boil gently for one hour. -<span class="pagenum"><a name="Page_100" id="Page_100">100</a></span> -Wash thoroughly in cold water and dry. If the -water is very soft, a small quantity of lime or chalk -added to the dye bath improves the shade. Alder -bark or alder leaves added to the dye bath darkens -the colour. The best results are obtained when the -dye bath is maintained just under the boiling point.</p> - -<p>2). <span class="smcap">Reddish brown for Wool.</span></p> - -<p>Mordant with 3% bichromate of potash and dye -with Madder. Good results can be got by the single -bath method. (<a href="#Page_14">See page 14</a>, No. 3.)</p> - -<p>3). <span class="smcap">Brownish red for Wool.</span></p> - -<p>Mordant the wool with 6 to 8 per cent. of alum -and 5 to 7 per cent. of tartar. Dye with 60 to 80% -of Madder. Begin the dyeing at about 40°C., and -raise the temperature of the bath gradually to 80° to -100°C., in the course of an hour, and continue the -dyeing about an hour. Wash and dry. The colour -can be brightened by adding a small proportion of -stannous chloride to the mordant or it can be added -to the dye bath towards the end of the dyeing.</p> - -<p>Brighter shades are got by keeping the temperature -at about 80°C., and prolonging the dyeing -process. After dyeing, the colour can be brightened -<span class="pagenum"><a name="Page_101" id="Page_101">101</a></span> -by working the wool at 70°C., in a weak soap bath, -or a bath containing bran.</p> - -<p>4). <span class="smcap"><a name="No4" id="No4">Bright red for Cotton.</a></span><a name="FNanchor_16" id="FNanchor_16" href="#Footnote_16" class="fnanchor">[16]</a> -</p> - -<p>(For 22 lbs.). The cotton must be scoured, then -galled in the proportion of 1 part of nut galls to 4 of -cotton, and lastly alumed in the proportion of 1 of -alum to 4 of cotton. To the solution of alum is added -one twentieth of solution of soda ley (½ lb. ordinary -soda to 1¾ pints water). It is then dried slowly and -alumed again. Then dried slowly again. The more -slowly the drying takes place the better the colour. -The cotton is then ready to be dyed.</p> - -<p>Heat the water of the dye bath as hot as the hand -can bear; mix in 6½ lbs. madder and stir carefully. -When thoroughly mixed, put in the cotton & work -for ¾ hour without boiling. Take it out & add about -a pint of soda ley. The cotton is then returned to -the bath and boiled for 15 to 20 minutes. It is then -brightened by passing it quickly thro' a tepid bath -with a pint of ley in it. It is then washed and dried. -<span class="pagenum"><a name="Page_102" id="Page_102">102</a></span></p> - -<p>5). <span class="smcap">Bright Orange red for Wool.</span></p> - -<p>For 1 lb. scoured fleece, mordant with 4 oz. alum -and 1 oz. cream of tartar. Dissolve the mordant, -enter the wool and raise to boiling point and boil for -1 hour. Allow the wool to cool in the mordant. -Then wring out and put in a linen bag in a cool place -for 4 or 5 days. Soak 8 oz. madder over night in -water and boil up before using. Put into dye bath, -enter wool when warm, bring gradually to the boil -and boil for ¾ hour.</p> - -<p>6). <span class="smcap">Bright Red For Wool.</span></p> - -<p>Mordant 1 lb. wool with 5 oz. of Alum, and 1 oz. -of Tartar; leave to drain and then wring out; put -into a linen bag and leave in a cool place for several -days. (The wool should still be damp when taken -out to dye; if it is dry, damp with warm water). -If the Tartar is increased a cinnamon colour is got. -Dye with ½ lb. of madder for every pound of wool. -The water should not boil, but kept just below boiling -for an hour; then boil up for 5 minutes before -taking out and washing.</p> - -<p>With sulphate of copper as a mordant, madder -gives a clear brown bordering on yellow (one part of -sulphate of copper and 2 parts of madder). -<span class="pagenum"><a name="Page_103" id="Page_103">103</a></span></p> - -<p>7). <span class="smcap">Red for Silk.</span></p> - -<p>The silk is mordanted over night with alum, by -steeping it in a cold concentrated solution; wash -well and dye in a separate bath with 50 per cent. of -madder. Begin dyeing at a low temperature -and gradually raise to 100°C. The addition of -bran tends to give brighter colours. A small quantity -of Sumach could be added if a fuller colour is -wanted. After dyeing, wash and then brighten in -a boiling solution of soap, to which a small percentage -of stannous chloride has been added. Afterwards -wash well.</p> - -<p>By mordanting with Copperas, either alone or -after an Alum bath, violet and brown shades can be -got.</p> - -<p>8). <span class="smcap">Red with Madder for Wool.</span></p> - -<p>Pound up carefully without heating some roots -of madder. Mordant the wool with Alum, adding -some cayenne pepper. Dye with the madder, adding -cream of tartar to the dye bath. Birch leaves -improve the colour.</p> - -<p>9). <span class="smcap">Madder Red for Cotton.</span></p> - -<p>Take a piece of white cotton, about 20 yards. -Melt in some water 1 lb. of potash; boil the cotton -<span class="pagenum"><a name="Page_104" id="Page_104">104</a></span> -in this for 20 minutes, then rinse it. Put 4 lbs. of -the best Sumach in the copper and fill it up with -boiling water, and boil for 10 minutes. Put to cool -and work the cotton well in this for an hour. Take -it out and give it a scalding hot alum and sugar of -lead bath for half-an-hour; rinse in two waters; -put it back in the sumach for half-an-hour; then -alum again for 20 minutes. Rinse. Put 2 lbs. of -madder into hot water and boil gently for a few -minutes. Put in the cotton, work well and boil for -half-an-hour gently. After, give it a hot alum for -20 minutes, and rinse. Put 1 lb. fresh madder in -the copper, put in the cotton and boil for 20 minutes. -Then wash.</p> - -<p>10). <span class="smcap">Red for Cotton.</span></p> - -<p>Scour the cotton. Then gall in the proportion -of 1 of gall nuts to 4 of cotton. Then alum in the -proportion of 1 of alum to 4 of cotton, with a little -soda and tartar added. Dissolve the alum, etc., -and put in the cotton, and boil half-an-hour. Cool -down and ring out. Then dry slowly. Repeat -the aluming. Put madder into water and when -hot dip in cotton for ½ hour, keeping it under boiling -point, then boil up for ¼ hour and wash. Dry. -<span class="pagenum"><a name="Page_105" id="Page_105">105</a></span></p> - -<p>11). <span class="smcap">Madder Red for Cotton & Linen.</span></p> - -<p>(For 1 lb.) 1st Mordant.—Boil 1 oz. ground -gall nuts in 5 quarts of water for ½ hour. Put in -thread and soak for 24 hours. Dry.</p> - -<p>2nd Mordant.—Melt 2 oz. of alum, ⅛ oz. of Turmeric, -and ½ oz. of gum Arabic in two quarts of -water, over a slow fire. Let cool. Melt 1 oz. soda, -1 oz. arsenic, ¼ oz. potash (crushed) in a bath, and -when dissolved, add the alum, turmeric and gum -Arabic mixture. Stew ½ hour. Put in thread, -which should be covered with the liquid, and let it -soak for 24 hours. Dry.</p> - -<p>1st. Bath.—Put 2 oz. Madder into 10 quarts of -water, heat up to boiling but do not let it boil. Put -in thread and stir well for 1 hour.</p> - -<p>2nd. Bath.—Put 3 oz. Madder in 10 quarts of -water; treat as in first bath, from which the thread -should be taken and put straight into the 2nd. bath. -Stir for 1 hour. Soak for 24 hours; wash and dry.</p> - -<p>3rd. Bath.—Put 3 oz. Madder in 10 quarts water; -repeat the process described for 2nd. bath. -The thread should be washed in cold water & lastly -in warm water in which a little soft soap has been -<span class="pagenum"><a name="Page_106" id="Page_106">106</a></span> -dissolved. When drying do not wring the skeins -as this is likely to make the colour uneven.</p> - -<p class="p2">There are a few other red dyes of minor importance -which should be mentioned.</p> - -<p><i>BRAZIL WOODS</i>, various leguminous trees, -including lima, sapan and peach wood, dye red with -alum and tartar, and a purplish slate colour with bichromate -of potash. They are not fast colours.</p> - -<p>Some old dyers used Brazil wood to heighten the -red of madder.</p> - -<p><i>CAMWOOD</i>, <i>BARWOOD</i>, <i>SANDALWOOD -or SANDERSWOOD</i>, are chiefly used -in wool dyeing, with other dye woods such as Old -Fustic, and Logwood for browns. They dye good -but fugitive red with bichromate of potash, or alum.</p> - -<p><i>RED from LADIES BEDSTRAW.</i></p> - -<p>The crushed roots of this plant are used. Mordant -the wool with either alum or bichromate of -potash. The red with alum is an orange red, with -chrome, a crimson red. Make the dye bath with -30 to 50% of bedstraw roots and boil the mordanted -wool in it for an hour. -<span class="pagenum"><a name="Page_107" id="Page_107">107</a></span></p> - -<p><i>RED for COTTON.</i></p> - -<p>For 10 lbs. cotton boil 3 lbs. Sumach, let the cotton -steep in this over night: wring out and work in -red spirits (1 gill to a gallon of water). Wring out -and wash well. Boil up 3 lbs. limawood (or Brazil -or Peach wood) and 1 lb. fustic. Work the cotton in -this ½ hour, as warm as the hand can bear; add 1 gill -red spirits and work 15 minutes longer. Wash.</p> - -<h2>CHAPTER VIII.<br /><br /><br /> -YELLOW.<br /> -<span class="s09">WELD. OLD FUSTIC. TURMERIC. -QUERCITRON. DYER'S BROOM. HEATHER, -AND OTHER YELLOW DYES.</span></h2> - -<p>"There are ten species of drugs for dyeing yellow, -but we find from experience that of these ten there -are only five fit to be used for the good dye—viz. -Weld, savory, green wood, yellow wood and fenugrec". -<span class="pagenum"><a name="Page_108" id="Page_108">108</a></span> -"Weld or wold yields the truest yellow, -and is generally preferred to all the others. Savory -and green wood, being naturally greenish, are the -best for the preparation of wool to be dyed green: -the two others yield different shades yellow."—<i>Hellot.</i></p> - -<p class="center p2 b12"><i>WELD</i></p> - -<p>Weld, <i>Reseda luteola</i>, an annual plant growing -in waste sandy places. The whole plant is used for -dyeing except the root. It is the best and fastest of -the yellow natural dyes.</p> - -<div class="blockquot"><p> -Hellot's directions for dyeing with weld are the following:—"Allow -5 or 6 lbs. of weld to every pound of stuff: some -enclose the weld in a clean woollen bag, to prevent it from -mixing in the stuff; and to keep the bag down in the copper, -they put on it a cross of heavy wood. Others hold it in the -liquor till it has communicated all its colour, and till it falls to -the bottom: the stuff is then suspended in a net, which falls -into the liquor, but others, when it has boiled, take out the -weld with a rake and throw it away."</p></div> - -<p>The plant is gathered in June and July, it is then -carefully dried in the shade and tied up into bundles. -When needed for dyeing it is broken up into pieces -or chopped finely, the roots being discarded and a -decoction is made by boiling it up in water for about -<span class="pagenum"><a name="Page_109" id="Page_109">109</a></span> -¾ hour. It gives a bright yellow with alum and tartar -as mordant. With chrome it yields an old gold -shade; with tin it produces more orange coloured -yellows; with copper and iron, olive shades. The -quantity of weld used must be determined by the -depth of colour required. The dye bath is prepared -just before dyeing, the chopped weld being put into -weighted bags and boiled in soft water for ½ to 1 -hour. 2% of Stannous chloride added to the mordant -gives brilliancy and fastness to the colour. -Bright and fast orange yellows are got by mordanting -with 8% Stannous chloride instead of alum. -With 6% copper sulphate and 8% chalk, weld -gives a good orange yellow. Wool mordanted -with 4% of ferrous sulphate and 10% tartar and -dyed in a separate bath with weld with 8% chalk, -takes a good olive yellow. 8% of alum is often -used for mordant for weld. The dye bath should -not be above 90°C. It is good to add a little chalk -to the dye bath as it makes the colour more intense, -while common salt makes the colour richer and -deeper.</p> - -<div class="blockquot"><p> -"Woollen dyers frequently add a little stale urine or lime -and potash to the water in which it is boiled. They commonly -<span class="pagenum"><a name="Page_110" id="Page_110">110</a></span> -employ 3 or 4 oz. of alum and one of tartar for each pound of -the wool. Tartar is supposed to render the yellow colour a -little more clear and lively."—<i>Bancroft.</i></p></div> - -<p>Weld is of greater antiquity than most, if not all -other natural yellow dyes. It is cultivated for dyeing -in France, Germany and Italy. It is important for -the silk dyer, as it dyes silk with a fast colour. The -silk is mordanted in the usual way with alum, washed -and dyed in a separate bath of 20 to 40% weld, -with a small quantity of soap added. After dyeing, -the colour is brightened by working the silk for 10 -minutes in a fresh soap bath with a little weld added -to it. Wring out without washing.</p> - -<p class="center p2"><span class="smcap">Recipes for Dyeing with Weld.</span></p> - -<p>1). <span class="smcap">Yellow for Silk.</span></p> - -<p>Scour the silk in the proportion of 20 lbs. soap to -100 lbs. of silk. Afterwards alum and wash. A bath -is made of 2 parts weld for 1 of silk, and after ¼ hour's -boiling, it is filtered through a cloth into another -bath. When this bath is cooled a little, the silk is -immersed and turned about till dyed. The weld is -in the meantime boiled up again with a little pearl -<span class="pagenum"><a name="Page_111" id="Page_111">111</a></span> -ash, and after being strained, it is added to the first -bath (part of the first bath having been thrown -away) until the desired colour is got. The bath -must not be too hot. If more golden yellows are -wanted, add some annotto to the second bath.</p> - -<p>2). <span class="smcap">Yellow for Cotton.</span></p> - -<p>Scour the cotton in a lixivium of wood ashes, -wash and dry. It is alumed with ¼ of its weight of -alum. After 24 hours it is taken out of the bath and -dried without washing. A weld bath is prepared -with 1¼ parts weld to 1 of cotton, and the cotton dipped -in till the shade is got. It is then worked in a -bath of sulphate of copper (¼ copper to 1 of cotton) -for 1½ hours. It is next thrown, without washing, -into a boiling solution of white soap (¼ soap to 1 -cotton). It is boiled for 1 hour, then washed and -dried.</p> - -<p>3). <span class="smcap">Deep Yellow for Cotton or Linen.</span></p> - -<p>2½ parts of weld for 1 of cotton, with a little copper -sulphate added to the bath. The cotton is well -worked in this till the cotton has the desired colour. -It is then taken out and a little soda ley is poured in. -<span class="pagenum"><a name="Page_112" id="Page_112">112</a></span> -It is returned and worked in this for ¼ hour, then -washed and dried.</p> - -<p>4). <span class="smcap">Old Gold for Wool.</span></p> - -<p>Mordant with 2% chrome and dye with 60% -of weld in a separate bath. 3% of chalk adds to the -intensity of colour.</p> - -<p>5). <span class="smcap">Yellow for Wool.</span></p> - -<p>Boil wool with 4% of alum for 1 to 2 hours, and -dye in a separate bath of 50 to 100% weld for 20 -minutes to an hour at 90°C.</p> - -<p>6). <span class="smcap">Yellow for Wool.</span></p> - -<p>Mordant with alum and tartar, and dye with 5 or -6 lbs. of weld for every lb. of wool. Common salt -deepens the colour. If alum is added to the dye bath, -the colour becomes paler and more lively. Sulphate -of iron inclines it to brown.</p> - -<p>7). <span class="smcap">Weld Yellow for Silk.</span></p> - -<p>Work the silk (1 lb.) for an hour in a solution of -alum, 1 lb. to the gallon, wring out and wash in -warm water. Boil 2 lbs. weld for ½ hour; strain -and work the silk in this for ½ hour. Add 1 pint -alum solution to the weld bath and return the silk; -work ten minutes, wring out and dry. -<span class="pagenum"><a name="Page_113" id="Page_113">113</a></span></p> - -<p class="center p2 b12"><i>OLD FUSTIC.</i></p> - -<p>Fustic is the wood of <i>Morus tinctoria</i>, a tree of -Central America. It is used principally for wool. -It does not produce a fast dye for cotton. With -Bichromate of Potash as mordant, Old Fustic gives -old gold colour. With alum it gives yellow, inclining -to lemon yellow. The brightest yellows -are got from it by mordanting with Tin. With -copper sulphate it yields olive colours. (4 to 5% -copper sulphate and 3 to 4% tartar). With ferrous -sulphate, darker olives are obtained (8% ferrous -sulphate). For silk it does not produce as bright -yellows as weld, but can be used for various shades of -green and olive. Prolonged dyeing should always -be avoided, as the yellows are apt to become brownish -and dull. The chips should be tied up in a bag -and boiled for ½ hour before using. It is still better -to soak the wood over-night, or boil up in a small -vessel and strain into the dye bath. The proportion -of Fustic to be used for a good yellow is 5 to 6 parts -to 16 parts of wool.</p> - -<p class="center p2"><span class="smcap">Recipes for dyeing with Old Fustic.</span></p> - -<p>1). <span class="smcap">Old Gold for Wool.</span> Boil the wool with -3 to 4% Chrome for 1 to 1½ hours. Wash, and -<span class="pagenum"><a name="Page_114" id="Page_114">114</a></span> -dye in a separate bath for 1 to 1½ hours at 100°C. -with 20 to 80% of Old Fustic.</p> - -<p>2). <span class="smcap">Light Yellow for Silk.</span> Work the silk -for ¼ to ½ hour at 50° to 60°C. in a bath containing -16% alum and a decoction of 8 to 16% of old Fustic. -For dark yellow the silk is mordanted with -alum, washed and dyed for about an hour at 50°C., -with 50 to 100% of Fustic. The colour can be -made faster and brighter by working the silk in a -cold solution of nitro-muriate of Tin for an hour.</p> - -<p>3). <span class="smcap">Bright Yellow for Wool.</span> Mordant -wool with 8% of stannous chloride for 1 to 1½ hours, -and 8% of tartar. Wash, and dye with 20 to 40% -of Fustic at 80° to 100°C. for 30 to 40 minutes.</p> - -<p>4). <span class="smcap">Old Gold for Wool.</span> Mordant 6¼ lbs. -(100 oz.) wool with 3 oz. chrome, for ¾ hour and -wash. Dye with 24 oz. Fustic & 4 oz. madder for -45 minutes.</p> - -<p>5). <span class="smcap">Yellow for Wool.</span> Mordant 6¼ lbs. wool -with 3 oz. chrome, for ¾ hour and wash. Dye with -6 oz. Fustic, 2 drachms logwood. Boil ¾ hour.</p> - -<p>6). <span class="smcap">Bright Yellow for Wool.</span> (Single bath -method). Fill the dye bath ½ full of water, add 2% -<span class="pagenum"><a name="Page_115" id="Page_115">115</a></span> -oxalic acid, 8% stannous chloride, 4% tartar and 40 -per cent. of Fustic. Boil up for 5 or 10 minutes, then -fill the bath with cold water. Put in the wool & heat -up the bath to boiling in the course of ¾ to 1 hour, & -boil for ½ hour.</p> - -<p>7). <span class="smcap">Yellow for Wool.</span> (Single bath). 4% -stannous chloride, 4% oxalic acid and 50% Fustic.</p> - -<p>8). <span class="smcap">Yellow for Silk.</span> (5 lbs.) Work the -silk through an alum solution of 1 lb. to a gallon of -water. Wash in warm water. Boil 2 lbs. Fustic -for ½ hour in water and in this work the silk for ½ -hour. Lift and add 1 pint of the alum solution. -Work 10 minutes longer, then wash and dry.</p> - -<p>9). <span class="smcap">Fustic Yellow for Silk.</span> (5 lbs.) Alum -the silk. Boil up 3 lbs. Fustic and work silk in it -while hot for ½ hour. Lift, add 2 oz. red spirits. -Work for 15 minutes. Wash out in cold water. -Work 10 minutes in a soap solution. Wring out -and dry.</p> - -<p>10). <span class="smcap">Buff Colour on Wool.</span> (45 lbs.) Boil -4½ lbs. Fustic and 1½ lbs. madder. Add 7 lbs. alum -and boil up together. Allow to cool a little, enter -wool and boil for ½ hour. -<span class="pagenum"><a name="Page_116" id="Page_116">116</a></span></p> - -<p>11). <span class="smcap">Yellow for Wool.</span> Mordant with -alum and tartar. Solution of tin increases the colour; -salt makes it deeper. 5 or 6 oz. Fustic for -every pound of wool.</p> - -<p class="center p2 b12"><i>TURMERIC</i></p> - -<p>Turmeric is a powder obtained from the ground -up tubers of <i>Curcuma tinctoria</i>, a plant found in India -and other Eastern countries. It gives a brilliant -orange yellow, but it has little permanence. It is -one of the substantive colours and does not need -any mordant. Cotton has a strong attraction for -it, and is simply dyed by working in a solution of -Turmeric at 60°C. for about ½ hour. With silk -and wool it gives a brighter colour if mordanted -with alum or tin. Boiling should be avoided. It -is used sometimes for deepening the colour of Fustic -or Weld, but its use is not recommended as although -it gives very beautiful colours, it is a fugitive -dye. As Berthollet says "The shade arising from -the Turmeric is not long of disappearing in the air."</p> - -<p class="center p2 b12"><i>QUERCITRON.</i></p> - -<p>Quercitron is the inner bark of the <i>Quercus nigra</i> -or <i>Q. tinctoria</i>, a species of oak growing in the United -<span class="pagenum"><a name="Page_117" id="Page_117">117</a></span> -States and Central America. It was first introduced -into England by Bancroft in 1775 as a cheap substitute -for weld. He says, "The wool should be boiled -for the space of 1 or 1¼ hours with one sixth or one -eighth of its weight of alum; then without being -rinsed, it should be put into a dyeing vessel with -clean water and also as many pounds of powdered -bark (tied up in a bag) as there were used of alum to -prepare the wool, which is to be then turned in the -boiling liquor until the colour appears to have taken -sufficiently: and then about 1 lb. clean powdered -chalk for every 100 lbs. of wool may be mixed with -the dyeing liquor and the operation continued 8 or -10 minutes longer, when the yellow will have become -both lighter and brighter by this addition of -chalk."</p> - -<p><span class="smcap">Quercitron for Silk.</span> <i>Bancroft.</i></p> - -<p>1 to 2 lbs. of bark to every 12 lbs. silk according to -shade required. The bark, tied up in a bag, should -be put into the dyeing vessel whilst the water is cold, -as soon as it gets warm the silk, previously alumed, -should also be put in and dyed as usual. A little chalk -should be added towards the end of the operation. -<span class="pagenum"><a name="Page_118" id="Page_118">118</a></span> -A little murio sulphate of tin is used where more -lively shades of yellow are wanted.</p> - -<p>Boil at the rate of 4 lbs. bark to every 3 lbs. of alum -& 2 lbs. murio sulphate of tin with a suitable quantity -of water, for 10 to 15 minutes. Reduce the heat -so that the hand can bear it, put in the silk and dye -till it has acquired the shade. By adding suitable -proportions of sulphate of indigo to this yellow liquor -and keeping it well stirred, various and beautiful -shades of Saxon green may be dyed.</p> - -<p>By dissolving different proportions of copperas or -copperas and alum in the warm decoction of bark, -silk may in the same way be dyed of all the different -shades of olive and drab colours.</p> - -<p><span class="smcap">For Cotton and Linen.</span> Soak the yarn in a -liquor made by dissolving ¼ of its weight of alum in -the necessary water, to which it will be highly advantageous -to add at the rate of 1 lb. potash or 10 oz. -chalk for every 6 or 7 lbs. alum. The yarn is taken -out and dried well: being afterwards rinsed, it is to -be dyed in cold liquor made by boiling 1¼ lbs. of the -plant for each lb. of yarn, which, after having received -a sufficient body of colour, is to be taken out of the -dyeing liquor and soaked for an hour and more in a -<span class="pagenum"><a name="Page_119" id="Page_119">119</a></span> -solution of sulphate of copper (blue vitriol) containing -at the rate of 3 or 4 oz. for every pound of yarn: -it is then removed without being washed, put into a -boiling solution of hard soap, containing 3 or 4 oz. -soap for each pound of yarn. Stir well and boil for -about ¾ hour or more. Then wash and dry.</p> - -<p>And again, take a sufficient quantity of acetate of -alumina. This is made by dissolving 3 lbs. alum in -a gallon of hot water, then adding 1 lb. sugar of lead, -stirring well for 2 or 3 days, afterwards adding about -2 oz. potash and 2 oz. powdered chalk, (carbonate of -lime), mix with warm water and soak linen or cotton -well in this for 2 hours, keeping warm; squeeze -out, dry; soak again in mordant, squeeze; dry; soak -in lime water, dry; this mordanting and liming can -be repeated if a fast yellow is required: it should -then be well washed. 12 to 18 lbs. of Quercitron -bark, for every 100 lbs. cotton or linen, is tied up in a -bag and put in cold water, and slightly heated. The -cotton is put in, stirring for an hour to an hour and a -half while the water gets warm: then the liquor is -heated to boiling point and the cotton boiled a few -minutes only. Slow raising to boiling point gives -the best colour. Instead of using acetate of alumina, -<span class="pagenum"><a name="Page_120" id="Page_120">120</a></span> -the cotton can be impregnated with some astringent -such as galls or myrobalans (1 lb. in 2 or 3 gallons of -water with a little soda). Macerate the cotton an -hour or two in this and dry, then a solution of alum -(8 lbs. alum, 1 lb. chalk, in 6 gallons of water) soak -cotton 2 hours, and dry, then soak in lime water and -dry. Second time in alum and dry. Then wash -and dye slowly in the Quercitron. This is a lasting -yellow for cotton or linen.</p> - -<p class="center p2 b12"><i>OTHER YELLOW DYES.</i></p> - -<div class="blockquot"><p> -"Root of the dock, bark of the Ash tree, leaves of the almond, -peach and pear trees, all give good yellow dyes, more -or less fine according to the time they are boiled and in proportion -to the Tartar and alum used. A proper quantity of alum -brings these yellows to the beautiful yellows of the weld. If -the Tartar is in greater quantity, these yellows will border on -the orange, if too much boiled they take brown shades." From -a dyeing book, 1778.</p></div> - -<p><i>BARBERRY.</i> The roots and bark of <i>Berberis -Vulgaris</i>, used principally for silk dyeing, without a -mordant. The silk is worked at 50° to 60°C. in a -solution of the dye wood slightly acidified with sulphuric, -acetic or tartaric acid. For dark shades, -mordant with stannous chloride. -<span class="pagenum"><a name="Page_121" id="Page_121">121</a></span></p> - -<p><i>DYERS BROOM.</i> <i>Genista tinctoria.</i> -The plant grows on waste ground. It should be -picked in June or July & dried. It can be used with -an alum and tartar mordant and gives a good bright -yellow. It is called greening weed and used to be -much used for greening blue wool.</p> - -<p><i>PRIVET LEAVES</i>, <i>Ligustrum vulgare</i>, dye -a good fast yellow with alum and tartar.</p> - -<p><i>HEATHER.</i> Most of the heathers make a -yellow dye, but the one chiefly used is the Ling, -<i>Calluna vulgaris</i>. The tips are gathered just before -flowering. They are boiled in water for about half -an hour. The wool, previously mordanted with -alum, is put into the dye bath with the liquor, which -has been strained. It is then covered up closely and -left till the morning. Or the wool can be boiled in -the heather liquor till the desired colour is obtained.</p> - -<p><span class="smcap">Recipes</span>:—1). <span class="smcap">Yellow for Wool.</span> For 6¼ lbs. -mordant with 5 oz. alum for 1 hour and wash. Boil -up 8 oz. heather twigs, leaves and flowers. Enter the -wool and boil for 1 hour. Wash in cold water & dry.</p> - -<p>2). <span class="smcap">Golden Yellow for Wool.</span> For 6¼ lbs. -mordant with 3 oz. bichromate of potash for ¾ hour. -<span class="pagenum"><a name="Page_122" id="Page_122">122</a></span> -Wash in cold water. Dye with 50 oz. heather and -boil for 45 minutes.</p> - -<h2>CHAPTER IX.<br /><br /><br /> -BROWN AND BLACK.<br /> -<span class="s09">CATECHU. ALDER BARK. SUMACH.<br /> -WALNUT. PEAT SOOT. LOGWOOD,<br /> -AND OTHER DYES</span></h2> - -<p class="center b12"><i>CATECHU.</i></p> - -<p>Catechu, (Cutch) is an old Indian dye for cotton. -It can be used for wool, and gives a fine rich brown. -It is obtained from the wood of various species of -Areca, Acacia, and Mimosa trees. Bombay Catechu -is considered the best for dyeing purposes.</p> - -<p>Catechu is soluble in boiling water. It is largely -used by the cotton dyer for brown, olive, drab, grey, -and black. The ordinary method of dyeing cutch -brown on cotton is to steep the cotton in a hot solution -<span class="pagenum"><a name="Page_123" id="Page_123">123</a></span> -of catechu, containing a small addition of copper -sulphate, and leave it in the solution for several -hours. To 7 or 8 gallons of water put 1 lb. catechu -and boil till all is dissolved, then add 1 to 2 ozs. of -sulphate of copper and stir. It is then put into a -boiling chrome bath (3%) for ½ hour. For deep -shades the dyeing and chroming operations are repeated. -With alum mordanted cotton, the colour -is a yellowish brown, with tin it becomes still yellower. -With iron it is brownish or greenish grey. -When catechu only is used, a darker shade of brown -is got by adding to the catechu 6% of its weight of -copper sulphate. When mordants are used, they -may be applied before or after the chrome bath, the -cotton being worked in their cold solution.</p> - -<p>1). <span class="smcap">Catechu Brown for Cotton.</span> (10 lbs.) -Work the cotton at a boiling heat for 2 hours, or -steep for several hours in a cool liquid, in 2 lbs. catechu. -(To each 7 or 8 gallons of water put 1 lb. of -catechu, and boil till all is dissolved, then add 2 oz. -sulphate of copper and stir). Wring out and then -work for ½ hour in a hot solution of chrome, 6 oz. -Wash in hot water. If soap is added the colour is -<span class="pagenum"><a name="Page_124" id="Page_124">124</a></span> -improved. Any depth of colour can be got by repeating -the operations.</p> - -<p>2). <span class="smcap">Brown for Cotton.</span> Soak cotton in -warm water. Boil for ½ hour in a solution of catechu, -in the proportion of 1 oz. of catechu to 5 oz. of -cotton. Put it into a 3% solution of chrome for ½ -hour and boil. Then repeat these two operations -till the colour is obtained. Then boil in a bath of -Fustic.</p> - -<p>3). <span class="smcap">Brown for Cotton.</span> (100 lbs.) Boil -20 lbs. catechu in water: dissolve in the liquid 10 -lbs. alum and let it settle: enter the yarn into the -hot liquid and after working well take out and enter -into a fresh bath of boiling water with 4 lbs. of -chrome. Rinse and soften with oil and soap.</p> - -<p>4). <span class="smcap">Cream Colour for Cotton with Catechu.</span> -(11 lbs). Boil out ¾ oz. of catechu in -water, and dissolve 2 lbs. 3 oz. curd soap in the clear -liquid. Enter the cotton at 190° F. and work for -an hour.</p> - -<p>5). <span class="smcap">Catechu fast Brown.</span> (50 lbs.) Steep -yarn over-night in a decoction of 10 lbs. cutch. -<span class="pagenum"><a name="Page_125" id="Page_125">125</a></span> -Lift & work in a hot solution of chrome, rinse & dry.</p> - -<p>6). <span class="smcap">Light fast Catechu Brown for Cotton.</span> -(50 lbs.) Boil 20 lbs. catechu in one boiler -and 5 lbs. chrome in another. Enter in the catechu -bath first, work 20 minutes, and wring out: then -through the chrome 10 minutes, and wring out. -Through catechu again, then chrome. Repeat -this till dark enough, finishing with catechu.</p> - -<p>7). <span class="smcap">Light Catechu Brown for Cotton.</span> -(20 lbs). 3 lbs. of catechu and 3 oz. copper sulphate, -boil up, and put into a bath of warm water. -Enter cotton and work for ½ hour; wring out. In -another bath of hot water dissolve 8 oz. of chrome. -Enter cotton when boiling, and work for ½ hour. -Then wash.</p> - -<p>8). <span class="smcap">Catechu Black for Cotton.</span> Work -the cotton in a hot decoction of catechu, allowing it -to steep in the bath till cold, then work it in a cold -solution of iron. Wash, and dye in a cold or tepid -bath of logwood, and finally pass through a solution -of chrome.</p> - -<p>9). <span class="smcap">Catechu Brown for Wool.</span> The wool -is boiled for 1 to 1½ hours, with 10 to 20% catechu, -<span class="pagenum"><a name="Page_126" id="Page_126">126</a></span> -then sadden with 2 to 4% of copper sulphate, ferrous -sulphate, or chrome, at 80° to 100°C., in a separate -bath for ½ hour.</p> - -<p>10). <span class="smcap">Catechu Stone Drab.</span> (10 lbs. cotton). -Work the cotton for ¼ hour with 2 pints catechu -(1 lb. catechu to 7 or 8 gallons water; boil and add 2 -oz. copper sulphate) in hot water, lift and add 2 oz. -copperas in solution. Work for ¼ hour and wash. -Add 2 oz. logwood to a bath of warm water & work -cotton in this for 10 minutes. Lift and add ½ oz. alum. -Work 10 minutes; wring out and dry.</p> - -<p class="center p2 b12"><i>ALDER BARK</i></p> - -<p>The bark and twigs of alder are used for dyeing -brown and black. For 1 lb. wool use 1 lb. alder bark. -Boil the wool with it for 2 hours, when it should be -a dull reddish brown. Add ½ oz. copperas for every -pound of wool for black.</p> - -<p class="center p2 b12"><i>SUMACH</i></p> - -<p>Sumach is the ground up leaves and twigs of the -<i>Rhus coriaria</i> growing in Southern Europe. It dyes -wool a yellow and a yellow brown, but it is chiefly -used in cotton dyeing. -<span class="pagenum"><a name="Page_127" id="Page_127">127</a></span></p> - -<p class="center p2 b12"><i>WALNUT</i></p> - -<p>The green shells of the walnut fruit and the root -are used for dyeing brown. The husks are collected -when the fruit is ripe, put into a cask and covered -with water. In this way they can be kept for a year -or more; it is said the longer they are kept the better -colour they give. Without a mordant the colour is -quite fast, but if the wool is mordanted with alum a -brighter and richer colour is got. When used they -are boiled in water for ¼ hour, then the wool is entered -and boiled till the colour is obtained. Long boiling -is not good as it makes the wool harsh. It is -much used as a "saddening" agent; that is for darkening -other colours. William Morris says:—</p> - -<div class="blockquot"><p> -"The best and most enduring blacks were done with this simple -dye stuff, the goods being first dyed in the indigo or woad vat till -they were a very dark blue, and then browned into black by means -of the walnut root."</p> - -<p class="p2">"Of all the ingredients used for the brown dye, the walnut -rind is the best. Its shades are finer, its colour is lasting, it -softens the wool, renders it of a better quality, and easier to -work. To make use of this rind, a copper is half filled, and -when it begins to grow luke-warm, the rind is added in proportion -to the quantities of stuffs to be dyed and the colour intended. -The copper is then made to boil, and when it has boiled a -<span class="pagenum"><a name="Page_128" id="Page_128">128</a></span> -quarter-of-an-hour, the stuffs which were before dipped in -warm water, are put in. They are to be stirred and turned -until they acquire the desired colour."—<i>James Haigh, 1797.</i></p></div> - -<p><i>PEAT SOOT</i> gives a good shade of brown to -wool. Boil the wool for 1 to 2 hours with peat soot. -Careful washing is required in several changes of -water. It is used sometimes for producing a hazel -colour, after the wool has been dyed with weld and -madder.</p> - -<p><i>OAK BARK.</i> Mordant with alum and dye in -a decoction of oak bark.</p> - -<p><i>ONION SKINS.</i> (Brown.) Mordant the wool -with alum and a little cayenne pepper. Boil it up -lightly and keep warm for 6 days. Drying 2 or 3 -times in between makes the colour more durable. -Dry. Boil a quantity of onion skins, and cool; then -put in wool and boil lightly for half-an-hour to an -hour; then keep warm for a while. Wring out -and wash.</p> - -<p><i>MADDER for BROWN.</i> (For 2½ lbs. wool). -Mordant with 2 oz. copperas and 2 oz. cream of tartar. -Dye with madder. -<span class="pagenum"><a name="Page_129" id="Page_129">129</a></span></p> - -<p><i>MADDER, ETC., for FRENCH BROWN.</i> -(For 50 lbs. wool.) Mordant with 1½ lbs. chrome. -Dye with 6 lbs. Fustic, 1 lb. madder, ½ lb. cudbear, -1 lb. Tartar. If not dark enough add 8 oz. logwood. -Boil for ½ hour. Wash and dry.</p> - -<p><i>FOR BLACK THREAD.</i> (From an old Dutch -book on Dyeing. 1583). "Take a quantity of broken -or bruised galls and boil them in water in a small pot -and when they have a little boiled, take out all the -galls and put into the same pot so much Copperas as -ye had of galles and put therewith a little gumme of -Arabic and then give it again another boiling. So -let it boil a little, and with the said dye ye shall colour -therein your thread, then take it forth and ye -shall see it a fair shining black."</p> - -<p><i>TAN SHADE.</i> (for 6¼ lbs. wool). Mordant -with 3 oz. Chrome for 45 minutes and wash in cold -water. Boil for ½ hour, in a bag, 5 oz. madder, 4 oz. -Fustic, ½ oz. logwood. Enter the wool, raise to the -boil, and boil for 45 minutes. By altering the proportions -of madder & fustic various shades of brown -can be got. -<span class="pagenum"><a name="Page_130" id="Page_130">130</a></span></p> - -<p><i>A GOOD BLACK</i> for cotton, (20 lbs.) to stand -milling and scouring. Steep all night with 6 lbs. of -Sumach, pass through lime liquor and sadden with -copperas; repeat in each of the last 2 tubs, adding -more lime and copperas to each. Pass through logwood -and wash. Soften with a little oil and soda ash.</p> - -<p><i>A GOOD BLACK</i> for cotton, (20 lbs.) In a -tub of cold water add 5 lbs. sumach, give a few turns -and let it steep in it all night; then in another tub of -cold water add a few pails of lime water, wring out; -in another tub add 2 lbs. dissolved copperas and a -pailful of old Sumach liquor. Enter, give 6 turns, -wring out. In lime tub put two pails more lime -liquor. Scald 2 lbs. logwood, 1 lb. Fustic in water; -enter cotton, give 10 turns, sadden with a little copperas -in the same liquor. Soften with a little oil and -soda ash.</p> - -<p><i>BLACK FOR LINEN AND COTTON.</i> -The yarn is first of all scoured in the ordinary way, -galled, alumed, and then turned through a bath of -weld. It is then dyed in a decoction of logwood to -which one fourth part of sulphate of copper must be -<span class="pagenum"><a name="Page_131" id="Page_131">131</a></span> -added for one part of yarn. It is then washed. It -is dyed in a bath made with one part of madder for -two of yarn. The yarn is then turned through a -bath of boiling soap water, washed and dried.</p> - -<p><i>DOESKIN BLACK.</i> (For 100 lbs. wool.) -Camwood 8%. Boil for 50 minutes. Then add -Chrome 3%, Alum 1%, Argol 1%. Boil for 50 -minutes, take out of dye and allow to stand overnight. -Dye in 45% logwood, 8% Fustic, 4% -Sumac. Boil for 1½ hours, wash and dry. A fast -permanent colour.</p> - -<p><i>GREEN BLACK FOR WOOL.</i> Mordant -with 2% Chrome and 25% Sulphuric acid. Boil -1½ hours; and leave over-night. Dye with 40% -logwood, and 10% Fustic. Boil 1 hour. Wash.</p> - -<p><i>BROWNISH BLACK FOR WOOL.</i> (For -1 lb.) Mordant with 3 per cent. Chrome. Dye -with 2 oz. Fustic, 2 oz. logwood, 1 oz. madder, and -1 oz. copperas.</p> - -<p><i>BROWN FOR WOOL.</i> Mordant 2½ hours -with alum; dye with pine needles (larch) collected -in Autumn when they drop. -<span class="pagenum"><a name="Page_132" id="Page_132">132</a></span></p> - -<p>"<i>BLACK</i> is obtained from the whole plant of -<i>Spirea Ulmaria</i>, but especially the root. It is gathered -then dried in the sun, and a strong decoction -made by boiling for some hours, (a large handful to -3 pints of water). After it has boiled slowly for 2 -to 3 hours, stale urine is added to supply the loss by -evaporation. Then set aside to cool. The cloth -to be dyed, is rubbed strongly with bog iron ore, -previously roughened and moistened with water. -It is then rolled up and boiled in the decoction. This -is of a brilliant black. A fine black is said to have -been formerly obtained from the roots of <i>Angelica -Sylvestris</i>."—(Edmonstone on the Native Dyes of -the Shetland Islands, 1841.) William Morris says;</p> - -<div class="blockquot"><p> -"<a name="FNanchor_17" id="FNanchor_17" href="#Footnote_17" class="fnanchor">[17]</a> -Black is best made by dyeing dark blue wool with brown; -and walnut is better than iron for the brown part, because the -iron-brown is apt to rot the fibre; as you will see in some -pieces of old tapestry, or old Persian carpets, where the black -is quite perished, or at least in the case of the carpet—gone -down to the knots. All intermediate shades of flesh colour -can be got by means of weak baths of madder and walnut -"saddening;" madder or cochineal mixed with weld gives us -orange, and with saddening (walnut) all imaginable shades -between yellow and red, including the ambers, maize-colour, -etc."</p></div> - -<p> -<span class="pagenum"><a name="Page_133" id="Page_133">133</a></span></p> - -<div class="blockquot"><p> -From a Dye Book of 1705.—"Black may be compared to -Night and Death, not only because all other colours are deepened -and buried in the Black Dye, but that as Death puts an -end to all Evils of Life, tis necessary that the Black Dye -should remedy the faults of other colours, which have been -occasioned by the deficiency of the Dyer or the Dye, or the -change of Fashion according to the times and caprice of man."</p></div> - -<h2>CHAPTER X.<br /><br /><br /> -GREEN</h2> - -<p>Green results from the mixing of blue and yellow -in varying proportions according to the shade of -colour required. <i>Berthollet</i> says:—</p> - -<div class="blockquot"><p> -"Many different plants are capable of affording green colours; -such as, the field broom grass, <i>Bromus secalinus</i>; the green berries -of the berry bearing alder, <i>Rhamnus frangula</i>; wild chervil, <i>Chærophyllum -silvestre</i>; purple clover, <i>Trifolium pratense</i>; common reed, -<i>Arundo phragmites</i>; but these colours have no permanence."<a name="FNanchor_18" id="FNanchor_18" href="#Footnote_18" class="fnanchor">[18]</a> - -</p></div> - -<p><span class="pagenum"><a name="Page_134" id="Page_134">134</a></span></p> - -<div class="blockquot"><p> -<i>Hellot</i> says:—"It is impossible to obtain more than one colour -from a mixture of blue and yellow, which is green; but this colour -comprehends an infinite variety of shades, the principal of which -are the Yellow green, the Light green, the Gay green, the Grass -green, the Laurel green, the Molequin green, the Deep green, the -Sea green, the Celadon green, the Parrot green, and, I shall add, -the Duck-wing green, and the Celadon green with Blue. All -these shades and the intermediate ones are made after the same -manner and with the same ease. The stuff or wool dyed blue, light -or dark, is boiled with Alum and Tartar, as is usually done to make -white stuff yellow, and then with Weld, Savory, or Greening -Wood. The Weld and the Savory are the two plants that afford -the finest greens."</p></div> - -<p>Another old Dye book says:—</p> - -<div class="blockquot"><p> -"If you would dye your goods green, you must first dye them -yellow with Broom or Dyer's Weed, otherwise Yellow Weed; -after which put them into the Blue vat." -</p></div> - -<p>Every dyer has his particular yellow weed with -which he greens his blue dyed stuff. But the best -greens are undoubtedly got from weld and fustic.</p> - -<p>The wool is dyed first in the blue vat; then washed -and dried; then after mordanting dyed in the yellow -bath. This method is not arbitrary as some dyers -consider a better green is got by dyeing it yellow before -the blue. But the first method produces the -fastest and brightest greens as the aluming after the -<span class="pagenum"><a name="Page_135" id="Page_135">135</a></span> -blue vat clears the wool of the loose particles of indigo -and seems to fix the colour.</p> - -<p>If a bright yellow green is wanted, then mordant -with alum after the indigo bath; if olive green, then -mordant with chrome.</p> - -<p>The wool can be dyed blue for green in 3 different -ways:—1st. in the indigo vat (see <a href="#Page_68">page 68</a> et seq.); -2nd. with Indigo Extract (see <a href="#Page_65">pages 65-67</a>); 3rd. -with logwood, the wool having been previously -mordanted with chrome (see <a href="#Page_82">p. 82</a>, No. 7, and <a href="#Page_85">p. 85</a> -No. 17). For a good bright green, dye the wool a -rather light blue, then wash and dry; green it with -a good yellow dye, such as weld or fustic, varying the -proportion of each according to the shade of green -required. Heather tips, dyer's broom, dock roots, -poplar leaves, saw wort are also good yellows for -dyeing green. If Indigo Extract is used for the blue, -fustic is the best yellow for greening, its colour is less -affected by the sulphuric acid than other yellows.</p> - -<p><i>Bancroft</i> gives many recipes for dyeing green -with quercitron. He says:—</p> - -<div class="blockquot"><p> -"Wool which has been first properly dyed blue in the common -indigo vat may be made to receive any of the various -shades of green which are usually given in this way from weld, -by boiling the blue wool (after it has been well rinsed) in water, -<span class="pagenum"><a name="Page_136" id="Page_136">136</a></span> -with about one eighth of its weight in alum, and afterwards -dyeing it unrinsed with about the same quantity of Quercitron -bark and a little chalk which should be added towards the end -of the process.</p> - -<p>In the same way cloth that has previously received the proper -shade of Saxon blue, may be dyed to a beautiful Saxon -green: it will be proper to add about 3 lbs. chalk with 10 to 12 -pounds of alum for the preparation liquor for 100 lbs. weight -of wool which is to be turned and boiled as usual for about an -hour, and then without changing the liquor, 10 or 12 lbs. of -Quercitron bark, powdered and tied up in a bag, may be put -into it, and the dyeing continued. When the dyeing has continued -about 15 minutes, it will be proper to add another lb. -of powdered chalk, stirring it well in, and to repeat this addition -once, twice or three times at intervals of 6 or 8 minutes. -The chalk does not merely answer the purpose of decomposing -the acid left in the wool by the sulphate of indigo, but it helps -to raise the colour and to render it more durable."</p></div> - -<p>According to <i>Bancroft</i>, Quercitron is the yellow -above all others for dyeing greens. He says:—</p> - -<div class="blockquot"><p> -"The most beautiful Saxon greens may be produced -very cheaply and expeditiously by combining the lively yellow -which results from Quercitron bark, murio sulphate of tin and -alum, with the blue afforded by indigo when dissolved in sulphuric -acid, as for dyeing the Saxon blue".</p> - -<p>For a full bodied green he says "6 or 8 lbs. of powdered bark -should be put into a dyeing vessel for every hundred lbs. wool with -<span class="pagenum"><a name="Page_137" id="Page_137">137</a></span> -a similar quantity of water. When it begins to boil, 6 lbs. murio-sulphate -of tin should be added (with the usual precaution) and a -few minutes afterwards 4 lbs. alum: these having boiled 5 or 6 minutes, -cold water should be added, and then as much sulphate of Indigo -as needed for the shade of green to be dyed, stirring thoroughly. -The wool is then put into the liquor and stirred briskly for about ½ -hour. It is best to keep the water just at the boiling point."</p></div> - -<p class="center p2"><span class="smcap">Recipes for Dyeing Green.</span></p> - -<p>1). <span class="smcap">Bottle Green for Silk with Fustic.</span> -(5 lbs.) Dissolve 2 lbs. alum and 1 lb. copperas in -water; work the silk in this for ½ hour; wash in -warm water. Work for ½ an hour in a decoction of -6 lbs. Fustic. Lift, and add 2 oz. Indigo Extract. -Work 20 minutes. Wash and dry.</p> - -<p>2). <span class="smcap">Green for Wool with Fustic.</span> ½ lb. of -wool is mordanted with ⅛ oz. chrome and ⅛ oz. -Cream of Tartar for ½ an hour to 1 hour. Soak overnight -in water, 3 oz. Fustic and 2½ oz. logwood, and -boil for 2 hours. Strain, and enter wool. Boil for -2 hours.</p> - -<p>3). <span class="smcap">Green for Linen with Larch Bark.</span> -Mordant 4 lbs. linen with ½ lb. alum. Boil for 2½ -hours; wring out but do not dry. Boil up a quantity -of larch bark and boil linen in this for 2½ hours. -<span class="pagenum"><a name="Page_138" id="Page_138">138</a></span></p> - -<p>4). <span class="smcap">Fustic Green for Wool.</span> (50 lbs.) -Mordant wool with 11 lbs. alum. Soak 50 lbs. -Fustic over-night, and boil up. Enter the wool -and boil for half-an-hour or more. Add Extract of -Indigo in small quantities at a time, till the desired -colour is got.</p> - -<p>5). <span class="smcap">Saxon Green for Wool.</span> Mordant the -wool with alum and tartar for half-an-hour; it is -then taken out and aired, but not washed. The -bath is refreshed with cold water, and half the -amount of the solution of Indigo which is to be used -is well mixed in. The wool is entered and rapidly -stirred for 5 or 6 minutes, without boiling. It is -taken out and the rest of the Indigo solution is well -mixed in. The wool is put in and boiled for ten -minutes; then taken out and cooled. The bath is -then three-quarters emptied and filled up with a -decoction of fustic. When the bath is very hot, the -wool is put in until the desired shade of green is got.</p> - -<p>6). <span class="smcap">Green with Quercitron for Wool.</span> -Dye the wool blue in the Indigo vat. Wash well. -For 100 parts of wool, put 3 parts of chalk and 10 or -12 of alum. Boil the wool in this for 1 hour. Then -<span class="pagenum"><a name="Page_139" id="Page_139">139</a></span> -to the same bath, add 10 or 12 parts of Quercitron, -and continue the boiling for ¼ hour. Then add 1 part -of chalk, and this addition is repeated at intervals of -6 to 8 minutes till a fine green colour is brought out.</p> - -<p>7). <span class="smcap">Green with Quercitron for Cotton.</span> -First, the cotton is dyed a sky blue colour by means -of indigo dissolved by potash and orpiment; then it -is passed through a strong decoction of sumach, in -which it is left until well cooled. It is then dried, -passed through the mordant of acetate of alumina, -dried again, washed, worked for 2 hours in tepid -bath of Quercitron, (26¼ lbs. to 110 lbs. cotton).</p> - -<p>8). <span class="smcap">Green with Indigo Extract & Weld -for Wool.</span> Mordant 1 lb. wool with 4 oz. alum -and ½ oz. cream of tartar. Dye blue with sufficient -quantity of Indigo Extract. Wash and dry. Prepare -a dye bath with weld which has been previously -chopped up and boiled. Enter wool and boil for -half-an-hour or more.</p> - -<div class="figcenter p2"> -<img src="images/i-145.jpg" width="221" height="109" alt="The End" /> -</div> -<p><span class="pagenum"><a name="Page_140" id="Page_140">140</a></span></p> - -<h2>APPENDIX<a name="appendix" id="appendix"></a></h2> - -<p class="center"><span class="smcap">Lichens used for dyeing wool brown.</span></p> - -<p class="center"><i>Continued from <a href="#Page_62">page 62</a></i></p> - -<p class="p2 hanging"> -<i>S. scrobiculata.</i> Aik-raw, Oak rag. Found on -trees in Scotland and England.</p> - -<p class="hanging"><i>Gyrophora deusta.</i> Scorched looking gyrophora. -Found on rocks in Scandinavia. Linnæus -states that it furnishes a paint called "Tousch," -much used in Sweden.</p> - -<p class="hanging"><i>G. cylindrica.</i> Cylindrical gyrophora. On rocks in -Iceland. Greenish brown. Also G. deusta.</p> - -<p class="hanging"><i>Alectoria jubata.</i> Horse hair lichen, Rock hair. -On fir trees in England, pale greenish brown.</p> - -<p class="hanging"><i>Parmelia parietina.</i> Common yellow wall lichen, -Wäg-mässa, Wag-laf. England and Sweden -on trees, rocks, walls, palings. Used to dye -Easter eggs. Used in Sweden for wool dyeing.</p> - -<p class="hanging"><i>Cetraria juniperina.</i> En-mossa. On trees in Scandinavia.</p> - -<p class="hanging"><i>Borrera flavicans.</i> Yellow borrera. On trees in -Germany, gamboge yellow. -<span class="pagenum"><a name="Page_141" id="Page_141">141</a></span></p> - -<p class="hanging"><i>Lecanora candelaria.</i> Ljus mässa. On trees in -Sweden.</p> - -<p class="hanging"><i>Evernia flavicans.</i> Wolf's-bane evernia. On -trees in Scandinavia, gamboge yellow.</p> - -<p class="hanging"><i>Lecidea atro-virens.</i> Map lichen. On rocks in Scandinavia.</p> - -<p class="hanging"><i>Lepraria chlorina.</i> Brimstone coloured lepraria. -Scandinavia, on rocks.</p> - -<p class="hanging"><i>L. Iolithus.</i> Viol-mässa. Sweden, on stones. -Gives to stones the appearance of blood stains.</p> - -<h2>BIBLIOGRAPHY</h2> - -<p class="hanging"> -Prof. G. Henslow. Uses of British Plants.</p> - -<p class="hanging">Dr. Plowright. British Dye Plants. (Journal of the Royal -Horticultural Society, Vol. 26. 1901.)</p> - -<p class="hanging">Sowerby. Useful Plants of Great Britain.</p> - -<p class="hanging">Sowerby. English Botany.</p> - -<p class="hanging">Professor G. S. Boulger. The Uses of Plants. 1889.</p> - -<p class="hanging">Alfred Edge. Some British Dye Lichens. (Journal of the -Society of Dyers and Colourists. May 1914).</p> - -<p class="hanging">J. J. Hummel. The Dyeing of Textile Fabrics. -<span class="pagenum"><a name="Page_142" id="Page_142">142</a></span></p> - -<p class="hanging">Clement Bolton. A Manual of Wool Dyeing. 1913.</p> - -<p class="hanging">W. Crooks. Dyeing and Tissue Printing. 1882.</p> - -<p class="hanging">Rawson, Gardiner and Laycock. A Dictionary of Dyes, -Mordants, 1901.</p> - -<p class="hanging">James Haigh. The Dyer's Assistant. 1778.</p> - -<p class="hanging">James Napier. A Manual of Dyeing Receipts. 1855.</p> - -<p class="hanging">James Napier. A Manual of the Art of Dyeing. 1853.</p> - -<p class="hanging">A Profitable Boke. (On Dyeing). Translated from the -Dutch. 1583.</p> - -<p class="hanging">Darwin and Meldola. Woad. ("Nature", Nov. 12, -1896).</p> - -<p class="hanging">Mrs. Anstruther Mackay. Simple Home Dyeing.</p> - -<p class="hanging">English Encyclopædia. Dyeing. 1802.</p> - -<p class="hanging">Gardiner D. Hiscock. 20th Century Book of Recipes, -Formulas and Processes. 1907.</p> - -<p class="hanging">F. J. Bird. The Dyer's Hand Book. 1875.</p> - -<p class="hanging">Hurst. Silk Dyeing and Printing. (Technological Hand -Book. 1892).</p> - -<p class="hanging">Smith. Practical Dyers' Guide. 1849.</p> - -<p class="hanging">T. Sims. Dyeing and Bleaching. (British Manufacturing -Industries. 1877.)</p> - -<p class="hanging">David Smith. The Dyers' Instructor. 1857.</p> - -<p class="hanging">The Dyer and Colour Maker's Companion. 1859.</p> - -<p class="hanging">Thomas Love. The Practical Dyer and Scourer. 1854.</p> - -<p class="hanging">Knecht, Rawson and Lowenthal. A Manual of Dyeing. -1893. -<span class="pagenum"><a name="Page_143" id="Page_143">143</a></span></p> - -<p class="hanging">Berthollet. The Art of Dyeing. 1824.</p> - -<p class="hanging">George Jarmain. On Wool Dyeing. 6 Lectures. 1876.</p> - -<p class="hanging">Hellot, Macquer, M. le Pilleur D'Apligny. The Art of -Dyeing Wool, Silk and Cotton. (Translated from the -French, 1789. New Edition, 1901.)</p> - -<p class="hanging">The Art of Dyeing. (Translated from the German. 1705. -Reprint 1913.)</p> - -<p class="hanging">R. P. Milroy. Handbook on Dyeing for Woollen Homespun -Workers. (Congested Districts Board for Ireland).</p> - -<p class="hanging">Dr. W. L. Lindsay. On the Dyeing Properties of Lichens. -(Edinburgh New Philosophical Journal, 1855).</p> - -<p class="hanging">T. Edmonston. "On the Native Dyes of the Shetland -Islands." (Transactions of Botanical Society of Edinburgh, -Vol. I. 1841).</p> - -<p class="hanging">Edward Bancroft. The Philosophy of Permanent Colours. -1794.</p> - -<p class="hanging">Francheville. On Ancient and Modern Dyes, 1767. -(Royal Academy of Sciences, Berlin).</p> - -<p class="hanging">Parnell's Applied Chemistry.—Article on Dyeing.</p> - -<p class="hanging">William Morris. "Of Dyeing as an Art." (Essays by -Members of the Arts and Crafts Exhibition Society, -1903).</p> - -<p class="hanging">William Morris. "The Lesser Arts of Life." (From -Architecture, Industry and Wealth. 1902).</p> - -<p class="hanging">Brewster's Edinburgh ncyclopædia. 1830. Dyeing.</p> - -<p class="hanging">Sansome. "Dyeing." 1888.</p> - -<p class="hanging">John M. Thomson. The Practical Dyer's Assistant. 1849.</p> -<p><span class="pagenum"><a name="Page_144" id="Page_144">144</a></span></p> - -<h2>GLOSSARY AND INDEX.</h2> - -<p class="hanging"> -A.—<i>Adjective dyes</i>, <a href="#Page_24">24</a>. -Dyes which require a -mordant.</p> - -<p class="hanging"><i><a name="alder" id="alder">Alder bark</a></i>, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_100">100</a>, <a href="#Page_126">126</a>.</p> - -<p class="hanging"><i>Alizarin.</i> The chief colouring -principle of madder. -It is also the name -for an extensive series of -chemical colours produced -from <a name="anthracene" id="anthracene">anthracene</a>, -one of the coal tar hydrocarbons, -discvrd., 1868.</p> - -<p class="hanging"><i>Alkaline ley</i>, <a href="#Page_28">28</a>.</p> - -<p class="hanging"><i><a name="Almond" id="Almond">Almond</a></i>, <a href="#Page_120">120</a>.</p> - -<p class="hanging"><i>Alum</i>, <a href="#Page_26">26-29</a>.</p> - -<p class="hanging"><i>Aluminium sulphate</i>, <a href="#Page_26">26</a>.</p> - -<p class="hanging"><i><a name="Amber" id="Amber">Amber</a></i>, <a href="#Page_132">132</a>.</p> - -<p class="hanging"><i>Aniline</i>, <a href="#Page_3">3</a>. Discovered, -1826 (<i><a name="anil" id="anil">añil</a>, Span. indigo</i>). -First prepared from indigo -by means of caustic -potash. Found in coal -in 1834. Manufactured -on a large scale after Perkin's -discovery of mauve -in 1856.</p> - -<p class="hanging"><i>Anatta</i>, (Anotto, Arnotto, -<a name="Roucou" id="Roucou">Roucou</a>), <a href="#Page_111">111</a>. -A dye obtained from the -pulp <a name="surrounding" id="surrounding">surrounding</a> the -seeds of the <i>Bixa orellana</i>; -chiefly used in dyeing -silk an orange colour, -but is of a fugitive -nature.</p> - -<p class="hanging"><i>Archil</i>, <a href="#Page_52">52</a>, <a href="#Page_53">53</a>, <a href="#Page_54">54</a>.</p> - -<p class="hanging"><i><a name="argol" id="argol">Argol</a>, <a href="#Page_132">132</a>.</i> The tartar deposited -from wines -completely fermented, -and adhering to the sides -of casks as a hard crust. -When purified it becomes -Cream of Tartar.</p> -<p class="hanging"><i><a name="Ash" id="Ash">Ash</a></i>, <a href="#Page_41">41</a>, <a href="#Page_120">120</a>.</p> - -<p class="hanging"><i>Astringents</i>, <a href="#Page_19">19</a>, <a href="#Page_26">26</a>.</p> - -<p class="p2 hanging">B.—<i>Barberry</i>, <a href="#Page_41">41</a>, <a href="#Page_120">120</a>.</p> - -<p class="hanging"><i><a name="Barwood" id="Barwood">Barwood</a></i>, <a href="#Page_67">67</a>, <a href="#Page_106">106</a>.</p> - -<p class="hanging"><i>Beck.</i>—A large vessel or -tub used in dyeing.</p> - -<p class="hanging"><i>Bichromate of Potash</i>, <a href="#Page_32">32</a>. -<span class="pagenum"><a name="Page_145" id="Page_145">145</a></span></p> - -<p class="hanging"><i>Birch</i>, <a href="#Page_38">38</a>, <a href="#Page_42">42</a>, <a href="#Page_43">43</a>, <a href="#Page_99">99</a>, <a href="#Page_103">103</a>.</p> - -<p class="hanging"><i>Black</i>, <a href="#Page_122">122-123</a>; from -logwood, <a href="#Page_79">79-85</a>.</p> - -<p class="hanging"><i>Black Dye Plants</i>, <a href="#Page_44">44</a>.</p> - -<p class="hanging"><i>Blue</i>, <a href="#Page_63">63</a>; from Indigo, -<a href="#Page_66">66-75</a>; from lichen, <a href="#Page_61">61</a>; -from logwood, <a href="#Page_79">79-85</a>.</p> - -<p class="hanging"><i>Blue black</i>, <a href="#Page_81">81</a>.</p> - -<p class="hanging"><i>Blue Dye Plants</i>, <a href="#Page_39">39</a>.</p> - -<p class="hanging"><i>Blue stone</i>, <a href="#Page_33">33</a>.</p> - -<p class="hanging"><i>Blue vitriol</i>, <a href="#Page_33">33-36</a>.</p> - -<p class="hanging"><i>Bois de Campêche</i>, <a href="#Page_77">77</a>.</p> - -<p class="hanging"><i>Bois jaune</i>, Fustic, yellow -wood.</p> - -<p class="hanging"><i>Brazil woods</i>, <a href="#Page_106">106</a>.</p> - -<p class="hanging"><i>British Dye Plants</i>, <a href="#Page_37">37-44</a>.</p> - -<p class="hanging"><i>Broom</i>, <a href="#Page_41">41</a>, <a href="#Page_134">134</a>.</p> - -<p class="hanging"><i>Brown</i>, <a href="#Page_122">122-133</a>; from -lichens, <a href="#Page_45">45-49</a>, <a href="#Page_51">51</a>, <a href="#Page_56">56</a>, -<a href="#Page_57">57</a>, <a href="#Page_60">60-62</a>, <a href="#Page_140">140</a>; from -madder, <a href="#Page_102">102</a>, <a href="#Page_106">106</a>; from -weld, <a href="#Page_112">112</a>; from woad, <a href="#Page_76">76</a></p> - -<p class="hanging"><i>Brown Dye Plants</i>, <a href="#Page_43">43</a>.</p> - -<p class="hanging"><i>Buff</i>, <a href="#Page_115">115</a>.</p> - -<p class="p2 hanging">C.—<i>Campeachy Wood</i>, <a href="#Page_77">77</a>.</p> - -<p class="hanging"><i>Camwood</i>, <a href="#Page_106">106</a>, <a href="#Page_131">131</a>.</p> - -<p class="hanging"><i>Carthamus.</i> Safflower, an -annual plant cultivated -in S. Europe, Egypt and -Asia for the red dye from -its flowers.</p> - -<p class="hanging"><i>Catechu</i>, <a href="#Page_33">33</a>, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_122">122-6</a>.</p> - -<p class="hanging"><i>Caustic Soda.</i> Carbonate -of soda, boiled with lime.</p> - -<p class="hanging"><i>Chestnut</i>, <a href="#Page_35">35</a>.</p> - -<p class="hanging"><i>Chrome</i>, <a href="#Page_32">32</a>, <a href="#Page_33">33</a>.</p> - -<p class="hanging"><i>Cinnamon</i>, <a href="#Page_102">102</a>.</p> - -<p class="hanging"><i>Claret</i>, <a href="#Page_51">51</a>, <a href="#Page_84">84</a>.</p> - -<p class="hanging"><i>Coal Tar Colours.</i> Colours -obtained by distillation -and chemical treatment -from coal tar, a product -of coal during the making of gas. -There are over -2,000 colours in use.</p> - -<p class="hanging"><i>Cochineal</i>, <a href="#Page_92">92-7</a>, <a href="#Page_132">132</a>.</p> - -<p class="hanging"><i>Copper</i>, <a href="#Page_33">33-5</a>.</p> - -<p class="hanging"><i>Copper sulphate</i>, <a href="#Page_33">33</a>. -<span class="pagenum"><a name="Page_146" id="Page_146">146</a></span></p> - -<p class="hanging"><i>Copperas</i>, <a href="#Page_29">29</a>, <a href="#Page_30">30</a>, <a href="#Page_129">129</a>.</p> - -<p class="hanging"><i>Corcur</i>, <a href="#Page_51">51</a>.</p> - -<p class="hanging"><i>Cotton</i>, <a href="#Page_18">18</a>; the dyeing of, -<a href="#Page_19">19</a>; without mordant, <a href="#Page_21">21</a>; -method in India, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>; -the mordanting of, <a href="#Page_26">26</a>.</p> - -<p class="hanging"><i>Cream</i>, from catechu, <a href="#Page_124">124</a>.</p> - -<p class="hanging"><i>Cream of Tartar</i>, <a href="#Page_28">28-32</a>, -<a href="#Page_34">34</a>. See <a href="#argol">argol</a>.</p> - -<p class="hanging"><i>Crimson</i>, <a href="#Page_94">94-96</a>, <a href="#Page_106">106</a>; -from lichens, <a href="#Page_49">49</a>, <a href="#Page_60">60</a>.</p> - -<p class="hanging"><i>Crottle</i>, <a href="#Page_46">46</a>, <a href="#Page_56">56-60</a>, <a href="#Page_62">62</a>.</p> - -<p class="hanging"><i>Cudbear</i>, <a href="#Page_45">45</a>, <a href="#Page_52">52</a>, <a href="#Page_54">54</a>, <a href="#Page_55">55</a>, -<a href="#Page_57">57</a>, <a href="#Page_58">58</a>, <a href="#Page_67">67</a>, <a href="#Page_85">85</a>, <a href="#Page_129">129</a>.</p> - -<p class="p2 hanging">D.—<i>Detergent</i>, <a href="#Page_15">15</a>. A -cleansing agent.</p> - -<p class="hanging"><i>Dip.</i> Generally applied -to immersing cloth etc. -in the blue vat.</p> - -<p class="hanging"><i>Divi-divi</i>, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>. The -dried pods of <i>Cæsalpina -coriaria</i>, growing in the -West Indies and S. America. -They contain 20 -to 35% tannin and a -brown colouring matter.</p> - -<p class="hanging"><i>Dock</i>, <a href="#Page_40">40</a>, <a href="#Page_44">44</a>, <a href="#Page_50">50</a>, <a href="#Page_69">69</a>, <a href="#Page_120">120</a>, -<a href="#Page_135">135</a>.</p> - -<p class="hanging"><i>Drab</i>, <a href="#Page_80">80</a>, <a href="#Page_118">118</a>, <a href="#Page_126">126</a>.</p> - -<p class="hanging"><i>Dyer's Broom</i>, <a href="#Page_40">40</a>, <a href="#Page_121">121</a>, -<a href="#Page_135">135</a>.</p> - -<p class="hanging"><i>Dyer's Spirit</i>, <a href="#Page_32">32</a>. Aqua -fortis, 10 parts; Sal Ammoniac, -5 parts; Tin, 2 -parts; dissolved together.</p> - -<p class="hanging"><i>Dyer's Weed</i>, <a href="#Page_40">40</a>, <a href="#Page_134">134</a>.</p> - -<p class="p2 hanging">E.—<i>Enter.</i> To enter -wool, to put it into the -dye or mordant liquor.</p> - -<p class="hanging"><i>Extract of Indigo</i>, <a href="#Page_65">65-69</a>.</p> - -<p class="p2 hanging">F.—<i>Felting</i>, to prevent, <a href="#Page_15">15</a>.</p> - -<p class="hanging"><i>Fenugrec</i>, Fenugreek, <a href="#Page_107">107</a>. -<i>Trigonnella fœnugræcum.</i></p> - -<p class="hanging"><i>Ferrous sulphate</i>, <a href="#Page_29">29</a>.</p> - -<p class="hanging"><i>Flavin.</i> A colouring matter -extracted from quercitron.</p> - -<p class="hanging"><i>Fleece</i>, various kinds of, <a href="#Page_13">13</a>.</p> - -<p class="hanging"><i>Flesh colour</i>, <a href="#Page_132">132</a>. -<span class="pagenum"><a name="Page_147" id="Page_147">147</a></span></p> - -<p class="hanging"><i>Full, to.</i> To tread or beat -cloth for the purpose of -cleansing and thickening -it.</p> - -<p class="hanging"><i>Fuller's Herb</i>. <i>Saponaria -officinalis.</i> A plant used -in the process of fulling.</p> - -<p class="hanging"><i>Fuller's Thistle</i> or Teasle. -<i>Dipsacus fullonum.</i> Used -for fulling cloth.</p> - -<p class="hanging"><i>Fustet.</i> Young fustic. Venetian -Sumach. <i>Rhus cotinus.</i> -It gives a fine orange -colour, which has not -much permanence.</p> - -<p class="hanging"><i><a name="Fustic" id="Fustic">Fustic</a></i>, <a href="#Page_113">113-116</a>, <a href="#Page_130">130</a>, -<a href="#Page_131">131</a>, <a href="#Page_135">135</a>.</p> - -<p class="p2 hanging">G.—<i>Galls</i>, <i>Gall nuts</i>, <a href="#Page_26">26</a>, -<a href="#Page_129">129</a>. Oak galls produced -by the egg of an insect,—the -female gall wasp. An -excrescence is produced -round the egg, & the insect, -when developed, -pierces a hole & escapes. -Those gall nuts which -are not pierced contain -most tannic acid. The -best come from Aleppo -and Turkey.</p> - -<p class="hanging"><i>Gramme</i> or <i>Gram</i>. About -15½ grains (Troy).</p> - -<p class="hanging"><i>Green</i>, <a href="#Page_133">133-9</a>; with fustic, -<a href="#Page_137">137-8</a>; with weld, <a href="#Page_139">139</a>.</p> - -<p class="hanging"><i>Green Dye Plants</i>, <a href="#Page_42">42</a>.</p> - -<p class="hanging"><i>Green Vitriol</i>, <a href="#Page_29">29</a>.</p> - -<p class="hanging"><i>Green wood</i>, <a href="#Page_107">107</a>, <a href="#Page_108">108</a>, <a href="#Page_134">134</a>.</p> - -<p class="hanging"><i>Greening weed</i>, <a href="#Page_121">121</a>.</p> - -<p class="hanging"><i>Grey</i>, <a href="#Page_67">67</a>, <a href="#Page_79">79</a>; from logwood, -<a href="#Page_80">80</a>, <a href="#Page_85">85</a>.</p> - -<p class="p2 hanging">H.—<i>Hazel colour</i>, <a href="#Page_128">128</a>.</p> - -<p class="hanging"><i>Heather</i>, <a href="#Page_40">40</a>, <a href="#Page_85">85</a>, <a href="#Page_121">121</a>, <a href="#Page_135">135</a>.</p> - -<p class="p2 hanging">I.—<i>Iceland moss</i>, <a href="#Page_51">51</a>, <a href="#Page_61">61</a>.</p> - -<p class="hanging"><i>Indigo</i>, <a href="#Page_63">63-75</a>, <a href="#Page_135">135-139</a>.</p> - -<p class="hanging"><i>Indigo Extract</i>, <a href="#Page_64">64-70</a>; -for green, <a href="#Page_135">135-139</a>.</p> - -<p class="hanging"><i>Iron</i>, <a href="#Page_29">29-30</a>. -<span class="pagenum"><a name="Page_148" id="Page_148">148</a></span></p> - -<p class="p2 hanging">K.—<i>Kermes</i>, <a href="#Page_87">87-91</a>.</p> - -<p class="hanging"><i>Kilo. Kilogramme.</i> Equals -2 lbs. 3·2 oz.</p> - -<p class="hanging"><i>Korkalett</i>, <a href="#Page_50">50</a>.</p> - -<p class="p2 hanging">L.—<i>Lac</i>, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>.</p> - -<p class="hanging"><i>Larch</i>, <a href="#Page_43">43</a>, <a href="#Page_131">131</a>, <a href="#Page_137">137</a>.</p> - -<p class="hanging"><i>Lavender</i>, <a href="#Page_84">84</a>.</p> - -<p class="hanging"><i>Lesser Dye</i>, <a href="#Page_77">77</a>, <a href="#Page_79">79</a>.</p> - -<p class="hanging"><i>Ley</i>, see <a href="#lye">lye</a>.</p> - -<p class="hanging"><i>Lichen</i>, <a href="#Page_45">45-62</a>, <a href="#Page_140">140</a>.</p> - -<p class="hanging"><i>Lilac</i>, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>.</p> - -<p class="hanging"><i>Lima Wood</i>, <a href="#Page_106">106</a>, <a href="#Page_107">107</a>.</p> - -<p class="hanging"><i>Linen</i>, <a href="#Page_21">21</a>; to bleach, <a href="#Page_22">22</a>; -the mordanting of, <a href="#Page_26">26</a>; -various kinds of, <a href="#Page_21">21</a>.</p> - -<p class="hanging"><i>Litre</i>, <a href="#Page_80">80</a>. Nearly 1¾ pints.</p> - -<p class="hanging"><i>Lixiviation.</i> The process -of separating a soluble -substance from an insoluble -by the percolation -of water.</p> - -<p class="hanging"><i>Lixivium.</i> (Lye). A term -often used in old dye -books. Water impregnated -with alkaline salts -extracted by lixiviation -from wood ashes.</p> - -<p class="hanging"><i>Logwood</i>, <a href="#Page_77">77</a>, <a href="#Page_130">130</a>, <a href="#Page_131">131</a>, <a href="#Page_137">137</a>.</p> - -<p class="hanging"><i><a name="lye" id="lye">Lye</a></i> or <i>Ley</i>. Any strong -alkaline solution, especially -one used for the -purpose of washing, -such as soda lye, soap lye.</p> - -<p class="p2 hanging">M.—<i>Madder</i>, <a href="#Page_38">38</a>, <a href="#Page_98">98-105</a>, -<a href="#Page_132">132</a>.</p> - -<p class="hanging"><i>Magenta</i>, <a href="#Page_44">44</a>.</p> - -<p class="hanging"><i>Maize</i>, <a href="#Page_132">132</a>.</p> - -<p class="hanging"><i>Mercerised Cotton.</i> Cotton -prepared by treating -with a solution of caustic -potash or soda or certain -other chemicals. -Discovered by John -Mercer in 1844.</p> - -<p class="hanging"><i>Milling.</i> The operation -of fulling cloth. -<span class="pagenum"><a name="Page_149" id="Page_149">149</a></span></p> - -<p class="hanging"><i>Mordants</i>, <a href="#Page_24">24</a>; general remarks -on, <a href="#Page_34">34</a>; primitive -mordants, <a href="#Page_25">25</a>.</p> - -<p class="hanging"><i>Muriate of Tin</i>, <a href="#Page_31">31</a>.</p> - -<p class="hanging"><i>Myrobalans</i>, <a href="#Page_26">26</a>, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>. -The fruit of several species -of trees, growing in -China & the East Indies, -containing tannic acid, -(25-40% tannin).</p> - -<p class="p2 hanging">O.—<i>Oak bark</i>, <a href="#Page_128">128</a>.</p> - -<p class="hanging"><i>Oak galls</i>, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>.</p> - -<p class="hanging"><i>Oil of Vitriol</i>, <a href="#Page_64">64</a>, <a href="#Page_65">65</a>, <a href="#Page_67">67</a>. -Sulphuric acid.</p> - -<p class="hanging"><i>Old Fustic</i>, see <a href="#Fustic">Fustic</a>.</p> - -<p class="hanging"><i>Old Gold</i>, <a href="#Page_109">109</a>, <a href="#Page_112">112-114</a>.</p> - -<p class="hanging"><i>Olive</i>, <a href="#Page_109">109</a>, <a href="#Page_113">113</a>, <a href="#Page_118">118</a>, <a href="#Page_135">135</a>.</p> - -<p class="hanging"><i>Onion skins</i>, <a href="#Page_128">128</a>.</p> - -<p class="hanging"><i>Orange</i>, <a href="#Page_91">91</a>, <a href="#Page_93">93</a>, <a href="#Page_102">102</a>, <a href="#Page_106">106</a>, -<a href="#Page_109">109</a>, <a href="#Page_120">120</a>, <a href="#Page_132">132</a>; from lichens, -<a href="#Page_48">48</a>, <a href="#Page_51">51</a>, <a href="#Page_58">58</a>, <a href="#Page_60">60-2</a>.</p> - -<p class="hanging"><i>Orchil</i>, <a href="#Page_45">45</a>, <a href="#Page_52">52-55</a>.</p> - -<p class="hanging"><i>Organzine.</i> Twisted raw -silk from best cocoons, -used for warp.</p> - -<p class="hanging"><i>Orseille</i>, <a href="#Page_58">58</a>.</p> - -<p class="hanging"><i>Oxalic Acid</i>, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>.</p> - -<p class="p2 hanging">P.—<i>Pastel</i>, <a href="#Page_77">77</a>. Woad.</p> - -<p class="hanging"><i>Peach</i>, <a href="#Page_120">120</a>.</p> - -<p class="hanging"><i>Peach wood</i>, <a href="#Page_106">106-107</a>.</p> - -<p class="hanging"><i>Pear</i>, <a href="#Page_41">41</a>, <a href="#Page_120">120</a>.</p> - -<p class="hanging"><i>Pearl ash.</i> Carbonate of -Potash.</p> - -<p class="hanging"><i>Peat Soot</i>, <a href="#Page_128">128</a>.</p> - -<p class="hanging"><i>Persian Berries.</i> The -dried unripe fruit of various -species of Rhamnus. -Also called French -berries, Grains of Avignon.</p> - -<p class="hanging"><i>Philamort</i>, <a href="#Page_48">48</a>.</p> - -<p class="hanging"><i>Pink</i>, <a href="#Page_93">93</a>; from lichen, <a href="#Page_57">57</a>.</p> - -<p class="hanging"><i>Plum colour</i>, from lichen, -<a href="#Page_48">48</a>.</p> - -<p class="hanging"><i>Poplar</i>, <a href="#Page_42">42</a>, <a href="#Page_135">135</a>.</p> - -<p class="hanging"><i>Potassium Carbonate.</i> -(Potashes). Carbonate -of Potash has been -known since ancient -<span class="pagenum"><a name="Page_150" id="Page_150">150</a></span> -times as a constituent of -the ashes of land plants, -from which it is obtained -by extraction with -water. In most cases -Sodium Carbonate, -which it strongly resembles, -can be used in -its place.</p> - -<p class="hanging"><i>Potassium dichromate</i>, <a href="#Page_32">32</a>.</p> - -<p class="hanging"><i>Privet</i>, <a href="#Page_39">39</a>, <a href="#Page_41">41</a>, <a href="#Page_42">42</a>, <a href="#Page_121">121</a>.</p> - -<p class="hanging"><i>Purple</i>, from lichens, <a href="#Page_53">53</a>, -<a href="#Page_57">57-60</a>, <a href="#Page_62">62</a>; with cochineal, -<a href="#Page_95">95</a>, <a href="#Page_96">96</a>; with logwood, -<a href="#Page_82">82</a>, <a href="#Page_85">85</a>, <a href="#Page_86">86</a>, <a href="#Page_87">87</a>.</p> - -<p class="hanging"><i>Purple Dye Plants</i>, <a href="#Page_43">43</a>.</p> - -<p class="p2 hanging">Q.—<i>Quercitron</i>, <a href="#Page_116">116-120</a>; -for green, <a href="#Page_135">135-137</a>.</p> - -<p class="p2 hanging">R.—<i>Red</i>, <a href="#Page_87">87-107</a>; from -lichens, <a href="#Page_48">48-51</a>, <a href="#Page_53">53</a>, <a href="#Page_56">56</a>, -<a href="#Page_58">58</a>, <a href="#Page_60">60</a>.</p> - -<p class="hanging"><i>Red Dye Plants</i>, <a href="#Page_38">38</a>.</p> - -<p class="hanging"><i>Red Spirits.</i> Tin spirits. -Applied to tin mordants -generally. A solution -of Stannous chloride.</p> - -<p class="hanging"><i>Red woods.</i> Camwood, -Barwood, Sanderswood -(Santal, Sandal, Red -Sanders), Brazil wood, -Sapan wood, Peach -wood.</p> - -<p class="hanging"><i>Retting</i>, <a href="#Page_21">21</a>.</p> - -<p class="hanging"><i>Roucou.</i> Anatta, Arnotto.</p> - -<p class="p2 hanging">S.—<i>Sandalwood</i> or Saunderswood, -<a href="#Page_106">106</a>.</p> - -<p class="hanging"><i>Sadden, to</i>, <i>saddening</i>, <a href="#Page_14">14</a>, -<a href="#Page_30">30</a>, <a href="#Page_34">34</a>, <a href="#Page_127">127</a>, <a href="#Page_130">130</a>, <a href="#Page_132">132</a>. -To darken or dull in colour.</p> - -<p class="hanging"><i>Sapan wood</i>, <a href="#Page_106">106</a>.</p> - -<p class="hanging"><i>Savory</i>, <a href="#Page_107">107</a>, <a href="#Page_108">108</a>.</p> - -<p class="hanging"><i>Sawwort</i>, <a href="#Page_41">41</a>, <a href="#Page_135">135</a>.</p> - -<p class="hanging"><i>Saxon blue</i>, <a href="#Page_67">67</a>, <a href="#Page_70">70</a>, <a href="#Page_136">136</a>. -The dye made by Indigo -dissolved in oil of vitriol -<span class="pagenum"><a name="Page_151" id="Page_151">151</a></span></p> - -<p class="hanging"><i>Saxon green</i>, <a href="#Page_118">118</a>, <a href="#Page_136">136</a>, <a href="#Page_138">138</a>.</p> - -<p class="hanging"><i>Scarlet</i>, <a href="#Page_88">88</a>, <a href="#Page_91">91</a>, <a href="#Page_92">92</a>, <a href="#Page_93">93</a>, <a href="#Page_94">94</a>, -<a href="#Page_95">95</a>, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>.</p> - -<p class="hanging"><i>Scarlet of Grain</i>, <a href="#Page_87">87</a>.</p> - -<p class="hanging"><i>Scotch ell.</i> 37·2 inches.</p> - -<p class="hanging"><i>Scour, to.</i> To wash.</p> - -<p class="hanging"><i>Scroop.</i> The rustling -property of silk.</p> - -<p class="hanging"><i>Scrottyie</i>, <a href="#Page_49">49</a>, <a href="#Page_50">50</a>, <a href="#Page_59">59</a>.</p> - -<p class="hanging"><i>Silk</i>, <a href="#Page_16">16-18</a>; to alum, <a href="#Page_18">18</a>; -general method of dyeing, -<a href="#Page_17">17</a>; to mordant, <a href="#Page_26">26</a>; -the preparation of, <a href="#Page_17">17</a>; -to soften, <a href="#Page_18">18</a>; various -kinds of, <a href="#Page_16">16</a>; raw, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>; -waste, <a href="#Page_16">16</a>.</p> - -<p class="hanging"><i>Silver drab</i>, <a href="#Page_84">84</a>.</p> - -<p class="hanging"><i>Sloe</i>, <a href="#Page_39">39</a>.</p> - -<p class="hanging"><i>Soda ash.</i> Carbonate of -soda.</p> - -<p class="hanging"><i>Soda ley</i>, <a href="#Page_101">101</a>.</p> - -<p class="hanging"><i>Sour water</i>, <a href="#Page_28">28</a>. —To every -gallon of water, add -1 gill vitriol; stir thoroughly. -Stuff steeped in -this should be covered -with the liquor, otherwise -it will rot.</p> - -<p class="hanging">(2). Water in which -bran has been made to -grow sour. 24 bushels -of bran are put in a tub, -about 10 hogsheads of -nearly boiling water is -poured into it; acid fermentation -soon begins, -and in 24 hours it is ready -to use.</p> - -<p class="hanging">(3). Throw some handfuls -of bran into hot water -and let it stand for 24 -hours, or till the water -becomes sour, when it is -fit for use.</p> - -<p class="hanging"><i>Stannous Chloride</i>, <a href="#Page_31">31</a>.</p> - -<p class="hanging"><i>Staple</i>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>. A term -applied to cotton and -wool, indicating length -of fibre.</p> - -<p class="hanging"><i>Stuffing and Saddening</i>, <a href="#Page_14">14</a>, -<a href="#Page_30">30</a>. -<span class="pagenum"><a name="Page_152" id="Page_152">152</a></span></p> - -<p class="hanging"><i>Substantive Dye</i>, <a href="#Page_24">24</a>, <a href="#Page_52">52</a>, -<a href="#Page_65">65</a>, <a href="#Page_116">116</a>. A dye not requiring -a mordant.</p> - -<p class="hanging"><i>Sulphuric Acid</i>, <a href="#Page_64">64</a>, <a href="#Page_66">66</a>, -<a href="#Page_67">67</a>, <a href="#Page_70">70</a>, <a href="#Page_120">120</a>, <a href="#Page_131">131</a>.</p> - -<p class="hanging"><i>Sumach</i>, <a href="#Page_26">26</a>, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_126">126</a>. -Leaves and twigs of several -species of Rhus, -containing Tannic acid. -It is sold in the form of -crushed leaves or as a -powder, (15-20% -tannin).</p> - -<p class="p2 hanging">T.—<i>Tannic Acid</i>, <a href="#Page_26">26</a>, <a href="#Page_35">35</a>.</p> - -<p class="hanging"><i>Tannin</i>, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>.</p> - -<p class="hanging"><i>Tin</i>, <a href="#Page_31">31</a>, <a href="#Page_32">32</a>.</p> - -<p class="hanging"><i>Tin crystals</i>, <a href="#Page_31">31</a>.</p> - -<p class="hanging"><i>Tin salts</i>, <a href="#Page_31">31</a>.</p> - -<p class="hanging"><i>Tram.</i> Slightly twisted -raw silk, used for weft.</p> - -<p class="hanging"><i>Turkey Red</i>, <a href="#Page_99">99</a>.</p> - -<p class="hanging"><i>Turmeric</i>, <a href="#Page_116">116</a>.</p> - -<p class="hanging"><i>Turquoise</i>, <a href="#Page_69">69</a>.</p> - -<p class="hanging"><i>Tyrian purple.</i> A purple -colour obtained from -certain shell fish, such as -Buccinum & Purpura. -It is mentioned by Pliny -as being discovered in -1400 B.C. It was a -lost art in the middle -ages.</p> - -<p class="p2 hanging">V.—<i>Valonia</i>, <a href="#Page_35">35</a>. Acorn -cups of certain species -of oak from S. Europe, -containing 25-35% of -tannic acid.</p> - -<p class="hanging"><i>Vegetable alkali.</i> Potash.</p> - -<p class="hanging"><i>Verdigris</i>, <a href="#Page_33">33</a>. Acetate -of copper.</p> - -<p class="hanging"><i>Violet</i>, <a href="#Page_86">86</a>, <a href="#Page_94">94</a>, <a href="#Page_103">103</a>.</p> - -<p class="hanging"><i>Vitrum</i>, <a href="#Page_76">76</a>.</p> - -<p class="p2 hanging">W.—<i>Walnut</i>, <a href="#Page_43">43</a>, <a href="#Page_127">127</a>, -<a href="#Page_132">132</a>.</p> - -<p class="hanging"><i>Water</i> for dyeing, <a href="#Page_23">23</a>.</p> - -<p class="hanging"><i>Weld</i>, <a href="#Page_107">107-112</a>, <a href="#Page_120">120</a>, -<a href="#Page_130">130</a>, <a href="#Page_134">134</a>, <a href="#Page_135">135</a>. -<span class="pagenum"><a name="Page_153" id="Page_153">153</a></span></p> - -<p class="hanging"><i>Wet out</i>, to. To damp, -before putting the yarn -or cloth into the dye.</p> - -<p class="hanging"><i>Woad</i>, <a href="#Page_39">39</a>, <a href="#Page_75">75-77</a>.</p> - -<p class="hanging"><i>Wool</i>, <a href="#Page_11">11</a>; to bleach, <a href="#Page_16">16</a>; -to cleanse, <a href="#Page_15">15</a>, <a href="#Page_16">16</a>; long -staple wool, <a href="#Page_12">12</a>; various -kinds of, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>.</p> - -<p class="hanging"><i>Wool Dyeing</i>, general methods, -<a href="#Page_13">13-16</a>.</p> - -<p class="p2 hanging">Y.—<i>Yarn</i>, to soften, <a href="#Page_16">16</a>.</p> - -<p class="hanging"><i>Yellow</i>, <a href="#Page_107">107-122</a>; from -lichens, <a href="#Page_51">51</a>, <a href="#Page_57">57</a>, <a href="#Page_140">140</a>; -from sumach, <a href="#Page_126">126</a>.</p> - -<p class="hanging"><i>Yellow Dye Plants</i>, <a href="#Page_39">39</a>.</p> - -<p class="hanging"><i>Yellow Weed</i>, <a href="#Page_134">134</a>.</p> - -<p class="hanging"><i>Yellow Wood</i>, <a href="#Page_107">107</a>.</p> - -<h2><a name="Errata" id="Errata">ERRATA</a></h2> - -<p class="hanging"><a href="#urceolaria">page 59</a>. Rock Urcolaria -shld. be Rock Urceolaria.</p> - -<p class="hanging"><a href="#usnea">page 61</a>. Flowering lusnea -shld. be Flowering -Usnea.</p> - -<p class="hanging">page 144. (printed without -being corrected).</p> - -<p class="hanging"> -Add:—<i><a href="#alder">Alder bark</a></i>, 43, -44, 100, 126.</p> - -<p class="hanging"><i><a href="#Almond">Almond</a></i>, 120.</p> - -<p class="hanging"><i><a href="#Almond">Amber</a></i>, 132.</p> - -<p class="hanging"><i><a href="#argol">Argol</a></i>, 131.</p> - -<p class="hanging"><i><a href="#Ash">Ash</a></i>, 41, 120.</p> - -<p class="hanging"><i><a href="#Barwood">Barwood</a></i>, 67, 106.</p> - -<p class="hanging">Correct:—</p> - -<p class="hanging">authracene to <a href="#anthracene">anthracene</a></p> - -<p class="hanging"><i>anie</i> to <i><a href="#anil">añil</a></i></p> - -<p class="hanging">Roucon to <a href="#Roucou">Roucou</a></p> - -<p class="hanging">sorrounding to <a href="#surrounding">surrounding</a></p> - -<hr /> - -<p class="center"><i>Printed by Douglas Pepler at Ditchling</i></p> - -<div class="figcenter newpage"> -<img src="images/i-162.jpg" width="443" height="500" alt="" /> -<p class="caption">A WOOD CUT ILLUSTRATION FROM -THE DEVIL'S DEVICES (<i>see advert</i>.)</p> -</div> - -<p class="center p6"> -BOOKS<br /> -Published by DOUGLAS PEPLER<br /> -AT THE<br /> -HAMPSHIRE HOUSE WORKSHOPS<br /> -HAMMERSMITH</p> - -<hr /> - -<p class="center">COTTAGE ECONOMY <span class="smcap">BY</span> WILLIAM<br /> -COBBETT with an <span class="smcap">Introduction</span><br /> -BY G. K. CHESTERSON<br /> -Price 2s. 6d. net (Postage 3d.)</p> - -<p class="center">A REPRINT of a STANDARD WORK<br /> -Which should be of use, in these days, to<br /> -Many beside Cottagers.</p> - -<hr /> - -<p class="center">A CAROL AND OTHER RHYMES<br /> -By EDWARD JOHNSTON<br /> -Price 1s. net (Postage 2d.)</p> -<hr /> - -<p class="center">A BOOK ON VEGETABLE DYES<br /> -By ETHEL M. MAIRET<br /> -Price 5s. net (Postage 4d.)</p> - -<hr /> - -<p>THE DEVIL'S DEVICES or Control -versus Service by DOUGLAS PEPLER, -with Wood-cut Illustrations by Eric Gill. -Price 2s. 6d. net. The first 200 copies will be -numbered and signed. Price 3s. 6d. net.</p> - -<p>This book contains an account of a cinematograph -entertainment in Satan's Circuit; a -crafty devil; and an appreciation of No. 27, -an English working-man.</p> - -<p class="center b12"><i>THE REVIEWERS ON THE DEVIL'S -DEVICES.</i></p> - -<p class="center b12">WHAT WILL THEY SAY NEXT?</p> - -<p>But we believe that the effect upon most people -will be what it certainly is upon one reader, -who is NOT IN THE LEAST SHOCKED, -but is considerably</p> - -<p class="center"><span class="b20">BORED.</span></p> -<p class="left65"> -—<i>C. O. Review.</i></p> - -<p>A verse may find him who a sermon flies, -and there is likely to be here and there one, -who seeing in a bookseller's window the red -cover and the black, the very black, cart thereon, -will incontinently purchase.<br /> - -<span class="left65"> -—<i>The New Witness.</i></span></p> - -<p>His arguments are closely logical when he -chooses to make them so, though their sequence -and arrangement are bewilderingly haphazard.<br /> -<span class="left65"> -—<i>The Herald.</i></span></p> - -<p>The whole effect is of a hotch-potch composed -in a lunatic asylum; and the pictures -seem madder than the letterpress.... -Much to the irritation of my wife, for supper -was waiting, I read on till I had read the book -right through.... -The "mad" author of this book is Douglas -Pepler, the "mad" artist is Eric Gill. When I say -"mad" I am, for the moment, taking it for -granted that the world is sane.<br /> -<span class="left65"> -<i>—Labour Leader.</i></span></p> - -<p>.........................</p> -<p>(and so on very nicely for several columns.)<br /> -<span class="left65"> -<i>—Land and Water.</i></span></p> - -<p>The drama is skilfully unfolded (though the -author fails over the spelling of Nietzsche, page -29) and interspersed with wood-cuts ... -and a still more excellent account of the passing -of the poor man's parlour.<br /> -<span class="left65"> -<i>—The Cambridge Magazine.</i></span></p> - -<p>The author has marked with the toe of his -boot the moral weakness on which the Devil -depends for his power over the modern world.<br /> -<span class="left65"> -<i>—Red Feather.</i></span></p> - -<p>Mr. Pepler perpetually <i>DROPS</i> into dialogue -with</p> -<p class="center b20">FATAL<br /> -RESULTS.</p> -<p class="left65"> -<i>—New Age.</i></p> - -<div class="footnotes p6"> -<h2 class="chap1">FOOTNOTES</h2> - -<p class="footnote"><a name="Footnote_1" id="Footnote_1" href="#FNanchor_1"><span class="label">[1]</span></a> - From a dye book of 1705.</p> - -<p class="footnote"><a name="Footnote_2" id="Footnote_2" href="#FNanchor_2"><span class="label">[2]</span></a> - "On boiling sloes, their juice becomes red, and the red dye -which it imparts to linen changes, when washed with soap, -into a bluish colour, which is permanent."</p> - -<p class="footnote"><a name="Footnote_3" id="Footnote_3" href="#FNanchor_3"><span class="label">[3]</span></a> - "For giving very inferior yellow upon coarser woollens, -the dyer's broom, <i>genista tinctoria</i>, is sometimes employed, with -the common preparation of alum and tartar."</p> - -<p class="footnote"><a name="Footnote_4" id="Footnote_4" href="#FNanchor_4"><span class="label">[4]</span></a> - Sawwort which grows abundantly in meadows affords a -very fine pure yellow with alum mordant, which greatly resembles -weld yellow. It is extremely permanent.</p> - -<p class="footnote"><a name="Footnote_5" id="Footnote_5" href="#FNanchor_5"><span class="label">[5]</span></a> - "The leaves of the sweet willow, <i>salix pentandra</i>, gathered -at the end of August and dried in the shade, afford, if boiled with -about one thirtieth potash, a fine yellow colour to wool, silk and -thread, with alum basis. All the 5 species of Erica or heath growing -on this island are capable of affording yellows much like those -from the dyer's broom; also the bark and shoots of the Lombardy -poplar, <i>populus pyramidalis</i>. The three leaved hellebore, <i>helleborus -trifolius</i>, for dyeing wool yellow is used in Canada. The seeds of -the purple trefoil, lucerne, and fenugreek, the flowers of the French -marigold, the chamomile, <i>antemis tinctoria</i>, the ash, <i>fraxinus excelsior</i>, -fumitory, <i>fumaria officinalis</i>, dye wool yellow." "The -American golden rod, <i>solidago canadensis</i>, affords a very beautiful -yellow to wool, silk and cotton upon an aluminous basis."—<i>Bancroft.</i></p> - -<p class="footnote"><a name="Footnote_6" id="Footnote_6" href="#FNanchor_6"><span class="label">[6]</span></a> - T. Edmonston. <i>On the Native Dyes of the Shetland Islands</i> 1841.</p> - -<p class="footnote"><a name="Footnote_7" id="Footnote_7" href="#FNanchor_7"><span class="label">[7]</span></a> - The <i>Annales de Chimie</i>. Stockholm Transactions 1792.</p> - -<p class="footnote"><a name="Footnote_8" id="Footnote_8" href="#FNanchor_8"><span class="label">[8]</span></a> - The Art of Dyeing. <i>Berthollet.</i> He gives minute directions for -the preparation of Archil. See page 365.</p> - -<p class="footnote"><a name="Footnote_9" id="Footnote_9" href="#FNanchor_9"><span class="label">[9]</span></a> - Some British Dye Lichens. <i>Alfred Edge.</i></p> - -<p class="footnote"><a name="Footnote_10" id="Footnote_10" href="#FNanchor_10"><span class="label">[10]</span></a> - From Dr. W. L. Lindsay, On Dyeing Properties of Lichens.</p> - -<p class="footnote"><a name="Footnote_11" id="Footnote_11" href="#FNanchor_11"><span class="label">[11]</span></a> - From an article by Dr. Lauder Lindsay on the "Dyeing Properties -of Lichens," in the <i>Edinburgh Philosophical Journal.</i> July -to October 1855.</p> - -<p class="footnote"><a name="Footnote_12" id="Footnote_12" href="#FNanchor_12"><span class="label">[12]</span></a> - Early dyers were particular as to the naming of their colours. -Here is a list of blues, published in 1669.—"White blue, pearl -blue, pale blue, faint blue, delicate blue, sky blue, queen's blue, -turkey blue, king's blue, garter blue, Persian blue, aldego blue, -and infernal blue."</p> - -<p class="footnote"><a name="Footnote_13" id="Footnote_13" href="#FNanchor_13"><span class="label">[13]</span></a> - I give here recipes for the simpler vats which can be used on a -small scale. The more complicated recipes can only be done in a -well-fitted dye house. I would refer the reader to those in "The -Art of Dyeing" by Hellot, Macquer and D'Apligny, and "Elements -of the Art of Dyeing" by Berthollet.</p> - -<p class="footnote"><a name="Footnote_14" id="Footnote_14" href="#FNanchor_14"><span class="label">[14]</span></a> - Woad, pastel and Indigo are used in some dye books to mean -the same dye, and they evidently have very much the same preparation -in making.</p> - -<p class="footnote"><a name="Footnote_15" id="Footnote_15" href="#FNanchor_15"><span class="label">[15]</span></a> - <a href="#Page_36">See page 36</a>.</p> - -<p class="footnote"><a name="Footnote_16" id="Footnote_16" href="#FNanchor_16"><span class="label">[16]</span></a> - This recipe can also be used for linen, but linen takes the colour -less easily than cotton, and should have the various operations repeated -as much as possible.</p> - -<p class="footnote"><a name="Footnote_17" id="Footnote_17" href="#FNanchor_17"><span class="label">[17]</span></a> -—For other recipes for Black, see <a href="#Logwood">Chapter VI</a> on Logwood.</p> - -<p class="footnote"><a name="Footnote_18" id="Footnote_18" href="#FNanchor_18"><span class="label">[18]</span></a> - Note <a href="#Page_42">page 42</a> on British plants which dye green.</p> -</div> - -<div class="transnote"> -<p class="center"><b>Transcriber's Note:</b></p> -<p>Obvious typographical errors have been corrected. -Inconsistent spelling and hyphenation in the original -document have been preserved.</p> -<p>D'Appligny was changed to D'Apligny.</p> - -<p>Gallium was changed to Galium.</p> - -<p>Page 132: a "Note" was anchored, and added to the footnote sequence.</p> - -<p>Inconsistent punctuation and capitalization of lists, chapter headings, and footnotes was retained.</p> - -<p>The listed <a href="#Errata">Errata</a> were corrected.</p> -</div> - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's A Book on Vegetable Dyes, by Ethel Mairet - -*** END OF THIS PROJECT GUTENBERG EBOOK A BOOK ON VEGETABLE DYES *** - -***** This file should be named 50079-h.htm or 50079-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/0/7/50079/ - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - - -</pre> - -</body> -</html> diff --git a/old/50079-h/images/i-006.jpg b/old/50079-h/images/i-006.jpg Binary files differdeleted file mode 100644 index 8da4ddd..0000000 --- a/old/50079-h/images/i-006.jpg +++ /dev/null diff --git a/old/50079-h/images/i-145.jpg b/old/50079-h/images/i-145.jpg Binary files differdeleted file mode 100644 index 62d26fb..0000000 --- a/old/50079-h/images/i-145.jpg +++ /dev/null diff --git a/old/50079-h/images/i-162.jpg b/old/50079-h/images/i-162.jpg Binary files differdeleted file mode 100644 index dcd33e2..0000000 --- a/old/50079-h/images/i-162.jpg +++ /dev/null diff --git a/old/50079-h/images/logo.jpg b/old/50079-h/images/logo.jpg Binary files differdeleted file mode 100644 index 29a19eb..0000000 --- a/old/50079-h/images/logo.jpg +++ /dev/null diff --git a/old/50079-h/images/title-page.jpg b/old/50079-h/images/title-page.jpg Binary files differdeleted file mode 100644 index 981a117..0000000 --- a/old/50079-h/images/title-page.jpg +++ /dev/null diff --git a/old/50079.txt b/old/50079.txt deleted file mode 100644 index 0337cd9..0000000 --- a/old/50079.txt +++ /dev/null @@ -1,4543 +0,0 @@ -The Project Gutenberg EBook of A Book on Vegetable Dyes, by Ethel Mairet - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: A Book on Vegetable Dyes - -Author: Ethel Mairet - -Release Date: September 30, 2015 [EBook #50079] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK A BOOK ON VEGETABLE DYES *** - - - - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - -Transcriber's Note: - - Inconsistent hyphenation and spelling in the original document have - been preserved. Obvious typographical errors have been corrected. - - Italic text is denoted by _underscores_ and bold text by =equal - signs=. - - D'Appligny was changed to D'Apligny. - - Gallium was changed to Galium. - - Page 132: a "Note" was anchored, and added to the footnote sequence. - - Inconsistent punctuation and capitalization of lists, chapter headings, - and footnotes was retained. - - The listed Errata were corrected. - - - - - A BOOK ON - VEGETABLE - DYES - - BY - ETHEL M. MAIRET - - A.D. 1916 - - PUBLISHED BY DOUGLAS PEPLER - AT THE HAMPSHIRE HOUSE - WORKSHOPS HAMMERSMITH W - - Price 5s. net. - - - - - _PRINTED by DOUGLAS PEPLER - at - DITCHLING in the COUNTY of SUSSEX - & PUBLISHED BY HIM AT - THE HAMPSHIRE HOUSE WORKSHOPS - HAMMERSMITH - ON S. JOHN THE BAPTIST'S DAY - A.D. MDCCCCXVI_ - - - - -PUBLISHER'S NOTE - - IN PRINCIPIO ERAT VERBUM - ET VERBUM ERAT APUD DEUM - ET DEUS ERAT VERBUM. - _Sc. Joannem_ 1.1. - - VIDITQUE DEUS CUNCTA QUA† - FECERAT: ET ERANT VALDE BONA. - _Genesis._ 1.31. - - -MAN uses these good things, and when MAN first discovers how to make -anything, that thing which he makes is good. - -For example: this book is printed upon one of the first iron presses -to be made in this country. The press is a good press; it would be -difficult to make a press which would enable the printer to print more -clearly. The wooden press was a good press & the printing from it has -not been surpassed. - -Further, this quality of goodness of a first discovery may persist for -many years. - -But there is a tendency to avoid _Quality Street_. We are choosing -rather _Quantity Street_ & the Bye paths of _Facility & Cleverness_; -we have become accustomed to the hum of the _Time & Labour saving_ -machinery; and we are in danger of forgetting the use of good things: -indeed the tradition & practice of goodness has been lost in a -considerable number of trades. - -For instance: a carpenter has become so used to buying his timber in -planks from a yard that he has nearly forgotten its relation to the -tree. The man who works to designs conceived by somebody else with -wood sawn by another man's machine must be deprived of the natural -strength of the tree. - -And this is not an exception to, but an example of, the way we are -choosing to do things. - -It is impossible to buy linen as good as that normally used by every -tradesman in the XVIII century. It is nearly impossible to get cloth, -paper, bread, beer, bacon and leather equal to that in common use 150 -years ago. - -IN VIEW OF THE BEGINNING it is desirable to record what still survives -of the traditions of making good things; and I shall endeavour to -publish the instructions & advice of men & women who still follow -these good traditions. - - Douglas Pepler. - - - - -CONTENTS - - - PAGE - I. INTRODUCTION 1 - II. WOOL, SILK, COTTON AND LINEN 11 - III. MORDANTS 24 - IV. BRITISH DYE PLANTS 37 - V. THE LICHEN DYES 45 - VI. BLUE 63 - VII. RED 87 - VIII. YELLOW 107 - IX. BROWN AND BLACK 122 - X. GREEN 133 - - - - -CHAPTER I. - - -Dyeing has almost ceased to exist as a traditional art. In this 20th -century the importance of colour in our lives seems to be realized -less and less. It has been forgotten that strong and beautiful colour, -such as used to abound in all every day things, is an essential to the -full joy of life. A sort of fear or nervousness of bright colour is -one of the features of our age, it is especially evident in the things -we wear. - -There is unfortunately good reason for it. We fear bright colour -because our modern colours are bad, and they are bad because the -tradition of dyeing has been broken. The chemist has invaded the -domain of the dyer, driven him out and taken over his business, with -the result that ugly colour has become the rule for the first time in -the history of mankind. It is not that chemists never produce -beautiful colour. Dyeing as a chemical science has not been studied -for the last 50 years without producing good results. But there is -this great difference between the chemical commercial dyes and the -traditional dyes--that with the commercial dyes it is very easy to -produce ugly colours, the beautiful colour is rare; but with -traditional dyes it is difficult to make an ugly colour, and good -colour is the rule. - -It was in 1856 that mauve was produced from coal tar by an English -chemist, and this began a new era in dyeing. The discovery was -developed in Germany, and the result was the creation of a science of -chemical colouring. - -The advantages of the new colours were ease and simplicity of use, -general reliability with regard to strength and composition, and -certainty in reproducing the same colour again without trouble. With -regard to fastness, to light and to washing there is practically -little difference between the two. It is more the method by which they -are dyed and not the dye itself (although of course in some cases -this is not so) that determines their fastness. The natural dyes are -more trouble and take longer time to prepare. Chemical colours can be -dyed now as fast as the natural colours, although at first this could -not be done. Some of the chemical colours as well as the natural, are -not fast to light and washing, and ought never to be used; but there -are natural colours, such as madder, some of the lichens, catechu -etc., which are as fast as any chemical dye, if not more so. BUT there -is this general difference between the results of the two -methods,--that when a chemical colour fades it becomes a different -colour and generally a bad one: when a natural colour fades, it -becomes a lighter tone of the same colour. - -Since the middle of the 19th century our colour sense has been getting -rude shocks. At first came the hideous aniline colours, crude and -ugly, and people said, "How wonderful, are they really made out of -coal!" They were told to like them and they did, and admired the -chemists who made them. Then came more discoveries, and colour began -to go to the opposite extreme, and the fashion was muddy -indeterminate colours--'art' colours as they were called, just as -remote from pure good colouring in one direction as the early aniline -colours were in the other. We are now emerging from the mud colours, -as I would call them, to the period of the brilliant colouring of the -Futurist. Here we have scientific colouring used with real skill. The -Futurist has perhaps indicated a possible way in which chemical -colours may be used by the artist and is teaching people the value of -simple combinations of brilliant colour. - -And yet do they satisfy the artist? Are they as beautiful as the -colours in a Persian Khelim? Is there a blue in the world as fine as -the blue in a Bokhara rug, or a red to touch the red of a Persian -brocade or Indian silk?--the new fresh colours as they come out of the -dyer's vat, not as they are after years of wear and tear, though that -is beautiful enough. And yet they are not more beautiful than the -colours once made by dyers in England. They are as brilliant as the -chemical colours, but they are not hard and unsympathetic and -correct. They are alive and varied, holding the light as no chemical -colour can hold it; and they are beautiful from their birth to their -old age, when they mellow, one with the other, into a blend of -richness that has never yet been got by the chemical dyer and never -will be. - -Perhaps it is the scientific method that kills the imagination. -Dealing with exactly known quantities, and striving for precise -uniformity, the chemist has no use for the accidents and -irregularities which the artist's imagination seizes and which the -traditional worker well knew how to use. - -William Morris says that "all degradation of art veils itself in the -semblance of an intellectual advance," and nothing is truer than this -with regard to the art of dyeing. As a tradition it is practically -dead in Britain, and is threatened with gradual extinction all over -the world. It will not recover itself as an art till individual -artists set themselves to make beautiful colours again, and ignore the -colour made for them by commerce and the chemists. - -Handicraft workers should make their own colours. Leather workers -should dye their own leather, the embroiderers their own silks and -wools, the basket makers their own materials, the weavers and spinners -their own flax, cotton and wool; and until they do this the best work -will not be done. This is the necessity for the present. _If any craft -worker wants sound colour he must make it for himself, he cannot get -it done for him by artists._ The hope for the future is that dyeing -may be reinstated as a craft, co-operating with the other crafts and -practiced by craftsmen. - -The way to beauty is not by the broad and easy road; it is along -difficult and adventurous paths. Every piece of craft work should be -an adventure. It cannot be an adventure if commerce steps in and says -"I will dye all your yarn for you; you will always then be able to -match your colour again; there need be no variation; every skein shall -be as all the others; you can order so many pounds of such a number -and you can get it by return of post; and you can have six or seven -hundred shades to choose from." It is all so easy, so temptingly -easy,--but how DULL! the deadly yards of stuff all so even and so -exactly dyed; so perfect that the commerce-ridden person says, "this -is almost as good as the stuff you can buy in a shop, it is as perfect -as machine made stuff." - -What would have been the use of all this to the great colourists of -the world, the ancient Egyptians, the mediA|val Italians or the great -Oriental dyers? They could not get six hundred shades to order; six -was more like their range, they did not need more, and in those they -could not command precise uniformity. They knew that the slight -variations caused by natural human methods add to the beauty and -interest of a thing, and that a few good colours are worth any number -of indifferent ones. - -It is quite certain that a great many of the handicrafts that have -depended upon commercial dyes would produce _infinitely better work_ -if they dyed their raw material themselves. - -It may be objected that life is not long enough; but the handicrafts -are out to create more life, not out to produce quantity nor to save -time. - -The aim of commerce is material gain; the aim of the crafts is to make -life, and no trouble must be spared to reach that end. It must always -be before the craft worker. Dyeing is an art; the moment science -dominates it, it is an art no longer, and the craftsman must go back -to the time before science touched it, and begin all over again. - -The tradition is nearly lost in England. - -It lingers in a few places in Scotland and Ireland. In Norway, Russia, -Central Asia, India and other places where science has not entered too -much into the life of the people, it is still practiced. Is dyeing as -a tradition to be doomed, as traditional weaving was doomed? Yes, -unless it be consciously studied again and remade into an art. - -This book is intended for the use of craftsmen and others who are -trying to dye their materials by hand and on a small scale. -Information and recipes, useful to such workers, are to be found in -books and pamphlets dating onwards from the 17th century, and in this -book I have drawn largely upon these sources of dyeing knowledge, as -well as upon the traditions still followed by present workers, and -upon the experience of my own work. - -All dyeing recipes, however, should guide rather than rule the worker; -they are better applied with imagination and experience than with the -slavishness of minute imitation. Every dyer should keep a record of -his experiments, for this will become invaluable as it grows, and as -one thing is learnt from another. The ideal way of working is not by a -too rigid accuracy nor by loose guess-work, but by the way which -practice has proved best: nevertheless, some of the greatest dyers -have done their work by rule-of-thumb methods just as others have -certainly worked with systematic exactness. - -The dyer, like any other artist, is free to find his own methods, -subject to the requirements of good and permanent craftsmanship, -provided that he achieves the effects at which he aims. But it is -supremely important that he should aim at the right effects; or, -rather, at the use of the right materials, for if these are right the -effects may safely be left to take care of themselves. In order to -develop the taste and temperament of a good colourist, it is necessary -to use good colour and to live with good colour. In this book I -attempt to show where good colour can be obtained. But one may begin -to live with good colour which has been found by others. - -This part of the dyer's education is not prohibitively costly, even in -these days of inferior colour. Indian and Persian embroideries are -still to be obtained, though care must be taken in their selection, as -most modern pieces are dyed with chemical dyes and are very ugly. -Persian Khelim rugs are cheap and often of the most beautiful colours. -Russian embroideries and woven stuffs, both old and new, are -obtainable, and are good in colour, as are most of the embroideries -and weavings of Eastern Europe and the East. What are popularly known -as "coffee towels" are often embroidered in the finest coloured silks. -Bokhara rugs and embroideries are still to be purchased, and many of -the weavings of the far East, although, alas, very few of the modern -ones are of good colour. I would say to dyers, do not be satisfied -with seeing beautiful coloured stuffs in museums. It is possible still -to get them, and to live with a piece of good colour is of much more -use than occasional hours spent in museums. - - - - -CHAPTER II. - -WOOL SILK COTTON LINEN - - Various kinds of wool. Wool from goats. Fleeces. Wool - dyeing. Scouring of wool. Silk, preparation for dyeing. - Cotton, cleansing and galling of. Indian methods of - preparing cotton and linen for dyeing. BANCROFT on the - preparing of cotton and linen for dyeing. Linen. On water - for dyeing. - - -ON WOOL.--The quality of wool varies considerably. British wools are -of various kinds:-- - -_Highland, Welsh and Irish_ wools are from small sheep, not far -removed from the wild state, with irregular short stapled fleeces. - -_Forest or Mountain sheep_ (Herdwick, Exmoor, Blackfaced, Limestone, -Cheviot) have better wool, especially the Cheviot which is very thick -& good for milling. - -_Ancient Upland_, such as South Down, are smaller sheep than the last -named, but the wool is softer and finer. - -_Long Woolled sheep_ (Lincolns, Leicester) with long staple wool -(record length, 36 in.) and the fleeces weighing up to 12A lbs. The -Leicester fleece is softer, finer and better than the Lincoln. - -To the end of the 18th century _Spanish wool_ was the finest and best -wool in the world. Spanish sheep have since been introduced into -various countries, such as Saxony, Australia, Cape Colony, New -Zealand, and some of the best wools now come from the colonies. - -_Alpaca, Vicuna and Llama_ wools are obtained from different species -of South American goats. - -_Mohair_ is obtained from the Angora goat of Asia Minor. - -_Kashmir_ wool is got from the Thibetan goat. - -_Camel_ hair is the soft under wool of the camel, which is shed -annually. It is of a brown colour. - -The colour of wool varies from white to a very dark brown black, with -all shades of fawn, grey and brown in between. The natural colours are -not absolutely fast to light but tend to bleach slightly with the sun. - -Fleeces are of various kinds, the principal being: _Lambs_, 3 to 6 -months growth, the finest, softest and most elastic of wool. _Hogs and -Tegs_: the first shearing of sheep that have not been shorn as lambs. -_Wethers_: all clips succeeding the first shearing. - -Wool comes into the market in the following condition. 1) _In the -grease_, not having been washed and containing all impurities. 2) -_Washed_, with some of the grease removed and fairly clean. 3) -_Scoured_, thoroughly cleaned & all grease removed. - - -ON WOOL DYEING.--There are four principal methods of dyeing wool. - -1st.--The wool is boiled first with the mordant and then in a fresh -bath with the dye. This method of dyeing is the most satisfactory and -gives brighter and faster colours than the other methods. It is not -necessary to throw away the solution after the mordanting has been -done, but it can be replenished for a fresh lot of wool; a separate -bath is used for the dye. - -2nd.--The wool is boiled first with the dye and, when it has absorbed -as much of the colour as possible, the mordant is added to the same -bath, thus fixing the colour. This is called the "stuffing" and -"saddening" method; the "stuffing" being the boiling of the wool with -the dye stuff and the "saddening" the fixing the colour by the -mordant. - -A separate bath can be used for each of these processes, in which case -each bath can be replenished and used again for a fresh lot of wool. - -3rd.--The wool is boiled with the mordant and dye in the same bath -together. The colour, as a rule, is not so fast & good as with a -separate bath, though with some dyes a brighter colour is obtained. - -4th.--The wool is mordanted, then dyed, then mordanted again -(saddened). This method is adopted to ensure an extremely fast colour. -The mordant in this case should be used rather sparingly. - -Wool can be dyed either in the fleece, in the yarn or in the woven -cloth. Raw wool always contains a certain amount of natural grease. -This should not be washed out until it is ready for dyeing, as the -grease keeps the moth out to a considerable extent. Hand spun wool is -always spun in the oil to facilitate spinning. All grease and oil must -be scoured out before dyeing is begun, and this must be done very -thoroughly or the wool will take the colour unevenly. - -The principal detergent known from earliest times is stale urine. In -the Highlands this is used in the proportion of 1 part to 5 of water. -It is the best scouring agent and leaves the wool soft and elastic. -Carbonate of soda is also used. But a good pure soap is the most -convenient scouring agent. A suds should be made with hot water, and -the wool, which has been soaked in warm water previously, should be -well squeezed and worked in the suds till all the grease is removed. -This should be done two or three times if needed, and then the wool -rinsed out thoroughly in clean water. Soda is apt to make the wool -harsh and should be avoided. A little Ammonia added to the washing -water helps. - -To prevent yarn felting when it is scoured, it should be first steeped -in hot water and left to cool. Soft soap is best for long fine wool. -Urine for short wools; or urine and soda ash. - -_Another way of cleansing wool._ Make a hot bath of 4 parts water and -1 part urine, enter wool, teasing it and opening it out to admit the -full action of the liquid. After 20 minutes immersion, remove and -allow to drain. Then rinse in clear running water and allow to dry. -Use no soap. The liquid can be used again. The wool often loses one -fifth of its weight in the process of washing. - -_To soften yarn_--In a gallon of hot water dissolve half pound of -common soda, then add half-pint of sweet oil and stir well. A little -of this added to the washing water, for some colours, will soften the -yarn. - -_To bleach wool_--The wool is suspended in a closed room on hoops, and -under the wool chafing dishes are placed with lighted coals on which -powdered sulphur is cast. The room door is afterwards shut so that the -smoke may be the longer retained to act on the wool, which is to -remain until it is entirely whitened. - - -ON SILK.--There are two kinds of silk, 1) _raw silk_ (reeled silk, -thrown silk, drawn silk), and 2) _waste silk_ or spun silk. - -Raw silk is that directly taken from the cocoons. Waste silk is the -silk from cocoons that are damaged in some way so that they cannot be -reeled off direct. They are therefore carded and spun, like wool or -cotton. - -Silk in the raw state is covered with a silk gum which must be boiled -off before dyeing is begun. It is tied up in canvas bags and boiled up -in a strong solution of soap for three or four hours until all the gum -is boiled off. If it is yellow gum, the silk is wrought first in a -solution of soft soap at a temperature just below boiling point for -about an hour, then put into bags and boiled. After boiling, the soap -is well washed out. - -Generally speaking, the affinity of silk for dyes is similar but -weaker in character to that of wool. The general method for dyeing is -the same as for wool, except that in most cases lower temperatures are -used in the mordanting. In some cases, soaking in a cold concentrated -solution of the mordant is sufficient. The dyeing of some colours is -also at a low temperature. - -_Of the preparation of raw silk._ For every pound of raw silk, take -A1/4A lb. of soap; first put the silk into a bag, or so make it up that -tangling may be prevented, then let it boil together for 2 hours, -after which it must be very well cleansed, and so it is ready to dye -all sorts of colours, being first allomed.[1] - -_How the boiled silk must be allomed._ In proportion to every pound of -silk, take A1/4A lb. of Allom, melt in a little kettle or skillet, and -when melted, throw it in to a tub of water, into which put the silk to -steep, where let it lie a whole night.[1] - -_To soften silk after dyeing._ Into a large vessel nearly full of -water, a solution of soap is poured, in the proportion of from 4 to 5 -lbs. of soap for every 110A lbs. of silk. The solution of soap is -strained through a cloth into the water and well mixed. The silk is -then introduced & left for about quarter of an hour after which it is -wrung out and dried. - - -ON COTTON.--Cotton is the down surrounding the seeds in pods of -certain shrubs and trees growing in tropical and semi-tropical -countries. It was first introduced into Europe by the Saracens and was -manufactured into cloth in Spain in the early 13th century. Cotton -cloth was made in England in the early 17th century. The colour of -cotton varies from deep yellow to white. The fibre differs in length, -the long stapled being the most valued. Cotton is difficult to dye and -requires a special preparation. It is first boiled with water till -thoroughly softened and wetted. Then alumed in the proportion of 1 of -alum to 4 of the cotton (see page 28). It is then galled. The galling -is done with different proportions of gall-nuts and other astringents -(such as tannic acid, myrobalams, sumach, catechu) according to the -quality of the astringents and the effect wished to be obtained. If -gall-nuts are used they are bruised, then boiled for about two hours -in a quantity of water. The bath is then allowed to cool till the hand -can bear it. The cotton is worked well in this solution and then left -for 24 hours. After which it is wrung out and dried. - -Cotton is sometimes boiled in sour water in order to cleanse it: -sometimes an alkaline ley is used: the cotton must be boiled in it for -2 hours, then wrung out and rinsed in clean water and dried. Cotton -dyeing has been carried on for centuries in the East. In India "before -a cloth is ready to be dyed with a fast colour, it has generally to -undergo a preliminary process of preparation more or less elaborate, -the different stages of which may be recited as washing, bleaching, -dunging, galling, aluming, or mordanting, and again washing." (_A -Monograph on dyes and dyeing in the Bombay Presidency_, by C. G. H. -Fawcett, 1896.) It is washed first of all to remove all impurities, -whether those naturally belonging to the fibre or those purposely -introduced during the processes of spinning and weaving. The bleaching -removes grease, etc. This is done in India by the sun, air and -moisture. The dunging process consists of passing the cotton through a -hot solution of cow dung, which renders the dye fast. This is -sometimes replaced by substitutes, such as the phosphates of soda and -lime, silicates of soda, etc. The next operation of galling is an -important step in the Indian process of dyeing. It is applied to -cotton, linen and silk. Vegetable infusions containing tannin are -applied to the cloth. Those mostly used are myrobalams, pomegranate -rind, tamarisk galls, and pistachio galls. The cloth is then alumed, -washed, and is then ready to be dyed. - -_Bancroft_ says:--"The fibres of linen or cotton when spun or woven -are prepared for the dyer by being first boiled in water with a -suitable proportion of potash (which for linen should be made caustic, -in order that it may act more strongly upon the oily and resinous -matters abounding in flax) and afterwards bleached by exposure upon -the grass to sun and air. But as this operation commonly leaves a -portion of earthy matter in the linen or cotton, it ought to be soaked -or steeped in water soured by sulphuric acid, to dissolve and remove -this earthy matter, taking care afterwards to wash or rinse off the -acid." - -A few of the natural dye stuffs are capable of dyeing cotton direct, -without a mordant, such as Turmeric, Barberry bark, safflower, -annatto. For other dyes cotton has a special attraction, such as -catechu, fustic, logwood. - - -ON LINEN.--Linen is flax, derived from the decomposed stalks of a -plant of the genus of Linum. It grows chiefly in Russia, Belgium, -France, Holland, and Ireland. The plants after being gathered are -subjected to a process called "retting", which separates the fibre -from the decaying part of the plant. In Ireland and Russia this is -usually done in stagnant water, producing a dark coloured flax. In -Belgium, Holland and France, retting is carried out in running water, -and the resulting flax is a lighter colour. Linen is more difficult to -dye than cotton, probably on account of the hard nature of the fibre. -The same processes are used for dyeing linen as for cotton. - -"Linen thread is dyed in the same manner as cotton, only, that -previous to its being purged like cotton thread, it is usual to boil -it in water, adding for every pound of thread a quarter pound of -chopped sorrel. Oil of vitriol is, however, more convenient and better -than sorrel."--D'Apligny. - -_To Bleach Linen._--(For 13 to 15 yards linen) Boil A1/2A lb. soap and -A1/2A lb. soda in a gallon of water. Put it in a copper and fill up with -water, leaving room for the linen to be put in. Put in the linen and -bring to the boil. Boil for 2 hours, keeping it under the water and -covered. Stir occasionally. Then spread out on the grass for 3 days, -watering it when it gets dry. Repeat this boiling and grassing for 3 -weeks. Your linen is then pure white. - -_To bleach linen a cream colour._--Boil A1/2A lb. soap and A1/2A lb. soda in a -gallon of water. Fill copper up with water and put in linen. Boil for -2 hours. Repeat this once a day for 4 days. The linen should not be -wrung out but kept in the water till ready to be put into the fresh -bath. - - -ON WATER.--A constant supply of clean soft water is a necessity for -the dyer. Rain water should be collected as much as possible, as this -is the best water to use. The dye house should be by a river or -stream, so that the dyer can wash with a continuous supply. Spring and -well water is as a rule hard, and should be avoided. In washing, as -well as in dyeing, hard water is altogether injurious for wool. It -ruins the brilliancy of colour, and prevents the dyeing of some -colours. Temporary hardness can be overcome by boiling the water (20 -to 30 minutes) before using. An old method of purifying water, which -is still used by some silk and wool scourers, is to boil the water -with a little soap, skimming off the surface as it boils. In many -cases it is sufficient to add a little acetic acid to the water. - -_Berthollet_ says,--"Whenever, therefore, a water is limpid, when its -flow is constant, when it has no sensible taste, and dissolves soap -well, it may be regarded as very proper for dyeing." He also goes on -to say that for correcting water that is bad, sour water is -principally used, that is, water in which bran has been fermented. - - -FOOTNOTE: - -[1] From a dye book of 1705. - - - - -CHAPTER III. - -MORDANTS - - Definition of mordant. The principal mordants. The - mordanting of silk and wool. Of linen and cotton. - Astringents for cotton. Alum. Various examples of using - alum for wool, silk, cotton and linen. Iron. Examples of - iron mordants. Tin. Examples of tin mordants. Chrome. - Examples of chrome mordants. Copper. Examples of copper - mordants. General observations. Tannin and the galling of - cotton and linen. Examples of various galling processes. - - -MORDANTS.--Dyes are divided into two classes. First, the _substantive_ -dyes, which give their colour directly to the material with which they -are boiled: and second, the _adjective_ dyes, as they are sometimes -called. These latter include the greater number of dyes and require -the use of a mordant to bring out their colour. - -There are thus two processes concerned with the dyeing of most -colours; the first is mordanting and the second is the colouring or -actual dyeing. The mordanting prepares the stuff to receive the -dye--(_mordere_, to bite.) The early French dyers thought that a -mordant had the effect of opening the pores of the fibres, so that the -dye could more easily enter; but according to Hummel and later dyers -the action of the mordant is purely chemical; and he gives a -definition of a mordant as "that body, whatever it may be, which is -fixed on the fibre in combination with any given colouring matter." -The mordant is first precipitated on to the fibre and combines with -the colouring matter in the subsequent dye bath. But, whether the -action is chemical or merely physical, the fact remains that all -adjective dyes need this preparation of the fibre before they will fix -themselves on it. The use of a mordant, though not a necessity, is -sometimes an advantage when using substantive dyes. - -In early days the leaves and roots of certain plants were used. This -is the case even now in India and other parts where primitive dyeing -methods are still carried on. Alum has been known for centuries in -Europe. Iron and tin filings have also been used. Alum and copperas -have been known in the Highlands for long ages. Stale urine is also -much used in Scotland and Ireland, but perhaps more as a clearing -agent than as an actual mordant. - -Silk and wool require very much the same preparation except that in -the case of silk high temperatures should be avoided. Wool is -generally boiled in a weak solution of whatever mordant is used. With -silk, as a rule, it is better to use a cold solution, or a solution at -a temperature below boiling point. Cotton and linen are more difficult -to dye than wool or silk. Their fibre is not so porous and will not -hold the dye stuff without a more complicated preparation. The usual -method of preparing linen or cotton is to boil it first with some -astringent. The use of astringents in dyeing depends upon the tannic -acid they contain. In combination with ordinary mordants, tannic acid -aids the attraction of the colouring matter to the fibre and adds -brilliancy to the colours. The astringents mostly used are tannic -acid, gall nuts, sumach and myrobalams. Cotton has a natural -attraction for tannic acid, so that when once steeped in its solution -it is not easily removed by washing. - - -ALUM. (_Aluminium sulphate._)--This is the most generally used of all -the mordants, and has been known as such from early times in many -parts of the world. For most colours a certain proportion of cream of -tartar should be added to the alum bath as it helps to brighten the -ultimate colour. The usual amount of alum used is a quarter of a pound -to every pound of wool. As a rule, less mordant is needed for light -colours than for dark. An excess of alum is apt to make the wool -sticky. - -"For dyeing worsted and stuffs yellow, you make use of the usual -preparation, viz., of tartar and alum. You allow four ounces of alum -to every pound of wool, or twenty-five pounds to every hundred. With -regard to the tartar, one ounce to every pound is sufficient for -yellow, though it requires two for red."--Hellot. - -The usual length of time for boiling with alum is from A1/2 an hour to 1 -hour; but some dyers give as much as 2A1/2 hours. - -_Various examples of mordanting with alum._-- - -_For silk._ Wet out the silk thoroughly with water and wring out. Then -work it about a little in a strong solution of alum, previously -dissolved in hot water, and steep for several hours (or over night). -Then wash well. It should not be allowed to dry before dyeing. "Silks -are always alumed in the cold, because when they are alumed in a hot -bath, they are apt to lose a portion of their lustre." _Berthollet._ - -_For wool._ A1/4A lb. of Alum and 1 oz. Cream of tartar for every pound of -wool. This is dissolved and when the water is warm the wool is -entered. Raise to boiling point and boil for one hour. The bath is -then taken off the fire and allowed to cool over night. The wool is -then wrung out (not washed) and put away in a linen bag in cool place -for four or five days, when it is ready for dyeing. - -_For cotton and linen._ After boiling in water (some use a sour water, -some an alkaline ley) the cotton is put into the alum bath, A1/4A lb. of -Alum to 1A lb. of cotton. The alum is dissolved in hot water with soda -in the proportion of 1 part soda to 16 of alum. (Some add a small -quantity of tartar and arsenic). The cotton is well worked in this -solution and left 24 hours. It is then washed, and afterwards galled. - -_For linen._ A1/4A lb. alum for every pound of linen. Boil for 2A1/2 hours -and immediately put into the dye bath. - -_For wool._ 6 to 8 per cent. of alum and 5 to 7 per cent. of tartar of -the weight of wool. - - -IRON. (_Ferrous Sulphate_, _copperas_, _green vitriol_) - -Iron is one of the oldest mordants known and is largely used in wool -and cotton dyeing. It is almost as important as alum. With wool it -should be used in combination with cream of tartar. The temperature of -the mordanting bath must be raised very gradually to boiling point or -the wool will dye unevenly. A general method of dealing with copperas -is to boil the wool first in a decoction of the colouring matter and -then add the mordant to the same bath in a proportion of 5 to 8 per -cent. of the weight of wool: and continue boiling for half an hour or -so longer. With some dyes a separate bath is needed, such as with -Camwood or Catechu. If used for cotton, the cotton is first dyed in a -boiling decoction of the dye stuff and then passed through a cold -solution of ferrous sulphate. Probably the commonest way of applying -copperas in cotton dyeing is to prepare the cotton with tannin, pass -through clear lime water and then through a copperas solution. Great -care is needed in the using of copperas, as, unless it is thoroughly -dissolved and mixed with the water before the wool is entered, it is -apt to stain the wool. It also hardens wool if used in excess, or if -boiled too long. - -Copperas is mostly used for the fixing of wool colours (Fustic etc.) -to produce brown shades by the "stuffing and saddening" method (see -page 14), the wool being boiled first in a decoction of the dye for -about an hour, and then for A1/2 an hour with the addition of 5 to 8 per -cent. of copperas. If used for darkening colours, copperas is added to -the bath, after the dyeing, and the boiling continued for 15 to 20 -minutes. - -_Examples of various proportions for Mordanting._-- - -8 per cent. of copperas and 20 per cent. of cream of tartar is a -mordant used for some colours. - -4 per cent. copperas, 10 per cent. cream of tartar gives good olive -colours with weld. - -8 per cent. copperas without tartar with single bath method, for dark -olive brown with old fustic. - -2 oz. copperas and 2 oz. cream of tartar to 2A1/2A lbs. wool. - -2 oz. copperas, 1A1/2 oz. oxalic acid to 2A1/2A lbs. wool. - - -TIN.--(_Stannous chloride_, _tin crystals_, _tin salts_, _muriate of -tin_.) - -Tin is not so useful as a mordant in itself, but as a modifying agent -with other mordants. It must be always used with great care, as it -tends to harden the wool, making it harsh and brittle. Its general -effect is to give brighter, clearer and faster colours than the other -mordants. When used as a mordant before dyeing, the wool is entered -into the cold mordanting bath, containing 4 per cent. of stannous -chloride and 2 per cent. oxalic acid: the temperature is gradually -raised to boiling, and kept at this temperature for 1 hour. It is -sometimes added to the dye bath towards the end of dyeing, to -intensify and brighten the colour. It is also used with cochineal for -scarlet on wool, in the proportion of 6 per cent. of stannous chloride -and 4 per cent. of cream of tartar. Boil for 1 to 1A1/2 hours. Then wash -well. The washing after mordanting is not always essential. Also 6 to -8 per cent. of oxalic acid and 6 per cent. of stannous chloride, for -cochineal on wool. This mordant produces bright fast yellows from old -fustic, by boiling the wool from 1 to 1A1/4 hours, with 8 per cent. of -stannous chloride and 8 per cent. of cream of tartar. One recipe -gives 2 oz. tin and 4A1/4 oz. cream of tartar to 2A1/2A lbs. wool in 10 -gallons of water. It is not a suitable mordant alone for cotton, but -can be used to brighten the colour in combination with other mordants. -"The nitro-muriate of tin (dyer's spirit) although it produces good -yellows with quercitron bark, produces them in a much weaker degree -than the murio-sulphate of that metal, which is really the cheapest -and most efficacious of all the solutions or preparations of tin for -dyeing quercitron as well as the cochineal colours."-- _Bancroft._ - - -CHROME. (_Potassium dichromate_, _Bichromate of Potash._) - -Chrome is a modern mordant, unknown to the dyer of 50 years ago. It is -excellent for wool and is easy to use and very effective in its -action. Its great advantage is that it leaves the wool soft to the -touch, whereas the other mordants are apt to harden the wool. In -commercial dyeing it is now almost exclusively used, as it has proved -itself the most generally convenient. By some it is said not to be so -fast to light as the other mordants, but it produces brighter colours. -The wool should be boiled for one to one & a half hours with -bichromate of potash in the proportion of 2 to 4 per cent. of the -wool. It is then washed well and immediately dyed. Wool mordanted with -chrome should not be exposed to light, but should be kept well covered -with the liquid while being mordanted, else it is liable to dye -unevenly. An excess of chrome impairs the colour. 3 per cent. of -chrome is a safe quantity to use for ordinary dyeing. One recipe gives -1A1/2 oz. of chrome to 2A1/2A lbs. of wool. It should be dissolved in the -bath while the water is heating. The wool is entered and the bath -gradually raised to the boiling point, and boiled for three quarters -of an hour. - -In the dyeing of cotton, it is used for catechu browns and other -colours. The cotton is soaked in a decoction of catechu, and -afterwards passed through a boiling solution of chrome, or it is -worked for half an hour in a bath of chrome at 60A deg.C., and then washed. -It is usual to wash wool or cotton after mordanting with chrome, but -some dyers do not think it necessary. - - -COPPER. (_Copper Sulphate_, _Verdigris_, _blue vitriol_, -_blue-stone_.) - -Copper is rarely used as a mordant. It is usually applied as a -saddening agent, that is, the wool is dyed first, and the mordant -applied afterwards to fix the colour. With cream of tartar it is used -sometimes as an ordinary mordant before dyeing, but the colours so -produced have no advantage over colours mordanted by easier methods\. - - -EXAMPLES.--6 per cent. of copper is used as a mordant for weld to -produce an olive yellow. 4 to 5 per cent. is used with old fustic for -yellow. 10 per cent. of copper gives to wool a reddish purple with -cochineal. - -Mordants should not affect the physical characteristics of the fibres. -Sufficient time must be allowed for the mordant to penetrate the fibre -thoroughly. If the mordant is only superficial, the dye will be -uneven: it will fade and will not be as brilliant as it should be. The -brilliancy and fastness of Eastern dyes are probably due to a great -extent to the length of time taken over the various processes of -dyeing. _The longer time that can be given to each process, the more -satisfactory will be the result._ - -Different mordants give different colours with the same dye stuff. For -example:--Cochineal, if mordanted with alum, will give a crimson -colour; with iron, purple; with tin, scarlet; and with chrome or -copper, purple. Logwood, also, if mordanted with alum, gives a mauve -colour; if mordanted with chrome, it gives a blue. Fustic, weld, and -most of the yellow dyes, give a greeny yellow with alum, but an old -gold colour with chrome; and fawns of various shades with other -mordants. - - -TANNIN.--(_Tannic Acid_.)--Tannins are used in the dyeing of cotton -and linen. Cotton and linen possess the remarkable power of attracting -tannins from their aqueous solution, and when these substances are -prepared with tannins, they are able to retain dyes permanently. -Cotton saturated with tannin, attracts the dye stuff more rapidly, and -holds it. Tannic acid is the best tannin for mordanting cotton and -linen, as it is the purest and is free from any other colouring -matter. It is, therefore, used for pale and bright shades. But for -dark shades, substances containing tannic acid are used, such as -sumach, myrobalans, valonia, divi-divi, oak galls, chestnut (8 to 10 -per cent. of tannin), catechu. - -Cotton and linen are prepared with tannin after they have been through -the required cleansing, and if necessary, bleaching operations. A -bath is prepared with 2 to 5 per cent. of tannic acid of the weight of -the cotton, and a sufficient quantity of water. For dark shades, 5 to -10 per cent. should be used. The bath is used either hot or cold. It -should not be above 60A deg.C. The cotton is worked in this for some time, -and then left to soak for 3 to 12 hours, while the bath cools. It is -then wrung out and slightly washed. - -The following gives the relative proportions of the various substances -containing tannin:--1A lb. tannin _equals_ 4A lbs. sumach, 18A lbs. -myrobalans, 14A lbs. divi-divi, 11A lbs. oak galls. - -A few examples taken from various recipes of cotton dyeing:-- - - For 10A lbs. cotton use 12 oz. tannin. - For 50A lbs. cotton use 10A lbs. sumach. - For 40A lbs. cotton use 10A lbs. sumach. - For 20A lbs. cotton use 2A lbs. yellow catechu or black catechu. - For 20A lbs cotton spend 3A lbs. of catechu with 3 oz. of blue - vitriol. - -Some recipes soak the cotton for 24 hours, others for 48 hours. - - - - -CHAPTER IV. - -BRITISH DYE PLANTS - - -The introduction of foreign dye woods and other dyes during the 17th -and 18th centuries rapidly displaced the native dye plants, except in -certain out of the way places such as the Highlands and parts of -Ireland. Some of these British dye plants had been used from early -historical times for dyeing. Some few are still in use in commercial -dye work (pear, sloe, and a few others); but their disuse was -practically completed during the 19th century when the chemical dyes -ousted them from the market. - -The majority of these plants are not very important as dyes, and could -not probably now be collected in sufficient quantities. Some few -however are important, such as woad, weld, heather, walnut, alder, -oak, some lichens; and many of the less important ones would produce -valuable colours if experiments were made with the right mordants. -Those which have been in use in the Highlands are most of them good -dyes. Among these are Ladies Bedstraw, whortleberry, yellow iris, -bracken, bramble, meadow sweet, alder, heather and many others. The -yellow dyes are the most plentiful, and many of these are good fast -colours. Practically no good red, in quantity, is obtainable. Madder -is the only reliable red dye among plants, and that is no longer -indigenous in England. Most of the dye plants require a preparation of -the material to be dyed, with alum, or some other mordant, but a few, -such as Barberry, and some of the lichens, are substantive dyes, and -require no mordant. - - -PLANTS WHICH DYE RED.-- - - Potentil. _Potentilla Tormentilla._ Roots. - - Wild Madder. _Rubia peregrina._ - - Lady's Bedstraw. _Galium verum._ Roots. - - Gromwell. _Lithospermum arvense._ - - Marsh Potentil. _Potentilla Comarum._ Roots. - - Birch. _Betula alba._ Fresh inner bark. - - Bed-straw. _Galium boreale._ Roots. - - Common Sorrel. _Rumex acetosa._ Roots. - - Evergreen Alkanet. _Anchusa sempervirens._ With chloride of tin. - - Dyer's Woodruff. _Asperula tinctoria._ Roots. - - -PLANTS WHICH DYE BLUE.-- - - Woad. _Isatis Tinctoria._ - - Whortleberry or blaeberry. _Vaccinium Myrtillus._ Berries. - - Elder. _Sambucus nigra._ Berries. - - Privet. _Ligustrum vulgare._ Berries, with alum and salt. - - [2]Sloe. _Prunus communis._ Fruit. - - Red bearberry. _Arctostaphylos Uva-Ursi._ - - Dogs Mercury. _Mercurialis perennis._ - - Yellow Iris. _Iris Pseudacorus._ Root. - - Devil's Bit. _Scabiosa succisa._ Leaves prepared like woad. - - -PLANTS WHICH DYE YELLOW.-- - - Weld. _Reseda luteola._ - - Meadow Rue. _Thalictrum flavum._ Roots. - - Marsh Marigold. _Caltha palustris._ Flowers. - - S. John's Wort. _Hypericum perforatum._ - - Heath. _Erica vulgaris._ With Alum. - - Spindle tree. _Euonymus EuropA|us._ - - Buckthorn. _Rhamnus frangula_ and _R. cathartica._ Berries and - Bark. - - [3]Dyer's Greenwood. _Genista tinctoria._ Young shoots and leaves. - - Kidney Vetch. _Anthyllis Vulnararia._ - - Marsh Potentil. _Potentilla Comarum._ - - Ling. _Calluna vulgaris._ - - Yellow Centaury. _Chlora perfoliata._ - - Hornbeam. _Carpinus Betulus._ Bark. - - Hedge stachys. _Stachys palustris._ - - Polygonum Persecaria. - - Polygonum Hydropiper. - - Hop. _Humulus lupulus._ - - Stinking Willy, or Ragweed. _Senecio JacobA|a._ - - Yellow Camomile. _Anthemis tinctoria._ - - Common dock. _Rumex obtusifolius._ Root. - - [4]Sawwort. - - _Serratula tinctoria._ - - Gorse. _Ulex EuropA|us._ Bark, flowers and young shoots. - - Broom. _Sarothamnus scoparius._ - - Bracken. _Pteris aquilina._ Roots. Also young tops. - - Way-faring tree. _Viburnum lantana._ Leaves, with alum. - - Bramble. _Rubus fructicosus._ - - Nettle. _Urtica._ With alum. - - Bog Myrtle or Sweet Gale. _Myrica Gale._ - - Teasel. _Dipsacus Sylvestris._ - - Sundew. _Drosera._ - - Barberry. _Berberis vulgaris._ Stem and root. - - Bog asphodel. _Narthecium ossifragum._ - - Agrimony. _Agrimonia Eupatoria._ - - Yellow corydal. _Corydalis lutea._ - - Privet. _Ligustrum vulgare._ Leaves. - - Crab Apple. _Pyrus Malus._ Fresh inner bark. - - Ash. _Fraxinus excelsior._ Fresh inner bark. - - Pear. Leaves. - - Poplar. Leaves. - - Plum. Leaves. - - Birch. Leaves. - - [5]Willow. Leaves. - - -PLANTS WHICH DYE GREEN.-- - - Privet. _Ligustrum vulgare._ Berries and leaves, with - alum. - - Flowering reed. _Phragmites communis._ Flowering tops, - with copperas. - - Elder. _Sambucus nigra._ Leaves with alum. - - Nettle. _Urtica dioica_ and _U. Urens_. - - Lily of the valley. _Convalaria majalis._ Leaves. - - Larch. Bark, with alum. - - -PLANTS WHICH DYE BROWN.-- - - Whortleberry. _Vaccinium Myrtillus._ Young shoots, with - nut galls. - - Larch. Pine needles, collected in Autumn. - - Walnut. Root and green husks of nut. - - Water Lily. _NymphA|a alba._ Root. - - Alder. _Alnus glutinosa._ Bark. - - Birch. _Betula alba._ Bark. - - Oak. _Quercus Rohur._ Bark. - - Red currants, with alum. - - Hop. _Humulus lupulus._ Stalks give a brownish red colour. - - -PLANTS WHICH DYE PURPLE.-- - - Whortleberry or blaeberry. _Vaccinium myrtillus._ Berries. - "It contains a blue or purple dye which will dye wool and - silk without mordant." - - Deadly nightshade. _Atropa Belladonna._ - - Sundew. _Drosera._ - - Bryony. _Bryonia dioica._ Berries. - - Danewort. _Sambucus Ebulus._ Berries. - - Elder. _Sambucus nigra._ Berries, with alum, a violet; - with alum and salt, a lilac colour. - - Dandelion. _Taraxacum Dens-leonis._ Roots. Dyes a magenta - colour. - - Damson. Fruit, with alum. - - -PLANTS WHICH DYE BLACK.-- - - Alder. _Alnus glutinosa._ Bark with copperas. - - Blackberry. _Rubus fruticosus._ Young shoots, with salts - of iron. - - Dock. _Rumex._ Root. - - Iris. _Iris Pseudacorus._ Root. - - Meadowsweet. _Spirea Ulmaria._ - - Oak. Bark and acorns. - - Elder. Bark, with copperas. - - -FOOTNOTES: - -[2] "On boiling sloes, their juice becomes red, and the red dye which -it imparts to linen changes, when washed with soap, into a bluish -colour, which is permanent." - -[3] "For giving very inferior yellow upon coarser woollens, the dyer's -broom, _genista tinctoria_, is sometimes employed, with the common -preparation of alum and tartar." - -[4] Sawwort which grows abundantly in meadows affords a very fine pure -yellow with alum mordant, which greatly resembles weld yellow. It is -extremely permanent. - -[5] "The leaves of the sweet willow, _salix pentandra_, gathered at -the end of August and dried in the shade, afford, if boiled with about -one thirtieth potash, a fine yellow colour to wool, silk and thread, -with alum basis. All the 5 species of Erica or heath growing on this -island are capable of affording yellows much like those from the -dyer's broom; also the bark and shoots of the Lombardy poplar, -_populus pyramidalis_. The three leaved hellebore, _helleborus -trifolius_, for dyeing wool yellow is used in Canada. The seeds of the -purple trefoil, lucerne, and fenugreek, the flowers of the French -marigold, the chamomile, _antemis tinctoria_, the ash, _fraxinus -excelsior_, fumitory, _fumaria officinalis_, dye wool yellow." "The -American golden rod, _solidago canadensis_, affords a very beautiful -yellow to wool, silk and cotton upon an aluminous basis."--Bancroft. - - - - -CHAPTER V. - -THE LICHEN DYES - - -Some of the most useful dyes and the least known are to be found among -the Lichens. They seem to have been used among peasant dyers from -remote ages, but apparently none of the great French dyers used them, -nor are they mentioned in any of the old books on dyeing. The only -Lichen dyes that are known generally among dyers are Orchil and -Cudbear, and these are preparations of lichens, not the lichens -themselves. They are still used in some quantity and are prepared -rather elaborately. But a great many of the ordinary Lichens yield -very good and permanent dyes. The Parmelia saxatilis and P. -omphaloides, are largely used in the Highlands & West Ireland, for -dyeing brown of all shades. No mordant is needed, and the colours -produced are the fastest known. "Crottle," is the general name for -Lichens, in Scotland. They are gathered off the rocks in July and -August, dried in the sun, and used to dye wool, without any -preparation. The crottle is put into the dye bath with a sufficient -quantity of water, boiled up and allowed to cool and then boiled up -with the wool until the shade required is got. This may take from one -to three or four hours, as the dye is not rapidly taken up by the -wool. Other dyers use it in the following way:--A layer of crottle, a -layer of wool, and so on until the bath is full; fill up with cold -water and bring to the boil, and boil till the colour is deep enough. -Some of the finest browns are got in this way. The wool does not seem -to be affected by keeping it in the dye a long time. A small quantity -of acetic acid put in with the Lichen is said to assist in exhausting -the colour. - -The grey Lichen _Ramalina scopulorum_, dyes a fine shade of yellow -brown. It grows very plentifully on old stone walls, especially by the -sea, and in damp woods, on trees, and on old rotten wood. Boil the -Lichen up in sufficient water one day, and the next day put in the -wool, and boil up again till the right colour is got. If the wool is -left in the dye for a day or more after boiling, it absorbs more -colour, and it does not hurt the wool, but leaves it soft and silky to -the touch, though apt to be uneven in colour. Some mordant the wool -first with alum, but it does not seem to need it. - -The best known of the dye Lichens are Parmelia saxatilis, and Parmelia -omphalodes, which are still largely used in Scotland and Ireland for -dyeing wool for tweeds. The well known Harris tweed smell is partly -due to the use of this dye. - -Other Lichens also known for their dyeing properties are:--Parmelia -caperata or Stone Crottle which contains a yellow dye, P. -ceratophylla, or Dark Crottle, and P. parietina, the common wall -lichen, which gives a colour similar to the colour of the lichen -itself, yellowish brown. In _Bancroft's_ "Philosophy of Permanent -Colours" is to be found the following--"Besides the lichens, whose -colour depends upon a combination with the ammonia, there are some -which afford substantive colours, less beautiful indeed, but more -durable, by merely boiling with water. One of these is the muscus -pulmonarius of Caspar Bauhine, or the lichenoides pulmonium -reticulatum vulgare marginibus peltiferus of Dillenius, called Rags -and Stone Rags, in the northern parts of England, which, without any -mordant, dyes a very durable dark brown colour upon white wool or -cloth, and a fine lasting black upon wool or cloth which has -previously received a dark blue from Indigo." The following occurs in -an old Scottish history.--"There is one excresence gotton off the -craigs which they call cork-lit, and make use thereof for litting, or -dyeing a kind of purple colour." Another lichen, taken from trees in -Scotland, was used for producing an orange tint, called Philamort. The -tree lichen was called wood-raw, or rags, to distinguish it from stone -lichen, or stone-raw. A deep red colour was got from the dull grey -friable lichen, common on old stone walls, which was scraped off, with -a metal scraper. The bright yellow lichen, growing on rocks and walls, -and old roofs, dyes a fine plum colour, if the wool is mordanted first -with Bichromate of Potash. There is a difficulty, however, in getting -enough of this lichen to make the dyeing with it practicable. - -The colour of the plant is no indication of the colorific power. That -is often greatly modified by the conditions of its growth,--such as -climate, elevation above the sea, nearness or distance from the sea, -age, season when gathered, habitat. The best season for gathering most -lichens, is late summer and autumn. - -In Sweden, Scotland and other countries, the peasantry use a lichen, -called _Lecanora tartarea_, to furnish a red or crimson dye. - -In Shetland, the _Parmelia saxatilis_ (Scrottyie) is used to dye -brown. It is found in abundance on argillaceous rocks. It is -considered best if gathered late in the year, and is generally -collected in August. Immediately after being collected, an iron vessel -is filled with it, and stale urine then poured over it, till the -vessel is full. This is slowly boiled until the plant begins to assume -a mucillaginous appearance, which generally takes place in about 2 -hours. When taken off the fire, it has the consistence of a thin -jelly, but it speedily hardens until it is nearly as thick as -porridge, and its colour becomes a dark rusty grey. It is then folded -in the cloth, layer by layer of Scrottyie and cloth alternately, and -all is boiled for about 20 minutes, in soft water, in which a little -alum has been dissolved. It is then taken off the fire and the cloth -washed in cold water, when the process of dyeing is complete. The -Scrottyie, taken from between the folds of the cloth, is used several -times for dyeing, on being treated again in the same manner. - -The plant used in Shetland for the red dye is the _Lecanora tartarea_. -It is found abundantly on almost all rocks and also grows on dry -moors, along with _Cladonia sangiferina_. (If a particle of the latter -is allowed to be intermixed with the dye, it is supposed to be -spoiled.) The lichen, and the dye made from it, are called Korkalett. -This lichen is collected in May and June, and steeped in stale urine -for about 3 weeks, being kept at a moderate heat all the time. The -substance having then a thick and strong texture, like bread, and -being of a bluish black colour, is taken out and made into small cakes -of about A3/4A lb. in weight, which are wrapped in dock leaves and hung up -to dry in peat smoke. When dry it may be preserved fit for use for -many years; when wanted for dyeing it is partially dissolved in warm -water till of the consistence of Scrottyie, the dyeing proceeds in the -same manner; 5A lbs. of korkalett being considered sufficient for about -4 Scotch ells of cloth. The colour produced is a light red. It is -much used in the dyeing of yarn as well as cloth. The yarn is simply -boiled in it without folding as in the case of cloth.[6] - -LinnA|us mentions that a beautiful red colour may be prepared from -Lichen pustulatus, _Gyrophora pustulata_. _G. cylindrica_ is used by -Icelanders for dyeing woollen stuffs a brownish green colour. In -Sweden and Norway, _Evernia vulpina_ is used for dyeing woollen stuffs -yellow. Iceland moss, _Cetraria Islandica_, is used in Iceland for -dyeing brown. _Usnea barbata_ is collected from trees in Pennsylvania -& used for an orange colour for yarn. - -_Lecanora tartarea_ (corcur of the Scottish Highlanders) dyes a -claret. It is usually prepared by pounding the lichen and mixing it -with stale chamberley, to which a little salt or kelp is added; this -mixture is kept for several weeks, and frequently stirred; being then -brought to the consistence of coarse paste, it is made up into balls, -with a little lime or burnt shells, and is kept ready for use. When -used, it is coarsely powdered and a small portion of alum is generally -added. - -A general method for using lichens is suggested by Dr. Westring of -Sweden, in his "Experiments on Lichens for Dyeing Wools and Silks." He -says: - -"The Lichens should be gathered after some days of rain, they can then -be more easily detached from the rocks. They should be well washed, -dried and reduced to a fine powder: 25 parts pure river water are -added to 1 of powdered lichen, and 1 part of fresh quick lime to 10 -parts powdered lichen. To 10A lbs. lichen A1/2A lb. sal ammoniac is -sufficient when lime and sal ammoniac are used together. The vessel -containing them should be kept covered for the first 2 or 3 days. -Sometimes the addition of a little common salt or salt-petre will give -greater lustre to the colours."[7] - -This method can be followed by anyone wishing to experiment with -Lichens. Dr. Westring did not use a mordant as a rule. Where the same -species of Lichen grows on both rocks and trees, the specimens taken -from rocks give the better colours. - - -ORCHIL OR ARCHIL AND CUDBEAR are substantive or non mordant dyes, -obtained from Lichens of various species of Roccella growing on rocks -in the Canary Islands and other tropical and sub-tropical countries. -They used to be made in certain parts of Great Britain from various -lichens, but the manufacture of these has almost entirely disappeared. -They have been known from early times as dyes. They give beautiful -purples and reds, but the colour is not very fast. The dye is produced -by the action of ammonia and oxygen upon the crushed Lichens or weeds -as they are called. The early way of producing the colour was by -treating the Lichen with stale urine and slaked lime, and this method -was followed in Scotland. Orchil is applied to wool by the simple -process of boiling it in a neutral or slightly acid solution of the -colouring matter. 3% Sulphuric acid is a useful combination. -Sometimes alum and tartar are used. It dyes slowly and evenly. It is -used as a bottom for Indigo on wool and also for compound shades on -wool and silk. For cotton and linen dyeing it is not used. It is -rarely used by itself as the colour is fugitive, but by using a -mordant of tin, the colour is made much more permanent. - -"Archil is in general a very useful ingredient in dyeing; but as it is -rich in colour, and communicates an alluring bloom, dyers are often -tempted to abuse it, and to exceed the proportions that can add to the -beauty, without, at the same time, injuring in a dangerous manner the -permanence of the colours. Nevertheless, the colour obtained when -solution of tin is employed, is less fugitive than without this -addition."[8] - -Many of the British lichens produce colours by the same treatment as -is used for producing Orchil. Large quantities were manufactured in -Scotland from lichens gathered in the Shetland Islands and Western -Highlands. This was called Cudbear. The species used by the Scottish -Cudbear makers were generally _Lecanora tartarea_ and _Urceolaria -calcarea_; but the following lichens also give the purple colour on -treatment with ammonia.--_Evernia prunastri_, _Lecanora pallescens_, -_Umbilicaria vellea_, _U. pustulata_, _Parmelia perlata_; whilst -several others give colours of similar character, but of little -commercial value. The manufacture of Archil and Cudbear from the -various lichens is simple in principle. In all cases the plant is -reduced to a pulp with water and ammonia, and the mass kept at a -moderate heat and allowed to ferment, the process taking two or three -weeks to complete. The ammonia used to be added in the form of stale -urine, and additions of slaked lime were made from time to time.[9] -The general mode of treatment for the development from the dye lichens -of orchil and cudbear consists of the following steps:-- - - 1.--Careful washing, drying and cleaning, to separate - earthy and other impurities. - - 2.--Pulverisation into a coarse or fine pulp with water. - - 3.--Regulated addition of ammonia of a certain strength - and derived from various sources (putrid urine, gas - liquor, etc.) - - 4.--Frequent stirring of the fermenting mass so as to - ensure full exposure of every part thereof to the action - of atmospheric oxygen. - - 5.--Addition of alkalis in some cases (e.g. potash or - soda) to heighten or modify the colour; and of chalk, - gypsum and other substances, to impart consistence. - Various accessories are employed, e.g. the application of - continued, moderate and carefully regulated heat during - the process of fermentation.[10] - - -RECIPES FOR DYEING WITH LICHENS. - -_To dye Brown with Crotal._ - -For 6A1/4A lbs. (100 oz.) of wool. Dye baths may be used of varying -strengths of from 10 to 50 oz. of Crotal. Raise the bath to the boil, -and boil for an hour. A light tan shade is got by first dipping the -wool in a strong solution of Crotal, a darker shade by boiling for -half-an-hour, and a dark brown by boiling for two hours or so. It is -better, however, to get the shade by altering the quantity of Crotal -used. The addition of sufficient oil of vitriol to make the bath -slightly acid will be an improvement. (A very small quantity should be -used). - -_To Dye Red with Crotal._-- - -Gather the lichen off the rocks--it is best in winter. Put layers of -lichen and wool alternately in a pot, fill up with water and boil -until you get the desired tint. Too much crotal will make the wool a -dark red brown, but a very pretty terra cotta red can be got. No -mordant is required. - -_To Dye Pink from a bright yellow Lichen._ (_Parmelia parietina_). - -Mordant the wool with 3% of Bichromate of Potash, then boil with the -lichen for 1 hour or more. - -_To Dye Brown from Crotal._ - -Boil the wool with an equal quantity of lichen for 1 or 1A1/2 hours. No -mordant is required. - -_To dye red purple from Cudbear & Logwood._ - -Dye with equal quantities of Cudbear and Logwood, the wool having been -mordanted with chrome. A lighter colour is got by dyeing with 8A lbs. -cudbear and A1/2A lb. logwood (for 30A lbs. wool). - -_To Dye Yellow on Linen with the Lichen Peltigera canina_ (a large -flat lichen growing on rocks in woods). - -Mordant with alum, (A1/4A lb. to aA lb. of linen) boil for 2 hours. Then -boil up with sufficient quantity of the lichen till the desired colour -is got. - - -LIST OF LICHENS USED BY THE PEASANTRY OF DIFFERENT COUNTRIES FOR WOOL -DYEING.[11] - -SHADES OF RED, PURPLE AND ORANGE. - -_Roccella tinctoria._ Orseille. Grows in the South of France, on rocks -by the sea. - -_Lecanora tartarea._ Crotal, Crottle, Corkur, Corcir, Korkir. Found in -the Scotch Highlands and Islands, growing on rocks; used for the -manufacture of Cudbear in Leith & Glasgow. - -_L. parella._ Light Crottle, Crabs Eye Lichen. Found in Scotland, -France, and England, on rocks and trees, formerly celebrated in the -South of France in the making of the dye called Orseille d'Auvergne. - -_L. hA|matomma._--Bloody spotted lecanora, Black lecanora. Found in -Scotland on rocks and trees. - -_Umbilicaria pustulata._--Blistered umbilicaria. Found on rocks in -Norway and Sweden. - -_Isidium corallinum._ White crottle. Found on rocks in Scotland. - -_I. Westringii._ Westring's Isidium. Norway and Sweden. - -_Urceolaria calcarea._ Corkir, Limestone Urceolaria. Found in -Scotland, Western Islands, Shetland and Wales, growing on limestone -rocks. - -_U. Scruposa._ Rock Urceolaria. Grows on rocks in hilly districts in -England. - -_U. cinerea._ Greyish Urceolaria. In England, on rocks. - -_Parmelia saxatilis._ Crottle, stane-raw, Staney-raw, (Scotland). -Scrottyie, (Shetland). Sten-laf, Sten-mossa, (Norway and Sweden). -Found on rocks and stones in Scotland, Shetland, and Scandinavia. In -winter the Swedish peasantry wear home made garments dyed purple by -this lichen. By the Shetlanders it is usually collected in August, -when it is considered richest in colouring matter. - -_P. omphalodes._ Black Crottle, Cork, Corker, Crostil or Crostal, -(Scotch Highlands). Arcel, (Ireland). Kenkerig, (Wales). -Alaforel-leaf, (Sweden). Found on rocks, especially Alpine, in -Scotland, Ireland, Wales and Scandinavia. One of the most extensively -used dye-lichens. It yields a dark brown dye readily to boiling water, -and it is easily fixed to yarns by simple mordants. It is stated to -yield a red, crimson or purple dye. - -_P. caperata._ Stone crottle, Arcel. Found in North of Ireland and -Isle of Man, on trees. Said to dye yarn brown, orange and lemon -yellow. - -_P. conspersa._ Sprinkled parmelia. Found growing on rocks in England. - -_Evernia prunastri._ Ragged hoary lichen. Stag's horn lichen. Found in -Scotland, on trees. - -_Ramalina scopulorum._ Ivory-like ramalina. Scotland, on maritime -rocks. A red dye. - -_R. farinacea._ Mealy ramalina. On trees in England. - -_Borrera ashney._ Chutcheleera. India. - -_Solorina crocea._ Saffron yellow solorina. In Scotland, on mountain -summits. The colouring matter is ready formed and abundant in the -thallus. - -_Nephroma parilis._ Chocolate colored nephroma. Scotland, on stones. -Said to dye blue. - -_Sticta pulmonacea._ On trees. - -_Lecidea sanguinaria._ Red fruited lecidea. In Scotland, on rocks. - -_Conicularia aculeata._ var. _spadicea_. Brown prickly cornicularia. -Canary Islands, Highland Mountains. - -_Usnea barbata._ Bearded Usnea. Pennsylvania and South America. On old -trees. Stated to dye yarn orange. - -_U. florida._ Flowering Usnea. Pale greenish yellow or reddish brown. - -_U. plicata._ Plaited usnea. On trees. - - -SHADES OF BROWN - -_Cetraria Islandica._ Iceland moss. Iceland heaths, and hills. It -yields a good brown to boiling water, but this dye appears only to -have been made available to the Icelanders. - -_Parmelia physoides._ Dark crottle, Bjork-laf. Found in Sweden, -Scotland & Scandinavia, on rocks and trees. - -_P. omphalodes._ In Scandinavia and Scotland. Withering asserts that -it yields a purple dye paler, but more permanent, than orchil; which -is prepared in Iceland by steeping in stale lye, adding a little salt -and making it up into balls with lime. - -_Sticta pulmonacea._ Oak lung, Lungwort, Aikraw, Hazel-raw, Oak rag, -Hazel rag, Hazel crottle, Rags. Found on trees in England, Scotland, -North of Ireland, Scandinavia. It dyes wool orange and is said to have -been used by the Herefordshire peasantry to dye stockings brown. Some -species yield beautiful saffron or gamboge coloured dyes, e.g. _S. -flava_, _crocata_, _aurata_. - -_For continuation of list see Appendix._ - - -FOOTNOTES: - -[6] T. Edmonston. _On the Native Dyes of the Shetland Islands_ 1841. - -[7] The _Annales de Chimie_. Stockholm Transactions 1792. - -[8] The Art of Dyeing. _Berthollet._ He gives minute directions for -the preparation of Archil. See page 365. - -[9] Some British Dye Lichens. _Alfred Edge._ - -[10] From Dr. W. L. Lindsay, On Dyeing Properties of Lichens. - -[11] From an article by Dr. Lauder Lindsay on the "Dyeing Properties -of Lichens," in the _Edinburgh Philosophical Journal._ July to October -1855. - - - - -CHAPTER VI. - -[12]BLUE - -INDIGO, WOAD, LOGWOOD. - - -"Notwithstanding the very great facility of dyeing wool blue, when the -blue vat is once prepared, it is far otherwise with regard to the -preparation of this vat, which is actually the most difficult -operation in the whole art of dyeing."--Hellot. - - -_INDIGO_ - -Indigo is the blue matter extracted from a plant, _Indigofera -tinctoria_ & other species, growing in Asia, South America and Egypt. -It reaches the market in a fine powder, which is insoluble in water. -There are two ways of dyeing with indigo. It may be dissolved in -sulphuric acid or oil of vitriol, thereby making an indigo extract. -This process was discovered in 1740. It gives good blue colours, but -is not very permanent. Darker colours by this method are more -permanent than the paler ones. It does not dye cotton or linen. - -The other method is by the indigo vat process, which produces fast -colours, but is complicated and difficult. In order to colour with -indigo, it has to be deprived of its oxygen. The deoxydised indigo is -yellow, and in this state penetrates the woollen fibre; the more -perfectly the indigo in a vat is deoxydised, the brighter and faster -will be the colour. For the dyeing of wool, the vats are usually -heated to a temperature of 50A deg.C. Cotton and linen are generally dyed -cold. - -_Hellot_ says "when the vat, of whatsoever kind it be, is once -prepared in a proper state, there is no difficulty in dyeing woollens -or stuffs, as it is requisite only to soak them in clean warm water, -to wring them, and then to immerse them in the vat, for a longer or -shorter time, according as you would have the colour more or less -deep. The stuff should be from time to time opened, that is to say, -taken out and wrung over the vat and exposed to the air for a minute -or two, till it becomes blue. For let your vat be what it will, the -stuff will be green when taken out and will become blue when exposed -to the air. In this manner it is very proper to let the colour change -before you immerse your stuffs a second time, as you are thereby -better enabled to judge whether they will require only one or several -dips."--"The Art of Dyeing Wool," by _Hellot_. - -The colour of the blue is brightened by passing the wool through -boiling water after it comes out of the dye. Indigo is a substantive -dye and consequently requires no mordant. - -[13]1). TO MAKE EXTRACT OF INDIGO.-- - -Put 2A lbs. of oil of vitriol into a glass bottle or jar, stir into it -8 oz. of powdered indigo, stirring briskly for A1/2 hour, then cover up -and stir 4 or 5 times a day for a few days, then add a little powdered -chalk to neutralise the acid. It should be added slowly, little by -little, as the chalk makes the acid bubble up. Keep it closely corked. - -2). TO MAKE EXTRACT OF INDIGO.-- - -4 oz. sulphuric acid, A1/2 oz. finely ground Indigo. Mix like mustard, -and leave to stand over-night. Prepare the wool by mordanting with 5A oz. -alum to 1A lb. wool. Boil for A1/2 hour and dye without drying. - -3). TO DYE WOOL WITH INDIGO EXTRACT - -For 4 to 6A lbs. of wool. Stir 2 to 3 oz. of Indigo extract into the -water of the dye bath. The amount is determined by the depth of shade -required. When warm, enter the wool, and bring slowly to boiling point -(about A1/2 hour) and continue boiling for another A1/2 hour. By keeping it -below boiling point while dyeing, better colours are got, but it is -apt to be uneven. Boiling levels the colour but makes the shade -greener. This is corrected by adding to the dye bath a little logwood, -10 to 20 per cent. This should be boiled up separately, strained, and -put in the bath before the wool is entered. Too much should be -avoided however, as it dims the colour. It can be done in the same -bath, but better results are got by separate baths. Instead of logwood -a little madder is sometimes used; also Cudbear or Barwood. - -4). TO DYE SILK WITH INDIGO EXTRACT. - -Dye at a temperature of 40 to 50A deg.C. in a bath with a little sulphuric -acid and the amount of indigo as is needed for the colour. Another -method is to mordant the silk first with alum by steeping it for 12 -hours in a solution of 25 per cent. and then, without washing, to dye -with the Indigo Extract and about 10% of alum added to the dye bath. -By this means compound colours can be made by the addition of -cochineal, for purple, or old Fustic, Logwood, etc., for greys, browns -and other colours. - -5). SAXON BLUE.-- - -Put into a glazed earthen pot 4A lbs. of good oil of vitriol with 12 -oz. of choice Indigo, stir this mixture very hastily and frequently in -order to excite a fermentation. It is customary with some Dyers to put -into this composition a little antimony or salt-petre, tartar, chalk, -alum and other things, but I find it sufficient to mix the oil and -Indigo alone, and the colours will be finer, for those neutral salts -destroy the acid of the vitriol and sully the colour. In 24 hours it -is fit for use. Then a copper of a good size is to be filled with fair -water (into which one peck of bran is put in a bag) and made pretty -warm, the bran after yielding its flower must be taken out, and the -Chymie, (Indigo Extract) mixed well with water in a Piggin, (a small -pot) is put in according to the shade required, having first put in a -hand-ful of powdered tartar; the cloth is to be well wet and worked -very quick over the winch (stick on which it is hung) for half an -hour. The liquor must not be made hotter than for madder red (just -under boiling point). The hot acid of the vitriol would cause the blue -to incline to green if too much heat was given. (From an old Dye -Book). - -6). TO MAKE UP A BLUE VAT.-- - -Take 1A lb. Indigo thoroughly ground, put this into a deep vessel with -about 12 gallons of water, add 2A lbs. copperas, and 3A lbs. newly -slaked lime, and stir for 15 minutes. Stir again after 2 hours and -repeat every 2 hours for 5 or 6 times. Towards the end, the liquor -should be a greenish yellow colour, with blackish veins through it, -and a rich froth of Indigo on the surface. After standing 8 hours to -settle, the vat is fit to use. - -7). TURQUOISE FOR WOOL.-- - -Mordant with alum. For a pale shade use 1 teaspoonful of Indigo -Extract (see No. 2) for 1A lb. of wool. Boil A1/4 hour. - -8). BLUE FOR WOOL. (Highlands). - -Take a sufficiency of Indigo. (For medium shade about 1 oz. to every -pound of wool). Dissolve it in about as much stale urine (about a -fortnight old) as will make a bath for the wool. Make it lukewarm. Put -in the wool and keep it at the same temperature till the dyeing is -done. For a deep navy blue it will take a month, but a pale blue will -be done in 3 or 4 days. Every morning and evening the wool must be -taken out of the dye bath, wrung out and put back again. The bath must -be kept covered and the temperature carefully attended to. Some add a -decoction of dock roots the last day, which is said to fix the blue. -The wool must then be thoroughly washed. This is a fast dye. - -9). INDIGO VAT. (For small dyers). - -Add to 500 litres of stale urine 3 to 4 kilos of common salt and heat -the mixture to 50A deg. to 60A deg.C., for 4 to 5 hours with frequent stirring, -then add 1 kilo of madder, 1 kilo of ground Indigo, stir well, and -allow to ferment till the Indigo is reduced. - -10). SAXON BLUE. (_Berthollet_). - -Prepare the wool with alum and tartar. A smaller or greater proportion -of the Indigo solution is put into the bath, (1 part of Indigo with 8 -parts of sulphuric acid, digested for 24 hours), according to the -depth of shade wished to be obtained. For deep shades it is -advantageous to pour in the solution by portions, lifting out the wool -from the bath while it is being added. The cold bath acts as well as -the hot. - -11). THE COLD INDIGO VAT WITH URINE. - -Take 4A lbs. of powdered Indigo and put it into a gallon of vinegar, -leaving it to digest over a slow fire for 24 hours. At the end of this -time the Indigo should be quite dissolved. If not dissolved pound it -up with some of the liquor adding a little urine. Put into it A1/2A lb. -madder, mixing it well. Then pour it into a cask containing 60 -gallons of urine (fresh or stale). Mix and stir the whole together; -this should be done morning and evening for 8 days or until the -surface becomes green when stirred, and produces froth. It may be -worked immediately without any other preparation than stirring it 3 or -4 hours before-hand. This kind of vat is extremely convenient, because -when once prepared it remains so always until it is entirely -exhausted. According as you would have your vat larger or smaller you -reduce or enlarge the amount of the ingredients used in the same -proportion as the original. This vat is sooner prepared in summer than -in winter. - -12). INDIGO VAT ON A SMALL SCALE FOR WOOLLENS AND COTTONS.-- - -Have a strong 9 gallon cask, put into it 8 gallons of urine, have a 4 -quart pickle jar, into which put 1A lb. ground Indigo and 3 pints of -best vinegar; put the jar into a saucepan filled with water, and make -it boil well for 2 hours, stirring it all the time. Let it stand in a -warm place for 3 days, then pour it into the cask; rake it up twice a -day for a month. It must be covered from the air. - -13). BLUE VAT FOR WOOLLENS.-- - -For every 20 gallons of water add 5 oz. ground Indigo, 8 oz. of -potash, 3 oz. madder, and 4 oz. bran. Keep the solution at 140A deg.F.; -after 24 hours the whole will have begun to ferment, then add 2 oz. -madder, stir and allow the whole to settle, after which the vat is -ready for use. - -14). TO DYE INDIGO BLUE. Urine Vat.-- - -Prepare vat as follows:--To 3A1/2 gallons of stale urine add 4A1/2 oz. of -common salt, and heat the mixture to 125A deg.F. (as hot as the hand can -bear). Keep at this heat for 4 to 5 hours, frequently stirring, then -add 1A1/4 oz. thoroughly ground Indigo and 1A1/4 oz. Madder, stir well and -allow to ferment till the Indigo is reduced. This is recognized by the -appearance of the vat, which should be of a greenish yellow colour, -with streaks of blue. Allow the vat to settle, when you can proceed -with dyeing. Process of dyeing the same as in No. 15. - -15). TO DYE INDIGO BLUE.--Potash Vat.-- - -Into a pot 3 parts full of water put 1A1/2 oz. Madder and 1A1/2 oz. bran. -Heat to nearly boiling, and keep at this heat for 3 hours. Then add 5 -oz. Carbonate of Potash; allow Potash to dissolve and let the liquor -cool down till luke-warm. Then add 5 oz. thoroughly ground Indigo, -stir well and leave to ferment for two days, occasionally stirring, -every 12 hours or so. Wool dyed in this vat must be thoroughly washed -after the colour is obtained. - -_Process of Dyeing._--Into a vat prepared as above, dip the wool. Keep -it under the vat liquor, gently moving about a sufficient time to -obtain the colour required. A light blue is obtained in a few seconds, -darker blues take longer. Take out wool, and thoroughly squeeze out of -it all the dye liquor back into the vat. Spread out the wool on the -ground, exposed to the air till the full depth of colour is developed. -The wool comes out of the vat a greenish shade, but the oxygen in the -air darkens it, through oxydation, to indigo blue. The wool should now -be washed in cold water with a little acid added to it, and again -thoroughly rinsed and dried. - -16). BLUE VAT FOR COTTON.-- - -In a clean tub put 10 pails of water, slacken 1 bushel of lime into -it, and cover while slackening; put 6A lbs. ground Indigo in a pot and -mix it into a paste with hot water and then put 4 pails of boiling -water on to it, stir it, cover it, and leave it. In another pot, put -20A lbs. copperas, pour 4 pails of water on this, stir it and leave it -covered. Pour 4 pails of water on the top of the lime that is -slackening, rake it up well and put in the melted copperas; rake it -well and put in the Indigo; stir well and leave covered for a couple -of days, stirring occasionally. Half fill a new vat with the mixture. -Rake it well and while you are raking, fill it up with clean water, -continue raking for an hour. Cover it over; it can be used the next -day. This is a colour that never washes out. - -17). GLOUCESTERSHIRE INDIGO VAT. - -Size 5 feet over the top: 7 feet deep, 6 to 7 feet at the bottom. - -Take A1/2 cwt. bran, A1/4 peck lime and 40A lbs. indigo. Warm up to 180 to -200A deg.F., rake it 4 times a day. If it ferments too much add more lime: -if not enough, more bran. An experienced eye or nose will soon tell -when it is ripe or fit to use, which should be in about 3 days. -Regulate the strength of the vat from time to time to the colour -required. No madder or woad is used when much permanency is wanted. - -18). COLD INDIGO VAT FOR DYEING WOOL, SILK, LINEN AND COTTON. - -1 part Indigo, 3 parts good quicklime, 3 parts English vitriol, and 1A1/2 -parts of orpiment. The Indigo is mixed with water, and the lime added, -stirred well, covered up, and left for some hours. The powdered -vitriol is then added, and the vat stirred and covered up. After some -hours the orpiment powder is thrown in and the mixture is left for -some hours. It is then stirred well and allowed to rest till the -liquid at the top becomes clear. It is then fit for dyeing. - - -_WOAD_ - -Woad is derived from a plant, _Isatis tinctoria_, growing in the North -of France and in England. It was the only blue dye in the West before -Indigo was introduced from India. Since then woad has been little used -except as a fermenting agent for the indigo vat. It dyes woollen cloth -a greenish colour which changes to a deep blue in the air. It is said -to be inferior in colour to indigo but the colour is much more -permanent. The leaves when cut are reduced to a paste, kept in heaps -for about fifteen days to ferment, and then formed into balls which -are dried in the sun; these have a rather agreeable smell and are of a -violet colour. These balls are subjected to a further fermentation of -9 weeks before being used by the dyer. When woad is now used it is -always in combination with Indigo, to improve the colour. Even by -itself, however, it yields a good and very permanent blue. - -It is not now known how the ancients prepared the blue dye, but it has -been stated (Dr. Plowright) that woad leaves when covered with boiling -water, weighted down for half-an-hour, the water then poured off, -treated with caustic potash and subsequently with hydrochloric acid, -yield a good Indigo blue. If the time of infusion be increased, greens -and browns are obtained. It is supposed that woad was "vitrum," the -dye with which CA|sar said almost all the Britons stained their bodies. -It is said to grow near Tewkesbury, also Banbury. It was cultivated -till quite lately in Lincolnshire. There were four farms in 1896; one -at Parson Drove, near Wisbech, two farms at Holbeach, and one near -Boston. Indigo has quite superseded it in commerce.[14] - -"It is like the Indigo plant, but less delicate and rich. It is put in -vats with Indigo and madder to dye a never-fading dark blue on wool, -and was called woad-vats before Indigo was known." (Thomas Love). And -again "Woad, or what is much stronger, pastel, always dyed the blue -woollens of Europe until Indigo was brought over here." - -Bancroft says "Woad alone dyes a blue colour very durable, but less -vivid and beautiful than that of Indigo." - - -_LOGWOOD_ - -(Bois de CampAªche, Campeachy Wood) - -Logwood is a dye wood from Central America, used for producing blues -and purples on wool, black on cotton and wool, and black and violet on -silk. It is called by the old dyers, one of the Lesser Dyes, because -the colour loses all its brightness when exposed to the air. But with -proper mordants and with careful dyeing this dye can produce fast and -good colours. Queen Elizabeth's government issued an enactment -entirely forbidding the use of logwood. The act is entitled "An Act -for the abolishing of certeine deceitful stuffe used in the dyeing of -clothes," and it goes on to state that "Whereas there hath been -brought from beyond the seas a certeine kind of stuff called logwood, -alias blockwood, wherewith divers dyers," etc., and "Whereas the -clothes therewith dyed, are not only solde and uttered to the great -deceit of the Queene's loving subjects, but beyond the seas, to the -great discredit and sclaunder of the dyers of this realme. For -reformation whereof, be it enacted by the Queene our Soveraygne Ladie, -that all such logwood, in whose handes soever founde, shall be openly -burned by authoritie of the maior." The person so offending was liable -to imprisonment and the pillory. This is quoted from "The Art of -Dyeing," by James Napier, written in 1853. He goes on to say, "Upwards -of eighty years elapsed before the real virtues of this dyeing agent -were acknowledged; and there is no dyewood we know so universally -used, and so universally useful." The principal use for logwood is in -making blacks and greys. The logwood chips should be put in a bag and -boiled for 20 minutes to A1/2 hour, just before using. "Logwood is used -with galls and copperas for the various shades of greys, inclining to -slate, lavender, dove, and lead colour, etc. For this purpose you fill -a cauldron full of clean water, putting into it as much nut galls as -you think proper. You then add a bag of logwood, and when the whole is -boiled, having cooled the liquor, you immerse the stuff, throwing in -by degrees some copperas, partly dissolved in water."--Hellot. Hellot -is very scornful of logwood, naming it as one of the lesser dyes, and -not to be used by good dyers. - - -_RECIPES FOR DYEING WITH LOGWOOD._ - -1). BLACK FOR COTTON.-- - -After washing, work the cotton in a cold infusion of 30% to 40% of -Sumach, or its equivalent in other tannin matter[15] (ground gall -nuts, myrobalans, etc.) and let steep over-night. Squeeze out and -without washing pass through a bath containing a diluted solution of -lime water, or soda. Work in a cold solution of copperas for A1/2 hour, -then back into the soda for a A1/4 hour at a temperature of 50A deg. to 60A deg.C. -Then wash. Dye in a freshly made bath of logwood with a small -proportion of old Fustic or Quercitron Bark. The cotton is introduced -into the cold dye liquor and the temperature gradually raised to -boiling. Boil for A1/2 an hour. After dyeing, the cotton should be passed -through a warm solution of Bichromate of Potash. (5 grains per litre). -It is then washed and worked in a warm solution of soap and dried. -More Fustic makes a greener black. - -When catechu is the tanning matter employed, the cotton should be -worked in a boiling decoction of it and allowed to steep till cold. - -2). GREY DRAB FOR WOOL. - -(10A lbs.) Dissolve A1/2 oz. Bichromate of Potash in water, and then boil -for A1/2 hour; lift the wool and add 1 oz. logwood: boil for A1/2 hour. Lift -out, wash and dry. - -3). LOGWOOD GREY ON COTTON. - -The cotton is worked in a weak decoction of logwood at 40A deg. to 50A deg.C., -and then in a separate bath containing a weak solution of ferrous -sulphate or Bichromate of Potash. Wash. - -4). GREEN BLACK FOR WOOL.-- - -Mordant wool with 3% Bichromate of Potash and 1% Sulphuric acid (or -4% Tartar) for 1 to 1A1/2 hours. Then wash and dye with 35% to 50% of -Logwood. This gives a blue black. It is greened by adding 5% old -Fustic to the dye bath. The more Fustic the greener the black becomes. -If 3% to 4% alum is added to the mordanting bath, a still greener -shade is obtained. Sulphuric acid in the mordant produces a dead -looking blue black. Tartar yields a bright bluish black. - -5). LOGWOOD BLUE FOR WOOL. - -Mordant the wool for 1 to 1A1/2 hours at 100A deg.C., with 4% alum and 4 to 5% -cream of Tartar. Wash well and dye for 1 to 1A1/2 hours at boiling -point with 15 to 30% logwood and 2 to 3% chalk. This colour is not -very fast, but can be made faster by adding 1 to 3% bichromate of -potash and 1% sulphuric acid. The brightest logwood blues are -obtained by dyeing just below boiling point. Long boiling dulls the -colour. - -6). GREEN BLACK FOR WOOL. - -Mordant with 2% Chrome and 25% sulphuric acid. Boil 1A1/2 hours and -leave overnight. Dye with 40% logwood and 10% Fustic. Boil 1 hour. - -7). LOGWOOD BLUE FOR WOOL. - -Chrome 1%, Alum 3%, Tartar 1A1/2%. Boil 1A1/2 hours and leave over-night. -Dye with logwood 20% and Cudbear 1%. Boil one hour, then throw in 20 -quarts of single muriate of tin, diluted with 20 to 30 gallons of -water. Immerse 15 minutes and wash. - -8). FAST PURPLE FOR COTTON. - -(For 20A lbs. cotton.) Mordant with copperas. Wash slightly; then a -bath of muriate of tin. Dye with 4 to 5A lbs. logwood. - -9). FAST BLACK ON WOOL.-- - -Put wool into a strong logwood bath, the stronger the better, and boil -for 1 hour. Take out and drain, and put into a Bichromate of Potash -bath and keep at 150A deg.F. for about 5 minutes. Then a bath of Fustic or -Quercitron. After which wash well in cold water. - -10). BLACK FOR COTTON.-- - -(For 10A lbs.) Steep cotton in hot decoction of 3A lbs. Sumach and let -stay over night. Wring out and work for 10 minutes through lime water: -then work for A1/2 hour in a solution of 2A lbs. copperas. It may be -either washed from this, or worked again through lime water for 10 -minutes. Dye for A1/2 hour in a warm decoction of 3A lbs. logwood adding -A1/2A pint chamber lye. Take out cotton and add to the same bath 2 oz. -copperas. Work 10 minutes, then wash and dry. 1A lb. Fustic is added -for jet black. - -11). FAST BLACK FOR WOOLLENS.-- - -(For 50A lbs.) Mordant with 2A lbs. chrome, 1A lb. Tartar, 1 quart -Muriate of Tin. Boil 1 hour and wash well. Dye with 25A lbs. logwood -and 3A lbs. Fustic. Boil 30 minutes. Take out and add 1 pint Vitriol. -Return for 10 minutes, wash and dry. - -12). JET BLACK FOR SILK. - -(For 50A lbs.) Mordant in hot solution of Nitro-Sulphate of Iron at -150A deg.F., work for A1/2 hour. Wash well, then boil up 18A lbs. Fustic. Put -off the boil, enter silk and work for 30 minutes. Take out. Boil 16 -lbs. logwood, put off the boil and decant the liquor into fresh bath, -add 1A lb. white soap, enter and work from 30 to 40 minutes. Wash -well. - -13). LAVENDER FOR WOOL. - -(For 6A1/4A lbs.) Mordant with 3 oz. Bichromate of Potash, for 45 minutes -and wash. Dye with 2 oz. madder, 1 oz. logwood. Enter the wool, raise -to the boil and boil for 45 minutes. The proportion of logwood to -madder can be so adjusted as to give various shades of claret to -purple. - -14). BLACK FOR WOOL. - -Mordant 6A1/4A lbs. wool with 4 oz. Chrome. Boil for 45 minutes. Dye with -50 oz. logwood, 1 oz. Fustic. Raise to boil and boil for 45 minutes. - -15). FAST CHROME BLACK FOR WOOL. - -(For 40A lbs. wool.) Dissolve 3A lbs. copperas and boil for a short -time. Then dip the wool in this for A3/4 hour, airing frequently. Take -out wool and make dye with 24A lbs. logwood. Boil for A1/2 hour. Dip A3/4 -hour, air wool, dip A1/4 hour longer and then wash in strong soap suds. - -16). LIGHT SILVER DRAB FOR WOOL. - -(For 50A lbs. wool). A1/2A lb. logwood, A1/2A lb. alum. Boil well and enter -wool and dip for 1 hour. - -17). A FAST LOGWOOD BLUE FOR WOOL. - -(Highland recipe). Mordant with 3% Bichromate of Potash and boil wool -in it for 1A1/2 hours. Wash and dry wool. Make a bath of 15 to 20% -logwood with about 3% chalk added to it. Boil the wool for 1 hour, -wash and dry. The wool can be greened by steeping it all night in a -hot solution of heather, or boiling it in heather till the desired -tint is obtained. - -18). GREEN BLACK FOR WOOL. - -(For 50A lbs. wool). Boil 20 minutes with 1A lb. chrome. Dye with 20 -lbs. Fustic, 8A lbs. logwood. Boil for A1/2 hour. - -19). SLATE PURPLE. - -(For 80A lbs. yarn). Mordant with 2A lbs. chrome for 20 minutes. Dye -with 10A lbs. logwood & 1A lb. Cudbear. Boil for A1/2 hour. - -20). RAVEN GREY FOR WOOL. - -(For 60A lbs.) Dissolve 8 oz. Alum and work the wool very quickly for -A1/2A hour at boiling heat; then take it out and add to the same liquor 3 -or 4A lbs. copperas, & work it at boiling heat for A1/2 hour. Then wash. -In another copper, boil 1 pailfull of logwood chips for 20 minutes. Put -the wool into this for A1/2 hour; then return it into the alum and -copperas for 10 to 15 minutes. - -21). DARK RED PURPLE WITH LOGWOOD FOR WOOL.--(For 2A1/2A lbs.) - -Mordant with 10 oz. alum and 2A1/2 oz. cream of tartar for 1 hour. Let -cool in the mordant, then wring out and put away for 4 or 5 days in a -linen (or other) bag in the dark. - -Dye with 1A lb. logwood, and A1/2A lb. madder. Boil up the logwood and -madder in a separate bath and pour through a sieve into the dye bath. -Enter the wool when warm and bring to boil. Boil from A1/2 hour to 1A1/2 -hours. Wash thoroughly. - -22). VIOLET WITH LOGWOOD FOR SILK. - -The silk is washed from the soap and drained. For every pound of silk, -dissolve in cold water 1 oz. verdigris; when it is well mixed with the -water, the silk is immersed and kept in this liquor for an hour. This -does not give colour. It is then wrung & aired. A logwood liquor is -then made; the silk dipped in it when cold; it takes a blue colour -sufficiently dark. The silk is taken out and dipped in a clear -solution of alum; it acquires a red which produces a violet on the -silk just dyed blue. The quantity of alum is undetermined; the more -alum the redder the violet. The silk is then washed. - -23). ORDINARY LOGWOOD PURPLE FOR WOOL. - -(For 1A lb.) Mordant wool with A1/4A lb. alum and A1/2 oz. tartar for 1 hour; -wring out and put away in a bag for some days. Dye with A1/4A lb. logwood -for 1 hour. - - -FOOTNOTES: - -[12] Early dyers were particular as to the naming of their colours. -Here is a list of blues, published in 1669.--"White blue, pearl blue, -pale blue, faint blue, delicate blue, sky blue, queen's blue, turkey -blue, king's blue, garter blue, Persian blue, aldego blue, and -infernal blue." - -[13] I give here recipes for the simpler vats which can be used on a -small scale. The more complicated recipes can only be done in a -well-fitted dye house. I would refer the reader to those in "The Art -of Dyeing" by Hellot, Macquer and D'Apligny, and "Elements of the Art -of Dyeing" by Berthollet. - -[14] Woad, pastel and Indigo are used in some dye books to mean the -same dye, and they evidently have very much the same preparation in -making. - -[15] See page 36. - - - - -CHAPTER VII. - -RED. - -KERMES, COCHINEAL, LAC-DYE, MADDER. - - -_KERMES._ - -Kermes, or Kerms, from which is got the "Scarlet of Grain" of the old -dyers, is one of the old insect dyes. It is considered by most dyers -to be the first of the red dyes, being more permanent than cochineal -and brighter than madder. In the 10th century it was in general use in -Europe. The reds of the Gothic tapestries were dyed with it, and are -very permanent, much more so than the reds of later tapestries, which -were dyed with cochineal. Bancroft says "The Kermes red or scarlet, -though less vivid, is more durable than that of cochineal. The fine -blood-red seen at this time on old tapestries in different parts of -Europe, unfaded, though many of them are two or three hundred years -old, were all dyed from Kermes, with the aluminous basis, on woollen -yarn." - -Kermes consists of the dried bodies of a small scale insect, _Coccus -ilicis_, found principally on the ilex oak, in the South of Europe. It -is said to be still in use in Italy, Turkey, Morocco and other places. - -William Morris speaks of the "Al-kermes or coccus which produces with -an ordinary aluminous mordant a central red, true vermilion, and with -a good dose of acid a full scarlet, which is the scarlet of the Middle -Ages, and was used till about the year 1656, when a Dutch chemist -discovered the secret of getting a scarlet from cochineal by the use -of tin, and so produced a cheaper, brighter and uglier scarlet." - -Kermes is employed exactly like cochineal. It has a pleasant aromatic -smell which it gives to the wool dyed with it. - -The following recipe for its use is from an old French dye book:-- - -20A lbs. of wool and A1/2 a bushel of bran are put into a copper with a -sufficient quantity of water, and suffered to boil half-an-hour, -stirring every now and then. It is then taken out to drain. While the -wool is draining the copper is emptied and fresh water put in, to -which is added about a fifth of sour water, four pounds of Roman Allum -grossly powdered and two pounds of red Tartar. The whole is brought to -boil, and that instant the hanks are dipped in, which are to remain in -for two hours, stirring them continually. When the wool has boiled two -hours in this liquor, it is taken out, left to drain, gently squeezed -and put into a linen bag in a cool place for five or six days and -sometimes longer. This is called leaving the wool in preparation. -After the wool has been covered for five or six days, it is fitted to -receive the dye. A fresh liquor is then prepared, and when it begins -to be lukewarm, take 12 oz. of powdered Kermes for each pound of wool -to be dyed, if a full and well coloured scarlet is wanted. If the -Kermes was old and flat, a pound of it would be required for each -pound of wool. When the liquor begins to boil, the yarn, still moist, -(which it will be, if it has been well wrapped in a bag and kept in a -cool place) is put in. Previous to its being dipped in the copper with -the Kermes, a handful of wool is cast in, which is let to boil for a -minute. This takes up a kind of scum which the Kermes cast up, by -which the wool that is afterwards dipped, acquires a finer colour. The -handful of wool being taken out, the prepared is put in. The hanks are -passed on sticks continually stirring and airing them one after the -other. It must boil after this manner an hour at least, then taken out -and placed on poles to drain, afterwards wrung and washed. The dye -still remaining in the liquor may serve to dip a little fresh parcel -of prepared wool; it will take some colour in proportion to the -goodness and quality of the Kermes put into the copper. - -_Another Recipe for Dyeing with Kermes._--The wool is first boiled in -water along with bran for half-an-hour (A1/2 bushel of bran for 20A lbs. -of wool) stirring it from time to time. Drain. Next boil for 2 hours -in a fresh bath with a fifth of its weight of alum and a tenth of -Tartar. Sour water is usually added. It is then wrung, put into a bag -and left in a cool place for some days. The Kermes is then thrown into -warm water in the proportion of 12 oz. to every pound of wool. When -the liquor boils, a handful of waste wool is thrown in, to take up the -dross of the Kermes, and removed. The wool is then put in and boiled -for an hour. It is afterwards washed in warm water in which a small -quantity of soap has been dissolved. Then washed and dried. - - "To prepare wool for the Kermes dye, it is to be boiled in - water with about a...• of its weight in alum, and half as - much of Tartar, for the space of two hours and afterwards - left in the same liquor four or five days, when being - rinsed, it is to be dyed in the usual way with about 12 - oz. of Kermes for every pound of wool. Scarlets, etc., - given from Kermes, were called grain colours, because that - insect was mistaken for a grain. Wool prepared with a - nitro-muriatic solution of tin (as is now practised for - the cochineal scarlet) and dyed with Kermes takes a kind - of aurora, or reddish orange colour."--Bancroft. - - -_COCHINEAL_ - -The dried red bodies of an insect (_Coccus Cacti_) found in Mexico are -named Cochineal. - - -RECIPES FOR DYEING. - -1). SCARLET FOR WOOL. - -For each pound of wool put 20 quarts of water. When the water is warm, -add 2 oz. Cream of Tartar, 1A1/2 drachms of powdered Cochineal. When the -liquor is nearly boiling, put in 2 oz. of Solution of Tin (which the -Dyers call Composition for Scarlet). As soon as it begins to boil, the -wool, which has been wetted, is dipped and worked in the liquor for an -hour and a half. A fresh liquor is then prepared, 1A1/2 oz. of starch is -put in and when the water is warm 6A1/2 drachms of Cochineal. When nearly -boiling 2 oz. of solution of tin is put in. It must boil, and then the -wool is put in and stirred continually for 1A1/2 hours. It is then taken -out, wrung and washed. The Scarlet is then in its Perfection. - -2). COCHINEAL FOR COTTON. - -Prepare 50A lbs. of cotton with 15A lbs. Sumach, 10A lbs. Alum. Dye with -2A1/4A lbs. of Cochineal. Leave for 24 hours in the Sumach; lift; winch 2 -to 3 hours in a hot solution of Alum; wash in two waters, then boil up -the cochineal; put off the boil, enter cotton & winch till colour be -full enough; then wash and dry. - -3). ORANGE RED FOR WOOL. - - 1). Mordant wool with Alum. - - 2). Dye in a bath of weak Fustic. Wash and Dry. - - 3). Put into cold water, Cream of Tartar, Tin, Pepper and - Cochineal. When warm, enter the wool and boil. - -4). PINK WITH COCHINEAL FOR WOOL. - -(For 60A lbs. wool). 5A lbs. 12 oz. alum. Boil and immerse wool for 50 -minutes. Then add 1A lb. Cochineal and 5A lbs. cream of tartar. Boil and -enter wool while boiling, till the required colour is got. - -5). SCARLET FOR WOOL. - -(For 100A lbs.) 6A lbs. of Tartar are thrown into the water when warm. -The bath is stirred briskly and when hot A1/2A lb. powdered cochineal is -added and well mixed. Then 5A lbs. of clear solution of Tin is -carefully mixed in. When it is boiling the wool is put in and moved -briskly. After 2 hours it is taken out, aired and washed. - -The second bath. When the water is nearly boiling 5A3/4A lbs. of powdered -cochineal is put in. A crust will form on the surface which will open -in several places. Then 13 to 14A lbs. of solution of tin is poured in. -After this is well mixed, the wool is entered and stirred well. Boil -for an hour, then wash and dry. - -These two processes can be done together with good result. The colour -can be yellowed by fustic or turmeric. More tartar in the second bath -increases the colour. The scarlet may be brightened by common salt. -Alum will change the scarlet to crimson, the wool being boiled in a -solution of it for one hour. - -6). CRIMSON FOR WOOL. - -Mordant with 2A1/2 oz. alum and 1A1/2 oz. tartar for everyA lb. of wool. Then -dye with 1 oz. cochineal. Solution of tin is sometimes added. Also -salt. - -7). VIOLET FOR WOOL. - -Mordant with 2 oz. alum for 1A lb. wool. Dye with 1 oz. cochineal and 1 -oz. of solution of iron in which the wool is kept till the shade is -reached. - -8). SCARLET WITH COCHINEAL, FOR WOOL. - -(For 100 oz. clean wool). Put 6 oz. Oxalic acid, 6 oz. Stannous -Chloride (Tin Crystals), 8 oz. powdered cochineal in a bath containing -about half the quantity of water required to cover wool. Boil 10 -minutes, then add sufficient water to cover wool. Enter the wool, work -well in the dye and boil for A3/4 hour, after which take out the wool, -wash and dry. - -9). PURPLE, FOR WOOL. - -(For 2A1/2A lbs. wool). Mordant with Bichromate of Potash, 1A1/2 oz. in 10 -gallons of water. Dye with 6 to 8 oz. cochineal. With alum mordant (4 -oz.) a crimson colour is got. With tin mordant (2 oz.) a scarlet. With -iron mordant (2 oz.) a purplish slate or lilac. - -10). SCARLET, FOR WOOL. - -Mordant the wool for 1 to 1A1/2 hours with 6% stannous chloride and 4% -cream of tartar. Wash. Dye with 5 to 12% of ground cochineal for 1 to -1A1/4 hours. To dye the wool evenly, enter it in both the mordant and the -dye when the water is warm, and raise gradually to boiling. - -11). SCARLET, FOR WOOL. - -Fill the dye bath half full of water, add 6 to 8% of Oxalic acid, 6% -of stannous chloride and 5 to 12 per cent. ground cochineal, boil up -for 5 to 10 minutes, then fill up the dye bath with cold water. -Introduce the wool, heat up the bath to the boiling point in the -course of A3/4 to 1 hour and boil A1/2 hour. Washing between mordanting and -dyeing is not absolutely essential. The addition of tartar up to 8 per -cent. increases the intensity and yellowness of the colour. - -In order to obtain bright yellow shades of scarlet it is usual to add -a small proportion of some yellow dye to the bath. - -Wool mordanted with 10 per cent. of Copper sulphate and dyed in a -separate bath with cochineal gives a reddish purple, or claret colour. - -With ferrous sulphate as mordant very good purplish slate or lilac -colours can be got. Mordant and dye in separate baths. Use 8 per cent. -of ferrous sulphate and 20 per cent. of tartar. - -12). CRIMSON FOR SILK. - -Mordant the silk by working for A1/2 hour in a concentrated solution of -alum, then leave to steep over night. Wash well and dye in a fresh -bath containing 40 per cent. of cochineal. Enter the silk at a low -temperature and heat gradually to boiling. - -13). SCARLET FOR SILK. - -After boiling and washing, the silk is first slightly dyed with yellow -by working it for A1/4 hour at 50A deg.C., in a weak soap bath containing -about 10 per cent. of Annatto; it is then well washed. Mordant the -silk by working it for A1/2 hour, then steeping it over night in a cold -solution of 40 per cent. of nitro-muriate of tin. Wash and dye in a -fresh bath with a decoction of 20 to 40 per cent. of cochineal and 5 -to 10 per cent. cream of tartar. Enter the silk at a low temperature -and heat gradually to boiling. Brighten in a fresh bath of cold water, -slightly acidified with tartaric acid. Good results can also be -obtained with the single bath method with cochineal, stannous chloride -and oxalic acid. - -With the use of iron mordants very fine shades of lilac may be -obtained on silk with cochineal. - - -_LAC DYE._ - -Like Cochineal and Kermes, Lac is a small scale insect, _Coccus -lacca_. It is found in India, Burmah and other Eastern countries; it -was introduced into England in 1796. - -The method of dyeing with lac is very much the same as with cochineal; -it yields its colour less readily however, and should be ground into a -paste with the tin solution employed and a little hydrochloric acid -and allowed to stand for a day before using. It is said to be a faster -dye than cochineal, but is often used in combination with it, being a -fuller colour though not so bright. - -A good fast scarlet is produced by the following recipe:--For 100A lbs. -wool. 8A lbs. lac, previously ground up with part of the tin spirits, 5 -lbs. cochineal, 5A lbs. tartar, 20A lbs. tin spirit. - - -_MADDER._ - -Madder consists of the ground up dried roots of a plant, (Rubia -tinctorum) cultivated in France, Holland, and other parts of Europe, -as well as in India. Madder is not much used for silk dyeing, but for -wool, linen and cotton it is one of the best dyes. It is also used -largely in combination with other dyes to produce compound colours. -When used for cotton the colour is much improved by boiling in a weak -solution of soap after the dyeing. The gradual raising of the -temperature of the dye bath is essential in order to develop the full -colouring power of madder; long boiling should be avoided, as it dulls -the colour. If the water is deficient in lime, brighter shades are got -by adding a little ground chalk to the dye bath, 1 to 2 per cent. - -Berthollet distinguishes two kinds of madder red on cotton, one of -which is given in No. 4. The other is the well-known Turkey red or -Adrianople red, a very difficult and complicated dye, but one of the -most permanent dyes known. Madder reds are said to be not so beautiful -as those from Kermes, lac or cochineal, but my experience has been -that with care, the finest reds can be got with madder. - -Birch leaves are used in Russia to improve the colour of madder. They -are added to the dye bath. - - -RECIPES FOR USE OF MADDER. - -1). RED FOR WOOL. - -For 100 oz. (6A1/4A lbs.) wool. - -Mordant 8 oz. Alum and 2 oz. Tartar. Boil the wool in the mordant for -one hour and wash in cold water. Dye: 50 oz. Madder. Enter the -mordanted wool, raise to boil and boil gently for one hour. Wash -thoroughly in cold water and dry. If the water is very soft, a small -quantity of lime or chalk added to the dye bath improves the shade. -Alder bark or alder leaves added to the dye bath darkens the colour. -The best results are obtained when the dye bath is maintained just -under the boiling point. - -2). REDDISH BROWN FOR WOOL. - -Mordant with 3% bichromate of potash and dye with Madder. Good -results can be got by the single bath method. (See page 14, No. 3.) - -3). BROWNISH RED FOR WOOL. - -Mordant the wool with 6 to 8 per cent. of alum and 5 to 7 per cent. of -tartar. Dye with 60 to 80% of Madder. Begin the dyeing at about -40A deg.C., and raise the temperature of the bath gradually to 80A deg. to -100A deg.C., in the course of an hour, and continue the dyeing about an -hour. Wash and dry. The colour can be brightened by adding a small -proportion of stannous chloride to the mordant or it can be added to -the dye bath towards the end of the dyeing. - -Brighter shades are got by keeping the temperature at about 80A deg.C., and -prolonging the dyeing process. After dyeing, the colour can be -brightened by working the wool at 70A deg.C., in a weak soap bath, or a -bath containing bran. - -4). BRIGHT RED FOR COTTON.[16] - -(For 22A lbs.). The cotton must be scoured, then galled in the -proportion of 1 part of nut galls to 4 of cotton, and lastly alumed in -the proportion of 1 of alum to 4 of cotton. To the solution of alum is -added one twentieth of solution of soda ley (A1/2A lb. ordinary soda to 1A3/4 -pints water). It is then dried slowly and alumed again. Then dried -slowly again. The more slowly the drying takes place the better the -colour. The cotton is then ready to be dyed. - -Heat the water of the dye bath as hot as the hand can bear; mix in -6A1/2A lbs. madder and stir carefully. When thoroughly mixed, put in the -cotton & work for A3/4 hour without boiling. Take it out & add about a -pint of soda ley. The cotton is then returned to the bath and boiled -for 15 to 20 minutes. It is then brightened by passing it quickly -thro' a tepid bath with a pint of ley in it. It is then washed and -dried. - -5). BRIGHT ORANGE RED FOR WOOL. - -For 1A lb. scoured fleece, mordant with 4 oz. alum and 1 oz. cream of -tartar. Dissolve the mordant, enter the wool and raise to boiling -point and boil for 1 hour. Allow the wool to cool in the mordant. Then -wring out and put in a linen bag in a cool place for 4 or 5 days. Soak -8 oz. madder over night in water and boil up before using. Put into -dye bath, enter wool when warm, bring gradually to the boil and boil -for A3/4 hour. - -6). BRIGHT RED FOR WOOL. - -Mordant 1A lb. wool with 5 oz. of Alum, and 1 oz. of Tartar; leave to -drain and then wring out; put into a linen bag and leave in a cool -place for several days. (The wool should still be damp when taken out -to dye; if it is dry, damp with warm water). If the Tartar is -increased a cinnamon colour is got. Dye with A1/2A lb. of madder for every -pound of wool. The water should not boil, but kept just below boiling -for an hour; then boil up for 5 minutes before taking out and washing. - -With sulphate of copper as a mordant, madder gives a clear brown -bordering on yellow (one part of sulphate of copper and 2 parts of -madder). - -7). RED FOR SILK. - -The silk is mordanted over night with alum, by steeping it in a cold -concentrated solution; wash well and dye in a separate bath with 50 -per cent. of madder. Begin dyeing at a low temperature and gradually -raise to 100A deg.C. The addition of bran tends to give brighter colours. A -small quantity of Sumach could be added if a fuller colour is wanted. -After dyeing, wash and then brighten in a boiling solution of soap, to -which a small percentage of stannous chloride has been added. -Afterwards wash well. - -By mordanting with Copperas, either alone or after an Alum bath, -violet and brown shades can be got. - -8). RED WITH MADDER FOR WOOL. - -Pound up carefully without heating some roots of madder. Mordant the -wool with Alum, adding some cayenne pepper. Dye with the madder, -adding cream of tartar to the dye bath. Birch leaves improve the -colour. - -9). MADDER RED FOR COTTON. - -Take a piece of white cotton, about 20 yards. Melt in some water 1A lb. -of potash; boil the cotton in this for 20 minutes, then rinse it. Put -4A lbs. of the best Sumach in the copper and fill it up with boiling -water, and boil for 10 minutes. Put to cool and work the cotton well -in this for an hour. Take it out and give it a scalding hot alum and -sugar of lead bath for half-an-hour; rinse in two waters; put it back -in the sumach for half-an-hour; then alum again for 20 minutes. Rinse. -Put 2A lbs. of madder into hot water and boil gently for a few minutes. -Put in the cotton, work well and boil for half-an-hour gently. After, -give it a hot alum for 20 minutes, and rinse. Put 1A lb. fresh madder -in the copper, put in the cotton and boil for 20 minutes. Then wash. - -10). RED FOR COTTON. - -Scour the cotton. Then gall in the proportion of 1 of gall nuts to 4 -of cotton. Then alum in the proportion of 1 of alum to 4 of cotton, -with a little soda and tartar added. Dissolve the alum, etc., and put -in the cotton, and boil half-an-hour. Cool down and ring out. Then dry -slowly. Repeat the aluming. Put madder into water and when hot dip in -cotton for A1/2 hour, keeping it under boiling point, then boil up for A1/4 -hour and wash. Dry. - -11). MADDER RED FOR COTTON & LINEN. - -(For 1A lb.) 1st Mordant.--Boil 1 oz. ground gall nuts in 5 quarts of -water for A1/2 hour. Put in thread and soak for 24 hours. Dry. - -2nd Mordant.--Melt 2 oz. of alum, a...> oz. of Turmeric, and A1/2 oz. of -gum Arabic in two quarts of water, over a slow fire. Let cool. Melt 1 -oz. soda, 1 oz. arsenic, A1/4 oz. potash (crushed) in a bath, and when -dissolved, add the alum, turmeric and gum Arabic mixture. Stew A1/2 hour. -Put in thread, which should be covered with the liquid, and let it -soak for 24 hours. Dry. - -1st. Bath.--Put 2 oz. Madder into 10 quarts of water, heat up to -boiling but do not let it boil. Put in thread and stir well for 1 -hour. - -2nd. Bath.--Put 3 oz. Madder in 10 quarts of water; treat as in first -bath, from which the thread should be taken and put straight into the -2nd. bath. Stir for 1 hour. Soak for 24 hours; wash and dry. - -3rd. Bath.--Put 3 oz. Madder in 10 quarts water; repeat the process -described for 2nd. bath. The thread should be washed in cold water & -lastly in warm water in which a little soft soap has been dissolved. -When drying do not wring the skeins as this is likely to make the -colour uneven. - -There are a few other red dyes of minor importance which should be -mentioned. - -_BRAZIL WOODS_, various leguminous trees, including lima, sapan and -peach wood, dye red with alum and tartar, and a purplish slate colour -with bichromate of potash. They are not fast colours. - -Some old dyers used Brazil wood to heighten the red of madder. - -_CAMWOOD_, _BARWOOD_, _SANDALWOOD or SANDERSWOOD_, are chiefly used in -wool dyeing, with other dye woods such as Old Fustic, and Logwood for -browns. They dye good but fugitive red with bichromate of potash, or -alum. - -_RED from LADIES BEDSTRAW._ - -The crushed roots of this plant are used. Mordant the wool with either -alum or bichromate of potash. The red with alum is an orange red, with -chrome, a crimson red. Make the dye bath with 30 to 50% of bedstraw -roots and boil the mordanted wool in it for an hour. - -_RED for COTTON._ - -For 10A lbs. cotton boil 3A lbs. Sumach, let the cotton steep in this -over night: wring out and work in red spirits (1 gill to a gallon of -water). Wring out and wash well. Boil up 3A lbs. limawood (or Brazil or -Peach wood) and 1A lb. fustic. Work the cotton in this A1/2 hour, as warm -as the hand can bear; add 1 gill red spirits and work 15 minutes -longer. Wash. - - -FOOTNOTE: - -[16] This recipe can also be used for linen, but linen takes the -colour less easily than cotton, and should have the various operations -repeated as much as possible. - - - - -CHAPTER VIII. - -YELLOW. - -WELD. OLD FUSTIC. TURMERIC. QUERCITRON. DYER'S BROOM. HEATHER, -AND OTHER YELLOW DYES. - - -"There are ten species of drugs for dyeing yellow, but we find from -experience that of these ten there are only five fit to be used for -the good dye--viz. Weld, savory, green wood, yellow wood and -fenugrec". "Weld or wold yields the truest yellow, and is generally -preferred to all the others. Savory and green wood, being naturally -greenish, are the best for the preparation of wool to be dyed green: -the two others yield different shades yellow".--Hellot. - - -_WELD_ - -Weld, _Reseda luteola_, an annual plant growing in waste sandy places. -The whole plant is used for dyeing except the root. It is the best and -fastest of the yellow natural dyes. - - Hellot's directions for dyeing with weld are the - following:--"Allow 5 or 6A lbs. of weld to every pound of - stuff: some enclose the weld in a clean woollen bag, to - prevent it from mixing in the stuff; and to keep the bag - down in the copper, they put on it a cross of heavy wood. - Others hold it in the liquor till it has communicated all - its colour, and till it falls to the bottom: the stuff is - then suspended in a net, which falls into the liquor, but - others, when it has boiled, take out the weld with a rake - and throw it away." - -The plant is gathered in June and July, it is then carefully dried in -the shade and tied up into bundles. When needed for dyeing it is -broken up into pieces or chopped finely, the roots being discarded and -a decoction is made by boiling it up in water for about A3/4 hour. It -gives a bright yellow with alum and tartar as mordant. With chrome it -yields an old gold shade; with tin it produces more orange coloured -yellows; with copper and iron, olive shades. The quantity of weld used -must be determined by the depth of colour required. The dye bath is -prepared just before dyeing, the chopped weld being put into weighted -bags and boiled in soft water for A1/2 to 1 hour. 2% of Stannous -chloride added to the mordant gives brilliancy and fastness to the -colour. Bright and fast orange yellows are got by mordanting with 8% -Stannous chloride instead of alum. With 6% copper sulphate and 8% -chalk, weld gives a good orange yellow. Wool mordanted with 4% of -ferrous sulphate and 10% tartar and dyed in a separate bath with weld -with 8% chalk, takes a good olive yellow. 8% of alum is often used -for mordant for weld. The dye bath should not be above 90A deg.C. It is -good to add a little chalk to the dye bath as it makes the colour more -intense, while common salt makes the colour richer and deeper. - - "Woollen dyers frequently add a little stale urine or lime - and potash to the water in which it is boiled. They - commonly employ 3 or 4 oz. of alum and one of tartar for - each pound of the wool. Tartar is supposed to render the - yellow colour a little more clear and - lively."--Bancroft. - -Weld is of greater antiquity than most, if not all other natural -yellow dyes. It is cultivated for dyeing in France, Germany and Italy. -It is important for the silk dyer, as it dyes silk with a fast colour. -The silk is mordanted in the usual way with alum, washed and dyed in a -separate bath of 20 to 40% weld, with a small quantity of soap added. -After dyeing, the colour is brightened by working the silk for 10 -minutes in a fresh soap bath with a little weld added to it. Wring out -without washing. - - -RECIPES FOR DYEING WITH WELD. - -1). YELLOW FOR SILK. - -Scour the silk in the proportion of 20A lbs. soap to 100A lbs. of silk. -Afterwards alum and wash. A bath is made of 2 parts weld for 1 of -silk, and after A1/4 hour's boiling, it is filtered through a cloth into -another bath. When this bath is cooled a little, the silk is immersed -and turned about till dyed. The weld is in the meantime boiled up -again with a little pearl ash, and after being strained, it is added -to the first bath (part of the first bath having been thrown away) -until the desired colour is got. The bath must not be too hot. If more -golden yellows are wanted, add some annotto to the second bath. - -2). YELLOW FOR COTTON. - -Scour the cotton in a lixivium of wood ashes, wash and dry. It is -alumed with A1/4 of its weight of alum. After 24 hours it is taken out of -the bath and dried without washing. A weld bath is prepared with 1A1/4 -parts weld to 1 of cotton, and the cotton dipped in till the shade is -got. It is then worked in a bath of sulphate of copper (A1/4 copper to 1 -of cotton) for 1A1/2 hours. It is next thrown, without washing, into a -boiling solution of white soap (A1/4 soap to 1 cotton). It is boiled for -1 hour, then washed and dried. - -3). DEEP YELLOW FOR COTTON OR LINEN. - -2A1/2 parts of weld for 1 of cotton, with a little copper sulphate added -to the bath. The cotton is well worked in this till the cotton has the -desired colour. It is then taken out and a little soda ley is poured -in. It is returned and worked in this for A1/4 hour, then washed and -dried. - -4). OLD GOLD FOR WOOL. - -Mordant with 2% chrome and dye with 60% of weld in a separate bath. -3% of chalk adds to the intensity of colour. - -5). YELLOW FOR WOOL. - -Boil wool with 4% of alum for 1 to 2 hours, and dye in a separate -bath of 50 to 100% weld for 20 minutes to an hour at 90A deg.C. - -6). YELLOW FOR WOOL. - -Mordant with alum and tartar, and dye with 5 or 6A lbs. of weld for -everyA lb. of wool. Common salt deepens the colour. If alum is added to -the dye bath, the colour becomes paler and more lively. Sulphate of -iron inclines it to brown. - -7). WELD YELLOW FOR SILK. - -Work the silk (1A lb.) for an hour in a solution of alum, 1A lb. to the -gallon, wring out and wash in warm water. Boil 2A lbs. weld for A1/2 hour; -strain and work the silk in this for A1/2 hour. Add 1 pint alum solution -to the weld bath and return the silk; work ten minutes, wring out and -dry. - - -_OLD FUSTIC._ - -Fustic is the wood of _Morus tinctoria_, a tree of Central America. It -is used principally for wool. It does not produce a fast dye for -cotton. With Bichromate of Potash as mordant, Old Fustic gives old -gold colour. With alum it gives yellow, inclining to lemon yellow. The -brightest yellows are got from it by mordanting with Tin. With copper -sulphate it yields olive colours. (4 to 5% copper sulphate and 3 to 4% -tartar). With ferrous sulphate, darker olives are obtained (8% -ferrous sulphate). For silk it does not produce as bright yellows as -weld, but can be used for various shades of green and olive. Prolonged -dyeing should always be avoided, as the yellows are apt to become -brownish and dull. The chips should be tied up in a bag and boiled for -A1/2 hour before using. It is still better to soak the wood over-night, -or boil up in a small vessel and strain into the dye bath. The -proportion of Fustic to be used for a good yellow is 5 to 6 parts to -16 parts of wool. - - -RECIPES FOR DYEING WITH OLD FUSTIC. - -1). OLD GOLD FOR WOOL. Boil the wool with 3 to 4% Chrome for 1 to 1A1/2 -hours. Wash, and dye in a separate bath for 1 to 1A1/2 hours at 100A deg.C. -with 20 to 80% of Old Fustic. - -2). LIGHT YELLOW FOR SILK. Work the silk for A1/4 to A1/2 hour at 50A deg. to -60A deg.C. in a bath containing 16% alum and a decoction of 8 to 16% of -old Fustic. For dark yellow the silk is mordanted with alum, washed -and dyed for about an hour at 50A deg.C., with 50 to 100% of Fustic. The -colour can be made faster and brighter by working the silk in a cold -solution of nitro-muriate of Tin for an hour. - -3). BRIGHT YELLOW FOR WOOL. Mordant wool with 8% of stannous chloride -for 1 to 1A1/2 hours, and 8% of tartar. Wash, and dye with 20 to 40% of -Fustic at 80A deg. to 100A deg.C. for 30 to 40 minutes. - -4). OLD GOLD FOR WOOL. Mordant 6A1/4A lbs. (100 oz.) wool with 3 oz. -chrome, for A3/4 hour and wash. Dye with 24 oz. Fustic & 4 oz. madder for -45 minutes. - -5). YELLOW FOR WOOL. Mordant 6A1/4A lbs. wool with 3 oz. chrome, for A3/4 -hour and wash. Dye with 6 oz. Fustic, 2 drachms logwood. Boil A3/4 hour. - -6). BRIGHT YELLOW FOR WOOL. (Single bath method). Fill the dye bath -A1/2A full of water, add 2% oxalic acid, 8% stannous chloride, 4% tartar -and 40 per cent. of Fustic. Boil up for 5 or 10 minutes, then fill the -bath with cold water. Put in the wool & heat up the bath to boiling in -the course of A3/4 to 1 hour, & boil for A1/2 hour. - -7). YELLOW FOR WOOL. (Single bath). 4% stannous chloride, 4% oxalic -acid and 50% Fustic. - -8). YELLOW FOR SILK. (5A lbs.) Work the silk through an alum solution -of 1A lb. to a gallon of water. Wash in warm water. Boil 2A lbs. Fustic -for A1/2 hour in water and in this work the silk for A1/2 hour. Lift and add -1 pint of the alum solution. Work 10 minutes longer, then wash and -dry. - -9). FUSTIC YELLOW FOR SILK. (5A lbs.) Alum the silk. Boil up 3A lbs. -Fustic and work silk in it while hot for A1/2 hour. Lift, add 2 oz. red -spirits. Work for 15 minutes. Wash out in cold water. Work 10 minutes -in a soap solution. Wring out and dry. - -10). BUFF COLOUR ON WOOL. (45A lbs.) Boil 4A1/2A lbs. Fustic and 1A1/2A lbs. -madder. Add 7A lbs. alum and boil up together. Allow to cool a little, -enter wool and boil for A1/2 hour. - -11). YELLOW FOR WOOL. Mordant with alum and tartar. Solution of tin -increases the colour; salt makes it deeper. 5 or 6 oz. Fustic for -every pound of wool. - - -_TURMERIC_ - -Turmeric is a powder obtained from the ground up tubers of _Curcuma -tinctoria_, a plant found in India and other Eastern countries. It -gives a brilliant orange yellow, but it has little permanence. It is -one of the substantive colours and does not need any mordant. Cotton -has a strong attraction for it, and is simply dyed by working in a -solution of Turmeric at 60A deg.C. for about A1/2 hour. With silk and wool it -gives a brighter colour if mordanted with alum or tin. Boiling should -be avoided. It is used sometimes for deepening the colour of Fustic or -Weld, but its use is not recommended as although it gives very -beautiful colours, it is a fugitive dye. As Berthollet says "The shade -arising from the Turmeric is not long of disappearing in the air." - - -_QUERCITRON._ - -Quercitron is the inner bark of the _Quercus nigra_ or _Q. tinctoria_, -a species of oak growing in the United States and Central America. It -was first introduced into England by Bancroft in 1775 as a cheap -substitute for weld. He says, "The wool should be boiled for the space -of 1 or 1A1/4 hours with one sixth or one eighth of its weight of alum; -then without being rinsed, it should be put into a dyeing vessel with -clean water and also as many pounds of powdered bark (tied up in a -bag) as there were used of alum to prepare the wool, which is to be -then turned in the boiling liquor until the colour appears to have -taken sufficiently: and then about 1A lb. clean powdered chalk for -every 100A lbs. of wool may be mixed with the dyeing liquor and the -operation continued 8 or 10 minutes longer, when the yellow will have -become both lighter and brighter by this addition of chalk." - -QUERCITRON FOR SILK. _Bancroft._ - -1 to 2A lbs. of bark to every 12A lbs. silk according to shade required. -The bark, tied up in a bag, should be put into the dyeing vessel -whilst the water is cold, as soon as it gets warm the silk, previously -alumed, should also be put in and dyed as usual. A little chalk should -be added towards the end of the operation. A little murio sulphate of -tin is used where more lively shades of yellow are wanted. - -Boil at the rate of 4A lbs. bark to every 3A lbs. of alum & 2A lbs. murio -sulphate of tin with a suitable quantity of water, for 10 to 15 -minutes. Reduce the heat so that the hand can bear it, put in the silk -and dye till it has acquired the shade. By adding suitable proportions -of sulphate of indigo to this yellow liquor and keeping it well -stirred, various and beautiful shades of Saxon green may be dyed. - -By dissolving different proportions of copperas or copperas and alum -in the warm decoction of bark, silk may in the same way be dyed of all -the different shades of olive and drab colours\. - - -FOR COTTON AND LINEN. Soak the yarn in a liquor made by dissolving A1/4 -of its weight of alum in the necessary water, to which it will be -highly advantageous to add at the rate of 1A lb. potash or 10 oz. chalk -for every 6 or 7A lbs. alum. The yarn is taken out and dried well: -being afterwards rinsed, it is to be dyed in cold liquor made by -boiling 1A1/4A lbs. of the plant for eachA lb. of yarn, which, after having -received a sufficient body of colour, is to be taken out of the dyeing -liquor and soaked for an hour and more in a solution of sulphate of -copper (blue vitriol) containing at the rate of 3 or 4 oz. for every -pound of yarn: it is then removed without being washed, put into a -boiling solution of hard soap, containing 3 or 4 oz. soap for each -pound of yarn. Stir well and boil for about A3/4 hour or more. Then wash -and dry. - -And again, take a sufficient quantity of acetate of alumina. This is -made by dissolving 3A lbs. alum in a gallon of hot water, then adding 1 -lb. sugar of lead, stirring well for 2 or 3 days, afterwards adding -about 2 oz. potash and 2 oz. powdered chalk, (carbonate of lime), mix -with warm water and soak linen or cotton well in this for 2 hours, -keeping warm; squeeze out, dry; soak again in mordant, squeeze; dry; -soak in lime water, dry; this mordanting and liming can be repeated if -a fast yellow is required: it should then be well washed. 12 to 18 -lbs. of Quercitron bark, for every 100A lbs. cotton or linen, is tied -up in a bag and put in cold water, and slightly heated. The cotton is -put in, stirring for an hour to an hour and a half while the water -gets warm: then the liquor is heated to boiling point and the cotton -boiled a few minutes only. Slow raising to boiling point gives the -best colour. Instead of using acetate of alumina, the cotton can be -impregnated with some astringent such as galls or myrobalans (1A lb. in -2 or 3 gallons of water with a little soda). Macerate the cotton an -hour or two in this and dry, then a solution of alum (8A lbs. alum, 1 -lb. chalk, in 6 gallons of water) soak cotton 2 hours, and dry, then -soak in lime water and dry. Second time in alum and dry. Then wash and -dye slowly in the Quercitron. This is a lasting yellow for cotton or -linen. - - -_OTHER YELLOW DYES._ - - "Root of the dock, bark of the Ash tree, leaves of the - almond, peach and pear trees, all give good yellow dyes, - more or less fine according to the time they are boiled - and in proportion to the Tartar and alum used. A proper - quantity of alum brings these yellows to the beautiful - yellows of the weld. If the Tartar is in greater quantity, - these yellows will border on the orange, if too much - boiled they take brown shades." From a dyeing book, 1778. - -_BARBERRY._ The roots and bark of _Berberis Vulgaris_, used -principally for silk dyeing, without a mordant. The silk is worked at -50A deg. to 60A deg.C. in a solution of the dye wood slightly acidified with -sulphuric, acetic or tartaric acid. For dark shades, mordant with -stannous chloride. - -_DYERS BROOM._ _Genista tinctoria._ The plant grows on waste ground. -It should be picked in June or July & dried. It can be used with an -alum and tartar mordant and gives a good bright yellow. It is called -greening weed and used to be much used for greening blue wool. - -_PRIVET LEAVES_, _Ligustrum vulgare_, dye a good fast yellow with alum -and tartar. - -_HEATHER._ Most of the heathers make a yellow dye, but the one chiefly -used is the Ling, _Calluna vulgaris_. The tips are gathered just -before flowering. They are boiled in water for about half an hour. The -wool, previously mordanted with alum, is put into the dye bath with -the liquor, which has been strained. It is then covered up closely and -left till the morning. Or the wool can be boiled in the heather liquor -till the desired colour is obtained\. - - -RECIPES:--1). YELLOW FOR WOOL. For 6A1/4A lbs. mordant with 5 oz. alum for -1 hour and wash. Boil up 8 oz. heather twigs, leaves and flowers. -Enter the wool and boil for 1 hour. Wash in cold water & dry. - -2). GOLDEN YELLOW FOR WOOL. For 6A1/4A lbs. mordant with 3 oz. bichromate -of potash for A3/4 hour. Wash in cold water. Dye with 50 oz. heather and -boil for 45 minutes. - - - - -CHAPTER IX. - -BROWN AND BLACK. - -CATECHU. ALDER BARK. SUMACH. WALNUT. PEAT SOOT. LOGWOOD, AND OTHER DYES - - -_CATECHU._ - -Catechu, (Cutch) is an old Indian dye for cotton. It can be used for -wool, and gives a fine rich brown. It is obtained from the wood of -various species of Areca, Acacia, and Mimosa trees. Bombay Catechu is -considered the best for dyeing purposes. - -Catechu is soluble in boiling water. It is largely used by the cotton -dyer for brown, olive, drab, grey, and black. The ordinary method of -dyeing cutch brown on cotton is to steep the cotton in a hot solution -of catechu, containing a small addition of copper sulphate, and leave -it in the solution for several hours. To 7 or 8 gallons of water put 1 -lb. catechu and boil till all is dissolved, then add 1 to 2 ozs. of -sulphate of copper and stir. It is then put into a boiling chrome bath -(3%) for A1/2 hour. For deep shades the dyeing and chroming operations -are repeated. With alum mordanted cotton, the colour is a yellowish -brown, with tin it becomes still yellower. With iron it is brownish or -greenish grey. When catechu only is used, a darker shade of brown is -got by adding to the catechu 6% of its weight of copper sulphate. -When mordants are used, they may be applied before or after the chrome -bath, the cotton being worked in their cold solution. - -1). CATECHU BROWN FOR COTTON. (10A lbs.) Work the cotton at a boiling -heat for 2 hours, or steep for several hours in a cool liquid, in 2 -lbs. catechu. (To each 7 or 8 gallons of water put 1A lb. of catechu, -and boil till all is dissolved, then add 2 oz. sulphate of copper and -stir). Wring out and then work for A1/2 hour in a hot solution of chrome, -6 oz. Wash in hot water. If soap is added the colour is improved. Any -depth of colour can be got by repeating the operations. - -2). BROWN FOR COTTON. Soak cotton in warm water. Boil for A1/2 hour in a -solution of catechu, in the proportion of 1 oz. of catechu to 5 oz. of -cotton. Put it into a 3% solution of chrome for A1/2 hour and boil. Then -repeat these two operations till the colour is obtained. Then boil in -a bath of Fustic. - -3). BROWN FOR COTTON. (100A lbs.) Boil 20A lbs. catechu in water: -dissolve in the liquid 10A lbs. alum and let it settle: enter the yarn -into the hot liquid and after working well take out and enter into a -fresh bath of boiling water with 4A lbs. of chrome. Rinse and soften -with oil and soap. - -4). CREAM COLOUR FOR COTTON WITH CATECHU. (11A lbs). Boil out A3/4 oz. of -catechu in water, and dissolve 2A lbs. 3 oz. curd soap in the clear -liquid. Enter the cotton at 190A deg. F. and work for an hour. - -5). CATECHU FAST BROWN. (50A lbs.) Steep yarn over-night in a decoction -of 10A lbs. cutch. Lift & work in a hot solution of chrome, rinse & -dry. - -6). LIGHT FAST CATECHU BROWN FOR COTTON. (50A lbs.) Boil 20A lbs. -catechu in one boiler and 5A lbs. chrome in another. Enter in the -catechu bath first, work 20 minutes, and wring out: then through the -chrome 10 minutes, and wring out. Through catechu again, then chrome. -Repeat this till dark enough, finishing with catechu. - -7). LIGHT CATECHU BROWN FOR COTTON. (20A lbs). 3A lbs. of catechu and 3 -oz. copper sulphate, boil up, and put into a bath of warm water. Enter -cotton and work for A1/2 hour; wring out. In another bath of hot water -dissolve 8 oz. of chrome. Enter cotton when boiling, and work for -A1/2A hour. Then wash. - -8). CATECHU BLACK FOR COTTON. Work the cotton in a hot decoction of -catechu, allowing it to steep in the bath till cold, then work it in a -cold solution of iron. Wash, and dye in a cold or tepid bath of -logwood, and finally pass through a solution of chrome. - -9). CATECHU BROWN FOR WOOL. The wool is boiled for 1 to 1A1/2 hours, with -10 to 20% catechu, then sadden with 2 to 4% of copper sulphate, -ferrous sulphate, or chrome, at 80A deg. to 100A deg.C., in a separate bath for -A1/2 hour. - -10). CATECHU STONE DRAB. (10A lbs. cotton). Work the cotton for A1/4 hour -with 2 pints catechu (1A lb. catechu to 7 or 8 gallons water; boil and -add 2 oz. copper sulphate) in hot water, lift and add 2 oz. copperas -in solution. Work for A1/4 hour and wash. Add 2 oz. logwood to a bath of -warm water & work cotton in this for 10 minutes. Lift and add A1/2 oz. -alum. Work 10 minutes; wring out and dry. - - -_ALDER BARK_ - -The bark and twigs of alder are used for dyeing brown and black. For 1 -lb. wool use 1A lb. alder bark. Boil the wool with it for 2 hours, when -it should be a dull reddish brown. Add A1/2 oz. copperas for every pound -of wool for black. - - -_SUMACH_ - -Sumach is the ground up leaves and twigs of the _Rhus coriaria_ -growing in Southern Europe. It dyes wool a yellow and a yellow brown, -but it is chiefly used in cotton dyeing. - - -_WALNUT_ - -The green shells of the walnut fruit and the root are used for dyeing -brown. The husks are collected when the fruit is ripe, put into a cask -and covered with water. In this way they can be kept for a year or -more; it is said the longer they are kept the better colour they give. -Without a mordant the colour is quite fast, but if the wool is -mordanted with alum a brighter and richer colour is got. When used -they are boiled in water for A1/4 hour, then the wool is entered and -boiled till the colour is obtained. Long boiling is not good as it -makes the wool harsh. It is much used as a "saddening" agent; that is -for darkening other colours. William Morris says:-- - - "The best and most enduring blacks were done with this - simple dye stuff, the goods being first dyed in the indigo - or woad vat till they were a very dark blue, and then - browned into black by means of the walnut root." - - * * * * * - - "Of all the ingredients used for the brown dye, the walnut - rind is the best. Its shades are finer, its colour is - lasting, it softens the wool, renders it of a better - quality, and easier to work. To make use of this rind, a - copper is half filled, and when it begins to grow - luke-warm, the rind is added in proportion to the - quantities of stuffs to be dyed and the colour intended. - The copper is then made to boil, and when it has boiled a - quarter-of-an-hour, the stuffs which were before dipped in - warm water, are put in. They are to be stirred and turned - until they acquire the desired colour."--James Haigh, - 1797. - - -_PEAT SOOT_ gives a good shade of brown to wool. Boil the wool for 1 -to 2 hours with peat soot. Careful washing is required in several -changes of water. It is used sometimes for producing a hazel colour, -after the wool has been dyed with weld and madder. - - -_OAK BARK._ Mordant with alum and dye in a decoction of oak bark. - - -_ONION SKINS._ (Brown.) Mordant the wool with alum and a little -cayenne pepper. Boil it up lightly and keep warm for 6 days. Drying 2 -or 3 times in between makes the colour more durable. Dry. Boil a -quantity of onion skins, and cool; then put in wool and boil lightly -for half-an-hour to an hour; then keep warm for a while. Wring out and -wash. - - -_MADDER for BROWN._ (For 2A1/2A lbs. wool). Mordant with 2 oz. copperas -and 2 oz. cream of tartar. Dye with madder. - - -_MADDER, ETC., for FRENCH BROWN._ (For 50A lbs. wool.) Mordant with -1A1/2A lbs. chrome. Dye with 6A lbs. Fustic, 1A lb. madder, A1/2A lb. cudbear, -1 lb. Tartar. If not dark enough add 8 oz. logwood. Boil for A1/2 hour. -Wash and dry. - - -_FOR BLACK THREAD._ (From an old Dutch book on Dyeing. 1583). "Take a -quantity of broken or bruised galls and boil them in water in a small -pot and when they have a little boiled, take out all the galls and put -into the same pot so much Copperas as ye had of galles and put -therewith a little gumme of Arabic and then give it again another -boiling. So let it boil a little, and with the said dye ye shall -colour therein your thread, then take it forth and ye shall see it a -fair shining black." - - -_TAN SHADE._ (for 6A1/4A lbs. wool). Mordant with 3 oz. Chrome for 45 -minutes and wash in cold water. Boil for A1/2 hour, in a bag, 5 oz. -madder, 4 oz. Fustic, A1/2 oz. logwood. Enter the wool, raise to the -boil, and boil for 45 minutes. By altering the proportions of madder & -fustic various shades of brown can be got. - - -_A GOOD BLACK_ for cotton, (20A lbs.) to stand milling and scouring. -Steep all night with 6A lbs. of Sumach, pass through lime liquor and -sadden with copperas; repeat in each of the last 2 tubs, adding more -lime and copperas to each. Pass through logwood and wash. Soften with -a little oil and soda ash. - - -_A GOOD BLACK_ for cotton, (20A lbs.) In a tub of cold water add 5A lbs. -sumach, give a few turns and let it steep in it all night; then in -another tub of cold water add a few pails of lime water, wring out; in -another tub add 2A lbs. dissolved copperas and a pailful of old Sumach -liquor. Enter, give 6 turns, wring out. In lime tub put two pails more -lime liquor. Scald 2A lbs. logwood, 1A lb. Fustic in water; enter -cotton, give 10 turns, sadden with a little copperas in the same -liquor. Soften with a little oil and soda ash. - - -_BLACK FOR LINEN AND COTTON._ The yarn is first of all scoured in the -ordinary way, galled, alumed, and then turned through a bath of weld. -It is then dyed in a decoction of logwood to which one fourth part of -sulphate of copper must be added for one part of yarn. It is then -washed. It is dyed in a bath made with one part of madder for two of -yarn. The yarn is then turned through a bath of boiling soap water, -washed and dried. - - -_DOESKIN BLACK._ (For 100A lbs. wool.) Camwood 8%. Boil for 50 -minutes. Then add Chrome 3%, Alum 1%, Argol 1%. Boil for 50 -minutes, take out of dye and allow to stand overnight. Dye in 45% -logwood, 8% Fustic, 4% Sumac. Boil for 1A1/2 hours, wash and dry. A -fast permanent colour. - - -_GREEN BLACK FOR WOOL._ Mordant with 2% Chrome and 25% Sulphuric -acid. Boil 1A1/2 hours; and leave over-night. Dye with 40% logwood, and -10% Fustic. Boil 1 hour. Wash. - - -_BROWNISH BLACK FOR WOOL._ (For 1A lb.) Mordant with 3 per cent. -Chrome. Dye with 2 oz. Fustic, 2 oz. logwood, 1 oz. madder, and 1 oz. -copperas. - - -_BROWN FOR WOOL._ Mordant 2A1/2 hours with alum; dye with pine needles -(larch) collected in Autumn when they drop. - - -"_BLACK_ is obtained from the whole plant of _Spirea Ulmaria_, but -especially the root. It is gathered then dried in the sun, and a -strong decoction made by boiling for some hours, (a large handful to 3 -pints of water). After it has boiled slowly for 2 to 3 hours, stale -urine is added to supply the loss by evaporation. Then set aside to -cool. The cloth to be dyed, is rubbed strongly with bog iron ore, -previously roughened and moistened with water. It is then rolled up -and boiled in the decoction. This is of a brilliant black. A fine -black is said to have been formerly obtained from the roots of -_Angelica Sylvestris_."--(Edmonstone on the Native Dyes of the -Shetland Islands, 1841.) William Morris says; - - "[17]Black is best made by dyeing dark blue wool with - brown; and walnut is better than iron for the brown part, - because the iron-brown is apt to rot the fibre; as you - will see in some pieces of old tapestry, or old Persian - carpets, where the black is quite perished, or at least in - the case of the carpet--gone down to the knots. All - intermediate shades of flesh colour can be got by means of - weak baths of madder and walnut "saddening;" madder or - cochineal mixed with weld gives us orange, and with - saddening (walnut) all imaginable shades between yellow - and red, including the ambers, maize-colour, etc." - - From a Dye Book of 1705.--"Black may be compared to Night - and Death, not only because all other colours are deepened - and buried in the Black Dye, but that as Death puts an end - to all Evils of Life, tis necessary that the Black Dye - should remedy the faults of other colours, which have been - occasioned by the deficiency of the Dyer or the Dye, or - the change of Fashion according to the times and caprice - of man." - - -FOOTNOTE: - -[17]--For other recipes for Black, see Chapter VI on Logwood. - - - - -CHAPTER X. - -GREEN - - -Green results from the mixing of blue and yellow in varying -proportions according to the shade of colour required. _Berthollet_ -says:-- - - "Many different plants are capable of affording green - colours; such as, the field broom grass, _Bromus - secalinus_; the green berries of the berry bearing alder, - _Rhamnus frangula_; wild chervil, _ChA|rophyllum - silvestre_; purple clover, _Trifolium pratense_; common - reed, _Arundo phragmites_; but these colours have no - permanence."[18] - - _Hellot_ says:--"It is impossible to obtain more than one - colour from a mixture of blue and yellow, which is green; - but this colour comprehends an infinite variety of shades, - the principal of which are the Yellow green, the Light - green, the Gay green, the Grass green, the Laurel green, - the Molequin green, the Deep green, the Sea green, the - Celadon green, the Parrot green, and, I shall add, the - Duck-wing green, and the Celadon green with Blue. All - these shades and the intermediate ones are made after the - same manner and with the same ease. The stuff or wool dyed - blue, light or dark, is boiled with Alum and Tartar, as is - usually done to make white stuff yellow, and then with - Weld, Savory, or Greening Wood. The Weld and the Savory - are the two plants that afford the finest greens." - -Another old Dye book says:-- - - "If you would dye your goods green, you must first dye - them yellow with Broom or Dyer's Weed, otherwise Yellow - Weed; after which put them into the Blue vat." - -Every dyer has his particular yellow weed with which he greens his -blue dyed stuff. But the best greens are undoubtedly got from weld and -fustic. - -The wool is dyed first in the blue vat; then washed and dried; then -after mordanting dyed in the yellow bath. This method is not arbitrary -as some dyers consider a better green is got by dyeing it yellow -before the blue. But the first method produces the fastest and -brightest greens as the aluming after the blue vat clears the wool of -the loose particles of indigo and seems to fix the colour. - -If a bright yellow green is wanted, then mordant with alum after the -indigo bath; if olive green, then mordant with chrome. - -The wool can be dyed blue for green in 3 different ways:--1st. in the -indigo vat (see page 68 et seq.); 2nd. with Indigo Extract (see pages -65-67); 3rd. with logwood, the wool having been previously mordanted -with chrome (see p. 82, No. 7, and p. 85 No. 17). For a good bright -green, dye the wool a rather light blue, then wash and dry; green it -with a good yellow dye, such as weld or fustic, varying the proportion -of each according to the shade of green required. Heather tips, dyer's -broom, dock roots, poplar leaves, saw wort are also good yellows for -dyeing green. If Indigo Extract is used for the blue, fustic is the -best yellow for greening, its colour is less affected by the sulphuric -acid than other yellows. - -_Bancroft_ gives many recipes for dyeing green with quercitron. He -says:-- - - "Wool which has been first properly dyed blue in the - common indigo vat may be made to receive any of the - various shades of green which are usually given in this - way from weld, by boiling the blue wool (after it has been - well rinsed) in water, with about one eighth of its - weight in alum, and afterwards dyeing it unrinsed with - about the same quantity of Quercitron bark and a little - chalk which should be added towards the end of the - process. - - In the same way cloth that has previously received the - proper shade of Saxon blue, may be dyed to a beautiful - Saxon green: it will be proper to add about 3A lbs. chalk - with 10 to 12 pounds of alum for the preparation liquor - for 100A lbs. weight of wool which is to be turned and - boiled as usual for about an hour, and then without - changing the liquor, 10 or 12A lbs. of Quercitron bark, - powdered and tied up in a bag, may be put into it, and the - dyeing continued. When the dyeing has continued about 15 - minutes, it will be proper to add anotherA lb. of powdered - chalk, stirring it well in, and to repeat this addition - once, twice or three times at intervals of 6 or 8 minutes. - The chalk does not merely answer the purpose of - decomposing the acid left in the wool by the sulphate of - indigo, but it helps to raise the colour and to render it - more durable." - -According to _Bancroft_, Quercitron is the yellow above all others for -dyeing greens. He says:-- - - "The most beautiful Saxon greens may be produced very - cheaply and expeditiously by combining the lively yellow - which results from Quercitron bark, murio sulphate of tin - and alum, with the blue afforded by indigo when dissolved - in sulphuric acid, as for dyeing the Saxon blue". - - For a full bodied green he says "6 or 8A lbs. of powdered - bark should be put into a dyeing vessel for every hundred - A lbs. wool with a similar quantity of water. When it - begins to boil, 6A lbs. murio-sulphate of tin should be - added (with the usual precaution) and a few minutes - afterwards 4A lbs. alum: these having boiled 5 or 6 - minutes, cold water should be added, and then as much - sulphate of Indigo as needed for the shade of green to be - dyed, stirring thoroughly. The wool is then put into the - liquor and stirred briskly for about A1/2 hour. It is best to - keep the water just at the boiling point." - - -RECIPES FOR DYEING GREEN. - -1). BOTTLE GREEN FOR SILK WITH FUSTIC. (5A lbs.) Dissolve 2A lbs. alum -and 1A lb. copperas in water; work the silk in this for A1/2 hour; wash in -warm water. Work for A1/2 an hour in a decoction of 6A lbs. Fustic. Lift, -and add 2 oz. Indigo Extract. Work 20 minutes. Wash and dry. - -2). GREEN FOR WOOL WITH FUSTIC. A1/2A lb. of wool is mordanted with a...> -oz. chrome and a...> oz. Cream of Tartar for A1/2 an hour to 1 hour. Soak -overnight in water, 3 oz. Fustic and 2A1/2 oz. logwood, and boil for 2 -hours. Strain, and enter wool. Boil for 2 hours. - -3). GREEN FOR LINEN WITH LARCH BARK. Mordant 4A lbs. linen with A1/2A lb. -alum. Boil for 2A1/2 hours; wring out but do not dry. Boil up a quantity -of larch bark and boil linen in this for 2A1/2 hours. - -4). FUSTIC GREEN FOR WOOL. (50A lbs.) Mordant wool with 11A lbs. alum. -Soak 50A lbs. Fustic over-night, and boil up. Enter the wool and boil -for half-an-hour or more. Add Extract of Indigo in small quantities at -a time, till the desired colour is got. - -5). SAXON GREEN FOR WOOL. Mordant the wool with alum and tartar for -half-an-hour; it is then taken out and aired, but not washed. The bath -is refreshed with cold water, and half the amount of the solution of -Indigo which is to be used is well mixed in. The wool is entered and -rapidly stirred for 5 or 6 minutes, without boiling. It is taken out -and the rest of the Indigo solution is well mixed in. The wool is put -in and boiled for ten minutes; then taken out and cooled. The bath is -then three-quarters emptied and filled up with a decoction of fustic. -When the bath is very hot, the wool is put in until the desired shade -of green is got. - -6). GREEN WITH QUERCITRON FOR WOOL. Dye the wool blue in the Indigo -vat. Wash well. For 100 parts of wool, put 3 parts of chalk and 10 or -12 of alum. Boil the wool in this for 1 hour. Then to the same bath, -add 10 or 12 parts of Quercitron, and continue the boiling for A1/4 hour. -Then add 1 part of chalk, and this addition is repeated at intervals -of 6 to 8 minutes till a fine green colour is brought out. - -7). GREEN WITH QUERCITRON FOR COTTON. First, the cotton is dyed a sky -blue colour by means of indigo dissolved by potash and orpiment; then -it is passed through a strong decoction of sumach, in which it is left -until well cooled. It is then dried, passed through the mordant of -acetate of alumina, dried again, washed, worked for 2 hours in tepid -bath of Quercitron, (26A1/4A lbs. to 110A lbs. cotton). - -8). GREEN WITH INDIGO EXTRACT & WELD FOR WOOL. Mordant 1A lb. wool with -4 oz. alum and A1/2 oz. cream of tartar. Dye blue with sufficient -quantity of Indigo Extract. Wash and dry. Prepare a dye bath with weld -which has been previously chopped up and boiled. Enter wool and boil -for half-an-hour or more. - - -FOOTNOTE: - -[18] Note page 42 on British plants which dye green. - - - - -APPENDIX - -LICHENS USED FOR DYEING WOOL BROWN. - -_Continued from page 62_ - - -_S. scrobiculata._ Aik-raw, Oak rag. Found on trees in Scotland and -England. - -_Gyrophora deusta._ Scorched looking gyrophora. Found on rocks in -Scandinavia. LinnA|us states that it furnishes a paint called "Tousch," -much used in Sweden. - -_G. cylindrica._ Cylindrical gyrophora. On rocks in Iceland. Greenish -brown. Also G. deusta. - -_Alectoria jubata._ Horse hair lichen, Rock hair. On fir trees in -England, pale greenish brown. - -_Parmelia parietina._ Common yellow wall lichen, WA¤g-mA¤ssa, Wag-laf. -England and Sweden on trees, rocks, walls, palings. Used to dye Easter -eggs. Used in Sweden for wool dyeing. - -_Cetraria juniperina._ En-mossa. On trees in Scandinavia. - -_Borrera flavicans._ Yellow borrera. On trees in Germany, gamboge -yellow. - -_Lecanora candelaria._ Ljus mA¤ssa. On trees in Sweden. - -_Evernia flavicans._ Wolf's-bane evernia. On trees in Scandinavia, -gamboge yellow. - -_Lecidea atro-virens._ Map lichen. On rocks in Scandinavia. - -_Lepraria chlorina._ Brimstone coloured lepraria. Scandinavia, on -rocks. - -_L. Iolithus._ Viol-mA¤ssa. Sweden, on stones. Gives to stones the -appearance of blood stains. - - - - -BIBLIOGRAPHY - - -Prof. G. Henslow. Uses of British Plants. - -Dr. Plowright. British Dye Plants. (Journal of the Royal Horticultural -Society, Vol. 26. 1901.) - -Sowerby. Useful Plants of Great Britain. - -Sowerby. English Botany. - -Professor G. S. Boulger. The Uses of Plants. 1889. - -Alfred Edge. Some British Dye Lichens. (Journal of the Society of -Dyers and Colourists. May 1914). - -J. J. Hummel. The Dyeing of Textile Fabrics. - -Clement Bolton. A Manual of Wool Dyeing. 1913. - -W. Crooks. Dyeing and Tissue Printing. 1882. - -Rawson, Gardiner and Laycock. A Dictionary of Dyes, Mordants, 1901. - -James Haigh. The Dyer's Assistant. 1778. - -James Napier. A Manual of Dyeing Receipts. 1855. - -James Napier. A Manual of the Art of Dyeing. 1853. - -A Profitable Boke. (On Dyeing). Translated from the Dutch. 1583. - -Darwin and Meldola. Woad. ("Nature", Nov. 12, 1896). - -Mrs. Anstruther Mackay. Simple Home Dyeing. - -English EncyclopA|dia. Dyeing. 1802. - -Gardiner D. Hiscock. 20th Century Book of Recipes, Formulas and -Processes. 1907. - -F. J. Bird. The Dyer's Hand Book. 1875. - -Hurst. Silk Dyeing and Printing. (Technological Hand Book. 1892). - -Smith. Practical Dyers' Guide. 1849. - -T. Sims. Dyeing and Bleaching. (British Manufacturing Industries. -1877.) - -David Smith. The Dyers' Instructor. 1857. - -The Dyer and Colour Maker's Companion. 1859. - -Thomas Love. The Practical Dyer and Scourer. 1854. - -Knecht, Rawson and Lowenthal. A Manual of Dyeing. 1893. - -Berthollet. The Art of Dyeing. 1824. - -George Jarmain. On Wool Dyeing. 6 Lectures. 1876. - -Hellot, Macquer, M. le Pilleur D'Apligny. The Art of Dyeing Wool, Silk -and Cotton. (Translated from the French, 1789. New Edition, 1901.) - -The Art of Dyeing. (Translated from the German. 1705. Reprint 1913.) - -R. P. Milroy. Handbook on Dyeing for Woollen Homespun Workers. -(Congested Districts Board for Ireland). - -Dr. W. L. Lindsay. On the Dyeing Properties of Lichens. (Edinburgh New -Philosophical Journal, 1855). - -T. Edmonston. "On the Native Dyes of the Shetland Islands." -(Transactions of Botanical Society of Edinburgh, Vol. I. 1841). - -Edward Bancroft. The Philosophy of Permanent Colours. 1794. - -Francheville. On Ancient and Modern Dyes, 1767. (Royal Academy of -Sciences, Berlin). - -Parnell's Applied Chemistry.--Article on Dyeing. - -William Morris. "Of Dyeing as an Art." (Essays by Members of the Arts -and Crafts Exhibition Society, 1903). - -William Morris. "The Lesser Arts of Life." (From Architecture, -Industry and Wealth. 1902). - -Brewster's Edinburgh ncyclopA|dia. 1830. Dyeing. - -Sansome. "Dyeing." 1888. - -John M. Thomson. The Practical Dyer's Assistant. 1849. - - - - -GLOSSARY AND INDEX. - - -A.--_Adjective dyes_, 24. Dyes which require a mordant. - -_Alder bark_, 43, 44, 100, 126. - -_Alizarin._ The chief colouring principle of madder. It is also the -name for an extensive series of chemical colours produced from -anthracene, one of the coal tar hydrocarbons, discvrd., 1868. - -_Alkaline ley_, 28. - -_Almond_, 120. - -_Amber_, 132. - -_Alum_, 26-29. - -_Aluminium sulphate_, 26. - -_Aniline_, 3. Discovered, 1826 (_aA+-il, Span. indigo_). First prepared -from indigo by means of caustic potash. Found in coal in 1834. -Manufactured on a large scale after Perkin's discovery of mauve in -1856. - -_Anatta_, (Anotto, Arnotto, Roucou), 111. A dye obtained from the pulp -surrounding the seeds of the _Bixa orellana_; chiefly used in dyeing -silk an orange colour, but is of a fugitive nature. - -_Archil_, 52, 53, 54. - -_Argol_, 131. The tartar deposited from wines completely fermented, and -adhering to the sides of casks as a hard crust. When purified it -becomes Cream of Tartar. - -_Ash_, 41, 120. - -_Astringents_, 19, 26. - - -B.--_Barberry_, 41, 120. - -_Barwood_, 67, 106. - -_Beck._--A large vessel or tub used in dyeing. - -_Bichromate of Potash_, 32. - -_Birch_, 38, 42, 43, 99, 103. - -_Black_, 122-123; from logwood, 79-85. - -_Black Dye Plants_, 44. - -_Blue_, 63; from Indigo, 66-75; from lichen, 61; from logwood, 79-85. - -_Blue black_, 81. - -_Blue Dye Plants_, 39. - -_Blue stone_, 33. - -_Blue vitriol_, 33-36. - -_Bois de CampAªche_, 77. - -_Bois jaune_, Fustic, yellow wood. - -_Brazil woods_, 106. - -_British Dye Plants_, 37-44. - -_Broom_, 41, 134. - -_Brown_, 122-133; from lichens, 45-49, 51, 56, 57, 60-62, 140; from -madder, 102, 106; from weld, 112; from woad, 76. - -_Brown Dye Plants_, 43. - -_Buff_, 115. - - -C.--_Campeachy Wood_, 77. - -_Camwood_, 106, 131. - -_Carthamus._ Safflower, an annual plant cultivated in S. Europe, Egypt -and Asia for the red dye from its flowers. - -_Catechu_, 33, 35, 36, 122-6. - -_Caustic Soda._ Carbonate of soda, boiled with lime. - -_Chestnut_, 35. - -_Chrome_, 32, 33. - -_Cinnamon_, 102. - -_Claret_, 51, 84. - -_Coal Tar Colours._ Colours obtained by distillation and chemical -treatment from coal tar, a product of coal during the making of gas. -There are over 2,000 colours in use. - -_Cochineal_, 92-7, 132. - -_Copper_, 33-5. - -_Copper sulphate_, 33. - -_Copperas_, 29, 30, 129. - -_Corcur_, 51. - -_Cotton_, 18; the dyeing of, 19; without mordant, 21; method in India, -19, 20; the mordanting of, 26. - -_Cream_, from catechu, 124. - -_Cream of Tartar_, 28-32, 34. See argol. - -_Crimson_, 94-96, 106; from lichens, 49, 60. - -_Crottle_, 46, 56-60, 62. - -_Cudbear_, 45, 52, 54, 55, 57, 58, 67, 85, 129. - - -D.--_Detergent_, 15. A cleansing agent. - -_Dip._ Generally applied to immersing cloth etc. in the blue vat. - -_Divi-divi_, 35, 36. The dried pods of _CA|salpina coriaria_, growing -in the West Indies and S. America. They contain 20 to 35% tannin and -a brown colouring matter. - -_Dock_, 40, 44, 50, 69, 120, 135. - -_Drab_, 80, 118, 126. - -_Dyer's Broom_, 40, 121, 135. - -_Dyer's Spirit_, 32. Aqua fortis, 10 parts; Sal Ammoniac, 5 parts; -Tin, 2 parts; dissolved together. - -_Dyer's Weed_, 40, 134. - - -E.--_Enter._ To enter wool, to put it into the dye or mordant liquor. - -_Extract of Indigo_, 65-69. - - -F.--_Felting_, to prevent, 15. - -_Fenugrec_, Fenugreek, 107. _Trigonnella fA"nugrA|cum._ - -_Ferrous sulphate_, 29. - -_Flavin._ A colouring matter extracted from quercitron. - -_Fleece_, various kinds of, 13. - -_Flesh colour_, 132. - -_Full, to._ To tread or beat cloth for the purpose of cleansing and -thickening it. - -_Fuller's Herb._ _Saponaria officinalis._ A plant used in the process of -fulling. - -_Fuller's Thistle_ or Teasle. _Dipsacus fullonum._ Used for fulling -cloth. - -_Fustet._ Young fustic. Venetian Sumach. _Rhus cotinus._ It gives a -fine orange colour, which has not much permanence. - -_Fustic_, 113-116, 130, 131, 135. - - -G.--_Galls_, _Gall nuts_, 26, 129. Oak galls produced by the egg of an -insect,--the female gall wasp. An excrescence is produced round the -egg, & the insect, when developed, pierces a hole & escapes. Those -gall nuts which are not pierced contain most tannic acid. The best -come from Aleppo and Turkey. - -_Gramme_ or _Gram_. About 15A1/2 grains (Troy). - -_Green_, 133-9; with fustic, 137-8; with weld, 139. - -_Green Dye Plants_, 42. - -_Green Vitriol_, 29. - -_Green wood_, 107, 108, 134. - -_Greening weed_, 121. - -_Grey_, 67, 79; from logwood, 80, 85. - - -H.--_Hazel colour_, 128. - -_Heather_, 40, 85, 121, 135. - - -I.--_Iceland moss_, 51, 61. - -_Indigo_, 63-75, 135-139. - -_Indigo Extract_, 64-70; for green, 135-139. - -_Iron_, 29-30. - - -K.--_Kermes_, 87-91. - -_Kilo. Kilogramme._ Equals 2A lbs. 3A.2 oz. - -_Korkalett_, 50. - - -L.--_Lac_, 97, 98. - -_Larch_, 43, 131, 137. - -_Lavender_, 84. - -_Lesser Dye_, 77, 79. - -_Ley_, see lye. - -_Lichen_, 45-62, 140. - -_Lilac_, 95, 96, 97. - -_Lima Wood_, 106, 107. - -_Linen_, 21; to bleach, 22; the mordanting of, 26; various kinds of, -21. - -_Litre_, 80. Nearly 1A3/4 pints. - -_Lixiviation._ The process of separating a soluble substance from an -insoluble by the percolation of water. - -_Lixivium._ (Lye). A term often used in old dye books. Water -impregnated with alkaline salts extracted by lixiviation from wood -ashes. - -_Logwood_, 77, 130, 131, 137. - -_Lye_ or _Ley_. Any strong alkaline solution, especially one used for -the purpose of washing, such as soda lye, soap lye. - - -M.--_Madder_, 38, 98-105, 132. - -_Magenta_, 44. - -_Maize_, 132. - -_Mercerised Cotton._ Cotton prepared by treating with a solution of -caustic potash or soda or certain other chemicals. Discovered by John -Mercer in 1844. - -_Milling._ The operation of fulling cloth. - -_Mordants_, 24; general remarks on, 34; primitive mordants, 25. - -_Muriate of Tin_, 31. - -_Myrobalans_, 26, 35, 36. The fruit of several species of trees, -growing in China & the East Indies, containing tannic acid, (25-40% -tannin). - - -O.--_Oak bark_, 128. - -_Oak galls_, 35, 36. - -_Oil of Vitriol_, 64, 65, 67. Sulphuric acid. - -_Old Fustic_, see Fustic. - -_Old Gold_, 109, 112-114. - -_Olive_, 109, 113, 118, 135. - -_Onion skins_, 128. - -_Orange_, 91, 93, 102, 106, 109, 120, 132; from lichens, 48, 51, 58, -60-2. - -_Orchil_, 45, 52-55. - -_Organzine._ Twisted raw silk from best cocoons, used for warp. - -_Orseille_, 58. - -_Oxalic Acid_, 30, 31. - - -P.--_Pastel_, 77. Woad. - -_Peach_, 120. - -_Peach wood_, 106-107. - -_Pear_, 41, 120. - -_Pearl ash._ Carbonate of Potash. - -_Peat Soot_, 128. - -_Persian Berries._ The dried unripe fruit of various species of -Rhamnus. Also called French berries, Grains of Avignon. - -_Philamort_, 48. - -_Pink_, 93; from lichen, 57. - -_Plum colour_, from lichen, 48. - -_Poplar_, 42, 135. - -_Potassium Carbonate._ (Potashes). Carbonate of Potash has been known -since ancient times as a constituent of the ashes of land plants, -from which it is obtained by extraction with water. In most cases -Sodium Carbonate, which it strongly resembles, can be used in its -place. - -_Potassium dichromate_, 32. - -_Privet_, 39, 41, 42, 121. - -_Purple_, from lichens, 53, 57-60, 62; with cochineal, 95, 96; with -logwood, 82, 85, 86, 87. - -_Purple Dye Plants_, 43. - - -Q.--_Quercitron_, 116-120; for green, 135-137. - - -R.--_Red_, 87-107; from lichens, 48-51, 53, 56, 58, 60. - -_Red Dye Plants_, 38. - -_Red Spirits._ Tin spirits. Applied to tin mordants generally. A -solution of Stannous chloride. - -_Red woods._ Camwood, Barwood, Sanderswood (Santal, Sandal, Red -Sanders), Brazil wood, Sapan wood, Peach wood. - -_Retting_, 21. - -_Roucou._ Anatta, Arnotto. - - -S.--_Sandalwood_ or Saunderswood, 106. - -_Sadden, to_, _saddening_, 14, 30, 34, 127, 130, 132. To darken or dull -in colour. - -_Sapan wood_, 106. - -_Savory_, 107, 108. - -_Sawwort_, 41, 135. - -_Saxon blue_, 67, 70, 136. The dye made by Indigo dissolved in oil of -vitriol. - -_Saxon green_, 118, 136, 138. - -_Scarlet_, 88, 91, 92, 93, 94, 95, 97, 98. - -_Scarlet of Grain_, 87. - -_Scotch ell._ 37A.2 inches. - -_Scour, to._ To wash. - -_Scroop._ The rustling property of silk. - -_Scrottyie_, 49, 50, 59. - -_Silk_, 16-18; to alum, 18; general method of dyeing, 17; to mordant, -26; the preparation of, 17; to soften, 18; various kinds of, 16; raw, -16, 17; waste, 16. - -_Silver drab_, 84. - -_Sloe_, 39. - -_Soda ash._ Carbonate of soda. - -_Soda ley_, 101. - -_Sour water_, 28. To every gallon of water, add 1 gill vitriol; stir -thoroughly. Stuff steeped in this should be covered with the liquor, -otherwise it will rot. - -(2). Water in which bran has been made to grow sour. 24 bushels of -bran are put in a tub, about 10 hogsheads of nearly boiling water is -poured into it; acid fermentation soon begins, and in 24 hours it is -ready to use. - -(3). Throw some handfuls of bran into hot water and let it stand for -24 hours, or till the water becomes sour, when it is fit for use. - -_Stannous Chloride_, 31. - -_Staple_, 11, 12. A term applied to cotton and wool, indicating length -of fibre. - -_Stuffing and Saddening_, 14, 30. - -_Substantive Dye_, 24, 52, 65, 116. A dye not requiring a mordant. - -_Sulphuric Acid_, 64, 66, 67, 70, 120, 131. - -_Sumach_, 26, 35, 36, 126. Leaves and twigs of several species of -Rhus, containing Tannic acid. It is sold in the form of crushed leaves -or as a powder, (15-20% tannin). - - -T.--_Tannic Acid_, 26, 35. - -_Tannin_, 35, 36. - -_Tin_, 31, 32. - -_Tin crystals_, 31. - -_Tin salts_, 31. - -_Tram._ Slightly twisted raw silk, used for weft. - -_Turkey Red_, 99. - -_Turmeric_, 116. - -_Turquoise_, 69. - -_Tyrian purple._ A purple colour obtained from certain shell fish, -such as Buccinum & Purpura. It is mentioned by Pliny as being -discovered in 1400 B.C. It was a lost art in the middle ages. - - -V.--_Valonia_, 35. Acorn cups of certain species of oak from S. -Europe, containing 25-35% of tannic acid. - -_Vegetable alkali._ Potash. - -_Verdigris_, 33. Acetate of copper. - -_Violet_, 86, 94, 103. - -_Vitrum_, 76. - - -W.--_Walnut_, 43, 127, 132. - -_Water_ for dyeing, 23. - -_Weld_, 107-112, 120, 130, 134, 135. - -_Wet out_, to. To damp, before putting the yarn or cloth into the dye. - -_Woad_, 39, 75-77. - -_Wool_, 11; to bleach, 16; to cleanse, 15, 16; long staple wool, 12; -various kinds of, 11, 12, 13. - -_Wool Dyeing_, general methods, 13-16. - - -Y.--_Yarn_, to soften, 16. - -_Yellow_, 107-122; from lichens, 51, 57, 140; from sumach, 126. - -_Yellow Dye Plants_, 39. - -_Yellow Weed_, 134. - -_Yellow Wood_, 107. - - - - -ERRATA - - - page 59. Rock Urcolaria shld. be Rock Urceolaria. - - page 61. Flowering lusnea shld. be Flowering Usnea. - - page 144. (printed without being corrected). - - Add:--_Alder bark_, 43, 44, 100, 126. - - _Almond_, 120. - - _Amber_, 132. - - _Argol_, 131. - - _Ash_, 41, 120. - - _Barwood_, 67, 106. - - Correct:-- - - authracene to anthracene - - _anie_ to _aA+-il_ - - Roucon to Roucou - - sorrounding to surrounding - - -_Printed by Douglas Pepler at Ditchling_ - - - - -[Illustration: A WOOD CUT ILLUSTRATION FROM THE DEVIL'S DEVICES (_see -advert_.)] - - - - - BOOKS - Published by DOUGLAS PEPLER - AT THE - HAMPSHIRE HOUSE WORKSHOPS - HAMMERSMITH - - - COTTAGE ECONOMY BY WILLIAM - COBBETT with an INTRODUCTION - BY G. K. CHESTERSON - Price 2s. 6d. net (Postage 3d.) - - A REPRINT of a STANDARD WORK - Which should be of use, in these days, to - Many beside Cottagers. - - - A CAROL AND OTHER RHYMES - By EDWARD JOHNSTON - Price 1s. net. (Postage 2d.) - - - A BOOK ON VEGETABLE DYES - By ETHEL M. MAIRET - Price 5s. net (Postage 4d.) - - - - -THE DEVIL'S DEVICES or Control versus Service by DOUGLAS PEPLER, with -Wood-cut Illustrations by Eric Gill. Price 2s. 6d. net. The first 200 -copies will be numbered and signed. Price 3s. 6d. net. - -This book contains an account of a cinematograph entertainment in -Satan's Circuit; a crafty devil; and an appreciation of No. 27, an -English working-man. - - -_THE REVIEWERS ON THE DEVIL'S DEVICES._ - -WHAT WILL THEY SAY NEXT? - -But we believe that the effect upon most people will be what it -certainly is upon one reader, who is NOT IN THE LEAST SHOCKED, but is -considerably - - BORED. - - --_C. O. Review._ - -A verse may find him who a sermon flies, and there is likely to be -here and there one, who seeing in a bookseller's window the red cover -and the black, the very black, cart thereon, will incontinently -purchase. - - --_The New Witness._ - -His arguments are closely logical when he chooses to make them so, -though their sequence and arrangement are bewilderingly haphazard. - - --_The Herald._ - -The whole effect is of a hotch-potch composed in a lunatic asylum; and -the pictures seem madder than the letterpress.... Much to the -irritation of my wife, for supper was waiting, I read on till I had -read the book right through.... The "mad" author of this book is -Douglas Pepler, the "mad" artist is Eric Gill. When I say "mad" I am, -for the moment, taking it for granted that the world is sane.-- - - _Labour Leader._ - - * * * * * - -(and so on very nicely for several columns.)-- - - _Land and Water._ - -The drama is skilfully unfolded (though the author fails over the -spelling of Nietzsche, page 29) and interspersed with wood-cuts ... -and a still more excellent account of the passing of the poor man's -parlour. - - _The Cambridge Magazine._ - -The author has marked with the toe of his boot the moral weakness on -which the Devil depends for his power over the modern world.-- - - _Red Feather._ - -Mr. Pepler perpetually _DROPS_ into dialogue with - - FATAL - RESULTS. - - _New Age._ - - - - - -End of Project Gutenberg's A Book on Vegetable Dyes, by Ethel Mairet - -*** END OF THIS PROJECT GUTENBERG EBOOK A BOOK ON VEGETABLE DYES *** - -***** This file should be named 50079.txt or 50079.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/0/7/50079/ - -Produced by Melissa McDaniel and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - diff --git a/old/50079.zip b/old/50079.zip Binary files differdeleted file mode 100644 index c1bde01..0000000 --- a/old/50079.zip +++ /dev/null |
