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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 CampAȘche, 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 CampAȘche_, 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. 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