,,vegetable ,,dyes ,being a ,book of ,recipes and ,other ,information ,useful to the ,dyer by ,,ethel ,m4 ,,mairet ,faber and ,faber ,ltd #bd ,russell ,square ,london ,first published in ,mcmxvi by the ,ditchling ,press ,reprinted1 for the sixth time ,april ,mcmxxxviii and published by ,faber and ,faber ,limited #bd ,russell ,square1 ,london ,printed at the ,ditchling ,press1 ,ditchling ,all rights reserved ,,contents ,,chapter ,,page ,i4 ,wool1 ,silk1 ,cotton and ,linen #a ,,ii4 ,mordants #f ,,iii4 ,british ,dye ,plants #aa ,,iv4 ,the ,lichen ,dyes #af ,v4 ,blue #bd ,,vi4 ,red #ca ,,vii4 ,yellow #ce ,,viii4 ,brown and ,black #dj ,,ix4 ,green #dc ,x4 ,the ,dyeing of ,cotton #df ,,xi4 ,the ,dyeing of ,silk #ef ,glossary #fj ,bibliography #fc ,index #fe ,,chapter ,i ,,wool ,,silk ,,cotton ,,and ,,linen ,,wools are of various kinds3-- ,highland1 ,welsh and ,irish wools are from small sheep1 not far removed from the wild state1 with irregular short stapled fleeces4 ,forest or ,mountain sheep 7,herdwick1 ,exmoor1 ,cheviot1 ,blackfaced1 ,limestone7 have better wool1 especially the ,cheviot1 which is very thick and good for milling4 ,ancient ,upland1 such as ,south ,down1 are smaller sheep than the last named1 but the wool is softer and finer4 ,long ,woolled sheep1 7,lincolns1 ,leicester7 with long staple wool 7record length1 #cf47 and fleeces weighing up to #ab lbs4 ,the ,leicester fleece is softer1 finer and better than ,lincoln4 ,to the end of the #ahth century ,spanish wool was the finest and best wool in the world4 ,spanish sheep have since been introduced into various countries1 such as ,saxony1 ,australia1 ,cape ,colony1 ,new ,zealand2 and some of the best wools now come from the ,colonies4 ,alpaca1 ,vicuna and ,llama wools are from different species of ,american goats4 ,mohair from the ,angora goat of ,asia ,minor4 ,kashmir ,wool from the ,thibetan goat4 ,camel hair1 the soft under wool of the camel1 which is shed annually4 ,the colour of wool varies from white to a very dark brown black1 with all shades of fawn1 grey and brown in between4 ,the natural colours are not absolutely fast to light but tend to bleach slightly with the sun4 ,the principal fleeces are3 ,lambs1 #c to #f months growth1 the finest1 softest and most elastic wool4 ,hogs and ,tegs3 the first shearing of sheep that have not been shorn as lambs4 ,wethers3 all clips succeeding the first shearing4 ,wool comes into the market in the following condition4 #a4 ,in the grease1 not having been washed and containing all the impurities4 #b4 ,washed1 with some of the grease removed and fairly clean4 #c4 ,scoured1 thoroughly cleaned and all grease removed4 ,wool can be dyed either in the fleece1 in the yarn1 or in the woven cloth4 ,raw wool always contains a certain amount of natural grease4 ,this should not be washed out until it is ready for dyeing1 as the grease keeps the moth out to a considerable extent4 ,hand spun wool is generally spun in the oil to facilitate spinning4 ,all grease and oil must be scoured out before dyeing is begun1 and this must be done very thoroughly or the wool will not take the colour4 ,,water ,a constant supply of clean soft water is an absolute necessity for the dyer4 ,rain water should be collected as much as possible1 as this is the best water to use4 ,the dye house should be by a river or stream1 so that the dyer can wash with a continuous supply4 ,spring and well water is1 as a rule1 hard1 and should be avoided4 ,in washing1 as well as in dyeing1 hard water is injurious for wool4 ,it ruins the brilliancy of the colour1 and prevents the dyeing of some colours4 ,temporary hardness can be overcome by boiling the water 7#bj to #cj minutes7 before using4 ,an old method of purifying water1 which is still used by some silk and wool scourers1 is to boil the water with a little soap1 skimming off the surface as it boils4 ,in many cases it is sufficient to add a little acetic acid to the water4 ,,to ,,wash ,,wool ,in a bath containing #aj gallons of warm water add #d fluid ounces of ammonia fort1 4#hhj1 #a lb4 soda1 and #b oz4 soft soap1 7potash soap74 ,stir well until all is dissolved4 ,dip the wool in and leave for #b minutes1 then squeeze gently and wash in warm water until quite clear4 ,or to #aj gallons of water add #f oz4 ammonia and #c oz4 soft soap4 ,the water should never be above #adj deg4,f4 and all the washing water should be of about the same temperature4 ,fleece may be washed in the same way1 but great care should be taken not to felt the wool--the less squeezing the better4 ,there are four principal methods of dyeing wool4 #ast4--,the wool is boiled first with the mordant and then in a fresh bath with the dye4 #bnd4--,the wool is boiled first with the dye1 and when it has absorbed as much of the colour as possible the mordant is added to the same bath1 thus fixing the colour4 ,a separate bath can be used for each of these processes1 in which case each bath can be replenished and used again for a fresh lot of wool4 #crd4--,the wool is boiled with the mordant and dye in the same bath together4 ,the colour1 as a rule1 is not so fast and good as with a separate bath1 though with some dyes a brighter colour is obtained4 #dth4--,the wool is mordanted1 then dyed1 then mordanted again4 ,this method is adopted to ensure an extremely fast colour4 ,the mordant should be used rather sparingly4 ,,silk ,there are two kinds of silk 7#a7 raw silk 7reeled silk1 thrown silk1 drawn silk71 and 7#b7 waste silk or spun silk4 ,raw silk is that directly taken from the cocoons4 ,waste silk is the silk from cocoons that are damaged in some way so that they cannot be reeled off direct4 ,it is1 therefore1 carded and spun1 like wool or cotton4 ,silk in the raw state is covered with a silk gum which must be boiled off before dyeing is begun4 ,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 off4 ,if it is a yellow gum1 the silk is wrought first in a solution of soft soap at a temperature just below boiling point for about an hour1 then put into bags and boiled4 ,after boiling1 the soap is well washed out4 ,generally speaking1 the affinity of silk for dyes is similar but weaker in character to that of wool4 ,the general method for dyeing is the same as for wool1 except1 in most cases1 lower temperatures are used in the mordanting4 ,in some cases1 soaking in a cold concentrated solution of the mordant is sufficient4 ,the dyeing of some colours is also at low temperature4 ,,cotton ,cotton is the down surrounding the seeds in pods of certain shrubs and trees growing in tropical and semi-tropical countries4 ,first introduced into ,europe by the ,saracens1 it was manufactured into cloth in ,spain in the early #acth century4 ,cotton cloth was first made in ,england in the early #agth century4 ,the colour of cotton varies from deep yellow to white4 ,the fibre differs in length1 the long stapled being the most valued4 ,it is difficult to dye and requires a special preparation4 ,a few of the natural dye stuffs are capable of dyeing cotton direct1 without a mordant1 such as ,turmeric1 ,barberry bark1 safflower1 annatto4 ,for other dyes cotton has a special attraction1 such as catechu4 ,,linen ,linen is flax1 derived from the decomposed stalks of a plant of the genus ,linum4 ,it grows chiefly in ,russia1 ,belgium1 ,france1 ,holland and ,ireland4 ,the plants after being gathered are subjected to a process called retting which separates the fibre from the decaying part of the plant4 ,in ,ireland and ,russia this is usually done in stagnant water1 producing a dark coloured flax4 ,in ,belgium1 ,holland1 and ,france1 retting is carried out in running water1 and the resulting flax is a lighter colour4 ,linen is more difficult to dye than cotton1 probably on account of the hard nature of the fibre4 ,the same processes are used for dyeing linen as for cotton4 ,to ,bleach ,linen--7,for #ac to #ae yards linen74 ,boil #a_/b lb4 soap and #a_/b lb4 soda in a gallon of water4 ,put it in a copper and fill up with water1 leaving room for the linen to be put in4 ,put in the linen and bring to the boil4 ,boil for #b hours1 keeping it under the water and covered4 ,stir occasionally4 ,then spread out on the grass for #c days1 watering it when it gets dry4 ,repeat this boiling and grassing #c weeks4 ,the linen is then pure white4 ,to bleach linen a cream colour--,boil #a_/b lb4 soap and #a_/b lb4 soda in a gallon of water4 ,fill copper up with water and put in linen4 ,boil for #b hours4 ,repeat this once a day for #d days4 ,the linen should not be wrung out but kept in the water till ready to be put into the fresh bath4 ,,chapter ,,ii ,,mordants ,any dye belongs to one of two classes4 ,substantive1 giving colouring directly to the material3 and adjective1 which includes the greater number of dyes and requires the use of a mordant to bring out the colour4 ,there are thus two processes concerned with the dyeing of most colours2 the first is mordanting and the second is the colouring or actual dyeing4 ,the mordanting prepares the stuff to receive the dye 7mordere1 to bite74 ,the early ,french dyers thought that a mordant had the effect of opening the pores of the fibre1 so that the dye could more easily enter2 but according to ,hummel1 and later dyers1 the action of the mordant is purely chemical2 and he gives a definition of a mordant as the body1 whatever it may be1 which is fixed on the fibre in combination with any given colouring matter4 ,the mordant is first precipitated on to the fibre and combines with the colouring matter in the subsequent dye bath4 ,but1 whether the action is chemical or merely physical1 the fact remains that all adjective dyes need this preparation of the fibre before they will fix themselves on it4 ,the use of a mordant1 though not a necessity1 is sometimes an advantage when using substantive dyes4 ,in early days the leaves and roots of certain plants were used4 ,this is the case even now in ,india and other places where primitive dyeing methods are still carried on4 ,alum has been known for centuries in ,europe4 ,iron and tin filings have also been used4 ,alum and copperas have been known in the ,highlands long ages4 ,mordants should not affect the physical characteristics of the fibres4 ,sufficient time must be allowed for the mordant to penetrate the fibre thoroughly4 ,if the mordant is only superficial1 the dye will be uneven3 it will fade and will not be as brilliant as it should be4 ,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 dyeing4 ,the longer time that can be given to each process1 the more satisfactory will be the result4 ,different mordants give different colours with the same dye stuff4 ,for example3--,cochineal1 if mordanted with alum1 will give a crimson colour2 with iron1 purple2 with tin1 scarlet2 and with chrome or copper1 purple4 ,logwood1 also1 if mordanted with alum1 gives a mauve colour2 if mordanted with chrome1 it gives a blue4 ,fustic1 weld1 and most of the yellow dyes1 give a greeny yellow with alum1 but an old gold colour with chrome2 and fawns of various shades with other mordants4 ,silk and wool require very much the same preparation except that in the case of silk1 high temperatures should be avoided4 ,wool is generally boiled in a weak solution of whatever mordant is used4 ,with silk1 as a rule1 it is better to use a cold solution1 or a solution at a temperature below boiling point4 ,cotton and linen are more difficult to dye than wool or silk4 ,their fibre is not so porous and will not hold the dye stuff without a more complicated preparation4 ,the usual method of preparing linen or cotton is to boil it first with some astringent4 ,the use of astringents in dyeing depends upon the tannic acid they contain4 ,in combination with ordinary mordants1 tannic acid aids the attraction of the colouring matter to the fibre and adds brilliancy to the colours4 ,the astringents mostly used are tannic acid1 gall nuts1 sumach and myrobalams4 ,cotton has a natural attraction for tannic acid1 so that when once steeped in its solution it is not easily removed by washing4 ,,alum ,this is the most generally used of all the mordants1 and has been known as such from early times in many parts of the world4 ,for most colours a certain proportion of cream of tartar should be added to the alum bath as it helps to brighten the ultimate colour4 ,the usual amount of alum is a quarter of a pound to a pound of wool4 ,as a rule1 less mordant is needed for light colours than for dark4 ,excess of alum is apt to make the wool sticky4 ,the usual length of time for boiling is about an hour4 ,some dyers give as much as #b-a_/b hours4 ,example of mordanting with alum--#a_/d lb4 of ,alum and #a oz4 cream of tartar for every pound of wool4 ,this is dissolved and when the water is warm the wool is entered4 ,raise to boiling point and boil for one hour4 ,the bath is then taken off the fire and allowed to cool over night4 ,the wool is then wrung out 7not washed7 and put away in a linen bag in a cool place for #d or #e days1 when it is ready for dyeing1 after being thoroughly washed4 ,,iron 7,ferrous ,sulphate1 copperas1 green vitriol47 ,iron is one of the oldest mordants known and is largely used in wool and cotton dyeing4 ,it is almost as important as alum4 ,the temperature of the mordanting bath must be raised very gradually to boiling point or the wool will dye unevenly4 ,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 #e to #h per cent of the weight of the wool1 and continue boiling for half an hour or so longer4 ,with some dyes a separate bath is needed1 such as with ,camwood or ,catechu4 ,great care is needed in the using of copperas1 as1 unless it is thoroughly dissolved and mixed with the water before the wool is entered1 it is apt to stain the wool4 ,it also hardens wool if used in excess or if boiled too long4 ,a separate bath should always be kept for dyes or mordants containing iron4 ,the least trace of it will dull colours and it will spoil the brilliancy of reds1 yellows and oranges4 ,copperas is mostly used for the fixing of wool colours 7,fustic1 etc47 to produce brown shades2 the wool being boiled first in a decoction of the dye for about #a hour1 and then for #a_/b an hour with the addition of #e to #h per cent of copperas4 ,if used for darkening colours1 copperas is added to the bath after the dyeing1 and the boiling continued for #ae to #bj mins4 ,,tin 7,stannous chloride1 tin crystals1 tin salts1 muriate of tin47 ,tin is not so useful as a mordant in itself1 but as a modifying agent with other mordants4 ,it must always be used with great care1 as it tends to harden the wool1 making it harsh and brittle4 ,its general effect is to give brighter1 clearer and faster colours than the other mordants4 ,when used as a mordant before dyeing1 the wool is entered into the cold mordant bath1 containing #d per cent of stannous chloride and #b per cent oxalic acid2 the temperature is gradually raised to boiling1 and kept at this temperature for #a hour4 ,it is sometimes added to the dye bath towards the end of dyeing1 to intensify and brighten the colour4 ,it is also used with cochineal for scarlet on wool in the one bath method4 ,,chrome 7,potassium dichromate4 ,bichromate of ,potash47 ,chrome is a modern mordant1 unknown to the dyer of fifty years ago4 ,it is excellent for wool and is easy to use and very effective in its action4 ,its great advantage is that it leaves the wool soft to the touch1 whereas the other mordants are apt to harden the wool4 ,the wool should be boiled for #a to #a-a_/b hours with bichromate of potash in the proportion of #b to #d per cent of the wool4 ,it is then washed well and immediately dyed4 ,wool mordanted with chrome should not be exposed to light1 but should be kept well covered with the liquid while being mordanted1 else it is liable to dye unevenly4 ,an excess of chrome impairs the colour1 #c per cent of chrome is a safe quantity to use for ordinary dyeing4 ,it should be dissolved in the bath while the water is heating4 ,the wool is entered and the bath gradually raised to the boiling point1 and boiled for #c_/d of an hour4 ,,copper 7,copper ,sulphate1 ,verdigris1 ,blue ,vitriol1 ,blue ,copperas1 ,bluestone47 ,copper is rarely used as a mordant4 ,it is usually applied as a saddening agent1 that is1 the wool is dyed first1 and the mordant applied afterwards to fix the colour4 ,with cream of tartar it is used sometimes as an ordinary mordant before dyeing1 but the colours so produced have no advantage over colours mordanted by easier methods4 ,,chapter ,,iii ,,british ,,dye ,,plants ,on the introduction of foreign dye woods and other dyes during the #agth and #ahth centuries1 the native dye plants were rapidly displaced1 except in some out of the way places such as the ,highlands and parts of ,ireland4 ,some of these ,british dye plants had been used from early historical times for dyeing4 ,some few are still in use in commercial dye work 7pear1 sloe1 and a few others72 but their disuse was practically completed during the #aith century1 when the chemical dyes ousted them from the market4 ,the majority of these plants are not very important as dyes1 and could not probably now be collected in sufficient quantities4 ,some few1 however1 are important1 such as woad1 weld1 heather1 walnut1 alder1 oak1 some lichens2 and many of the less important ones would produce valuable colours if experiments were made with the right mordants4 ,those which have been in use in the ,highlands are most of them good dyes4 ,among these are ,ladies ,bedstraw1 whortleberry1 yellow iris1 bracken1 bramble1 meadow sweet1 alder1 heather and many others4 ,the yellow dyes are most plentiful and many of these are good fast colours4 ,practically no good red1 in quantity1 is obtainable4 ,madder is the only reliable red dye among plants1 and that is no longer indigenous in ,england4 ,most of the dye plants require a preparation of the material to be dyed1 with alum1 or some other mordant1 but a few1 such as ,barbary and some of the lichens1 are substantive dyes1 and require no mordant4 ,,plants ,,which ,,dye ,,red ,birch4 ,betula alba4 ,fresh inner bark4 ,bed-straw4 ,gallium boreale4 ,roots4 ,common ,sorrel4 ,rumex acetosa4 ,roots4 ,dyer's ,woodruff4 ,asperula tinctoria4 ,roots4 ,evergreen ,alkanet4 ,anchusa sempervirens4 ,gromwell4 ,lithospermum arvense4 ,lady's ,bedstraw4 ,gallium verum4 ,roots4 ,marsh ,potentil4 ,potentilla ,comarum4 ,roots4 ,potentil4 ,potentilla ,tormentilla4 ,roots4 ,wild ,madder4 ,rubia peregrina4 ,,plants ,,which ,,dye ,,blue ,devil's ,bit4 ,scabiosa succisa4 ,leaves prepared like woad4 ,dog's ,mercury4 ,mercurialis perennis4 ,elder4 ,sambucus nigra4 ,berries4 ,privet4 ,ligustrum vulgare4 ,berries with alum and salt4 ,red bearberry4 ,arctostaphylos ,uva-,ursi4 ,sloe4,a ,prunus communis4 ,fruit4 ,whortleberry or ,blaeberry4 ,vaccinium ,myrtillus4 ,berries4 ,woad4 ,isatis tinctoria4 ,yellow ,iris4 ,iris ,pseudacorus4 ,roots4 ,,plants ,,which ,,dye ,,yellow ,agrimony4 ,agrimonia ,eupatoria4 ,ash4 ,fraxinus excelsior4 ,fresh inner bark4 ,barberry4 ,berberis vulgaris4 ,stem and root4 ,birch4 ,leaves4 ,bog ,asphodel4 ,narthecium ossifragum4 ,bog ,myrtle or ,sweet ,gale4 ,myrica ,gale4 ,bracken4 ,pteris aquilina4 ,roots4 ,also young tops4 ,bramble4 ,rubus fructicosus4 ,broom4 ,sarothammus ,scoparius4 ,buckthorn4 ,rhamnus frangula and ,r4 cathartica4 ,berries and ,bark4 ,common dock4 ,rumex obtusifolius4 ,root4 ,crab ,apple4 ,pyrus ,malus4 ,fresh inner bark4 ,dyer's ,greenwood4 ,genista tinctoria4 ,young shoots and leaves4 ,gorse4 ,ulex ,europaeus4 ,bark1 flowers and young shoots4 ,heath4 ,erica vulgaris4 ,with ,alum4 ,hedge stachys4 ,stachys palustris4 ,hop4 ,humulus lupulus4 ,hornbeam4 ,carpinus ,betulus4 ,bark4 ,kidney ,vetch4 ,anthyllis ,vulnararia4 ,ling4 ,caluna vulgaris4 ,marsh ,marigold4 ,caltha palustris4 ,marsh potentil4 ,potentilla ,comarum4 ,meadow ,rue4 ,thalictrum flavum4 ,nettle4 ,urtica4 ,with ,alum4 ,pear4 ,leaves4 ,plum4 ,polygonum ,hydropiper4 ,polygonum ,persecaria4 ,poplar4 ,leaves4 ,privet4 ,ligustrum vulgare4 ,leaves4 ,s4 ,john's ,wort4 ,hypericum perforatum4 ,sawwort4,b ,serratula tinctoria4 ,spindle tree4 ,euonymus ,europaeus4 ,stinking ,willy1 or ,ragweed4 ,senecio ,jacobaea4 ,sundew4 ,drosera4 ,teasel4 ,dipsacus ,sylvestris4 ,way-faring tree4 ,viburnum lantana4 ,leaves4 ,weld4 ,reseda luteola4 ,willow4,c ,leaves4 ,yellow ,camomile4 ,anthemis tinctoria4 ,yellow ,centaury4 ,chlora perfoliata4 ,yellow ,corydal4 ,corydalis lutea4 ,,plants ,,which ,,dye ,,green ,elder4 ,sambucus nigra4 ,leaves with alum4 ,flowering reed4 ,phragmites communis4 ,flowering tops1 with copperas4 ,larch4 ,bark1 with alum4 ,lily of the valley4 ,convalaria majalis4 ,leaves4 ,nettle4 ,urtica dioica and ,u4 ,urens4 ,privet4 ,ligustrum vulgare4 ,berries and leaves1 with alum4 ,,plants ,,which ,,dye ,,brown ,alder4 ,alnus glutinosa4 ,bark4 ,birch4 ,betula alba4 ,bark4 ,hop4 ,humulus lupulus4 ,stalks give a brownish red colour4 ,onion4 ,skins4 ,larch4 ,pine needles1 collected in ,autumn4 ,oak4 ,quercus ,robur4 ,bark4 ,red currants1 with alum4 ,walnut4 ,root and green husks of nut4 ,water ,lily4 ,nymphaea alba4 ,root4 ,whortleberry4 ,vaccinium ,myrtillus4 ,young shoots1 with nut galls4 ,dulse4 7,seaweed47 ,lichens4 ,,plants ,,which ,,dye ,,purple ,byrony4 ,byronia dioica4 ,berries4 ,damson4 ,fruit1 with alum4 ,dandelion4 ,taraxacum ,dens-leonis4 ,roots4 ,danewort4 ,sambucus ,ebulus4 ,berries4 ,deadly nightshade4 ,atropa ,belladonna4 ,elder4 ,sambucus nigra4 ,berries1 with alum1 a violet2 with alum and salt1 a lilac colour4 ,sundew4 ,drosera4 ,whortleberry or blaeberry4 ,vaccinium myrtillus4 ,it contains a blue or purple dye which will dye wool and silk without mordant4 ,,plants ,,which ,,dye ,,black ,alder4 ,alnus glutinosa4 ,bark1 with copperas4 ,blackberry4 ,rubus fruticosus4 ,young shoots1 with salts of iron4 ,dock4 ,rumex4 ,root4 ,elder4 ,bark1 with copperas4 ,iris4 ,iris ,pseudacorus4 ,root4 ,meadowsweet4 ,spirea ,ulmaria4 ,oak4 ,bark and acorns4 ,,footnotes3 ,footnote ,a3 ,on boiling sloes1 their juice becomes red1 and the red dye which it imparts to linen changes1 when washed with soap1 into a bluish colour1 which is permanent4 ,footnote ,b3 ,sawwort1 which grows abundantly in meadows1 affords a very fine pure yellow with alum mordant1 which greatly resembles weld yellow4 ,it is extremely permanent4 ,footnote ,c3 ,the leaves of the sweet willow1 salix pentandra1 gathered at the end of ,august and dried in the shade1 afford1 if boiled with about one thirtieth potash1 a fine yellow colour to wool1 silk and thread1 with alum basis4 ,all the #e species of ,erica or heath growing on this island are capable of affording yellow much like those from the dyer's broom2 also the bark and shoots of the ,lombardy poplar1 populus pyramidalis4 ,the three leaved hellebore1 helleborus trifolius1 for dyeing wood yellow1 is used in ,canada4 ,the seeds of the purple trefoil1 lucerne1 and fenugreek1 the flowers of the ,french marigold1 the camomile1 antemis tinctoria1 the ash1 fraxinus excelsior1 fumitory1 fumaria officinalis1 dye wool yellow4 ,the ,american golden rod1 solidago canadensis1 affords a very beautiful yellow to wool1 silk and cotton upon an aluminous basis4 ,bancroft4 ,,chapter ,,iv ,,the ,,lichen ,,dyes ,some of the most useful dyes and the least known are to be found among the ,lichens4 ,they seem to have been used among peasant dyers from remote ages1 but apparently none of the great ,french dyers used them1 nor are they mentioned in any of the old books on dyeing4 ,the only ,lichen dyes that are known generally among dyers are ,orchil and ,cudbear1 and these are preparations of lichens1 not the lichens themselves4 ,they are still used in some quantity and are prepared rather elaborately4 ,but a great many of the ordinary lichens yield very good and permanent dyes4 ,the ,parmelia saxatilis and ,parmelia omphalodes1 are largely used in the ,highlands and ,west ,ireland1 for dyeing brown of all shades4 ,no mordant is needed1 and the colours produced are the fastest known4 ,crottle is the general name for ,lichens in ,scotland4 ,they are gathered off the rocks in ,july and ,august1 dried in the sun1 and used to dye wool1 without any preparation4 ,the crottle is put into the bath with a sufficient quantity of water1 boiled up1 allowed to cool1 then boiled up with the wool until the shade required is got4 ,this may take from one to three or four hours1 as the dye is not rapidly taken up by the wool4 ,other dyers use it in the following way3 ,a layer of crottle1 a layer of wool1 and so on until the bath is full2 fill with cold water and bring to the boil1 and boil till the colour is deep enough4 ,the wool does not seem to be affected by keeping it in the dye a long time4 ,a small quantity of acetic acid put with the ,lichen is said to assist in exhausting the colour4 ,the grey ,lichen1 ,ramalina scopulorum dyes a fine shade of yellow brown4 ,it grows very plentifully on old stone walls1 especially by the sea1 and in damp woods1 on trees1 and on old rotten wood4 ,boil the ,lichen up in sufficient water one day1 and the next put in the wool1 and boil up again till the right colour is got4 ,if the wool is left in the dye for a day or more after boiling it absorbs more colour1 and it does not hurt the wool but leaves it soft and silky to the touch1 though apt to be uneven in colour4 ,some mordant the wool first with alum1 but it does not seem to need it4 ,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 tweeds4 ,the well-known ,harris tweed smell is partly due to the use of this dye4 ,other ,lichens also known for their dyeing properties are3 ,parmelia caperata1 or ,stone ,crottle1 which contains a yellow dye1 ,p4 ceratophylla1 or ,dark ,crottle1 and ,p4 parietina1 the common wall ,lichen1 which gives a colour similar to that of the ,lichen itself1 yellowish brown4 ,a deep red colour can be got from the dull grey friable ,lichen1 common on old stone walls4 ,the bright yellow ,lichen1 growing on rocks and walls1 and old roofs1 dyes a fine plum colour1 if the wool is mordanted first with ,bichromate of ,potash4 ,in ,sweden1 ,scotland and other countries the peasantry use a ,lichen1 called ,lecanora tartarea to furnish a red or crimson dye4 ,it is found abundantly on almost all rocks1 and also grows on dry moors4 ,it is collected in ,may and ,june1 and steeped in stale urine for about three weeks1 being kept at a moderate heat all the time4 ,the substance having then a thick and strong texture1 like bread1 and being of a blueish black colour1 is taken out and made into small cakes of about #c_/d lb4 in weight1 which are wrapped in dock leaves and hung up to dry in peat smoke4 ,when dry it may be preserved fit for use for many years2 when wanted for dyeing it is partially dissolved in warm water2 #e lbs4 of ,korkalett is considered sufficient for about #d ,scotch ells of cloth4 ,the colour produced is a light red4 ,it is used in the dyeing of yarn as well as of cloth4 ,in ,shetland1 the ,parmelia saxatilis 7,scrottyie7 is used to dye brown4 ,it is found in abundance on argillaceous rocks4 ,it is considered best if gathered late in the year1 and is generally collected in ,august4 ,linnaeus mentions that a beautiful red colour may be prepared from the ,lichen ,gyrophora pustulata4 ,g4 ,cylindrica is used by ,icelanders for dyeing woollen stuffs a brownish green colour4 ,in ,sweden and ,norway1 ,evernia vulpina is used for dyeing woollen stuffs yellow4 ,iceland ,moss1 ,cetraria ,islandica1 is used in ,iceland for dyeing brown4 ,usnea barbata is collected from trees in ,pennsylvania1 and used for an orange colour for yarn4 ,a general method for using lichens is suggested by ,dr4 ,westring of ,sweden in his ,experiments on ,lichens for ,dyeing ,wools and ,silks3 ,the ,lichens should be gathered after some days of rain1 they can then be more easily detached from the rocks4 ,they should be well washed1 dried1 and reduced to a fine powder3 #be parts of pure river water are added to #a of powdered lichen and #a part of fresh quick lime to #aj parts powdered lichen4 ,to #aj lbs4 lichen half a pound sal ammoniac is sufficient when lime and sal ammoniac are used together4 ,the vessel containing them should be kept covered for the first #b or #c days4 ,sometimes the addition of a little common salt or salt-petre will give greater lustre to the colours4 ,this method can be followed by anyone wishing to experiment with ,lichens4 ,dr4 ,westring did not use a mordant as a rule4 ,where the same species of ,lichen grows on both rocks and trees1 the specimens taken from rocks give the better colours4 ,,orchil ,,or ,,archil ,,and ,,cudbear are substantive or non mordants dyes1 obtained from ,lichens of various species of ,roccella growing on rocks in the ,canary ,islands and other tropical and sub-tropical countries4 ,they used to be made in certain parts of ,great ,britain from various lichens1 but the manufacture of these has almost entirely disappeared4 ,they have been known from early times as dyes4 ,they give beautiful purples and reds1 but the colour is not very fast4 ,the dye is produced by the action of ammonia and oxygen upon the crushed ,lichens or weeds as they are called4 ,the early way of producing the colour was by treating the ,lichen with stale urine and slaked lime and this method was followed in ,scotland4 ,orchil is applied to wool by the simple process of boiling it in a neutral or slightly acid solution of the colouring matter4 #c ,sulphuric acid is a useful combination4 ,sometimes alum and tartar are used4 ,it dyes slowly and evenly4 ,it is used as a bottom for ,indigo on wool and also for compound shades on wool and silk4 ,for cotton and linen dyeing it is not used4 ,it is rarely used by itself as the colour is fugitive1 but by using a mordant of tin1 the colour is made much more permanent4 ,many of the ,british lichens produce colours by the same treatment as is used for producing ,orchil4 ,large quantities were manufactured in ,scotland from lichens gathered in the ,shetlands and ,western ,highlands4 ,this was called ,cudbear4 ,the ,species used by the ,scottish ,cudbear makers were generally ,lecanora tartarea and ,urceolaria calcarea2 but the following lichens also give the purple colour on treatment with ammonia3--,evernia prunastri1 ,lecanora pallescens1 ,umbilicaria vellea1 ,u4 pustulata1 ,parmelia perlata4 ,several others give colours of similar character1 but of little commercial value4 ,the manufacture of ,archil and ,cudbear from the various lichens is simple in principle4 ,in all cases the plant is reduced to a pulp with water and ammonia1 and the mass kept at a moderate heat and allowed to ferment1 the process taking two or three weeks to complete4 ,,recipes ,,for ,,dyeing ,,with ,,lichens ,to dye ,brown with ,crotal4 ,for #f-a_/d lbs4 7#ajj ozs47 of wool4 ,dye baths may be used of varying strengths of from #aj to #ej ozs4 of ,crotal4 ,raise the bath to the boil1 and boil for an hour4 ,a light tan shade is got by first dipping the wool in a strong solution of ,crotal1 a darker shade by boiling for half-an-hour1 and a dark brown by boiling for two hours or so4 ,it is better1 however1 to get the shade by altering the quantity of ,crotal used4 ,the addition of sufficient oil of vitriol or acetic acid to make the bath slightly acid will be an improvement 7a very small quantity should be used74 ,to dye red with ,crotal4 ,gather the lichen off the rocks--it is best in winter4 ,put layers of lichen and wool alternately in a pot1 fill up with water and boil until you get the desired tint4 ,too much crotal will make the wool a dark red brown1 but a very pretty terra cotta red can be got4 ,no mordant is required4 ,to dye ,pink from a bright yellow ,lichen 7,parmelia parietina74 ,mordant the wool with #c of ,bichromate of ,potash1 then boil with the lichen for #a hour or more4 ,to dye ,brown from ,crotal4 ,boil the wool with an equal quantity of lichen for #a or #a-a_/b hours4 ,no mordant is required4 ,to dye red purple from ,cudbear and ,logwood4 ,dye with equal quantities of ,cudbear and ,logwood1 the wool having been mordanted with chrome4 ,a lighter colour is got by dyeing with #h lbs4 cudbear1 #a_/b lb4 logwood 7for #cj lbs4 wool74 ,to dye ,yellow on ,linen with the ,lichen ,peltigera canina 7a large flat lichen growing on rocks in woods74 ,mordant with alum 7#a_/d lb4 to a lb4 of linen7 boil for #b hours4 ,then boil up with sufficient quantity of the lichen till the desired colour is got4 ,,list ,,of ,,lichens ,,used ,,by ,,the ,,peasantry ,,of ,,different ,,countries ,,for ,,wool ,,dyeing,d ,,shades ,,of ,,red1 ,,purple ,,and ,,orange ,borrera ashney4 ,chutcheleera4 ,india4 ,conicularia aculeata4 var4 spadicea4 ,brown prickly cornicularia4 ,canary ,islands1 ,highland ,mountains4 ,evernia prunastri4 ,ragged hoary ,lichen4 ,stag's horn ,lichen4 ,found in ,scotland on trees4 ,isidium corallinum4 ,white crottle4 ,on rocks in ,scotland4 ,i4 ,westringii4 ,westring's ,isidium4 ,norway and ,sweden4 ,lecanora tartarea4 ,crotal1 ,crottle1 ,corkur1 ,corcir1 ,korkir4 ,found in the ,scotch ,highlands and ,islands1 growing on rocks2 used for the manufacture of ,cudbear in ,leith and ,glasgow4 ,l4 parella4 ,light ,crottle1 ,crabs ,eye ,lichen4 ,found in ,scotland1 ,france and ,england1 on rocks and trees2 formerly celebrated in the ,south of ,france in the making of the dye called ,orseille d',auvergne4 ,l4 haematomma4 ,bloody spotted lecanora1 ,black lecanora4 ,found in ,scotland on rocks and trees4 ,lecidea sanguinaria4 ,red fruited lecidea4 ,in ,scotland1 on rocks4 ,nephroma parilis4 ,chocolate coloured nephroma4 ,scotland1 on stones4 ,said to dye blue4 ,parmelia caperata4 ,stone ,crottle1 ,arcel4 ,found in ,north of ,ireland and ,isle of ,man1 on trees4 ,said to dye brown1 orange lemon and yellow4 ,p4 conspersa4 ,sprinkled parmelia4 ,found growing on rocks in ,england4 ,p4 omphalodes4 ,black ,crottle1 ,cork1 ,corker1 ,crostil or ,crostal 7,scotch ,highlands74 ,arcel 7,ireland74 ,kenkerig 7,wales74 ,alaforel leaf 7,sweden74 ,found on rocks1 especially ,alpine1 in ,scotland1 ,ireland1 ,wales and ,scandinavia4 ,one of the most extensively used dye lichens4 ,it yields a dark brown dye readily to boiling water1 and it is easily fixed to yarns by simple mordants4 ,it is stated to yield a red1 crimson or purple dye4 ,p4 saxatilis4 ,crottle1 stane-raw1 ,staney-raw 7,scotland74 ,scrottyie 7,shetland74 ,sten-laf1 ,sten-mossa 7,norway and ,sweden74 ,found on rocks and stones in ,scotland1 ,shetland1 and ,scandinavia4 ,in winter the ,swedish peasantry wear home made garments dyed purple by this ,lichen4 ,by the ,shetlanders it is usually collected in ,august1 when it is considered richest in colouring matter4 ,ramalina farinacea4 ,mealy ramalina4 ,on trees in ,england4 ,r4 scopulorum4 ,ivory-like ramalina4 ,scotland1 on maritime rocks4 ,a red dye4 ,rocella tinctoria4 ,orseille4 ,grows in the ,south of ,france1 on the rocks by the sea4 ,solorina crocea4 ,saffron yellow solorina4 ,in ,scotland1 on mountain summits4 ,the colouring matter is ready formed and abundant in the thallus4 ,sticta pulmonacea4 ,on trees4 ,umbilicaria pustulata4 ,blistered umbilicaria4 ,found on rocks in ,norway and ,sweden4 ,urceolaria calcarea4 ,corkir1 ,limestone ,urceolaria4 ,found in ,scotland1 ,western ,islands1 ,shetland and ,wales1 growing on limestone rocks4 ,u4 cinerea4 ,greyish ,urceolaria4 ,in ,england1 on rocks4 ,u4 scruposa4 ,rock ,urceolaria4 ,grows on rocks in hilly districts in ,england4 ,usnea barbata4 ,bearded ,usnea4 ,pennsylvania and ,south ,america4 ,on old trees4 ,stated to dye yarn orange4 ,u4 florida4 ,flowering ,usnea4 ,pale greenish yellow or reddish brown4 ,u4 plicata4 ,plaited ,usnea4 ,on trees4 ,,shades ,,of ,,brown ,alectoria jubata4 ,horsehair ,lichen1 ,rock hair4 ,on fir trees in ,england4 ,pale greenish brown4 ,borrera flavicans4 ,yellow borrera4 ,on trees in ,germany4 ,gamboge yellow4 ,cetraria ,islandica4 ,iceland moss4 ,iceland heaths and hills4 ,it yields a good brown to boiling water1 but this dye appears only to have been made available in ,iceland4 ,cetraria juniperina4 ,en-mossa4 ,on trees in ,scandinavia4 ,evernia flavicans4 ,wolf's-bane evernia4 ,on trees in ,scandinavia4 ,gamboge yellow4 ,gyrophora cylindrica4 ,cylindrical gyrophora4 ,on rocks in ,iceland4 ,greenish brown4 ,also ,g4 deusta4 ,g4 deusta4 ,scorched-looking gyrophora4 ,on rocks in ,scandinavia4 ,linnaeus states that it furnishes a paint called ,tousch1 much used in ,sweden4 ,lecanora candelaria4 ,ljus massa4 ,on trees in ,sweden4 ,lecidea atro-virens4 ,map lichen4 ,on rocks1 ,scandinavia4 ,lepraria chlorina4 ,brimstone coloured lepraria4 ,scandinavia1 on rocks4 ,l4 ,iolithus4 ,viol-massa4 ,sweden1 on stones4 ,gives stones the appearance of blood stains4 ,parmelia omphalodes4 ,in ,scandinavia and ,scotland4 ,withering asserts it yields a purple dye1 paler1 but more permanent1 than orchil2 which is prepared in ,iceland by steeping in stale lye1 adding a little salt and making it up into balls with lime4 ,p4 parietina4 ,common yellow wall lichen1 ,wag-massla ,wag-laf4 ,england and ,sweden1 on trees1 rocks1 walls1 palings4 ,used to dye ,easter eggs4 ,used in ,sweden for wool dyeing4 ,p4 physoides4 ,dark crottle1 ,bjork-laf4 ,found in ,sweden1 ,scotland and ,scandinavia1 on rocks and trees4 ,sticta pulmonacea4 ,oak lung1 ,lungwort1 ,aikraw ,hazelraw1 ,oak-rag1 ,hazel crottle1 ,rags4 ,found on trees in ,england1 ,scotland1 ,north of ,ireland1 ,scandinavia4 ,it dyes wool orange and is said to have been used by the ,herefordshire peasantry to dye stockings brown4 ,some species yield beautiful saffron or gamboge coloured dyes1 e4g4 ,s4 flava crocata1 aurata4 ,s4 scrobiculata4 ,aik-raw1 ,oak rag4 ,found on trees in ,scotland and ,england4 ,,footnotes3 ,footnote ,d3 ,from an article by ,dr4 ,lauder ,lindsay on ,the ,dyeing ,properties of ,lichens4 ,the ,edinburgh ,philosophical ,journal1 ,july to ,october1 #ahee4 ,,chapter ,v ,,blue ,,indigo1 ,,woad1 ,,logwood ,,indigo ,indigo is the blue matter extracted from a plant ,indigofera tinctoria and other species1 growing in ,asia1 ,south ,america and ,egypt4 ,it reaches the market in a fine powder1 which is insoluble in water4 ,there are two ways of dyeing with ,indigo4 ,it may be dissolved in sulphuric acid or oil of vitriol1 thereby making an indigo extract4 ,this process was discovered in #agdj4 ,it gives good blue colours but is not very permanent1 darker colours are more so than the paler4 ,it does not dye cotton or linen4 ,the other method is by the ,indigo vat process which produces fast colours but is complicated and difficult4 ,in order to colour with indigo it has to be deprived of its oxygen4 ,the deoxidized indigo is yellow and in this state penetrates the woollen fibre2 the more perfectly the indigo in a vat is deoxidized1 the brighter and faster will be the colour4 ,for wool dyeing the vats are heated to a temperature of #ej deg4,c4 ,cotton and linen are generally dyed cold4 ,,to ,,make ,,extract ,,of ,,indigo #a lb4 oil of vitriol 7pure1 not commercial74 #b oz4 finely ground ,indigo4 #a_/b oz4 precipitated chalk4 ,mix a little of the indigo with a small quantity of oil of vitriol1 add a little chalk and stir well4 ,go on mixing gradually till all is used up4 ,this should take an hour or two4 ,stir a few times each day for #d or #e days1 adding about #a_/b oz4 more of chalk by degrees4 ,it is best mixed in a glass stoppered bottle or jar1 and stirred with a glass rod4 ,it must be kept from the air4 ,,indigo ,,extract 7#d to #f lbs4 wool74 ,mordant,e #be ,alum4 ,stir #b to #c ozs4 ,indigo extract into the water of dye bath4 ,the amount is determined by the depth of shade required4 ,when warm1 enter the wool and bring slowly to boiling point 7about #a_/b an hour7 and continue boiling for another #a_/b hour4 ,by keeping it below boiling point while dyeing1 better colours are got1 but it is apt to be uneven4 ,boiling levels the colour but makes the shade greener4 ,this is corrected by adding to the dye bath a little logwood1 #aj to #bj per cent which should be boiled up separately1 strained1 and put in bath before the wool is entered2 too much logwood dims the colour4 ,instead of logwood a little madder is sometimes used2 also ,cudbear or ,barwood4 ,,indigo ,,vat 7,,tin7 ,,for ,,wool ,to #b quarts of water add #a_/d lb4 lime1 and make hot4 ,then add #a oz4 indigo pounded up with a little of the lime water2 let it stand and get warmer4 ,pound up #a_/b oz4 tin1 ,stannous ,chloride1 in a little lime water and add1 together with #a_/b oz4 zinc4 ,add more lime water or tin according to the state of the vat4 ,there should be a streaky scum on the surface1 and the water underneath clear with a green tinge4 ,pearl ash can be used instead of lime4 ,,hydrosulphite-,,soda ,,vat ,,for ,,wool #b ozs4 powdered indigo4 #g fluid ozs4 ,caustic ,soda solution 7,,sg #a4b74 #d pints ,sodium ,hydrosulphite 7,,sg #a4a74 ,the ,stock ,solution4--,take #b ozs4 of well pounded indigo1 with enough warm water 7#abj deg4,f47 to make a paste1 and grind in a pestle and mortar for #aj minutes4 ,empty into a saucepan1 capacity #a gallon4 ,take #ab fluid ozs4 of water adding gradually #c ozs4 of commercial caustic soda #gf per cent4 ,this will give a solution of ,,sg #a4b1 which can be tested with a hydrometer reading from #ajjj to #bjjj1 the #ajjj representing ,,sg #a as for water4 ,next take #e pints water1 add hydrosulphite slowly1 stirring gently until a reading of #aajj is shown 7,,sg #a4a7 on the hydrometer4 ,if the hydrosulphite be weighed beforehand and the stock of the same be kept free from damp air1 or great heat1 for future vats the hydrometer can be dispensed with2 it is simply weighed out and added slowly to the water4 ,if added too quickly the hydrosulphite will cake1 fall to the bottom and be difficult to dissolve4 ,to the saucepan containing the indigo 7#ajj per cent7 add #g fluid ozs4 of the caustic soda solution1 then gradually add #c-a_/b pints of hydrosulphite solution1 stirring gently for #ae to #bj minutes4 ,heat the saucepan to #abj deg4,f4 and on no account to more than #adj deg4,f4--overheating will ruin the ,stock ,solution--let it stand for half an hour1 then test with a strip of glass4 ,this should show a perfectly clear golden yellow colour 7turning blue in #de secs4 approx471 free from spots4 ,if dark spots show1 this indicates undissolved indigo1 therefore gradually add hydrosulphite solution 7#b-c fluid ozs474 ,wait #ae mins4 and test with glass strip2 if incorrect continue this every #ae minutes until the glass indicates clear yellow4 ,if the ,stock ,solution is greenish white and turbid1 undissolved indigo white is present4 ,add then not more than a teaspoonful at a time caustic soda solution until the ,stock ,solution answers the glass test4 ,the ,dye ,vat should contain about #aj gallons of water heated to hand hot1 #abj deg4 and not above #adj deg4,f4 ,add #c ozs4 of hydrosulphite solution stirring carefully1 let it stand for #bj minutes2 this renders harmless any undissolved oxygen4 ,add a small cupful of the ,stock ,solution1 stir carefully without splashing4 ,the vats should be greenish yellow and should not feel slimy1 an indication of too much caustic4 ,the vat is now ready to dye and is kept at #abj deg4 to #adj deg4,f4 ,between dips add ,stock ,solution as required1 if the vat goes blue and turbid add #c to #d fluid ozs4 of hydrosulphite and warm up to #adj deg4,f4 and wait #cj minutes4 ,as a last resort add caustic soda solution very gradually4 ,this should not be required if the ,stock ,solution is properly prepared4 ,start to dye with weak vats1 #bj to #dj minute dips1 and finish with stronger vats4 ,the more dips given to obtain a fixed shade1 the faster will be the yarn to washing and rubbing4 ,the yarn must be oxidized by exposure to the air for the same length of time as dipped4 ,after the final dip1 pass the yarn through a #aj gallon bath of water to which is added #c ozs4 of sulphuric acid1 pure or hydrochloric4 ,this neutralizes the caustic used4 ,wash yarn at least twice in water4 ,improvement of ,defective ,indigo ,vat ,dyes4 ,if1 after washing until clear1 the yarn should rub off badly1 there is but one remedy4 ,wash same in ,fuller's earth1 and if the shade is then too pale1 re-dye4 ,if1 through bad management of the vats1 the yarn is dull1 pass the yarn through a hot bath 7#ajj water1 #a acetic acid7 and wash in two waters4 ,if yarn is streaky1 take #aj gallons of water at #abj deg4,f41 #a oz4 of hydrosulphite powder1 #b fluid ozs4 liquid ammonia fort4 #hhj1 and let yarn lie in same for #fj minutes4 ,wash in two waters4 ,the following facts should be carefully noted3-- ,the ,caustic ,soda is the alkali which dissolves the ,indigo ,white4 ,the ,hydrosulphite reduces the ,indigotine in the ,indigo to ,indigo ,white4 ,indigo ,white is fixed on the yarn as ,indigo ,white and on exposure to the air becomes blue4 ,the yarn1 on removal from the vat1 should come out greenish yellow or a greenish blue4 ,the latter is for blue yarn and should not turn blue too quickly 7allow #fj seconds at least74 ,rest the vats for #a hour after #c hours work4 ,never hurry the vats4 ,it is a good thing to have hydrosulphite slightly in excess as this prevents premature oxidization2 too much will strip off the indigo white already deposited on the yarn4 ,caustic ,soda must always be used with the greatest caution or the yarn will be tendered and ruined4 ,finally1 unless the yarn is completely scoured it is impossible to obtain a clear colour1 or a blue which will not rub off4 ,the figures given are for ,indigo bearing #ajj ,indigotine1 therefore in using vegetable ,indigo do not add all the ,caustic or ,hydrosulphite1 but depend on the glass test rather than on measurements4 ,,woad ,woad is derived from a plant1 ,isatis tinctoria1 growing in the ,north of ,france and in ,england4 ,it was the only blue dye in the ,west before ,indigo was introduced from ,india4 ,since then woad has been little used except as a fermenting agent for the ,indigo vat4 ,it dyes woollen cloth a greenish colour which changes to a deep blue in the air4 ,it is said to be inferior in colour to indigo but the colour is much more permanent4 ,the leaves when cut are reduced to a paste1 kept in heaps for about fifteen days to ferment1 and then are formed into balls which are dried in the sun2 these have a rather agreeable smell and are of a violet colour4 ,these balls are subjected to a further fermentation of nine weeks before being used by the dyer4 ,when woad is now used it is always in combination with indigo1 to improve the colour4 ,even by itself1 however1 it yields a good and very permanent blue4 ,it is not now known how the ancients prepared the blue dye1 but it has been stated 7,dr4 ,plowright7 that woad leaves when covered with boiling water1 weighted down for half-an-hour1 the water then poured off treated with caustic potash and subsequently with hydrochloric acid1 yield a good indigo blue4 ,if the time of infusion be increased1 greens and browns are obtained4 ,it is supposed that woad was vitrum the dye with which ,caesar said almost all the ,britons stained their bodies4 ,it is said to grow near ,tewkesbury1 also ,banbury4 ,it was cultivated till quite lately in ,lincolnshire4 ,there were four farms in #ahif2 one at ,parson ,drove1 near ,wisbech1 two farms at ,holbeach1 and one near ,boston4 ,indigo has quite superseded it in commerce4 ,,logwood 7,bois de ,campeche1 ,campeachy ,wood7 ,logwood is a dye wood from ,central ,america1 used for producing blues and purples on wool1 black on cotton and wool1 and black and violet on silk4 ,it is called by old dyers one of the ,lesser ,dyes1 because the colour was said to lose all its brightness when exposed to the air4 ,but with proper mordants and with careful dyeing this dye can produce fast and good colours4 ,queen ,elizabeth's government issued an enactment entirely forbidding the use of logwood4 ,the person so offending was liable to imprisonment and the pillory4 ,the principal use for logwood is in making blacks4 ,the logwood chips should be put in a bag and boiled for #bj minutes to #a_/b an hour1 just before using4 ,,recipes for ,,dyeing with ,,logwood 7#a74 ,,black ,mordant the wool for #a to #a-a_/b hours with #c per cent ,chrome and #a per cent ,sulphuric ,acid4 ,wash and dye in separate bath for #a to #a-a_/b hours with #ej per cent ,logwood4 ,this gives a blue black4 ,a dead black is got by adding #e per cent ,fustic to the dye bath4 ,a green black by adding more fustic4 ,also by adding #c to #d per cent ,alum to the mordanting bath a still greener shade can be obtained4 ,a violet black is produced by adding #b per cent ,stannous ,chloride to the dye bath and continue boiling for #bj minutes4 7#b74 ,,lavender ,mordant with #c per cent ,bichromate of ,potash for #de minutes and wash4 ,dye with #b per cent madder1 #a per cent logwood4 ,enter the wool1 raise to the boil and boil for #de minutes4 ,the proportion of logwood to madder can be so adjusted as to give various shades of claret to purple4 7#c74 ,a ,,fast ,,logwood ,,blue 7,highland recipe47 ,mordant with #c per cent ,bichromate of ,potash and boil wool in it for #a-a_/b hours4 ,wash and dry wool4 ,make a bath of #ae to #bj per cent logwood with about #c per cent chalk added to it4 ,boil the wool for #a hour1 wash and dry4 ,the wool can be greened by steeping it all night in a hot solution of heather till the desired tint is obtained4 7#d74 ,,raven ,,grey ,,for ,,wool ,mordant with #be per cent ,alum for #a_/b hour at boiling heat2 then take it out1 add to the same liquor #e per cent copperas1 and work it at boiling heat for #a_/b hour4 ,then wash4 ,in another copper1 boil #ej per cent logwood chips for #bj minutes4 ,put the wool into this for #a_/b hour2 then return it into the alum and copperas for #aj to #ae minutes4 ,wash well4 7#e74 ,,dark ,,red ,,purple ,,with ,,logwood 7#b-a_/b lbs47 ,mordant with #be per cent alum and #a per cent cream of tartar for #a hour4 ,let cool in the mordant1 then wring out and put away for #d to #e days4 ,dye with #fj per cent logwood and #be per cent madder4 ,boil up the logwood and madder in a separate bath and pour through a sieve into the dye bath4 ,enter the wool when warm and bring to the boil4 ,boil from #a_/b hour to #a-a_/b hours4 ,wash thoroughly in soft water4 7#f7 ,,purple 7,for #a lb47 ,mordant wool with #a_/d lb4 alum and #a_/b oz4 tartar for one hour2 wring out and put away in a bag for some days4 ,dye with #a_/d lb4 logwood for #a hour4 ,,footnotes3 ,footnote ,e3 ,if the ,extract is used alone1 a mordant is not essential4 ,,chapter ,,vi ,,red ,,kermes ,,cochineal ,,madder ,,kermes ,kermes1 or ,kerms1 from which is got the ,scarlet of ,grain of the old dyers1 is one of the old insect dyes4 ,it is considered by most dyers to be the first of the red dyes1 being more permanent than cochineal and brighter than madder4 ,in the #ajth century it was in general use in ,europe4 ,the reds of the ,gothic tapestries were dyed with it1 and are very permanent1 much more so than the reds of later tapestries1 which were dyed with cochineal4 ,bancroft says ,the ,kermes red or scarlet1 though less vivid1 is more durable than that of cochineal4 ,the fine blood-red seen at this time on old tapestries in different parts of ,europe1 unfaded1 though many of them are two or three hundred years old1 were all dyed from ,kermes1 with the aluminous basis1 on woollen yarn4 ,kermes consists of the dried bodies of a small scale insect1 ,coccus ilicis1 found principally on the ilex oak1 in the ,south of ,europe1 and still used there4 ,william ,morris speaks of the ,al-kermes or coccus which produces with an ordinary aluminous mordant a central red1 true vermilion1 and with a good dose of acid a full scarlet1 which is the scarlet of the ,middle ,ages1 and was used till about the year #afef1 when a ,dutch chemist discovered the secret of getting a scarlet from cochineal by the use of tin1 and so produced a cheaper1 brighter and uglier scarlet4 ,kermes is employed exactly like cochineal4 ,it has a pleasant aromatic smell which it gives to the wool when dyed with it4 ,,cochineal ,the dried red bodies of an insect 7,coccus ,cacti7 found in ,mexico are named ,cochineal4 7#a74 ,,purple1 ,,crimson ,,and ,,scarlet 7,for #a lb4 wool47 ,mordant with ,bichromate of ,potash 7#c74 ,dye for #a to #b hours with #c oz4 to #f oz4 cochineal4 ,with alum mordant 7#be7 a crimson colour is got4 ,with tin mordant 7#aj7 a scarlet4 ,with iron mordant 7#f7 a purplish slate or lilac4 7#b74 ,,scarlet ,mordant with #f per cent ,stannous ,chloride and #d per cent ,cream of ,tartar1 boiling #a hour4 ,dye with #ae to #bj per cent ,cochineal1 boil for #a hour4 ,enter in both mordant and dye bath1 cool1 and raise slowly to the boil4 ,to obtain a yellow shade of scarlet1 a small quantity of ,flavin1 ,fustic1 or other yellow dye may be added to the dye bath4 7#c74 ,,scarlet 7#a lb47 ,into the same bath1 put #a oz4 tin1 #a_/h oz4 oxalic acid1 #d oz4 cochineal4 ,enter silk and boil for #a hour4 ,with less oxalic acid1 a less scarlet colour will be obtained4 7#d74 ,,crimson ,mordant with #bj per cent alum or with #ae per cent alum and #e per cent ,tartar4 ,dye in separate bath1 after well washing1 with #h to #ae per cent cochineal4 ,boil #a hour4 ,a slight addition of ammonia to the dye bath renders the shade bluer4 7#e74 ,,rose ,,red 7#a lb47 ,mordant with ,alum4 ,dye with #b oz4 ,madder1 #b-a_/b ozs4 ,cochineal1 #a_/d oz4 ,oxalic ,acid and #a_/b oz4 tin4 7#f74 ,,purple 7for #e lbs47 ,mordant with #c ozs4 ,chrome4 ,wash4 ,dye for #b to #c hours with #ac ozs4 ,cochineal1 which has been boiled for #aj minutes before entering wool4 ,a tablespoonful of vinegar added to the dye bath helps the colour4 ,wash thoroughly4 ,,madder ,madder consists of the ground-up dried roots of a plant ,rubia tinctorum1 cultivated in ,france1 ,holland and other parts of ,europe1 as well as in ,india4 ,madder is one of the best and fastest dyes4 ,it is used also in combination with other dyes to produce compound colours4 ,the gradual raising of the temperature of the dye bath is essential in order to develop the full colouring power of madder2 long boiling should be avoided1 as it dulls the colour4 ,if the water is deficient in lime1 brighter shades are got by adding a little ground chalk to the dye bath1 #a to #b per cent4 ,madder is difficult to dye as it easily rubs off and the following points should be noted4 7#a74 ,the baths should be quite clean4 ,rusty baths must not be used4 7#b74 ,before dyeing1 the wool must be thoroughly washed so as to get rid of all superfluous mordant4 7#c74 ,a handful of bran to the pound of wool1 helps to brighten the colour4 7#d74 ,the wool should be entered into a tepid dye bath and raised to boiling in #a hour and boiled for #aj minutes or less4 7#a7 ,,red ,mordant with #a_/d lb4 ,alum to the pound of wool4 ,boil for #a hour1 let cool in mordant1 wring out and put away in bag for #c or #d days4 ,wash very thoroughly4 ,then dye with #e to #h ozs4 madder according to depth of colour required1 and a handful of bran for every pound of wool4 ,enter in cool bath and bring slowly to the boil in an hour or more4 ,boil for a few minutes4 7#b7 ,,rose ,,red ,mordant with ,alum4 ,dye with #d to #d-a_/b ozs4 madder to lb4 wool and a very small quantity of logwood 7#a_/b oz4 to #a oz4 to #c or #d lbs4 of wool74 7#c7 ,,brown 7#a lb47 ,mordant with #b-a_/b ozs4 ,copper ,sulphate4 ,dye with #b ozs4 to #d ozs4 ,madder according to depth of colour required4 ,for yellow brown add a small quantity of fustic 7#a_/d oz4 to the lb47 7#d7 ,,red ,,brown ,mordant wool with #c ,chrome 7see p4 #i71 wash well and dye with #e to #h ozs4 madder1 bringing slowly to the boil1 and boil for #a hour4 ,various shades of brownish red can be got by a mixture of madder1 fustic and logwood with a ,chrome mordant in varying proportions such as #bh per cent ,madder1 #ab per cent ,fustic1 #a per cent ,logwood for a brownish claret4 #e per cent ,madder1 #d per cent ,fustic1 #a_/b per cent ,logwood for tan4 ,,brazil ,,woods ,various leguminous trees1 including lima1 sapan and peach wood1 dye red with alum and tartar1 and a purplish slate colour with bichromate of potash4 ,some old dyers use ,brazil wood to heighten the red of madder4 ,,camwood1 ,,barwood1 ,,sandalwood1 or ,,sanderswood1 are chiefly used in wool dyeing1 with other dye woods 7such as ,old ,fustic1 and logwood7 for browns4 ,they dye good but fugitive red with bichromate of potash1 or alum4 ,,chapter ,,vii ,,yellow ,,weld ,,old ,,fustic ,,turmeric ,,quercitron ,,dyer',s ,,broom ,,heather ,,and ,,other ,,yellow ,,dyes ,weld1 ,reseda luteola1 is an annual plant growing in waste places4 ,the whole plant is used for dyeing except the root4 ,it is the best and fastest of the yellow natural dyes4 ,the plant is gathered in ,june and ,july1 it is then carefully dried in the shade and tied up in bundles4 ,when needed for dyeing it is broken into pieces or chopped finely1 the roots being discarded1 and a decoction is made by boiling it up in water for about #c_/d hour4 ,it gives a bright yellow with alum and tartar as mordant4 ,with chrome it yields an old gold shade2 with tin it produces more orange coloured yellows2 with copper and iron1 olive shades4 ,the quantity of weld used must be determined by the depth of colour required4 ,two per cent of stannous chloride added to the mordant gives brilliancy and fastness to the colour4 ,bright and fast orange yellows are got by mordanting with #h per cent stannous chloride instead of alum4 ,with #f per cent copper sulphate and #h per cent chalk1 weld gives a good orange yellow4 ,wool mordanted with #d per cent of ferrous sulphate and #aj per cent tartar and dyed in a separate bath with weld with #h per cent chalk1 takes a good olive yellow4 #h per cent of alum is often used for mordant for weld4 ,a little chalk added to the dye bath makes the colour more intense2 common salt makes the colour richer and deeper4 ,weld is of greater antiquity than most1 if not all1 other natural yellow dyes4 ,it is cultivated for dyeing in ,france1 ,germany and ,italy4 ,it is important as it dyes silk with a fast colour4 7#a7 ,,old ,,gold ,mordant with #b per cent chrome and dye with #fj per cent of weld in a separate bath4 #c per cent chalk adds to intensity of colour4 7#b7 ,,yellow ,mordant with alum1 and dye with #a lb4 of weld for every pound of wool4 ,common salt deepens the colour4 ,if alum is added to the dye bath1 the colour becomes paler and more lively4 ,sulphate of iron inclines it to brown4 7#c7 ,,orange ,mordant with alum with a little weld in the bath4 ,dye with weld4 ,add teaspoonful of tin to the dye bath4 ,boil in separate bath with #a_/d oz4 madder or cochineal to the pound4 ,,old ,,fustic ,fustic is the wood of ,morus tinctoria1 a tree of ,central ,america4 ,it is used principally for wool4 ,with ,bichromate of ,potash as mordant1 ,old ,fustic gives old gold colour4 ,with alum it gives yellow1 inclining to lemon yellow4 ,the brightest yellows are got from it by mordanting with tin4 ,with copper sulphate it yields olive colours 7#d to #e per cent copper sulphate and #c to #d per cent tartar74 ,with ferrous sulphate darker olives are obtained 7#h per cent ferrous sulphate74 ,for silk it does not produce as bright yellows as weld1 but can be used for various shades of green and olive4 ,prolonged dyeing should always be avoided1 as the yellows are apt to become brownish and dull4 ,,recipes ,,for ,,dyeing ,,with ,,old ,,fustic 7#a7 ,,old ,,gold ,boil the wool with #c to #d per cent chrome for #a to #a-a_/b hours4 ,wash1 and dye in a separate bath for #a to #a-a_/b hours at #ajj deg4,c4 with #bj to #hj per cent of old fustic4 7#b7 ,,old ,,gold ,mordant with #c per cent chrome1 for #c_/d hour and wash4 ,dye with #bd per cent fustic and #d per cent madder for #de minutes4 7#c7 ,,bright ,,yellow ,mordant wool with #h per cent of stannous chloride for #a to #a-a_/b hours1 and #h per cent of tartar4 ,wash1 and dye with #bj to #dj per cent of fustic4 7#d7 ,,greenish ,,yellow ,mordant wool with #c per cent chrome1 for #c_/d hour and wash4 ,dye with #f per cent fustic1 #cc per cent logwood4 ,boil #c_/d hour4 7#e7 ,,yellow ,mordant with #be per cent alum1 wash after laying by for #b days1 dye with #e to #f oz4 fustic to lb4 ,,turmeric ,turmeric is a powder obtained from the ground-up tubers of ,curcuma tinctoria1 a plant found in ,india and other ,eastern countries4 ,it gives a brilliant orange yellow1 but has little permanence4 ,it is one of the substantive colours and does not need any mordant4 ,cotton has a strong attraction for it1 and is simply dyed by working in a solution of ,turmeric at #fj deg4,c4 for about #a_/b hour4 ,with silk and wool it gives a brighter colour if mordanted with alum or tin4 ,boiling should be avoided4 ,it is used sometimes for deepening the colour of ,fustic or ,weld1 but its use is not recommended1 as although it gives very beautiful colours1 it is a fugitive dye4 ,,quercitron ,quercitron is the inner bark of the ,quercus ,nigra or ,q4 tinctoria1 a species of oak growing in the ,united ,states and ,central ,america4 ,it was first introduced into ,england by ,bancroft in #agge as a cheap substitute for weld4 ,he says1 ,the wool should be boiled for the space of #a or #a-a_/d hours with one sixth or one eighth of its weight of alum2 then1 without being rinsed1 it should be put into a dyeing vessel with clean water and also as many pounds of powdered bark 7tied up in bag7 as there were used of alum to prepare the wool1 which is then to be turned in the boiling liquor until the colour appears to have taken sufficiently3 and then about #a lb4 clean powdered chalk for every #ajj lbs4 of wool may be mixed with the dyeing liquor and the operation continued #h or #aj minutes longer1 when the yellow will have become both lighter and brighter by this addition of chalk4 ,flavin is extract of ,quercitron bark1 and is much used for bright yellow with tin4 ,,yellow 7#a lb47 ,mordant with alum4 ,dye with #a oz4 ,flavin4 ,,orange ,,with ,,flavin ,,or ,,quercitron 7#a lb47 ,put into bath first #a_/b oz4 ,cream of ,tartar4 ,then #c_/d oz4 tin mixed with water 7important to enter the ,tartar first74 ,enter yarn and boil for #de minutes4 ,in the meantime have mixed up #a_/b oz4 ,flavin and #a_/b oz4 to #c_/d oz4 ,cochineal 7according to depth of orange required7 with #a_/d oz4 tin with a little warm water4 ,remove yarn1 enter flavin1 madder and tin1 take off the boil1 enter yarn and stir well4 ,boil #cj minutes4 ,,barberry ,the roots and bark of ,berberis ,vulgaris is used principally for silk dyeing1 without a mordant4 ,the silk is worked at #ej deg4 to #fj deg4,c4 in a solution of the dye wood slightly acidified with sulphuric1 acetic or tartaric acid4 ,for dark shades mordant with stannous chloride4 ,,dyer',s ,,broom ,genista ,tinctoria4 ,the plant grows on waste ground4 ,it should be picked in ,june or ,july and dried4 ,it can be used with an alum and tartar mordant and gives a good bright yellow4 ,it is called greening weed and used to be much used for greening blue wool4 ,,privet ,ligustrum ,vulgare4 ,the leaves dye a good fast yellow with alum and tartar4 ,,heather ,most of the heathers make a yellow dye1 but the one chiefly used is the ,ling1 ,calluna vulgaris4 ,the tips are gathered just before flowering4 ,they are boiled in water for about half-an-hour4 ,the wool1 previously mordanted with alum or chrome according to the shade of yellow wanted1 is put into the dye bath with the boiling liquor1 which has been strained4 ,it is then covered up closely and left till the morning4 ,or the wool can be boiled in the heather liquor till the desired colour is obtained4 ,,onion ,,skins ,prepare by mordanting with alum4 ,take a sufficient quantity of onion skins and boil for #cj minutes4 ,this gives a good yellow4 ,the addition of tin will make the colour more orange4 ,,chapter ,,viii ,,brown ,,and ,,black ,,catechu ,,alder ,,bark ,,sumach ,,walnut ,,peat ,,soot ,,logwood ,,and ,,other ,,dyes ,,catechu ,catechu 7,cutch7 is an old ,indian dye for cotton4 ,it can also be used for wool and silk1 and gives a fine rich brown4 ,it is obtained from the wood of various species of ,areca1 ,acacia and ,mimosa trees4 ,bombay ,catechu is considered best for dyeing purposes4 ,catechu is soluble in boiling water4 ,it is largely used by the cotton dyer for brown1 olive1 drab1 grey and black4 7,see pp4 #df1 #dg1 #dh47 ,,light ,,grey 7,for #f lbs47 #a oz4 cutch1 #a oz4 iron4 ,boil for #a_/b an hour in the cutch1 then put into boiling iron1 being very careful to stir well4 ,wash very thoroughly4 ,these proportions can be varied according to the shade of grey required2 the more iron makes the colour browner1 the more cutch the bluer grey4 ,,catechu ,,brown ,the wool is boiled for #a to #a-a_/b hours1 with #aj to #bj per cent catechu1 then sadden with #b to #d per cent of copper sulphate1 ferrous sulphate1 or chrome1 at #ajj deg4,c41 in a separate bath for #a_/b hour4 ,,alder ,,bark ,the bark and twigs of alder are used for dyeing brown and black4 ,for #a lb4 wool use #a lb4 alder bark4 ,boil the wool with it for #b hours1 when it should be a dull reddish brown4 ,add #a_/b oz4 copper as for every pound of wool for black4 ,,sumach ,sumach is the ground up leaves and twigs of the ,rhus coraria growing in ,southern ,europe4 ,it dyes wool a yellow and a yellow brown1 but it is chiefly used in cotton dyeing4 ,,walnut ,the green shell of the walnut fruit and the root are used for dyeing brown4 ,the husks to be used for dyeing must be collected green and fresh1 then covered with water and kept from the light to prevent them oxidizing4 ,in the walnut tree there is an astringent colourless substance which gives a greenish yellow dye4 ,this has the property of absorbing oxygen from the air and turning dark brown4 ,it is only the unoxidized pale greenish stuff that can act as the dye1 the dark brown itself has no affinity for the wool4 ,acids should be added to the dye bath to prevent oxidization4 ,without a mordant the colour is quite fast1 but if the wool is mordanted with alum a brighter and richer colour is got4 ,when used they are boiled in water for #a_/d hour1 then the wool is entered and boiled till the colour is obtained4 ,long boiling is not good as it makes the wool harsh4 ,it is much used as a saddening agent2 that is1 for darkening other colours4 ,the best and most enduring blacks were done with this simple dye stuff1 the goods being first dyed in the indigo or woad vat till they were a very dark blue1 and then browned into black by means of the walnut root4--,william ,morris4 ,,peat ,,soot gives a good shade of brown to wool4 ,boil the wool for #a to #b hours with peat soot4 ,careful washing is required in several changes of water4 ,it is used sometimes for producing a hazel colour1 after the wool has been dyed with weld and madder4 ,,oak ,,bark4 ,mordant with alum and dye in a decoction of oak bark4 ,,onion ,,skins4 7,brown47 ,mordant the wool with alum4 ,drying two or three times in between makes the colour more durable4 ,dry4 ,wash4 ,boil a quantity of onion skins1 and cool2 then put in wool and boil lightly for #a_/b an hour to #a hour2 then keep warm for a while4 ,wring out and wash4 ,,black4 ,mordant with #c ,bichromate of ,potash for #de minutes4 ,dye with #a oz4 ,hematin crystals1 #c_/d oz4 madder1 #a_/b oz4 ,persian berries4 ,after boiling for #a hour remove wool and add #a_/d oz4 cream of tartar1 #a oz4 cochineal1 #c_/d oz4 iron1 #a_/b oz4 copper sulphate4 ,return wool and boil again for #a_/b hour4 ,wash in soap4 ,,various ,,recipes ,,madder for ,,brown4 7#a lb4 wool47 ,mordant with #a oz4 copperas and #a oz4 cream of tartar4 ,dye with #f ozs4 madder4 ,,madder1 etc41 for ,,french ,,brown4 ,mordant with #c per cent chrome4 ,dye with #h per cent fustic1 #b per cent madder1 #a per cent cudbear1 #b per cent tartar4 ,if not dark enough add #a per cent logwood4 ,boil for #a_/b hour4 ,wash and dry4 ,,tan ,,shade4 7#f-a_/b lbs4 wool47 ,mordant with #c ozs4 ,chrome for #de minutes and wash in cold water4 ,boil for #a_/b hour in a bag #e oz4 madder1 #d oz4 ,fustic1 #a_/b oz4 logwood4 ,enter the wool1 raise to the boil1 and boil for #de minutes4 ,by altering the proportions of madder and fustic various shades of brown can be got4 ,,greenish ,,black4 7,for #a lb47 ,mordant with #c per cent ,chrome4 ,dye with #b ozs4 ,fustic1 #b ozs4 logwood1 #a oz4 madder1 and #a oz4 copperas4 ,,dark ,,greenish-,,brown4 7#a lb47 ,mordant with #c per cent chrome4 ,dye with #b ozs4 logwood1 #d ozs4 madder1 #a oz4 fustic1 #a-a_/b ozs4 copperas4 ,boil for #a hour4 ,,chapter ,,ix ,,green ,green results from the mixing of blue and yellow in varying proportions according to the shade of colour required4 ,every dyer has his particular yellow weed with which he greens his blue dyed stuff4 ,but the best greens are undoubtedly got from weld and fustic4 ,the wool is first dyed in the blue vat2 then washed and dried2 then after mordanting1 dyed in the yellow bath4 ,this method is not arbitrary as some dyers consider a better green is got by dyeing it yellow before the blue4 ,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 colour4 ,if a bright yellow green is wanted1 then mordant with alum after the indigo bath2 if olive green1 then mordant with chrome4 ,the wool can be dyed blue for green in three different ways3--#ast in the ,indigo vat1 #bnd with ,indigo ,extract with ,alum mordant1 #crd with logwood with ,chrome mordant4 ,for a good bright green1 dye the wool a rather light blue1 then wash and dry2 ,mordant with alum1 green it with a good yellow dye1 such as weld or fustic1 varying the proportion of each according to the shade of green required4 ,heather tips1 dyer's broom1 dock roots1 poplar leaves1 saw wort are also good yellows for dyeing green4 ,if ,indigo ,extract is used for the blue1 fustic is the best yellow for greening1 its colour is less affected by the sulphuric acid than other yellows4 ,according to ,bancroft1 ,quercitron is the yellow above all others for dyeing greens4 ,he says3--,the most beautiful ,saxon greens may be produced very cheaply and expeditiously by combining the lively yellow which results from ,quercitron bark1 murio sulphate of tin and alum1 with the blue afforded by ,indigo when dissolved in sulphuric acid1 as for dyeing the ,saxon ,blue4 ,for a full bodied green he says #f or #h lbs4 of powdered bark should be put into a dyeing vessel for every #ajj lbs4 wool1 with a similar quantity of water3 ,when it begins to boil1 #f lbs4 murio-sulphate of tin should be added 7with the usual precaution7 and a few minutes afterwards #d lbs4 alum3 these having boiled #e or #f minutes1 cold water should be added1 and then as much sulphate of ,indigo as needed for the shade of green to be dyed1 stirring thoroughly4 ,the wool is then put into the liquor and stirred briskly for half an hour4 ,it is best to keep the water just at the boiling point4 ,,recipes ,,for ,,dyeing ,,green 7#a7 ,,green ,,with ,,quercitron ,,for ,,wool ,dye the wool blue in the indigo vat1 wash well4 ,for #ajj parts of wool put #c of chalk and #aj or #ab of alum4 ,boil wool in this #a hour4 ,then to same bath add #aj to #ab parts quercitron and continue boiling for #ae minutes1 then add #a part of chalk1 this addition is repeated at intervals of #f to #h minutes till a fine green is brought out4 7#b7 ,,with ,,indigo ,,extract ,,and ,,weld ,,for ,,wool ,mordant #a lb4 wool with #d ozs4 alum and #a_/b oz4 cream of tartar4 ,dye blue with sufficiency of indigo extract1 wash and dry4 ,prepare a dye bath with weld which has been previously chopped up and boiled4 ,enter wool and boil for half an hour or more4 7#c7 ,,green ,,for ,,wool ,mordant with alum and cream of tartar1 add to the mordanting bath a little weld or fustic4 ,dye with #f ozs4 fustic 7or weld74 ,dye in a separate bath with indigo extract1 a rather bluer green than is wanted4 ,then put into a yellow bath till the right shade of green is got4 7#d7 ,,grass ,,green ,for #a lb4 wool3 #a-a_/b oz4 alum1 #a_/b oz4 sulphuric acid1 #a_/b oz4 salt1 #a_/d oz4 ,tin crystals4 ,dissolve tin in separate saucepan and mix half of it with #a_/d oz4 ,flavin1 add both to the bath together with indigo extract 7#a_/b tablespoonful74 ,when hot enter yarn and boil hard for #a to #a-a_/b hours4 ,it turns a green when exposed to air4 ,wash very thoroughly4 7#e7 ,,jade ,,green 7#a lb47 ,mordant with #a_/c oz4 ,cream of ,tartar and #d oz4 ,alum for #a_/b hour4 ,take out wool and air4 ,cool bath a little and add half the amount of the indigo extract to be used 7according to shade of green required1 #a_/b oz4 indigo extract makes a good colour74 ,enter wool and stir rapidly for #e minutes or so without boiling4 ,take out wool4 ,mix in the rest of the indigo extract4 ,enter wool and boil for #aj minutes4 ,take out wool4 ,throw away a quarter of the water and add some with #c_/d oz4 fustic extract4 ,enter wool and boil for #a_/b hour to an hour4 ,,chapter ,x ,,the ,,dyeing ,,of ,,cotton ,the dyeing of cotton is difficult with the natural dye stuffs1 there are only a few colours which can be said to be satisfactory4 ,the fastest known in earlier days was ,turkey red1 a long and difficult process with madder and not very practical for the small dyer4 ,it had its origin in ,india where it is still used2 red ,indian cotton is one of the fastest colours known4 ,catechu is another excellent cotton dye used for various shades of brown1 grey and black4 ,a cold indigo vat is used for blue1 ,indigo ,extract is not used4 ,yellows can be got with weld1 flavin1 turmeric 7for which cotton has a strong attraction71 and fustic4 ,great care is to be taken in dyeing yellow as it is not very fast to light4 ,greens may be got by dyeing in the indigo vat and then with a yellow recipe1 purples from logwood with tin mordant1 but purples and greens are unsatisfactory1 and not suitable to the vegetable dyer4 ,,boiling ,,out ,before dyeing cotton in the raw state1 or in yarn spun direct from the raw state1 it must be boiled for several hours to extract its natural impurities4 ,for dark colours water alone may be used1 but for light and bright colours a weak solution of carbonate of soda1 #e2 or of caustic soda1 #b1 should be used4 ,,mordants ,alum4 ,alum 7#a_/d weight of cotton7 is dissolved in hot water with carbonate of soda crystals1 or other alkali 7#a_/d weight of alum72 work cotton in the solution1 steep for several hours or overnight4 ,then well wash4 ,aluminium acetate solution as for silk 7page #ef7 may be used4 ,after drying1 the cotton may be passed through a fixing solution of some alkali1 for examples see page #ej4 ,before mordanting with alum1 the cotton is often prepared with tannic acid4 ,iron4 ,iron is usually employed as a saddening agent1 i4e4 the cotton after dyeing is steeped in a cold solution of the mordant4 ,a further use is in dyeing black1 when the cotton1 after being prepared with tannin1 is steeped in a cold solution of ,iron4 ,this process by itself gives a dark colour before any dye is used4 ,tin4 ,tin is rarely used alone as a mordant for cotton but brightens the colour in combination with other mordants4 ,chrome4 ,chrome is used for browns and other colours with ,catechu4 ,after boiling in a solution of the dye stuff1 boil a short time in chrome solution1 this oxidizes the colouring matter of the ,catechu4 ,copper4 ,copper is sometimes added in small quantities to the dye bath for brown or yellow to vary the shade4 ,tannin 7,tannic acid74 ,cotton and linen strongly attract tannin and when prepared with it they are able to retain dyes permanently4 ,cotton saturated with tannin attracts the dye stuff more rapidly1 and holds it4 ,tannic acid is the best tannin for mordanting as it is the purest and is free from any other colouring matter2 it is1 therefore1 used for pale and bright shades4 ,but for dark shades1 substances containing tannic acid are used1 such as sumach1 myrobalans1 valonia1 divi-divi1 oak galls1 chestnut 7#h to #aj per cent tannin71 catechu4 ,cotton and linen are prepared with tannin after they have been through the required cleansing1 and1 if necessary1 bleaching operations4 ,a bath is prepared with #b to #e per cent of tannic acid of the weight of the cotton1 and a sufficient quantity of water4 ,for dark shades1 #e to #aj per cent should be used4 ,the bath is used either hot or cold4 ,it should not be above #fj deg4,c4 ,the cotton is worked in this for some time1 and then left to soak for #c to #ab hours1 while the bath cools4 ,it is then wrung out and slightly washed4 ,the following gives the relative proportions of the various substances containing tannin3--#a lb4 tannic acid equals #d lbs4 sumach1 #ah lbs4 myrobalans1 #ad lbs4 divi-divi1 #aa lbs4 oak galls4 ,examples from various recipes3 ,for #aj lbs4 cotton use #ab ozs4 tannic acid4 #ej #aj lbs4 sumach4 #dj #aj lbs4 #bj #b lbs4 yellow 7or black7 catechu4 #bj #c lbs4 catechu with #c ozs4 blue vitriol4 ,some recipes soak the cotton #bd hours1 others #dh4 ,,recipes ,,for ,,dyeing 7#a7 ,,indigo ,,vat ,take #c oz4 well ground indigo1 mix into a paste with hot water4 ,slake #c oz4 ,quicklime and boil with #f oz4 ,potash or ,soda ash in sufficient water1 let it settle1 pour off the clear liquor in which dissolve the indigo paste1 boil or keep hot #bd hours2 it should then have the consistency of thick cream1 with much froth4 ,during the boiling1 slake another #c oz4 quicklime1 boil in a pint of water for #ae minutes1 let settle1 pour off the clear liquor in which dissolve #d to #e oz4 green copperas4 ,add the indigo and copperas solutions to #e gallons water1 stir well1 let vat rest1 stir once or twice during #bd hours or until it appear ready for dyeing4 ,before use it should be stirred and let stand #b hours4 ,it should be a clear yellowish green with much scum4 ,the cotton to be dyed should be entered in dips of increasing lengths of time1 as #a1 #e1 #aj1 #bj minutes1 and aired in between1 according to depth of shade required4 ,it should then be well washed1 passing through water slightly acidulated with ,sulphuric acid 7a teaspoonful to #a gallon74 ,when this vat appears exhausted and turns a dark colour it may be revived by adding #b or #c oz4 ,green ,copperas dissolved as before4 ,when again exhausted1 more of all the ingredients must be added4 7#b7 ,,lime ,,copperas ,,vat #b oz4 ,indigo1 #d oz4 ,copperas1 #e oz4 ,quicklime 7fresh74 ,mix ,indigo into a paste with hot water4 ,dissolve copperas in hot water4 ,slake lime4 ,fill earthenware jar with about #e gallons cold water and add the ,indigo1 copperas and slaked lime in that order4 ,stir well1 cover and let stand till next day or until vat is in proper condition2 it should be clear brownish yellow with possible blue scum4 ,there will be some sediment4 ,the dyeing process is as in 7#a74 7#c7 ,,red 7,for #a lb4 cotton47 ,the ,turkey ,red process is long and difficult4 7#a7 ,boil yarn #f to #h hours in a solution of carbonate of soda1 #a-a_/b oz41 wash well and dry4 7#b7 ,prepare a solution of #b fluid ozs4 ,turkey ,red oil1 #b ozs4 carbonate of soda at #ajj deg4,f41 work cotton in this till thoroughly saturated1 wring out1 dry4 7#c7 ,repeat ,no4 #b4 7#d7 ,repeat ,no4 #b4 7#e7 ,steep #c or #d hours in solution of #a oz4 carbonate of soda at #ajj deg4,f41 wring out1 dry4 7#f7 ,repeat ,no4 #e with a slight increase of soda4 7#g7 as ,no4 #f4 7#h7 ,steep #aj hours in water at #ajj deg4,f41 dry4 ,the cotton should now be clear white4 7#i7 ,steep #d hours in solution of #a-a_/b oz4 tannic acid or #d oz4 ,galls1 at #ajj deg4,f41 wring out1 dry4 7#aj7 ,steep #bd hours in solution made by dissolving #aj oz4 alum in hot water1 and slowly adding #b-a_/b oz4 carbonate of soda crystals1 wring out and dry4 ,the cotton is now grey coloured4 7#aa7 ,dye with #b lbs4 madder4 ,bring slowly to the boil1 boil for #a hour1 a white scum on the surface denotes the cotton has absorbed all its colour4 ,a teaspoonful of chalk may be added to the dye-bath4 ,the cotton is now dark claret colour4 7#ab7 ,to brighten1 boil #c or #d hours in a solution of #a_/b oz4 carbonate of soda crystals and #a_/b oz4 soap4 ,the bath should be covered1 except for a small outlet for the steam which otherwise should be retained as much as possible4 7#ac7 ,the cotton can be further brightened by boiling with #a_/b oz4 soap and a teaspoonful of ,tin4 ,wash and dry4 7#d7 ,,red 7,for #a lb47 ,after boiling out in soda1 wash and dry4 ,steep overnight in a hot bath of #a-a_/b oz4 ,tannic acid or #d oz4 ,galls1 dry1 steep in cold solution of #a_/d lb4 alum and #a_/b oz4 chalk1 dry1 add #b oz4 more alum to solution and steep as before1 wash and dry4 ,dry with #ab oz4 ,madder1 bring to boil in #a hour and boil a few minutes1 rinse1 re-dye as above1 pass through warm soap bath1 #b oz41 wash and dry4 7#e7 ,,yellow 7,for #a lb47 ,mordant twice in ,aluminium acetate1 as described for silk 7page #gc71 or in #a_/d lb4 alum and #a-a_/b oz4 chalk1 steeping in cold solution4 ,pass through weak bath of chloride of lime1 wash1 dry4 ,dye with #b-a_/b lbs4 weld and #a_/b oz4 copper sulphate1 boil for #a hour1 then boil with soap4 ,or dye with #b to #c oz4 ,quercitron1 which should be brought slowly to the boil and boiled for a few minutes only4 7#f7 ,,yellow 7,for #a lb47 ,steep overnight in hot bath of #a-a_/b oz4 ,tannic acid1 or #d oz4 ,galls1 wring out1 dry4 ,work #b hours in bath of #a_/d lb4 alum and #a_/b oz4 chalk1 dry1 pass through weak bath of chloride of lime about #a oz41 dry4 ,return to alum bath and repeat process1 wash well1 dye slowly with #a-a_/b oz4 ,flavin4 7#g7 ,,orange 7,for #a lb47 ,boil #b oz4 ,annatto with #a oz4 carbonate of soda crystals for #a_/b hour1 then add to a bath containing a teaspoonful of ,turkey ,red ,oil1 boil for #aj minutes4 ,take off boil1 enter yarn1 boil for #a-a_/d hours1 let cool to hand heat1 remove yarn1 wash slightly and dry quickly4 7#h7 ,,brown 7,for #a lb47 ,enter in one bath #a oz4 ,cutch1 in another #a_/b oz4 ,chrome4 ,enter cotton in cutch bath1 boil #bj minutes1 wring out1 boil #aj minutes in chrome bath4 ,add #f oz4 fustic or #a oz4 flavin to cutch bath1 re-enter cotton4 ,repeat above until the required depth of colour is reached1 finish in cutch bath to obtain deepest shade1 which may be darkened by adding #a drachm or so copper sulphate4 ,a greyish drab may be got by adding ferrous sulphate4 ,all shades of brown may be obtained by decreasing or increasing the amount of cutch or by adding a little logwood or fustic1 in which latter case the cotton should have been previously mordanted4 7#i7 ,,black 7,for #a lb47 ,wash1 steep overnight in hot solution of tannic acid1 #a oz41 wring out without washing1 work for #aj minutes in soda bath1 at a temperature of #ej deg4 to #fj deg4,c41 #a-a_/d oz4 ,wring out1 work in cold solution of copperas1 #a-a_/d oz41 for #a_/b hour1 return to soda bath for #a_/d hour4 ,wash1 dye in bath of logwood #ab oz41 madder #b-a_/b oz41 and fustic #h oz4 ,enter into cold bath and raise gradually to boiling1 boil for #a_/b hour1 pass through warm solution of chrome1 #a oz41 wash1 work through warm soap bath4 ,greys may be obtained with #a to #e per cent of logwood after mordanting in a weak solution of iron4 ,,the ,,zinc-,,lime ,,indigo ,,vat ,the ,zinc-lime ,indigo ,vat4 ,it will be necessary to explain these words--,indigo blue is insoluble and cannot be used for dyeing4 ,if however it is reduced or changed to indigo white1 it has1 while it is in this form1 an affinity for vegetable and animal fibre4 ,these fibres will take it up from the solution and retain it4 ,if they are then exposed to the air1 the oxygen acts upon the indigo in the fibre and turns it back again to indigo blue4 ,various chemicals can be used to reduce indigo blue to indigo white4 ,i propose to describe how the work is done with zinc dust and lime as reducing agents4 ,in course of time the word vat has been transferred from the dyeing vessels themselves to their contents2 i4e41 the indigo dye liquor4 ,by vat1 therefore1 we understand not only the vessel used for dyeing indigo1 but the solution of alkali salts of indigo white in water4 ,this definition distinguishes the indigo vat completely from indigo extract1 or any other improper purposes to which indigo may be put4 ,the zinc lime indigo vat is better than any other for dyeing cotton and linen4 ,it is also very good for dyeing silk4 ,it has many advantages over the hydrosulphite vat1 as it is not nearly so much affected by changes of temperature and weather4 ,it can be put to work after a six months' rest4 ,the disadvantage which it shares with the copperas vat1 though in a less degree1 is that there is a sediment which must not touch the stuff during the dyeing4 ,this is avoided by hanging a net in the vat after the sediment has settled1 or by dipping the skeins on rods4 ,it is essential that the indigo used should be of the best quality1 and ground to so fine a powder that it will float on water4 ,coarsely ground indigo will never reduce and can be found at the bottom of the vat unchanged4 ,it should be so fine that no roughness is felt with the tongue4 ,buy the best quality indigo ready ground1 and if possible mixed to a paste with water4 ,a #bj paste1 i4e4 #bj of indigo and #hj of water1 is a usual quantity4 ,if indigo powder must be used it must be mixed to a paste very carefully1 as it will1 if properly ground1 fly about like dust4 ,the easiest method of mixing is to pour the required amount of boiling water into a jar 7previously heated71 then put in the indigo4 ,close the vessel tightly4 ,the steam which rises will moisten the indigo so that it loses its tendency to fly about4 ,after #aj or #ae minutes it can easily be mixed with a stick4 ,the zinc dust should be dry and not caked4 ,the lime should be in hard lumps4 ,it should be bought from a reliable chemist in a sealed container1 and kept sealed till wanted4 ,if it is crumbling and cracking it has been exposed to damp air1 and is partly slaked already1 and therefore more or less useless4 ,as the indigo is more quickly reduced in a concentrated solution1 a stock vat is first made and this is added to the dye vat as required4 ,the vessel for the stock vat should have a well-fitting lid4 ,a stoneware jar with a bung will do very well4 ,to make a stock vat sufficient to furnish a dye vat containing #ae-bj gallons use3-- #aj oz4 ,indigo #bj paste 7or #b-a_/b oz4 indigo pasted with #g-a_/b oz4 of water71 #a-a_/b oz4 zinc dust1 #d-e oz4 quick lime1 #d-e pints of water4 ,mix the zinc dust to a paste with a little of the water1 gradually add the indigo and the rest of the water4 ,the heat of the water should be not less than #afj deg4,f4 as it will cool while the lime is being prepared4 ,slake the lime in a separate vessel by pouring about #e oz4 of water over it4 ,when it begins to hiss and break1 add more water little by little4 ,when all the lumps have cracked up stir till a thick even cream is made4 ,add this to the other ingredients in the stock vat4 ,stir well4 ,the stock vat should have a temperature of #abj-adj deg4,f4 ,it should be stirred at intervals4 ,the vessel should be stood in hot water to keep the temperature as near #abj deg4,f4 as possible4 ,in about #e hours the mixture has a pure yellow colour and is ready to add to the dye vat4 7,there is of course a blue-black scum of indigo on top47 ,preparation of the dye vat4 ,the vessel used should be deep and upright so that an unnecessarily large surface is not exposed to the air1 and a sufficient space for dyeing is obtained above the sediment4 ,a galvanised dust bin1 or a barrel 7provided it is not of oak or any other wood which contains tannin71 make good indigo vats4 ,put #af gallons of water in the vat at a temperature of #fe-gj deg4,f4 ,in order to counteract the effects of the atmospheric oxygen contained in the water of the vat1 additions of zinc dust and lime are made some hours before the stock solution is added4 ,a pinch of zinc dust and an ounce of lime1 previously slaked1 should be added and the vat stirred4 ,stirring must always be done gently and smoothly1 every effort being made not to take air into the vat4 ,at the same time it must be stirred up from the bottom so that the sediment is mixed with the liquor above it4 ,the best tool for this purpose is a broom stick1 to one end of which a piece of wood is nailed1 like a garden rake4 ,when all is ready1 carry the stock solution to the dye vat1 and1 to avoid splashing through the air1 hold it in the water of the vat while gently pouring out half its contents4 ,stir up the vat and cover it until it shows a clear yellow colour under the surface of the scum4 ,this may not happen for #bd hours4 ,a good way to test the colour of the vat is to push back the scum with the edge of a saucer or plate1 then dip it halfway into the liquor4 ,against its white surface the colour of the liquor will be plainly seen4 ,it should look like good light ale4 ,if the liquor is greenish and sufficient time has elapsed1 another pinch of zinc dust and a little more lime must be added as before1 and the vat again stirred1 allowed to settle and again tested4 ,a little difficulty may be found in getting the vat to start1 but once it has worked well no difficulty will be found in starting it again4 ,it will work more easily as it gets older4 ,as indigo does not penetrate easily1 every effort must be made to help it to do so4 ,the stuff to be dyed must be thoroughly scoured so that no particle of grease1 size1 or any other impurity is present4 ,every effort must be made to prevent unreduced indigo from attaching itself to the cotton4 ,never begin to dye in a vat which is greenish4 ,the unreduced indigo will attach itself to the stuff and be wasted4 ,your time will also be wasted in washing it off4 ,the vat should be thoroughly stirred and allowed to settle each day before dyeing begins4 ,when the sediment has settled1 the froth should be carefully skimmed and kept to return to the vat when the day's dyeing is finished4 ,if a net is to be used it should be thoroughly wetted 7if everything goes into the vat wet it will take less air with it74 ,the net can be kept down by tying a few stones in a bag or an iron weight to the centre of it4 ,if the hanks are to be dipped on a rod this may be of iron1 or of wood suitably weighted4 ,the hanks should not be less than #h inches below the surface of the liquor and about #a ft4 above the bottom of the vat4 ,the hanks should be turned after each dip1 as1 if the same end goes to the bottom each time it will be darker4 ,a pulley over the vat to draw out the rod or net is convenient4 ,the dyeings can then be allowed to drain a few seconds4 ,then wring each hank1 shaking it out to get the air into it4 ,after a sufficient airing1 dip again4 ,many short dips with airing between will produce faster colours4 ,dip #a minute1 wring and air #b minutes4 ,dip #b minutes1 wring and air #d minutes4 ,dip #e minutes1 and so on4 ,as linen and cotton look so very much darker when wet than when dry1 a bit should be dried to judge if the colour is right4 ,indigo can be dyed from the palest sky blue to black4 ,the very palest shade of sky blue is never very fast4 ,the virtue which indigo alone seems to possess is that1 though it may become lighter with continual use1 it also becomes a clearer and more lovely blue4 ,this is especially so on cotton and linen1 for which it is a superb dye4 ,the varying shades of indigo of butchers' coats1 sailors' collars1 and ,french porters' blouses always give us pleasure4 ,,chapter ,,xi ,,the ,,dyeing ,,of ,,silk ,silk is covered with a natural gum which has to be removed before the dyeing process can begin4 ,this is done by boiling for one hour or more in a bath containing soap1 #b to #h ozs4 to the pound of silk according to the amount of gum on the silk4 ,it is then well washed1 and is ready for mordanting4 ,the mordants mostly used are ,alum1 for most of the bright colours4 ,tin1 for brightening some colours1 and as a separate mordant for others4 ,iron1 for black dyeing4 ,chrome1 for certain browns such as catechu4 ,the principal ,alum mordant is ,acetate of ,alumine1 prepared as follows3 ,let #c lbs4 ,alum and #c ozs4 chalk be dissolved in #a gallon of warm water in an earthenware pan1 add the chalk slowly to the ,alum4 ,add #b lbs4 white acetate of lead1 stir occasionally during #bd to #cf hours4 ,let it remain #ab hours at rest4 ,decant and preserve the clear liquor1 being careful not to stir up the sediment4 ,pour #b gallons of water on the sediment1 and stir occasionally for #ab hours4 ,let it rest #ab hours4 ,decant the clear and add to the first lot4 ,bottle for use4 ,it keeps about three weeks4 ,of the mordant #b parts are diluted with #a of water1 and the silk is well worked in this for #aj minutes1 after being wetted down4 ,steep for #ab hours1 wring out and dry4 ,wet down again and return to the ,alum liquor1 work for #aj minutes1 steep #ab hours1 dry4 ,when thoroughly dry1 wash well in several changes of water before dyeing4 ,for less bright colours one mordanting may be sufficient4 ,the mordant is used for successive batches of silk until exhausted2 the fresher the mordant1 the better for brighter colours4 ,silk should be dyed as soon after it is dried as is convenient4 ,another ,alum mordant4 ,dissolve #be per cent of ,alum in hot water and add #f per cent carbonate of soda crystals4 ,fill up a jar with water and steep silk in it over-night4 ,it must be washed before dyeing4 ,,recipes ,,for ,,dyeing 7#a7 ,,indigo ,,vat ,,for ,,blue ,silk is dyed in a similar manner as described for wool1 but requires stronger vats and longer dips to obtain the same depth of colour4 ,see page #cc4 7#b7 ,,indigo ,,extract ,,for ,,blue ,dye at a temperature of #dj to #ej deg4,c4 with as much ,indigo ,extract dissolved in the bath as is required for the desired depth of shade4 ,if the silk has been first mordanted with alum1 compound colours can be obtained by the addition of a red or yellow dye to the bath4 7#c7 ,,crimson ,mordant with ,alum or ,aluminium ,acetate and dye with #dj to #ej per cent ,cochineal4 ,a teaspoonful of ,tin1 dissolved in cold water1 may be added to brighten4 ,boil well4 ,it is advisable to wash in soap after using tin as it prevents the latter making the yarn brittle4 7#d7 ,,madder ,,red ,mordant with ,alum or ,aluminium ,acetate4 ,dye with #hj to #ajj per cent ,madder and a handful of bran per pound of silk4 ,bring slowly to the boil in #a hour1 boil a few minutes4 ,it should be brightened by boiling a short time in soap1 with a little tin4 7#e7 ,,yellow ,mordant with ,alum or ,aluminium ,acetate4 ,various ,dyes may be used4 ,weld3 ,dye with #aej per cent4 ,flavin3 ,dye with #a oz4 to the pound1 with a teaspoonful ,tin4 ,fustic3 ,dye with #ej per cent1 or more4 ,quercitron3 ,dye with #aj to #bj per cent4 ,a little chalk may be added towards the end4 ,the shades may be varied by the addition of small quantities of madder or cochineal4 ,orange may be obtained by the use of ,madder1 #b to #d ozs4 per pound1 with ,flavin or ,fustic4 7#f7 ,,green ,greens may be obtained by dyeing with any of the yellow dyes and blueing in the ,indigo ,vat or with ,indigo ,extract4 ,if the colour is thin1 it should be dyed a deeper blue in the vat and then re-dyed with yellow4 ,a strong clear yellow is needed for a good green4 7#g7 ,,purple ,dye silk blue in ,indigo ,vat4 ,then dye without mordanting in ,cudbear4 7#h7 ,,orange 7#a lb47 ,mordant with ,alum ,acetate4 ,dye with #a_/b lb4 ,madder1 #b ozs4 ,flavin and #a oz4 tin4 ,enter the tin first in a cold bath4 ,mix ,flavin and ,madder into a paste and add to the bath4 ,bring to the boil slowly1 boil for #aj minutes4 ,wash in soap4 7#i7 ,,black 7#a lb47 ,mordant with ,alum ,acetate4 ,dye with #f ozs4 logwood1 #c_/d oz4 flavin1 #a oz4 ,iron4 ,mix all together and boil for #a_/b hour4 ,wash thoroughly4 7#aj7 ,,black 7#a7 ,mordant with basic ferric sulphate and after allowing the silk to lie for some time1 wash well and soap at #ij deg4,c4 7#b7 ,dye with #ej per cent ,fustic1 #aj per cent ,ferrous ,sulphate and #b per cent ,copper ,acetate4 7#c7 ,dye with logwood #ej per cent and soap4 7#aa7 ,,grey ,,with ,,bracken 7#a lb47 ,mordant with #a oz4 ,iron and #b ozs4 ,cream of ,tartar4 ,boil a quantity of young bracken tips for #a_/b hour4 ,strain4 ,boil silk in the decoction for about an hour4 7#ab7 ,,brown ,,with ,,lichen 7#a lb47 ,mordant with ,alum ,acetate4 ,put into the dye bath the quantity of lichen according to required colour with about a teaspoonful of ,acetic ,acid4 ,boil from #a to #c hours4 7#ac7 ,,orange 7#a lb47 #a oz4 tin1 #a_/b oz4 ,oxalic ,acid1 #b oz4 ,flavin4 ,enter silk and boil for #a hour4 ,remove silk and add to the bath #a oz4 tin1 #a oz4 ,oxalic1 #b oz4 ,cochineal4 ,boil for #a hour or more4 7#ad7 ,,black 7#a lb47 ,mordant with #b oz4 logwood extract1 #a-a_/d oz4 fustic extract1 #a-a_/d oz4 iron1 #a_/b oz4 copper sulphate4 ,boil for #a hour4 ,take out and rinse4 ,to the same bath add #a-c_/d oz4 logwood extract1 #a oz4 fustic extract1 #g oz4 madder4 ,enter silk and boil for #a hour4 ,wash in soap4 7#ae7 ,,yellow 7#a lb47 ,mordant with #a oz4 ,bichromate of ,potash4 ,boil #a hour4 ,in a separate bath put #a lb4 weld and boil for #a hour4 7#af7 ,,red 7#a lb47 ,mordant with #a-c_/d oz4 tin and #a-c_/d oz4 oxalic acid4 ,boil for #a hour4 ,then add #c_/d lb4 cochineal and #f oz4 madder4 ,boil well and wash in soap4 7#ag7 ,,brown 7#a lb47 ,mordant with #a oz4 ,copper sulphate4 ,boil for #a hour4 ,take out silk and add #b-a_/b oz4 madder1 #a oz4 fustic chips1 and boil for #a hour4 7#ah7 ,,red 7#a lb47 ,dissolve #a oz4 ,tannic ,acid in hot water4 ,enter silk and leave for #bd hours1 stirring occasionally4 ,rinse well in two waters4 ,in a fresh bath1 put #d oz4 cochineal4 ,enter silk4 ,bring to boil and let blue colour develop4 ,lift1 and add #a oz4 cochineal #a oz4 tin4 ,re-enter silk boil well4 ,wash in soap4 ,,glossary ,adjective ,dyes4 ,dyes which require mordant4 ,alizarin4 ,the chief colouring principle of madder4 ,it is also the name for an extensive series of chemical colours produced from anthracene1 one of the coal tar hydrocarbons discovered in #ahfh4 ,aniline4 ,discovered #ahbf 7anil4 ,span4 indigo74 ,first prepared from indigo by means of caustic potash1 found in coal1 #ahcd4 ,manufactured on a large scale after ,perkin's discovery of mauve in #ahef4 ,annatta4 7,annotto1 ,arnotto1 ,roucou47 ,a dye obtained from the pulp surrounding the seeds of the ,bixa orellana2 chiefly used in dyeing silk an orange colour1 but is of a fugitive nature4 ,argol4 ,the tartar deposited from wines completely fermented1 and adhering to the sides of casks as a hard crust4 ,when purified it becomes ,cream of ,tartar4 ,beck4 ,a large vessel or tub used in dyeing4 ,bois jaune4 ,fustic1 yellow wood4 ,carthamus4 ,safflower1 an annual plant cultivated in ,south ,europe1 ,egypt and ,asia1 for the red dye from its flowers4 ,caustic ,soda4 ,carbonate of soda1 boiled with lime4 ,coal ,tar ,colours4 ,colours obtained by distillation and chemical treatment from coal tar1 a product of coal during the making of gas4 ,there are over #b1jjj colours in use4 ,detergent4 ,a cleansing agent4 ,dip4 ,generally applied to immersing cloth1 etc41 in the blue vat4 ,divi-,divi4 ,the dried pods of ,caesalpina coriaria growing in the ,west ,indies and ,s4 ,america2 they contain #bj to #ce tannin and a brown colouring matter4 ,dyer's ,spirit4 ,aqua fortis1 #aj parts2 sal ammoniac1 #e parts2 tin1 #b parts2 dissolved together4 ,enter4 ,to enter wool1 to put it into the dye or mordant liquor4 ,fenugrec4 ,fenugreek ,trigonnella faenugraecum4 ,flavin4 ,a colouring matter extracted from ,quercitron4 ,full1 to4 ,to treat or beat cloth for the purpose of cleansing and thickening it4 ,fuller's herb4 ,saponaria officinalis4 ,a plant used in the process of fulling4 ,fuller's ,thistle1 or teasle4 ,dipsacus fullonum4 ,used for fulling cloth4 ,fustet4 ,young fustic4 ,venetian ,sumach ,rhus cotinus4 ,it gives a fine orange colour1 which has not much permanence4 ,galls1 ,gall nuts4 ,oak galls produced by the egg of an insect1--the female gall wasp4 ,an excrescence is produced round the egg1 and the insect1 when developed1 pierces a hole and escapes4 ,those gall nuts which are not pierced contain most tannic acid4 ,the best come from ,aleppo and ,turkey4 ,gramme or ,gram4 ,about #ae-a_/b grains 7,troy74 ,kilo4 ,kilogramme4 ,equals #b lbs4 #c4b oz4 ,litre4 ,nearly #a-c_/d pints4 ,lixivitation4 ,the process of separating a soluble substance from an insoluble by the percolation of water4 ,lixivium4 7,lye47 ,a term often used in old dye books1 water impregnated with alkaline salts extracted by lixivitation from wood ashes4 ,lye or ,ley4 ,any strong alkaline solution1 especially one used for the purpose of washing such as soda lye1 soap lye4 ,mercerised ,cotton4 ,cotton prepared by treating with a solution of caustic potash or soda or certain other chemicals4 ,discovered by ,john ,mercer in #ahdd4 ,milling4 ,the operation of fulling cloth4 ,myrobalans4 ,the fruit of several species of trees1 growing in ,china and the ,east ,indies1 containing tannic acid 7#be-dj tannin74 ,oil of ,vitriol4 ,sulphuric acid4 ,organzine4 ,twisted raw silk from best cocoons1 used for warp4 ,pearl ,ash4 ,carbonate of potash4 ,persian ,berries4 ,the dried unripe fruit of various species of ,rhamnus4 ,also called ,french berries1 grains of ,avignon4 ,potassium ,carbonate4 7,potashes47 ,carbonate of potash has been known since ancient times as a constituent of the ashes of land plants1 from which it is obtained by extraction with water4 ,in most cases ,sodium ,carbonate1 which it strongly resembles1 can be used in its place4 ,red spirits4 ,tin ,spirits4 ,applied to tin mordants generally4 ,a solution of ,stannous chloride4 ,red woods4 ,camwood1 ,barwood1 ,sanderswood 7,santal1 ,sandal1 ,red ,sanders71 ,brazil wood1 ,sapan wood1 ,peach-wood4 ,roucou4 ,anatta1 ,arnotto4 ,saxon blue4 ,the dye made by indigo dissolved in oil of vitriol4 ,scotch ell4 #cg4b inches4 ,scour1 to4 ,to wash4 ,scroop4 ,the rustling property of silk4 ,soda ash4 ,carbonate of soda4 ,sour water4 ,to every gallon of water1 add one gill vitriol2 stir thoroughly4 ,stuff steeped in this should be covered with the liquor1 otherwise it will rot4 7#b7 ,water in which bran has been made to grow sour4 #bd bushels of bran are put in a tub1 about #aj hogsheads of nearly boiling water is poured into it2 acid fermentation soon begins1 and in #be hours it is ready to use4 7#c7 ,throw some handfuls of bran into hot water and let it stand for #bd hours1 or until the water becomes sour1 when it is fit for use4 ,staple4 ,a term applied to cotton and wool indicating length of fibre4 ,substantive ,dye4 ,a dye not requiring a mordant4 ,sumach4 ,leaves and twigs of several species of ,rhus1 containing tannic acid4 ,it is sold in the form of crushed leaves or as a powder 7#ae-bj tannin74 ,tram4 ,slightly twisted raw silk1 used for weft4 ,tyrian purple4 ,a purple colour obtained from certain shell fish1 such as ,buccinum and ,purpura4 ,it is mentioned by ,pliny as being discovered in #adjj ,b4,c4 ,it was a lost art in the ,middle ,ages4 ,valonia4 ,acorn cups of certain species of oak from ,south ,europe1 containing #be-ce of tannic acid4 ,vegetable alkali4 ,potash4 ,verdigris4 ,acetate of copper4 ,wet out1 to4 ,to damp before putting the yarn or cloth into the dye4 ,,bibliography ,a profitable ,boke4 7,on ,dyeing47 ,translated from the ,dutch4 #aehc4 ,bancroft1 ,edward4 ,the ,philosophy of ,permanent ,colours4 #agid4 ,berthollet4 ,the ,art of ,dyeing4 #ahbd4 ,bird1 ,f4 ,j4 ,the ,dyer's ,handbook4 #ahge4 ,bolton1 ,clement4 ,a ,manual of ,wool ,dyeing4 #aiac4 ,boulger1 ,professor ,g4 ,s4 ,the ,uses of plants4 #ahhi4 ,brewster's ,edinburgh ,encyclopaedia4 #ahcj4 ,dyeing4 ,crook1 ,w4 ,dyeing and ,tissue ,printing4 #ahhb4 ,darwin and ,meldola4 ,woad4 7,nature1 ,nov4 #ab1 #ahif47 ,edge1 ,alfred4 ,some ,british ,dye ,lichens4 7,journal of the ,society of ,dyers and ,colourists4 ,may1 #aiad47 ,edmonston1 ,t4 ,on the ,native ,dyes of the ,shetland ,islands4 7,transactions of ,botanical ,society of ,edinburgh1 ,vol4 #a1 #ahda47 ,english ,encyclopaedia4 ,dyeing4 #ahjb4 ,francheville4 ,on ,ancient and ,modern ,dyes1 #agfg4 7,royal ,academy of ,sciences1 ,berlin47 ,haigh1 ,james4 ,the ,dyer's ,assistant4 #aggh4 ,hellot1 ,macquer1 ,m4 le ,pilleur ,d' ,apligny4 ,the ,art of ,dyeing ,wool1 ,silk and ,cotton4 7,translated from the ,french1 #aghi4 ,new ,edition4 #aija47 ,henslow4 ,professor ,g4 ,use of ,british plants4 ,hiscock1 ,gardiner ,d4 #bjth ,century book of ,recipes1 ,formulas and ,processes4 #aijg4 ,hummel1 ,j4 ,j4 ,the ,dyeing of ,textile ,fabrics4 ,hurst1 ,silk ,dyeing and ,printing4 7,technological ,handbook4 #ahib47 ,jarmain1 ,george4 ,on ,wool ,dyeing4 #f ,lectures4 #ahgf4 ,knecht1 ,rawson and ,lowenthal4 ,a ,manuel of ,dyeing4 #ahic4 ,lindsay1 ,dr4 ,w4 ,l4 ,on the ,dyeing ,properties of ,lichens4 7,edinburgh ,new ,philosophical ,journal1 #ahee47 ,love1 ,thomas4 ,the ,practical ,dyer and ,scourer4 #ahed4 ,mackay1 ,mrs4 ,anstruther4 ,simple ,home ,dyeing4 ,milroy1 ,r4 ,p4 ,handbook for ,dyeing for ,woollen ,homespun ,workers4 7,congested ,districts ,board for ,ireland47 ,morris1 ,william4 ,of ,dyeing as an ,art4 7,essays by ,members of ,arts and ,crafts ,exhibition ,society1 #aijc47 ,morris1 ,william4 ,the ,lesser ,arts of ,life4 7from ,architecture1 ,industry and ,wealth4 #aijb47 ,napier1 ,james4 ,a ,manual of ,dyeing ,recipes4 #ahee4 ,napier1 ,james4 ,a ,manual of the ,art of ,dyeing4 #ahec4 ,parnell's ,applied ,chemistry4--,article on ,dyeing4 ,plowright1 ,dr4 ,british ,dye ,plants4 7,journal of the ,royal ,horticultural ,society1 ,vol4 #bf4 #aija47 ,rawson1 ,gardiner and ,laycock4 ,a ,dictionary of ,dyes1 ,mordants4 #aija4 ,sansome4 ,dyeing4 #ahhh4 ,sims1 ,t4 ,dyeing and ,bleaching4 7,british ,manufacturing ,industries4 #ahgg47 ,smith1 ,david4 ,the ,dyer's ,instructor4 #ahdg4 ,smith4 ,practical ,dyer's ,guide4 #ahdi4 ,sowerby4 ,english ,botany4 ,sowerby4 ,useful ,plants of ,great ,britain4 ,the ,art of ,dyeing4 7,translated from the ,german4 #agje4 ,reprint1 #aiac47 ,the ,dyer and ,colour ,maker's ,companion4 #ahei4 ,thomson1 ,john ,m4 ,the ,practical ,dyer's ,assistant4 #ahdi4 ,,index ,acacia1 #dj ,acetate of ,alumina1 #df1 #ef ,adjective dyes1 #f1 #fj ,agrimony1 #ab ,alder1 #aa1 #ad1 #ae1 #dj ,alizarin1 #fj ,alkanet1 #ab ,alpaca1 #a ,alum1 #g1 for silk1 #ef1 cotton1 linen1 #df ,ammonia1 #b1 #c1 #cb ,aniline1 #fj ,annotto1 ,anatta1 ,annatta1 ,arnotto1 #d1 #ej1 #fj ,arcel1 #ba ,archil1 #ai ,argol1 #fj ,areca1 #dj ,ash1 #ab ,barberry1 #ab1 for cotton1 #d1 for silk1 #ch ,barwood1 #cd1 #fb ,bearberry1 #ab ,beck1 #fj ,bedstraw1 #aa ,bichromate of ,potash1 #i ,birch1 #aa1 #ab1 #ad ,black1 #bi1 #dj-db dyeing plants1 #ae for cotton1 linen1 #ea for silk1 #eh1 #ei from alder1 #dj from walnut1 #da with logwood1 #bi ,blackberry1 #ae ,blaeberry1 #ab1 #ad ,blue1 #bd-cj dyeing plants1 #ab from lichen1 #ba logwood1 #bi whortleberry1 #ab ,blue vitriol1 #aj ,bluestone1 #aj ,bog asphodel1 #ab ,bog myrtle1 #ab ,bois de ,campeche1 #bh ,bois jaune1 #fj ,bracken1 #ab ,bran1 #cc1 #eg ,bramble1 #ab ,brazil woods1 #cd ,broom1 #ab ,brown1 #dj-db dyeing plants1 #ad for cotton1 #ej for wool from catechu1 #dj from alder bark1 #dj crotal1 #ai ,iceland moss1 #bb lichens1 #bb madder1 #cc1 #db onion skins1 #da peat soot1 #da walnut1 #da ,brownish red1 #ad1 #cd ,bryony1 #ad ,buckthorn1 #ab ,camel hair1 #a ,camomile1 #ac ,campeachy wood1 #bh ,camwood1 #cd1 #fb ,carbonate of ,potash1 #fb ,carbonate of ,soda1 #fj ,carthamus1 #fj ,catechu1 #dj for cotton1 #df1 #dg1 #ej ,caustic potash1 #bh ,caustic soda1 #be-bh1 #fj ,centaury1 #ac ,chestnut1 #dg ,chrome1 #i1 #dg1 #ef ,coal ,tar ,colours1 #fj ,coccus1 #ca1 #cb ,cochineal1 #ca ,copper1 #aj1 #dg ,copperas1 #h1 #i ,copper ,sulphate1 #aj ,corydal1 #ac ,cotton1 #d1 #df-ee mordanting1 #df the colour of1 #d ,crab ,apple1 #ab ,cream of ,tartar1 #g1 #aj ,crimson--from cochineal1 #cb from lichens1 #ag1 #ba ,crottle1 ,crotal1 #af1 #ag1 #ai1 #bj1 #ba1 #bc ,cudbear1 #af1 #bj ,cutch1 #dj ,damson1 #ad ,danewort1 #ad ,dandelion1 #ad ,deadly nightshade1 #ad ,detergent1 #fj ,devil's ,bit1 #ab ,dip1 #fj ,divi-divi1 #dg1 #fj ,dock1 #ab1 #ae ,dog's ,mercury1 #ab ,dulse1 #ad ,dyer's ,broom1 #ch ,dyer's ,greenwood1 #ab ,dyer's ,spirit1 #fj ,dyer's ,woodruff1 #ab ,elder1 #ab1 #ad1 #ae ,felting1 to prevent1 #c ,fenugrec1 ,fenugreek1 #ac1 #fj ,ferrous sulphate1 #h ,flavin1 #ch ,flax1 #d ,fleece1 various kinds of1 #a ,flowering reed1 #ad ,french brown1 #db ,fuller's ,herb1 #fa ,fuller's ,thistle1 #fa ,fumitory1 #ac ,fustic1 #cf for green1 #dd ,fustet1 #fa ,gall nuts1 #dg1 #fa ,gamboge from lichen1 #bb ,golden rod1 #ac ,golden yellow from weld1 #be ,gorse1 #ab ,gramme1 #fa ,green1 #dc-de black1 #db dyeing plants1 #ac from ,fustic1 #dd ,quercitron1 #dd ,weld1 #dd with logwood1 #bi ,indigo extract1 #dd1 #de ,indigo vat1 #dc ,indigo ,extract and weld1 #dd ,green ,vitriol1 #h ,greening weed1 #dc ,greenish brown1 #db ,greenish black1 #db ,grey1 #cj ,grey from ,catechu1 #dj ,gromwell1 #ab ,hazel colour from ,peatsoot1 #da ,heath1 #ac ,heather1 #aa1 #ci ,hellebore1 #ac ,hematin ,crystals1 #db ,hogs1 #b ,hop1 #ac1 #ad ,hornbeam1 #ac ,hydrochloric acid1 #bh ,hydrosulphite vat1 #be-bh ,iceland ,moss1 #ah1 #bb ,indigo1 #bd ,indigo ,extract1 #be for green1 #dd1 #de ,indigo ,vats1 #be-bh for cotton1 #dh for cotton 7zinc-lime71 #ea for green1 #dc1 #dd1 #de ,improvement of1 #bg ,indigo ,white1 #bg ,indigotine1 #bg ,iris1 #aa1 #ab1 #ae ,iron1 #h1 #i for cotton1 #dg for silk1 #ef ,iron filings1 #f ,kashmir wool1 #a ,kermes1 ,kerms1 #ca ,kilo1 #fa ,korkalett1 #ag ,korkir1 #bj ,lady's ,bedstraw1 #aa1 #ab ,lamb's fleece1 #a ,larch1 #ad ,lavender1 #bi ,lemon yellow from fustic1 #cf from lichen1 #bj ,lesser ,dye1 #bi ,ley1 #fa ,lichen dyes1 #ad1 #af-bc list etc41 for dyeing1 #bj-bb ,lilac with cochineal1 #cb ,lily of the ,valley1 #ad ,lima wood1 #cd ,lime1 #eb ,linen1 #d1 #e ,ling1 #ac ,litre1 #fa ,lixivitation1 #fa ,lixivium1 #fa ,logwood1 #bj1 #bh-cj ,lucerne1 #ac ,madder1 #ab1 #cb1 #db ,marsh ,marigold1 #ac ,meadow ,rue1 #ac ,meadowsweet1 #ae ,mercerised cotton1 #fa ,milling1 #fa ,mimosa1 #dj ,mohair1 #a ,mordants1 #h-aj for silk1 #ef for linen and cotton1 #df ,muriate of ,tin1 #i ,myrobalans1 #dg1 #fa ,nettle1 #ac1 #ad ,oak1 #ad1 #ae ,oak bark1 #da ,oak galls1 #dg ,oak lung1 #bc ,oak rag1 #bc ,oil of vitriol1 #bd1 #fa ,old gold from fustic1 #cf from weld1 #ce ,old fustic1 #cf ,olive from fustic1 #cf1 #cg from weld1 #ce ,olive green1 #dc ,onion skins1 #ad1 #ci1 #da ,orange from annatta1 #ej from flavin1 #ch from lichen1 #ba1 #bb ,orange from weld1 #cf from turmeric1 #cg ,orchil1 #af1 #ah ,organzine1 #fa ,orseille d',auvergne1 #bj ,oxalic acid1 #i ,peach wood1 #cd ,pear1 #ac ,pearl ash1 #be1 #fa ,peat soot1 #da ,persian berries1 #db1 #fa ,pink from lichen1 #bj ,plum1 #ac ,plum colour from lichen1 #ag ,polygonum1 #ac ,poplar1 #ac ,potash1 #fb ,potassium ,carbonate1 #fb ,potassium dichromate1 #i ,potentil1 #ab1 #ac ,privet1 #ab1 #ac1 #ad1 #ci ,purple1 from cochineal1 #cb1 #cc from lichen1 #ah1 #bj1 #ba from logwood1 #cj from whortleberry #ad ,purple dyeing plants1 #ad ,purplish slate1 #cb from ,brazil woods1 #cd from cochineal1 #cb ,quercitron1 #cg for cotton and linen1 #dh for green1 #dd ,ragweed1 #ac ,raven grey1 #cj ,red1 #ca-cd from ,brazil woods1 #cd from lichens1 #bj-bc from madder1 #cc for cotton1 #di1 #ej ,red brown1 #cd from alder1 #dj from lichen1 #bj from madder1 #cd ,red currant1 #ad ,red dyeing plants1 #aa ,red purple with cudbear and logwood1 #bj with logwood1 #cj ,red woods1 #cd ,retting1 #d ,rose red1 #cc ,roucou1 #fj1 #fb ,saddening1 #aj1 #dj1 #da1 #dg ,saffron from lichen1 #bc ,safflower1 #d ,sanderswood1 #cd ,sandalwood1 #cd ,sapan wood1 #cd ,sawwort1 #ac ,saxon blue1 #dd1 #fb ,saxon green1 #dc ,scarlet 7cochineal71 #cb ,scarlet of grain1 #cb ,scotch ell1 #fb ,scouring agents1 #b-c ,scroop1 #fb ,scrottyie1 #ag1 #ba ,sheep1 various kinds of1 #a-b ,silk1 mordants1 #ef the dyeing of1 #eg preparation of1 #c1 #ef various kinds1 of #c ,slate purple1 #cb ,sloe1 #ab ,soap for scouring1 #b ,soda1 #b ,soda ash1 #fb ,sodium carbonate1 #fb ,sour water1 #fb ,sorrel1 #aa ,spanish wool1 #a ,spindle tree1 #ac ,stachys1 #ac ,staple1 #fb ,st4 ,john's wort1 #ac ,stannous chloride1 #i ,substantive dye1 #f1 #aa1 #ah1 #cg1 #fb ,sulphuric acid1 #bd ,sumach1 #g1 #dj1 #dh1 #fb ,sundew1 #ac1 #ad ,sweet willow1 #ac ,tan1 #db ,tan colour fr4 lichen1 #ai ,tannin1 #dg ,tannic acid1 #dg ,teasel1 #ac ,terra cotta 7lichen71 #ai ,tin1 #i1 #dg1 #ef ,tin crystals1 #i ,tin salts1 #i ,tousch1 #bb ,tram1 #fb ,trefoil1 #ac ,turkey red oil1 #di ,turmeric1 #cg ,tyrian purple1 #fb ,valonia1 #dg1 #fc ,vegetable alkali1 #fc ,verdigris1 #aa1 #fc ,vetch1 #ac ,vicuna1 #a ,violet from elder1 #ad ,walnut1 #aa1 #ad1 #dj ,water1 #b ,water lily1 #ad ,wayfaring tree1 #ac ,weld1 #ac1 #ce with copper1 #ce for green1 #dd ,wet out1 to1 #fc ,wethers1 #b ,whortleberry1 #ab1 #ad ,willow1 #ac ,woad1 #ab1 #be ,wool1 #a-c colour of1 #a method of dyeing1 #c to wash1 #b various kinds of1 #a1 #b ,yellow1 #ce-ci for cotton 7weld71 #ej for linen 7lichen71 #ai for silk1 #eg from weld1 #ce dyer's broom1 #ch fustic1 #cg heather1 #ci lichen1 #ai1 #bb1 #bc privet1 #ci quercitron1 #ch sumach1 #da ,yellow brown from lichen1 #af from sumach1 #da ,yellow dyeing plants1 #ab-ac ,yellow green1 #dc ,yellow weed1 #dc 99 99 99 99 99 ,transcriber's ,notes ,original spelling1 capitalization1 hyphenation1 and punctuation have been retained from the original book except for the following changes3 ,page #c3 ,repeated in deleted4 7#crd4--,the wool is boiled with the mordant and dye in the same bath together47 ,page #ah3 ,added closing quote to blockquote 7luster to the colours47 ,page #be3 ,changed comma to period after ozs4 7#ab fluid ozs4 of water7 ,page #cd3 ,the period was removed after #bh per cent for consistency4 ,page #cd3 ,the typographical error w ash was changed to wash4 ,page #ej3 ,under 7#e7 ,,yellow3 described for silk 7page #gc71 the reference to page #gc could possibly be referring to page #ef1 mordanting silk in general1 or to page #eg1 where mordanting of yellow is detailed4 ,page #fe3 7,index73 ,crottle1 ,crotal3 ,the duplicate page #bj was removed4 ,page #ff3 7,index73 ,lixiviation was changed to ,lixivitation4 ,page #fh3 ,color was changed to colour 7,tan colour fr4 lichen7 for consistency4 ,a space has been added before each lb4 and oz4 and the space removed between deg4 and ,f4 or ,c4 for consistency4