,transcriber's ,note3 ,inconsistent hyphenation and spelling in the original document have been preserved4 ,obvious typographical errors have been corrected4 ,italic text is denoted by underscores and bold text by equal signs4 ,d',appligny was changed to ,d',apligny4 ,gallium was changed to ,galium4 ,page #acb3 a ,note was anchored1 and added to the footnote sequence4 ,inconsistent punctuation and capitalization of lists1 chapter headings1 and footnotes was retained4 ,the listed ,errata were corrected4 ,a ,,book ,,on ,,vegetable ,,dyes ,,by ,,ethel ,m4 ,,mairet ,a4,d4 #aiaf ,,published ,,by ,,douglas ,,pepler ,,at ,,the ,,hampshire ,,house ,,workshops ,,hammersmith ,w ,price #es4 net4 ,,printed by ,,douglas ,,pepler at ,,ditchling in the ,,county of ,,sussex ,,published ,,by ,,him ,,at ,,the ,,hampshire ,,house ,,workshops ,,hammersmith ,,on ,s4 ,,john ,,the ,,baptist',s ,,day ,a4,d4 ,,mdccccxvi ,,publisher',s ,,note ,,in ,,principio ,,erat ,,verbum ,,et ,,verbum ,,erat ,,apud ,,deum ,,et ,,deus ,,erat ,,verbum4 ,sc4 ,joannem #a4a4 ,,viditque ,,deus ,,cuncta ,,qu ,,fecerat3 ,,et ,,erant ,,valde ,,bona4 ,genesis4 #a4ca4 ,,man uses these good things1 and when ,,man first discovers how to make anything1 that thing which he makes is good4 ,for example3 this book is printed upon one of the first iron presses to be made in this country4 ,the press is a good press2 it would be difficult to make a press which would enable the printer to print more clearly4 ,the wooden press was a good press the printing from it has not been surpassed4 ,further1 this quality of goodness of a first discovery may persist for many years4 ,but there is a tendency to avoid ,quality ,street4 ,we are choosing rather ,quantity ,street the ,bye paths of ,facility ,cleverness2 we have become accustomed to the hum of the ,time ,labour saving machinery2 and we are in danger of forgetting the use of good things3 indeed the tradition practice of goodness has been lost in a considerable number of trades4 ,for instance3 a carpenter has become so used to buying his timber in planks from a yard that he has nearly forgotten its relation to the tree4 ,the man who works to designs conceived by somebody else with wood sawn by another man's machine must be deprived of the natural strength of the tree4 ,and this is not an exception to1 but an example of1 the way we are choosing to do things4 ,it is impossible to buy linen as good as that normally used by every tradesman in the ,,xviii century4 ,it is nearly impossible to get cloth1 paper1 bread1 beer1 bacon and leather equal to that in common use #aej years ago4 ,,in ,,view ,,of ,,the ,,beginning it is desirable to record what still survives of the traditions of making good things2 and ,i shall endeavour to publish the instructions advice of men women who still follow these good traditions4 ,douglas ,pepler4 ,,contents ,,page ,i4 ,,introduction #a ,,ii4 ,,wool1 ,,silk1 ,,cotton ,,and ,,linen #aa ,,iii4 ,,mordants #bd ,,iv4 ,,british ,,dye ,,plants #cg ,v4 ,,the ,,lichen ,,dyes #de ,,vi4 ,,blue #fc ,,vii4 ,,red #hg ,,viii4 ,,yellow #ajg ,,ix4 ,,brown ,,and ,,black #abb ,x4 ,,green #acc ,,chapter ,i4 ,dyeing has almost ceased to exist as a traditional art4 ,in this #bjth century the importance of colour in our lives seems to be realized less and less4 ,it has been forgotten that strong and beautiful colour1 such as used to abound in all every day things1 is an essential to the full joy of life4 ,a sort of fear or nervousness of bright colour is one of the features of our age1 it is especially evident in the things we wear4 ,there is unfortunately good reason for it4 ,we fear bright colour because our modern colours are bad1 and they are bad because the tradition of dyeing has been broken4 ,the chemist has invaded the domain of the dyer1 driven him out and taken over his business1 with the result that ugly colour has become the rule for the first time in the history of mankind4 ,it is not that chemists never produce beautiful colour4 ,dyeing as a chemical science has not been studied for the last #ej years without producing good results4 ,but there is this great difference between the chemical commercial dyes and the traditional dyes--that with the commercial dyes it is very easy to produce ugly colours1 the beautiful colour is rare2 but with traditional dyes it is difficult to make an ugly colour1 and good colour is the rule4 ,it was in #ahef that mauve was produced from coal tar by an ,english chemist1 and this began a new era in dyeing4 ,the discovery was developed in ,germany1 and the result was the creation of a science of chemical colouring4 ,the advantages of the new colours were ease and simplicity of use1 general reliability with regard to strength and composition1 and certainty in reproducing the same colour again without trouble4 ,with regard to fastness1 to light and to washing there is practically little difference between the two4 ,it is more the method by which they are dyed and not the dye itself 7although of course in some cases this is not so7 that determines their fastness4 ,the natural dyes are more trouble and take longer time to prepare4 ,chemical colours can be dyed now as fast as the natural colours1 although at first this could not be done4 ,some of the chemical colours as well as the natural1 are not fast to light and washing1 and ought never to be used2 but there are natural colours1 such as madder1 some of the lichens1 catechu etc41 which are as fast as any chemical dye1 if not more so4 ,,but there is this general difference between the results of the two methods1--that when a chemical colour fades it becomes a different colour and generally a bad one3 when a natural colour fades1 it becomes a lighter tone of the same colour4 ,since the middle of the #aith century our colour sense has been getting rude shocks4 ,at first came the hideous aniline colours1 crude and ugly1 and people said1 ,how wonderful1 are they really made out of coal6 ,they were told to like them and they did1 and admired the chemists who made them4 ,then came more discoveries1 and colour began to go to the opposite extreme1 and the fashion was muddy indeterminate colours--'art' colours as they were called1 just as remote from pure good colouring in one direction as the early aniline colours were in the other4 ,we are now emerging from the mud colours1 as ,i would call them1 to the period of the brilliant colouring of the ,futurist4 ,here we have scientific colouring used with real skill4 ,the ,futurist has perhaps indicated a possible way in which chemical colours may be used by the artist and is teaching people the value of simple combinations of brilliant colour4 ,and yet do they satisfy the artist8 ,are they as beautiful as the colours in a ,persian ,khelim8 ,is there a blue in the world as fine as the blue in a ,bokhara rug1 or a red to touch the red of a ,persian brocade or ,indian silk8--the new fresh colours as they come out of the dyer's vat1 not as they are after years of wear and tear1 though that is beautiful enough4 ,and yet they are not more beautiful than the colours once made by dyers in ,england4 ,they are as brilliant as the chemical colours1 but they are not hard and unsympathetic and correct4 ,they are alive and varied1 holding the light as no chemical colour can hold it2 and they are beautiful from their birth to their old age1 when they mellow1 one with the other1 into a blend of richness that has never yet been got by the chemical dyer and never will be4 ,perhaps it is the scientific method that kills the imagination4 ,dealing with exactly known quantities1 and striving for precise uniformity1 the chemist has no use for the accidents and irregularities which the artist's imagination seizes and which the traditional worker well knew how to use4 ,william ,morris says that all degradation of art veils itself in the semblance of an intellectual advance1 and nothing is truer than this with regard to the art of dyeing4 ,as a tradition it is practically dead in ,britain1 and is threatened with gradual extinction all over the world4 ,it will not recover itself as an art till individual artists set themselves to make beautiful colours again1 and ignore the colour made for them by commerce and the chemists4 ,handicraft workers should make their own colours4 ,leather workers should dye their own leather1 the embroiderers their own silks and wools1 the basket makers their own materials1 the weavers and spinners their own flax1 cotton and wool2 and until they do this the best work will not be done4 ,this is the necessity for the present4 ,if any craft worker wants sound colour he must make it for himself1 he cannot get it done for him by artists4 ,the hope for the future is that dyeing may be reinstated as a craft1 co-operating with the other crafts and practiced by craftsmen4 ,the way to beauty is not by the broad and easy road2 it is along difficult and adventurous paths4 ,every piece of craft work should be an adventure4 ,it cannot be an adventure if commerce steps in and says ,i will dye all your yarn for you2 you will always then be able to match your colour again2 there need be no variation2 every skein shall be as all the others2 you can order so many pounds of such a number and you can get it by return of post2 and you can have six or seven hundred shades to choose from4 ,it is all so easy1 so temptingly easy1--but how ,,dull6 the deadly yards of stuff all so even and so exactly dyed2 so perfect that the commerce-ridden person says1 this is almost as good as the stuff you can buy in a shop1 it is as perfect as machine made stuff4 ,what would have been the use of all this to the great colourists of the world1 the ancient ,egyptians1 the medival ,italians or the great ,oriental dyers8 ,they could not get six hundred shades to order2 six was more like their range1 they did not need more1 and in those they could not command precise uniformity4 ,they knew that the slight variations caused by natural human methods add to the beauty and interest of a thing1 and that a few good colours are worth any number of indifferent ones4 ,it is quite certain that a great many of the handicrafts that have depended upon commercial dyes would produce infinitely better work if they dyed their raw material themselves4 ,it may be objected that life is not long enough2 but the handicrafts are out to create more life1 not out to produce quantity nor to save time4 ,the aim of commerce is material gain2 the aim of the crafts is to make life1 and no trouble must be spared to reach that end4 ,it must always be before the craft worker4 ,dyeing is an art2 the moment science dominates it1 it is an art no longer1 and the craftsman must go back to the time before science touched it1 and begin all over again4 ,the tradition is nearly lost in ,england4 ,it lingers in a few places in ,scotland and ,ireland4 ,in ,norway1 ,russia1 ,central ,asia1 ,india and other places where science has not entered too much into the life of the people1 it is still practiced4 ,is dyeing as a tradition to be doomed1 as traditional weaving was doomed8 ,yes1 unless it be consciously studied again and remade into an art4 ,this book is intended for the use of craftsmen and others who are trying to dye their materials by hand and on a small scale4 ,information and recipes1 useful to such workers1 are to be found in books and pamphlets dating onwards from the #agth century1 and in this book ,i have drawn largely upon these sources of dyeing knowledge1 as well as upon the traditions still followed by present workers1 and upon the experience of my own work4 ,all dyeing recipes1 however1 should guide rather than rule the worker2 they are better applied with imagination and experience than with the slavishness of minute imitation4 ,every dyer should keep a record of his experiments1 for this will become invaluable as it grows1 and as one thing is learnt from another4 ,the ideal way of working is not by a too rigid accuracy nor by loose guess-work1 but by the way which practice has proved best3 nevertheless1 some of the greatest dyers have done their work by rule-of-thumb methods just as others have certainly worked with systematic exactness4 ,the dyer1 like any other artist1 is free to find his own methods1 subject to the requirements of good and permanent craftsmanship1 provided that he achieves the effects at which he aims4 ,but it is supremely important that he should aim at the right effects2 or1 rather1 at the use of the right materials1 for if these are right the effects may safely be left to take care of themselves4 ,in order to develop the taste and temperament of a good colourist1 it is necessary to use good colour and to live with good colour4 ,in this book ,i attempt to show where good colour can be obtained4 ,but one may begin to live with good colour which has been found by others4 ,this part of the dyer's education is not prohibitively costly1 even in these days of inferior colour4 ,indian and ,persian embroideries are still to be obtained1 though care must be taken in their selection1 as most modern pieces are dyed with chemical dyes and are very ugly4 ,persian ,khelim rugs are cheap and often of the most beautiful colours4 ,russian embroideries and woven stuffs1 both old and new1 are obtainable1 and are good in colour1 as are most of the embroideries and weavings of ,eastern ,europe and the ,east4 ,what are popularly known as coffee towels are often embroidered in the finest coloured silks4 ,bokhara rugs and embroideries are still to be purchased1 and many of the weavings of the far ,east1 although1 alas1 very few of the modern ones are of good colour4 ,i would say to dyers1 do not be satisfied with seeing beautiful coloured stuffs in museums4 ,it is possible still to get them1 and to live with a piece of good colour is of much more use than occasional hours spent in museums4 ,,chapter ,,ii4 ,,wool ,,silk ,,cotton ,,linen ,various kinds of wool4 ,wool from goats4 ,fleeces4 ,wool dyeing4 ,scouring of wool4 ,silk1 preparation for dyeing4 ,cotton1 cleansing and galling of4 ,indian methods of preparing cotton and linen for dyeing4 ,,bancroft on the preparing of cotton and linen for dyeing4 ,linen4 ,on water for dyeing4 ,,on ,,wool4--,the quality of wool varies considerably4 ,british 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 ,blackfaced1 ,limestone1 ,cheviot7 have better wool1 especially the ,cheviot which is very thick 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 sheep 7,lincolns1 ,leicester7 with long staple wool 7record length1 #cf in47 and the fleeces weighing up to #ab lbs4 ,the ,leicester fleece is softer1 finer and better than the ,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 ,zealand1 and some of the best wools now come from the colonies4 ,alpaca1 ,vicuna and ,llama wools are obtained from different species of ,south ,american goats4 ,mohair is obtained from the ,angora goat of ,asia ,minor4 ,kashmir wool is got from the ,thibetan goat4 ,camel hair is the soft under wool of the camel1 which is shed annually4 ,it is of a brown colour4 ,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 ,fleeces are of various kinds1 the principal being3 ,lambs1 #c to #f months growth1 the finest1 softest and most elastic of 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 #a7 ,in the grease1 not having been washed and containing all impurities4 #b7 ,washed1 with some of the grease removed and fairly clean4 #c7 ,scoured1 thoroughly cleaned all grease removed4 ,,on ,,wool ,,dyeing4--,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 ,this method of dyeing is the most satisfactory and gives brighter and faster colours than the other methods4 ,it is not necessary to throw away the solution after the mordanting has been done1 but it can be replenished for a fresh lot of wool2 a separate bath is used for the dye4 #bnd4--,the wool is boiled first with the dye and1 when it has absorbed as much of the colour as possible1 the mordant is added to the same bath1 thus fixing the colour4 ,this is called the stuffing and saddening method2 the stuffing being the boiling of the wool with the dye stuff and the saddening the fixing the colour by the mordant4 ,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 good as with a separate bath1 though with some dyes a brighter colour is obtained4 #dth4--,the wool is mordanted1 then dyed1 then mordanted again 7saddened74 ,this method is adopted to ensure an extremely fast colour4 ,the mordant in this case should be used rather sparingly4 ,wool can be dyed either in the fleece1 in the yarn 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 always 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 take the colour unevenly4 ,the principal detergent known from earliest times is stale urine4 ,in the ,highlands this is used in the proportion of #a part to #e of water4 ,it is the best scouring agent and leaves the wool soft and elastic4 ,carbonate of soda is also used4 ,but a good pure soap is the most convenient scouring agent4 ,a suds should be made with hot water1 and the wool1 which has been soaked in warm water previously1 should be well squeezed and worked in the suds till all the grease is removed4 ,this should be done two or three times if needed1 and then the wool rinsed out thoroughly in clean water4 ,soda is apt to make the wool harsh and should be avoided4 ,a little ,ammonia added to the washing water helps4 ,to prevent yarn felting when it is scoured1 it should be first steeped in hot water and left to cool4 ,soft soap is best for long fine wool4 ,urine for short wools2 or urine and soda ash4 ,another way of cleansing wool4 ,make a hot bath of #d parts water and #a part urine1 enter wool1 teasing it and opening it out to admit the full action of the liquid4 ,after #bj minutes immersion1 remove and allow to drain4 ,then rinse in clear running water and allow to dry4 ,use no soap4 ,the liquid can be used again4 ,the wool often loses one fifth of its weight in the process of washing4 ,to soften yarn--,in a gallon of hot water dissolve half pound of common soda1 then add half-pint of sweet oil and stir well4 ,a little of this added to the washing water1 for some colours1 will soften the yarn4 ,to bleach wool--,the wool is suspended in a closed room on hoops1 and under the wool chafing dishes are placed with lighted coals on which powdered sulphur is cast4 ,the room door is afterwards shut so that the smoke may be the longer retained to act on the wool1 which is to remain until it is entirely whitened4 ,,on ,,silk4--,there are two kinds of silk1 #a7 raw silk 7reeled silk1 thrown silk1 drawn silk71 and #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 ,they are therefore 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 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 except that in most cases 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 a low temperature4 ,of the preparation of raw silk4 ,for every pound of raw silk1 take lb4 of soap2 first put the silk into a bag1 or so make it up that tangling may be prevented1 then let it boil together for #b hours1 after which it must be very well cleansed1 and so it is ready to dye all sorts of colours1 being first allomed4#a ,how the boiled silk must be allomed4 ,in proportion to every pound of silk1 take lb4 of ,allom1 melt in a little kettle or skillet1 and when melted1 throw it in to a tub of water1 into which put the silk to steep1 where let it lie a whole night4#a ,to soften silk after dyeing4 ,into a large vessel nearly full of water1 a solution of soap is poured1 in the proportion of from #d to #e lbs4 of soap for every #aaj lbs4 of silk4 ,the solution of soap is strained through a cloth into the water and well mixed4 ,the silk is then introduced left for about quarter of an hour after which it is wrung out and dried4 ,,on ,,cotton4--,cotton is the down surrounding the seeds in pods of certain shrubs and trees growing in tropical and semi-tropical countries4 ,it was first introduced into ,europe by the ,saracens and was manufactured into cloth in ,spain in the early #acth century4 ,cotton cloth was 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 ,cotton is difficult to dye and requires a special preparation4 ,it is first boiled with water till thoroughly softened and wetted4 ,then alumed in the proportion of #a of alum to #d of the cotton 7see page #bh74 ,it is then galled4 ,the galling is done with different proportions of gall-nuts and other astringents 7such as tannic acid1 myrobalams1 sumach1 catechu7 according to the quality of the astringents and the effect wished to be obtained4 ,if gall-nuts are used they are bruised1 then boiled for about two hours in a quantity of water4 ,the bath is then allowed to cool till the hand can bear it4 ,the cotton is worked well in this solution and then left for #bd hours4 ,after which it is wrung out and dried4 ,cotton is sometimes boiled in sour water in order to cleanse it3 sometimes an alkaline ley is used3 the cotton must be boiled in it for #b hours1 then wrung out and rinsed in clean water and dried4 ,cotton dyeing has been carried on for centuries in the ,east4 ,in ,india before a cloth is ready to be dyed with a fast colour1 it has generally to undergo a preliminary process of preparation more or less elaborate1 the different stages of which may be recited as washing1 bleaching1 dunging1 galling1 aluming1 or mordanting1 and again washing4 7,a ,monograph on dyes and dyeing in the ,bombay ,presidency1 by ,c4 ,g4 ,h4 ,fawcett1 #ahif47 ,it is washed first of all to remove all impurities1 whether those naturally belonging to the fibre or those purposely introduced during the processes of spinning and weaving4 ,the bleaching removes grease1 etc4 ,this is done in ,india by the sun1 air and moisture4 ,the dunging process consists of passing the cotton through a hot solution of cow dung1 which renders the dye fast4 ,this is sometimes replaced by substitutes1 such as the phosphates of soda and lime1 silicates of soda1 etc4 ,the next operation of galling is an important step in the ,indian process of dyeing4 ,it is applied to cotton1 linen and silk4 ,vegetable infusions containing tannin are applied to the cloth4 ,those mostly used are myrobalams1 pomegranate rind1 tamarisk galls1 and pistachio galls4 ,the cloth is then alumed1 washed1 and is then ready to be dyed4 ,bancroft says3--,the fibres of linen or cotton when spun or woven are prepared for the dyer by being first boiled in water with a suitable proportion of potash 7which for linen should be made caustic1 in order that it may act more strongly upon the oily and resinous matters abounding in flax7 and afterwards bleached by exposure upon the grass to sun and air4 ,but as this operation commonly leaves a portion of earthy matter in the linen or cotton1 it ought to be soaked or steeped in water soured by sulphuric acid1 to dissolve and remove this earthy matter1 taking care afterwards to wash or rinse off the acid4 ,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 catechu1 fustic1 logwood4 ,,on ,,linen4--,linen is flax1 derived from the decomposed stalks of a plant of the genus of ,linum4 ,it grows chiefly in ,russia1 ,belgium1 ,france1 ,holland1 and ,ireland4 ,the plants after being gathered are subjected to a process called retting1 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 ,holland 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 ,linen thread is dyed in the same manner as cotton1 only1 that previous to its being purged like cotton thread1 it is usual to boil it in water1 adding for every pound of thread a quarter pound of chopped sorrel4 ,oil of vitriol is1 however1 more convenient and better than sorrel4--,d',apligny4 ,to ,bleach ,linen4--7,for #ac to #ae yards linen7 ,boil lb4 soap and 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 for #c weeks4 ,your linen is then pure white4 ,to bleach linen a cream colour4--,boil lb4 soap and 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 ,,on ,,water4--,a constant supply of clean soft water is a 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 is as a rule hard1 and should be avoided4 ,in washing1 as well as in dyeing1 hard water is altogether injurious for wool4 ,it ruins the brilliancy of 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 ,berthollet says1--,whenever1 therefore1 a water is limpid1 when its flow is constant1 when it has no sensible taste1 and dissolves soap well1 it may be regarded as very proper for dyeing4 ,he also goes on to say that for correcting water that is bad1 sour water is principally used1 that is1 water in which bran has been fermented4 ,,footnote3 #a ,from a dye book of #agje4 ,,chapter ,,iii4 ,,mordants ,definition of mordant4 ,the principal mordants4 ,the mordanting of silk and wool4 ,of linen and cotton4 ,astringents for cotton4 ,alum4 ,various examples of using alum for wool1 silk1 cotton and linen4 ,iron4 ,examples of iron mordants4 ,tin4 ,examples of tin mordants4 ,chrome4 ,examples of chrome mordants4 ,copper4 ,examples of copper mordants4 ,general observations4 ,tannin and the galling of cotton and linen4 ,examples of various galling processes4 ,,mordants4--,dyes are divided into two classes4 ,first1 the substantive dyes1 which give their colour directly to the material with which they are boiled3 and second1 the adjective dyes1 as they are sometimes called4 ,these latter include the greater number of dyes and require the use of a mordant to bring out their 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 bite47 ,the early ,french dyers thought that a mordant had the effect of opening the pores of the fibres1 so that the dye could more easily enter2 but according to ,hummel and later dyers the action of the mordant is purely chemical2 and he gives a definition of a mordant as that 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 parts 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 for long ages4 ,stale urine is also much used in ,scotland and ,ireland1 but perhaps more as a clearing agent than as an actual mordant4 ,silk and wool require very much the same preparation except that in the case of silk 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 ,,alum4 7,aluminium sulphate47--,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 used is a quarter of a pound to every pound of wool4 ,as a rule1 less mordant is needed for light colours than for dark4 ,an excess of alum is apt to make the wool sticky4 ,for dyeing worsted and stuffs yellow1 you make use of the usual preparation1 viz41 of tartar and alum4 ,you allow four ounces of alum to every pound of wool1 or twenty-five pounds to every hundred4 ,with regard to the tartar1 one ounce to every pound is sufficient for yellow1 though it requires two for red4--,hellot4 ,the usual length of time for boiling with alum is from an hour to #a hour2 but some dyers give as much as #b hours4 ,various examples of mordanting with alum4-- ,for silk4 ,wet out the silk thoroughly with water and wring out4 ,then work it about a little in a strong solution of alum1 previously dissolved in hot water1 and steep for several hours 7or over night74 ,then wash well4 ,it should not be allowed to dry before dyeing4 ,silks are always alumed in the cold1 because when they are alumed in a hot bath1 they are apt to lose a portion of their lustre4 ,berthollet4 ,for wool4 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 cool place for four or five days1 when it is ready for dyeing4 ,for cotton and linen4 ,after boiling in water 7some use a sour water1 some an alkaline ley7 the cotton is put into the alum bath1 lb4 of ,alum to #a lb4 of cotton4 ,the alum is dissolved in hot water with soda in the proportion of #a part soda to #af of alum4 7,some add a small quantity of tartar and arsenic74 ,the cotton is well worked in this solution and left #bd hours4 ,it is then washed1 and afterwards galled4 ,for linen4 lb4 alum for every pound of linen4 ,boil for #b hours and immediately put into the dye bath4 ,for wool4 #f to #h per cent4 of alum and #e to #g per cent4 of tartar of the weight of wool4 ,,iron4 7,ferrous ,sulphate1 copperas1 green vitriol7 ,iron is one of the oldest mordants known and is largely used in wool and cotton dyeing4 ,it is almost as important as alum4 ,with wool it should be used in combination with cream of tartar4 ,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 cent4 of the weight of wool3 and continue boiling for half an hour or so longer4 ,with some dyes a separate bath is needed1 such as with ,camwood or ,catechu4 ,if used for cotton1 the cotton is first dyed in a boiling decoction of the dye stuff and then passed through a cold solution of ferrous sulphate4 ,probably the commonest way of applying copperas in cotton dyeing is to prepare the cotton with tannin1 pass through clear lime water and then through a copperas solution4 ,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 excess1 or if boiled too long4 ,copperas is mostly used for the fixing of wool colours 7,fustic etc47 to produce brown shades by the stuffing and saddening method 7see page #ad71 the wool being boiled first in a decoction of the dye for about an hour1 and then for an hour with the addition of #e to #h per cent4 of copperas4 ,if used for darkening colours1 copperas is added to the bath1 after the dyeing1 and the boiling continued for #ae to #bj minutes4 ,examples of various proportions for ,mordanting4-- #h per cent4 of copperas and #bj per cent4 of cream of tartar is a mordant used for some colours4 #d per cent4 copperas1 #aj per cent4 cream of tartar gives good olive colours with weld4 #h per cent4 copperas without tartar with single bath method1 for dark olive brown with old fustic4 #b oz4 copperas and #b oz4 cream of tartar to #b lbs4 wool4 #b oz4 copperas1 #a oz4 oxalic acid to #b lbs4 wool4 ,,tin4--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 be always 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 mordanting bath1 containing #d per cent4 of stannous chloride and #b per cent4 oxalic acid3 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 wool1 in the proportion of #f per cent4 of stannous chloride and #d per cent4 of cream of tartar4 ,boil for #a to #a hours4 ,then wash well4 ,the washing after mordanting is not always essential4 ,also #f to #h per cent4 of oxalic acid and #f per cent4 of stannous chloride1 for cochineal on wool4 ,this mordant produces bright fast yellows from old fustic1 by boiling the wool from #a to #a hours1 with #h per cent4 of stannous chloride and #h per cent4 of cream of tartar4 ,one recipe gives #b oz4 tin and #d oz4 cream of tartar to #b lbs4 wool in #aj gallons of water4 ,it is not a suitable mordant alone for cotton1 but can be used to brighten the colour in combination with other mordants4 ,the nitro-muriate of tin 7dyer's spirit7 although it produces good yellows with quercitron bark1 produces them in a much weaker degree than the murio-sulphate of that metal1 which is really the cheapest and most efficacious of all the solutions or preparations of tin for dyeing quercitron as well as the cochineal colours4-- ,bancroft4 ,,chrome4 7,potassium dichromate1 ,bichromate of ,potash47 ,chrome is a modern mordant1 unknown to the dyer of #ej 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 ,in commercial dyeing it is now almost exclusively used1 as it has proved itself the most generally convenient4 ,by some it is said not to be so fast to light as the other mordants1 but it produces brighter colours4 ,the wool should be boiled for one to one a half hours with bichromate of potash in the proportion of #b to #d per cent4 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 colour4 #c per cent4 of chrome is a safe quantity to use for ordinary dyeing4 ,one recipe gives #a oz4 of chrome to #b lbs4 of wool4 ,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 three quarters of an hour4 ,in the dyeing of cotton1 it is used for catechu browns and other colours4 ,the cotton is soaked in a decoction of catechu1 and afterwards passed through a boiling solution of chrome1 or it is worked for half an hour in a bath of chrome at #fj;,c41 and then washed4 ,it is usual to wash wool or cotton after mordanting with chrome1 but some dyers do not think it necessary4 ,,copper4 7,copper ,sulphate1 ,verdigris1 blue vitriol1 blue-stone47 ,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 ,,examples4--#f per cent4 of copper is used as a mordant for weld to produce an olive yellow4 #d to #e per cent4 is used with old fustic for yellow4 #aj per cent4 of copper gives to wool a reddish purple with cochineal4 ,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 ,,tannin4--7,tannic ,acid47--,tannins are used in the dyeing of cotton and linen4 ,cotton and linen possess the remarkable power of attracting tannins from their aqueous solution1 and when these substances are prepared with tannins1 they are able to retain dyes permanently4 ,cotton saturated with tannin1 attracts the dye stuff more rapidly1 and holds it4 ,tannic acid is the best tannin for mordanting cotton and linen1 as it is the purest and is free from any other colouring matter4 ,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 cent4 of tannin71 catechu4 ,cotton and linen are prepared with tannin after they have been through the required cleansing1 and if necessary1 bleaching operations4 ,a bath is prepared with #b to #e per cent4 of tannic acid of the weight of the cotton1 and a sufficient quantity of water4 ,for dark shades1 #e to #aj per cent4 should be used4 ,the bath is used either hot or cold4 ,it should not be above #fj;,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 tannin equals #d lbs4 sumach1 #ah lbs4 myrobalans1 #ad lbs4 divi-divi1 #aa lbs4 oak galls4 ,a few examples taken from various recipes of cotton dyeing3-- ,for #aj lbs4 cotton use #ab oz4 tannin4 ,for #ej lbs4 cotton use #aj lbs4 sumach4 ,for #dj lbs4 cotton use #aj lbs4 sumach4 ,for #bj lbs4 cotton use #b lbs4 yellow catechu or black catechu4 ,for #bj lbs cotton spend #c lbs4 of catechu with #c oz4 of blue vitriol4 ,some recipes soak the cotton for #bd hours1 others for #dh hours4 ,,chapter ,,iv4 ,,british ,,dye ,,plants ,the introduction of foreign dye woods and other dyes during the #agth and #ahth centuries rapidly displaced the native dye plants1 except in certain 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 century 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 few however 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 the most plentiful1 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 ,barberry1 and some of the lichens1 are substantive dyes1 and require no mordant4 ,,plants ,,which ,,dye ,,red4-- ,potentil4 ,potentilla ,tormentilla4 ,roots4 ,wild ,madder4 ,rubia peregrina4 ,lady's ,bedstraw4 ,galium verum4 ,roots4 ,gromwell4 ,lithospermum arvense4 ,marsh ,potentil4 ,potentilla ,comarum4 ,roots4 ,birch4 ,betula alba4 ,fresh inner bark4 ,bed-straw4 ,galium boreale4 ,roots4 ,common ,sorrel4 ,rumex acetosa4 ,roots4 ,evergreen ,alkanet4 ,anchusa sempervirens4 ,with chloride of tin4 ,dyer's ,woodruff4 ,asperula tinctoria4 ,roots4 ,,plants ,,which ,,dye ,,blue4-- ,woad4 ,isatis ,tinctoria4 ,whortleberry or blaeberry4 ,vaccinium ,myrtillus4 ,berries4 ,elder4 ,sambucus nigra4 ,berries4 ,privet4 ,ligustrum vulgare4 ,berries1 with alum and salt4 #b,sloe4 ,prunus communis4 ,fruit4 ,red bearberry4 ,arctostaphylos ,uva-,ursi4 ,dogs ,mercury4 ,mercurialis perennis4 ,yellow ,iris4 ,iris ,pseudacorus4 ,root4 ,devil's ,bit4 ,scabiosa succisa4 ,leaves prepared like woad4 ,,plants ,,which ,,dye ,,yellow4-- ,weld4 ,reseda luteola4 ,meadow ,rue4 ,thalictrum flavum4 ,roots4 ,marsh ,marigold4 ,caltha palustris4 ,flowers4 ,s4 ,john's ,wort4 ,hypericum perforatum4 ,heath4 ,erica vulgaris4 ,with ,alum4 ,spindle tree4 ,euonymus ,europus4 ,buckthorn4 ,rhamnus frangula and ,r4 cathartica4 ,berries and ,bark4 #c;,dyer's ,greenwood4 ,genista tinctoria4 ,young shoots and leaves4 ,kidney ,vetch4 ,anthyllis ,vulnararia4 ,marsh ,potentil4 ,potentilla ,comarum4 ,ling4 ,calluna vulgaris4 ,yellow ,centaury4 ,chlora perfoliata4 ,hornbeam4 ,carpinus ,betulus4 ,bark4 ,hedge stachys4 ,stachys palustris4 ,polygonum ,persecaria4 ,polygonum ,hydropiper4 ,hop4 ,humulus lupulus4 ,stinking ,willy1 or ,ragweed4 ,senecio ,jacoba4 ,yellow ,camomile4 ,anthemis tinctoria4 ,common dock4 ,rumex obtusifolius4 ,root4 #d,sawwort4 ,serratula tinctoria4 ,gorse4 ,ulex ,europus4 ,bark1 flowers and young shoots4 ,broom4 ,sarothamnus scoparius4 ,bracken4 ,pteris aquilina4 ,roots4 ,also young tops4 ,way-faring tree4 ,viburnum lantana4 ,leaves1 with alum4 ,bramble4 ,rubus fructicosus4 ,nettle4 ,urtica4 ,with alum4 ,bog ,myrtle or ,sweet ,gale4 ,myrica ,gale4 ,teasel4 ,dipsacus ,sylvestris4 ,sundew4 ,drosera4 ,barberry4 ,berberis vulgaris4 ,stem and root4 ,bog asphodel4 ,narthecium ossifragum4 ,agrimony4 ,agrimonia ,eupatoria4 ,yellow corydal4 ,corydalis lutea4 ,privet4 ,ligustrum vulgare4 ,leaves4 ,crab ,apple4 ,pyrus ,malus4 ,fresh inner bark4 ,ash4 ,fraxinus excelsior4 ,fresh inner bark4 ,pear4 ,leaves4 ,poplar4 ,leaves4 ,plum4 ,leaves4 ,birch4 ,leaves4 #e,willow4 ,leaves4 ,,plants ,,which ,,dye ,,green4-- ,privet4 ,ligustrum vulgare4 ,berries and leaves1 with alum4 ,flowering reed4 ,phragmites communis4 ,flowering tops1 with copperas4 ,elder4 ,sambucus nigra4 ,leaves with alum4 ,nettle4 ,urtica dioica and ,u4 ,urens4 ,lily of the valley4 ,convalaria majalis4 ,leaves4 ,larch4 ,bark1 with alum4 ,,plants ,,which ,,dye ,,brown4-- ,whortleberry4 ,vaccinium ,myrtillus4 ,young shoots1 with nut galls4 ,larch4 ,pine needles1 collected in ,autumn4 ,walnut4 ,root and green husks of nut4 ,water ,lily4 ,nympha alba4 ,root4 ,alder4 ,alnus glutinosa4 ,bark4 ,birch4 ,betula alba4 ,bark4 ,oak4 ,quercus ,rohur4 ,bark4 ,red currants1 with alum4 ,hop4 ,humulus lupulus4 ,stalks give a brownish red colour4 ,,plants ,,which ,,dye ,,purple4-- ,whortleberry or blaeberry4 ,vaccinium myrtillus4 ,berries4 ,it contains a blue or purple dye which will dye wool and silk without mordant4 ,deadly nightshade4 ,atropa ,belladonna4 ,sundew4 ,drosera4 ,bryony4 ,bryonia dioica4 ,berries4 ,danewort4 ,sambucus ,ebulus4 ,berries4 ,elder4 ,sambucus nigra4 ,berries1 with alum1 a violet2 with alum and salt1 a lilac colour4 ,dandelion4 ,taraxacum ,dens-leonis4 ,roots4 ,dyes a magenta colour4 ,damson4 ,fruit1 with alum4 ,,plants ,,which ,,dye ,,black4-- ,alder4 ,alnus glutinosa4 ,bark with copperas4 ,blackberry4 ,rubus fruticosus4 ,young shoots1 with salts of iron4 ,dock4 ,rumex4 ,root4 ,iris4 ,iris ,pseudacorus4 ,root4 ,meadowsweet4 ,spirea ,ulmaria4 ,oak4 ,bark and acorns4 ,elder4 ,bark1 with copperas4 ,,footnotes3 #b ,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 #c ,for giving very inferior yellow upon coarser woollens1 the dyer's broom1 genista tinctoria1 is sometimes employed1 with the common preparation of alum and tartar4 #d ,sawwort which grows abundantly in meadows affords a very fine pure yellow with alum mordant1 which greatly resembles weld yellow4 ,it is extremely permanent4 #e ,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 yellows 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 wool yellow is used in ,canada4 ,the seeds of the purple trefoil1 lucerne1 and fenugreek1 the flowers of the ,french marigold1 the chamomile1 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 ,v4 ,,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 ,p4 omphaloides1 are largely used in the ,highlands ,west ,ireland1 for dyeing brown of all shades4 ,no mordant is needed1 and the colours produced are the fastest known4 ,crottle1 is the general name for ,lichens1 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 dye bath with a sufficient quantity of water1 boiled up and allowed to cool and 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 up with cold water and bring to the boil1 and boil till the colour is deep enough4 ,some of the finest browns are got in this way4 ,the wool does not seem to be affected by keeping it in the dye a long time4 ,a small quantity of acetic acid put in with the ,lichen is said to assist in exhausting the colour4 ,the grey ,lichen ,ramalina scopulorum1 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 day 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 boiling1 it absorbs more colour1 and it does not hurt the wool1 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 saxatilis1 and ,parmelia omphalodes1 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 caperata or ,stone ,crottle which contains a yellow dye1 ,p4 ceratophylla1 or ,dark ,crottle1 and ,p4 parietina1 the common wall lichen1 which gives a colour similar to the colour of the lichen itself1 yellowish brown4 ,in ,bancroft's ,philosophy of ,permanent ,colours is to be found the following--,besides the lichens1 whose colour depends upon a combination with the ammonia1 there are some which afford substantive colours1 less beautiful indeed1 but more durable1 by merely boiling with water4 ,one of these is the muscus pulmonarius of ,caspar ,bauhine1 or the lichenoides pulmonium reticulatum vulgare marginibus peltiferus of ,dillenius1 called ,rags and ,stone ,rags1 in the northern parts of ,england1 which1 without any mordant1 dyes a very durable dark brown colour upon white wool or cloth1 and a fine lasting black upon wool or cloth which has previously received a dark blue from ,indigo4 ,the following occurs in an old ,scottish history4--,there is one excresence gotton off the craigs which they call cork-lit1 and make use thereof for litting1 or dyeing a kind of purple colour4 ,another lichen1 taken from trees in ,scotland1 was used for producing an orange tint1 called ,philamort4 ,the tree lichen was called wood-raw1 or rags1 to distinguish it from stone lichen1 or stone-raw4 ,a deep red colour was got from the dull grey friable lichen1 common on old stone walls1 which was scraped off1 with a metal scraper4 ,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 ,there is a difficulty1 however1 in getting enough of this lichen to make the dyeing with it practicable4 ,the colour of the plant is no indication of the colorific power4 ,that is often greatly modified by the conditions of its growth1--such as climate1 elevation above the sea1 nearness or distance from the sea1 age1 season when gathered1 habitat4 ,the best season for gathering most lichens1 is late summer and autumn4 ,in ,sweden1 ,scotland and other countries1 the peasantry use a lichen1 called ,lecanora tartarea1 to furnish a red or crimson dye4 ,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 ,immediately after being collected1 an iron vessel is filled with it1 and stale urine then poured over it1 till the vessel is full4 ,this is slowly boiled until the plant begins to assume a mucillaginous appearance1 which generally takes place in about #b hours4 ,when taken off the fire1 it has the consistence of a thin jelly1 but it speedily hardens until it is nearly as thick as porridge1 and its colour becomes a dark rusty grey4 ,it is then folded in the cloth1 layer by layer of ,scrottyie and cloth alternately1 and all is boiled for about #bj minutes1 in soft water1 in which a little alum has been dissolved4 ,it is then taken off the fire and the cloth washed in cold water1 when the process of dyeing is complete4 ,the ,scrottyie1 taken from between the folds of the cloth1 is used several times for dyeing1 on being treated again in the same manner4 ,the plant used in ,shetland for the red dye is the ,lecanora tartarea4 ,it is found abundantly on almost all rocks and also grows on dry moors1 along with ,cladonia sangiferina4 7,if a particle of the latter is allowed to be intermixed with the dye1 it is supposed to be spoiled47 ,the lichen1 and the dye made from it1 are called ,korkalett4 ,this lichen is collected in ,may and ,june1 and steeped in stale urine for about #c 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 bluish black colour1 is taken out and made into small cakes of about 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 water till of the consistence of ,scrottyie1 the dyeing proceeds in the same manner2 #e lbs4 of korkalett being considered sufficient for about #d ,scotch ells of cloth4 ,the colour produced is a light red4 ,it is much used in the dyeing of yarn as well as cloth4 ,the yarn is simply boiled in it without folding as in the case of cloth4#f ,linnus mentions that a beautiful red colour may be prepared from ,lichen pustulatus1 ,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 ,pennsylvania used for an orange colour for yarn4 ,lecanora tartarea 7corcur of the ,scottish ,highlanders7 dyes a claret4 ,it is usually prepared by pounding the lichen and mixing it with stale chamberley1 to which a little salt or kelp is added2 this mixture is kept for several weeks1 and frequently stirred2 being then brought to the consistence of coarse paste1 it is made up into balls1 with a little lime or burnt shells1 and is kept ready for use4 ,when used1 it is coarsely powdered and a small portion of alum is generally added4 ,a general method for using lichens is suggested by ,dr4 ,westring of ,sweden1 in his ,experiments on ,lichens for ,dyeing ,wools and ,silks4 ,he says3 ,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 dried and reduced to a fine powder3 #be parts pure river water are added to #a of powdered lichen1 and #a part of fresh quick lime to #aj parts powdered lichen4 ,to #aj lbs4 lichen lb4 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#g ,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 mordant 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 lime1 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 ,archil is in general a very useful ingredient in dyeing2 but as it is rich in colour1 and communicates an alluring bloom1 dyers are often tempted to abuse it1 and to exceed the proportions that can add to the beauty1 without1 at the same time1 injuring in a dangerous manner the permanence of the colours4 ,nevertheless1 the colour obtained when solution of tin is employed1 is less fugitive than without this addition4#h ,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 ,shetland ,islands 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 ammonia4--,evernia prunastri1 ,lecanora pallescens1 ,umbilicaria vellea1 ,u4 pustulata1 ,parmelia perlata2 whilst 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 ,the ammonia used to be added in the form of stale urine1 and additions of slaked lime were made from time to time4#i ,the general mode of treatment for the development from the dye lichens of orchil and cudbear consists of the following steps3-- #a4--;,careful washing1 drying and cleaning1 to separate earthy and other impurities4 #b4--,pulverisation into a coarse or fine pulp with water4 #c4--,regulated addition of ammonia of a certain strength and derived from various sources 7putrid urine1 gas liquor1 etc47 #d4--;,frequent stirring of the fermenting mass so as to ensure full exposure of every part thereof to the action of atmospheric oxygen4 #e4--;,addition of alkalis in some cases 7e4g4 potash or soda7 to heighten or modify the colour2 and of chalk1 gypsum and other substances1 to impart consistence4 ,various accessories are employed1 e4g4 the application of continued1 moderate and carefully regulated heat during the process of fermentation4#aj ,,recipes ,,for ,,dyeing ,,with ,,lichens4 ,to dye ,brown with ,crotal4 ,for #f lbs4 7#ajj oz47 of wool4 ,dye baths may be used of varying strengths of from #aj to #ej oz4 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 to make the bath slightly acid will be an improvement4 7,a 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 ,lichen4 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 hours4 ,no mordant is required4 ,to dye red purple from ,cudbear ,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 cudbear and 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 alum1 7 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 ,,dyeing4#aa ,,shades ,,of ,,red1 ,,purple ,,and ,,orange4 ,roccella tinctoria4 ,orseille4 ,grows in the ,south of ,france1 on rocks by the sea4 ,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 ,glasgow4 ,l4 parella4 ,light ,crottle1 ,crabs ,eye ,lichen4 ,found in ,scotland1 ,france1 and ,england1 on rocks and trees1 formerly celebrated in the ,south of ,france in the making of the dye called ,orseille d',auvergne4 ,l4 hmatomma4--,bloody spotted lecanora1 ,black lecanora4 ,found in ,scotland on rocks and trees4 ,umbilicaria pustulata4--,blistered umbilicaria4 ,found on rocks in ,norway and ,sweden4 ,isidium corallinum4 ,white crottle4 ,found on rocks in ,scotland4 ,i4 ,westringii4 ,westring's ,isidium4 ,norway and ,sweden4 ,urceolaria calcarea4 ,corkir1 ,limestone ,urceolaria4 ,found in ,scotland1 ,western ,islands1 ,shetland and ,wales1 growing on limestone rocks4 ,u4 ,scruposa4 ,rock ,urceolaria4 ,grows on rocks in hilly districts in ,england4 ,u4 cinerea4 ,greyish ,urceolaria4 ,in ,england1 on rocks4 ,parmelia saxatilis4 ,crottle1 stane-raw1 ,staney-raw1 7,scotland74 ,scrottyie1 7,shetland74 ,sten-laf1 ,sten-mossa1 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 ,p4 omphalodes4 ,black ,crottle1 ,cork1 ,corker1 ,crostil or ,crostal1 7,scotch ,highlands74 ,arcel1 7,ireland74 ,kenkerig1 7,wales74 ,alaforel-leaf1 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 caperata4 ,stone crottle1 ,arcel4 ,found in ,north of ,ireland and ,isle of ,man1 on trees4 ,said to dye yarn brown1 orange and lemon yellow4 ,p4 conspersa4 ,sprinkled parmelia4 ,found growing on rocks in ,england4 ,evernia prunastri4 ,ragged hoary lichen4 ,stag's horn lichen4 ,found in ,scotland1 on trees4 ,ramalina scopulorum4 ,ivory-like ramalina4 ,scotland1 on maritime rocks4 ,a red dye4 ,r4 farinacea4 ,mealy ramalina4 ,on trees in ,england4 ,borrera ashney4 ,chutcheleera4 ,india4 ,solorina crocea4 ,saffron yellow solorina4 ,in ,scotland1 on mountain summits4 ,the colouring matter is ready formed and abundant in the thallus4 ,nephroma parilis4 ,chocolate colored nephroma4 ,scotland1 on stones4 ,said to dye blue4 ,sticta pulmonacea4 ,on trees4 ,lecidea sanguinaria4 ,red fruited lecidea4 ,in ,scotland1 on rocks4 ,conicularia aculeata4 var4 spadicea4 ,brown prickly cornicularia4 ,canary ,islands1 ,highland ,mountains4 ,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 ,cetraria ,islandica4 ,iceland moss4 ,iceland heaths1 and hills4 ,it yields a good brown to boiling water1 but this dye appears only to have been made available to the ,icelanders4 ,parmelia physoides4 ,dark crottle1 ,bjork-laf4 ,found in ,sweden1 ,scotland ,scandinavia1 on rocks and trees4 ,p4 omphalodes4 ,in ,scandinavia and ,scotland4 ,withering asserts that it yields a purple dye 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 ,sticta pulmonacea4 ,oak lung1 ,lungwort1 ,aikraw1 ,hazel-raw1 ,oak rag1 ,hazel 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 flava1 crocata1 aurata4 ,for continuation of list see ,appendix4 ,,footnotes3 #f ,t4 ,edmonston4 ,on the ,native ,dyes of the ,shetland ,islands #ahda4 #g ,the ,annales de ,chimie4 ,stockholm ,transactions #agib4 #h ,the ,art of ,dyeing4 ,berthollet4 ,he gives minute directions for the preparation of ,archil4 ,see page #cfe4 #i ,some ,british ,dye ,lichens4 ,alfred ,edge4 #aj ,from ,dr4 ,w4 ,l4 ,lindsay1 ,on ,dyeing ,properties of ,lichens4 #aa ,from an article by ,dr4 ,lauder ,lindsay on the ,dyeing ,properties of ,lichens1 in the ,edinburgh ,philosophical ,journal4 ,july to ,october #ahee4 ,,chapter ,,vi4 #ab;,,blue ,,indigo1 ,,woad1 ,,logwood4 ,notwithstanding the very great facility of dyeing wool blue1 when the blue vat is once prepared1 it is far otherwise with regard to the preparation of this vat1 which is actually the most difficult operation in the whole art of dyeing4--,hellot4 ,,indigo ,indigo is the blue matter extracted from a plant1 ,indigofera tinctoria 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 colours1 but is not very permanent4 ,darker colours by this method are more permanent than the paler ones4 ,it does not dye cotton or linen4 ,the other method is by the indigo vat process1 which produces fast colours1 but is complicated and difficult4 ,in order to colour with indigo1 it has to be deprived of its oxygen4 ,the deoxydised indigo is yellow1 and in this state penetrates the woollen fibre2 the more perfectly the indigo in a vat is deoxydised1 the brighter and faster will be the colour4 ,for the dyeing of wool1 the vats are usually heated to a temperature of #ej;,c4 ,cotton and linen are generally dyed cold4 ,hellot says when the vat1 of whatsoever kind it be1 is once prepared in a proper state1 there is no difficulty in dyeing woollens or stuffs1 as it is requisite only to soak them in clean warm water1 to wring them1 and then to immerse them in the vat1 for a longer or shorter time1 according as you would have the colour more or less deep4 ,the stuff should be from time to time opened1 that is to say1 taken out and wrung over the vat and exposed to the air for a minute or two1 till it becomes blue4 ,for let your vat be what it will1 the stuff will be green when taken out and will become blue when exposed to the air4 ,in this manner it is very proper to let the colour change before you immerse your stuffs a second time1 as you are thereby better enabled to judge whether they will require only one or several dips4--,the ,art of ,dyeing ,wool1 by ,hellot4 ,the colour of the blue is brightened by passing the wool through boiling water after it comes out of the dye4 ,indigo is a substantive dye and consequently requires no mordant4 #aca74 ,,to ,,make ,,extract ,,of ,,indigo4-- ,put #b lbs4 of oil of vitriol into a glass bottle or jar1 stir into it #h oz4 of powdered indigo1 stirring briskly for hour1 then cover up and stir #d or #e times a day for a few days1 then add a little powdered chalk to neutralise the acid4 ,it should be added slowly1 little by little1 as the chalk makes the acid bubble up4 ,keep it closely corked4 #b74 ,,to ,,make ,,extract ,,of ,,indigo4-- #d oz4 sulphuric acid1 oz4 finely ground ,indigo4 ,mix like mustard1 and leave to stand over-night4 ,prepare the wool by mordanting with #e oz4 alum to #a lb4 wool4 ,boil for hour and dye without drying4 #c74 ,,to ,,dye ,,wool ,,with ,,indigo ,,extract ,for #d to #f lbs4 of wool4 ,stir #b to #c oz4 of ,indigo extract into the water of the dye bath4 ,the amount is determined by the depth of shade required4 ,when warm1 enter the wool1 and bring slowly to boiling point 7about hour7 and continue boiling for another 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 cent4 ,this should be boiled up separately1 strained1 and put in the bath before the wool is entered4 ,too much should be avoided however1 as it dims the colour4 ,it can be done in the same bath1 but better results are got by separate baths4 ,instead of logwood a little madder is sometimes used2 also ,cudbear or ,barwood4 #d74 ,,to ,,dye ,,silk ,,with ,,indigo ,,extract4 ,dye at a temperature of #dj to #ej;,c4 in a bath with a little sulphuric acid and the amount of indigo as is needed for the colour4 ,another method is to mordant the silk first with alum by steeping it for #ab hours in a solution of #be per cent4 and then1 without washing1 to dye with the ,indigo ,extract and about #aj of alum added to the dye bath4 ,by this means compound colours can be made by the addition of cochineal1 for purple1 or old ,fustic1 ,logwood1 etc41 for greys1 browns and other colours4 #e74 ,,saxon ,,blue4-- ,put into a glazed earthen pot #d lbs4 of good oil of vitriol with #ab oz4 of choice ,indigo1 stir this mixture very hastily and frequently in order to excite a fermentation4 ,it is customary with some ,dyers to put into this composition a little antimony or salt-petre1 tartar1 chalk1 alum and other things1 but ,i find it sufficient to mix the oil and ,indigo alone1 and the colours will be finer1 for those neutral salts destroy the acid of the vitriol and sully the colour4 ,in #bd hours it is fit for use4 ,then a copper of a good size is to be filled with fair water 7into which one peck of bran is put in a bag7 and made pretty warm1 the bran after yielding its flower must be taken out1 and the ,chymie1 7,indigo ,extract7 mixed well with water in a ,piggin1 7a small pot7 is put in according to the shade required1 having first put in a hand-ful of powdered tartar2 the cloth is to be well wet and worked very quick over the winch 7stick on which it is hung7 for half an hour4 ,the liquor must not be made hotter than for madder red 7just under boiling point74 ,the hot acid of the vitriol would cause the blue to incline to green if too much heat was given4 7,from an old ,dye ,book74 #f74 ,,to ,,make ,,up ,a ,,blue ,,vat4-- ,take #a lb4 ,indigo thoroughly ground1 put this into a deep vessel with about #ab gallons of water1 add #b lbs4 copperas1 and #c lbs4 newly slaked lime1 and stir for #ae minutes4 ,stir again after #b hours and repeat every #b hours for #e or #f times4 ,towards the end1 the liquor should be a greenish yellow colour1 with blackish veins through it1 and a rich froth of ,indigo on the surface4 ,after standing #h hours to settle1 the vat is fit to use4 #g74 ,,turquoise ,,for ,,wool4-- ,mordant with alum4 ,for a pale shade use #a teaspoonful of ,indigo ,extract 7see ,no4 #b7 for #a lb4 of wool4 ,boil hour4 #h74 ,,blue ,,for ,,wool4 7,highlands74 ,take a sufficiency of ,indigo4 7,for medium shade about #a oz4 to every pound of wool74 ,dissolve it in about as much stale urine 7about a fortnight old7 as will make a bath for the wool4 ,make it lukewarm4 ,put in the wool and keep it at the same temperature till the dyeing is done4 ,for a deep navy blue it will take a month1 but a pale blue will be done in #c or #d days4 ,every morning and evening the wool must be taken out of the dye bath1 wrung out and put back again4 ,the bath must be kept covered and the temperature carefully attended to4 ,some add a decoction of dock roots the last day1 which is said to fix the blue4 ,the wool must then be thoroughly washed4 ,this is a fast dye4 #i74 ,,indigo ,,vat4 7,for small dyers74 ,add to #ejj litres of stale urine #c to #d kilos of common salt and heat the mixture to #ej to #fj;,c41 for #d to #e hours with frequent stirring1 then add #a kilo of madder1 #a kilo of ground ,indigo1 stir well1 and allow to ferment till the ,indigo is reduced4 #aj74 ,,saxon ,,blue4 7,berthollet74 ,prepare the wool with alum and tartar4 ,a smaller or greater proportion of the ,indigo solution is put into the bath1 7#a part of ,indigo with #h parts of sulphuric acid1 digested for #bd hours71 according to the depth of shade wished to be obtained4 ,for deep shades it is advantageous to pour in the solution by portions1 lifting out the wool from the bath while it is being added4 ,the cold bath acts as well as the hot4 #aa74 ,,the ,,cold ,,indigo ,,vat ,,with ,,urine4 ,take #d lbs4 of powdered ,indigo and put it into a gallon of vinegar1 leaving it to digest over a slow fire for #bd hours4 ,at the end of this time the ,indigo should be quite dissolved4 ,if not dissolved pound it up with some of the liquor adding a little urine4 ,put into it lb4 madder1 mixing it well4 ,then pour it into a cask containing #fj gallons of urine 7fresh or stale74 ,mix and stir the whole together2 this should be done morning and evening for #h days or until the surface becomes green when stirred1 and produces froth4 ,it may be worked immediately without any other preparation than stirring it #c or #d hours before-hand4 ,this kind of vat is extremely convenient1 because when once prepared it remains so always until it is entirely exhausted4 ,according as you would have your vat larger or smaller you reduce or enlarge the amount of the ingredients used in the same proportion as the original4 ,this vat is sooner prepared in summer than in winter4 #ab74 ,,indigo ,,vat ,,on ,a ,,small ,,scale ,,for ,,woollens ,,and ,,cottons4-- ,have a strong #i gallon cask1 put into it #h gallons of urine1 have a #d quart pickle jar1 into which put #a lb4 ground ,indigo and #c pints of best vinegar2 put the jar into a saucepan filled with water1 and make it boil well for #b hours1 stirring it all the time4 ,let it stand in a warm place for #c days1 then pour it into the cask2 rake it up twice a day for a month4 ,it must be covered from the air4 #ac74 ,,blue ,,vat ,,for ,,woollens4-- ,for every #bj gallons of water add #e oz4 ground ,indigo1 #h oz4 of potash1 #c oz4 madder1 and #d oz4 bran4 ,keep the solution at #adj;,f42 after #bd hours the whole will have begun to ferment1 then add #b oz4 madder1 stir and allow the whole to settle1 after which the vat is ready for use4 #ad74 ,,to ,,dye ,,indigo ,,blue4 ,urine ,vat4-- ,prepare vat as follows3--,to #c gallons of stale urine add #d oz4 of common salt1 and heat the mixture to #abe;,f4 7as hot as the hand can bear74 ,keep at this heat for #d to #e hours1 frequently stirring1 then add #a oz4 thoroughly ground ,indigo and #a oz4 ,madder1 stir well and allow to ferment till the ,indigo is reduced4 ,this is recognized by the appearance of the vat1 which should be of a greenish yellow colour1 with streaks of blue4 ,allow the vat to settle1 when you can proceed with dyeing4 ,process of dyeing the same as in ,no4 #ae4 #ae74 ,,to ,,dye ,,indigo ,,blue4--,potash ,vat4-- ,into a pot #c parts full of water put #a oz4 ,madder and #a oz4 bran4 ,heat to nearly boiling1 and keep at this heat for #c hours4 ,then add #e oz4 ,carbonate of ,potash2 allow ,potash to dissolve and let the liquor cool down till luke-warm4 ,then add #e oz4 thoroughly ground ,indigo1 stir well and leave to ferment for two days1 occasionally stirring1 every #ab hours or so4 ,wool dyed in this vat must be thoroughly washed after the colour is obtained4 ,process of ,dyeing4--,into a vat prepared as above1 dip the wool4 ,keep it under the vat liquor1 gently moving about a sufficient time to obtain the colour required4 ,a light blue is obtained in a few seconds1 darker blues take longer4 ,take out wool1 and thoroughly squeeze out of it all the dye liquor back into the vat4 ,spread out the wool on the ground1 exposed to the air till the full depth of colour is developed4 ,the wool comes out of the vat a greenish shade1 but the oxygen in the air darkens it1 through oxydation1 to indigo blue4 ,the wool should now be washed in cold water with a little acid added to it1 and again thoroughly rinsed and dried4 #af74 ,,blue ,,vat ,,for ,,cotton4-- ,in a clean tub put #aj pails of water1 slacken #a bushel of lime into it1 and cover while slackening2 put #f lbs4 ground ,indigo in a pot and mix it into a paste with hot water and then put #d pails of boiling water on to it1 stir it1 cover it1 and leave it4 ,in another pot1 put #bj lbs4 copperas1 pour #d pails of water on this1 stir it and leave it covered4 ,pour #d pails of water on the top of the lime that is slackening1 rake it up well and put in the melted copperas2 rake it well and put in the ,indigo2 stir well and leave covered for a couple of days1 stirring occasionally4 ,half fill a new vat with the mixture4 ,rake it well and while you are raking1 fill it up with clean water1 continue raking for an hour4 ,cover it over2 it can be used the next day4 ,this is a colour that never washes out4 #ag74 ,,gloucestershire ,,indigo ,,vat4 ,size #e feet over the top3 #g feet deep1 #f to #g feet at the bottom4 ,take cwt4 bran1 peck lime and #dj lbs4 indigo4 ,warm up to #ahj to #bjj;,f41 rake it #d times a day4 ,if it ferments too much add more lime3 if not enough1 more bran4 ,an experienced eye or nose will soon tell when it is ripe or fit to use1 which should be in about #c days4 ,regulate the strength of the vat from time to time to the colour required4 ,no madder or woad is used when much permanency is wanted4 #ah74 ,,cold ,,indigo ,,vat ,,for ,,dyeing ,,wool1 ,,silk1 ,,linen ,,and ,,cotton4 #a part ,indigo1 #c parts good quicklime1 #c parts ,english vitriol1 and #a parts of orpiment4 ,the ,indigo is mixed with water1 and the lime added1 stirred well1 covered up1 and left for some hours4 ,the powdered vitriol is then added1 and the vat stirred and covered up4 ,after some hours the orpiment powder is thrown in and the mixture is left for some hours4 ,it is then stirred well and allowed to rest till the liquid at the top becomes clear4 ,it is then fit for dyeing4 ,,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 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 #i 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 off1 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 vitrum1 the dye with which ,csar 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#ad ,it is like the ,indigo plant1 but less delicate and rich4 ,it is put in vats with ,indigo and madder to dye a never-fading dark blue on wool1 and was called woad-vats before ,indigo was known4 7,thomas ,love74 ,and again ,woad1 or what is much stronger1 pastel1 always dyed the blue woollens of ,europe until ,indigo was brought over here4 ,bancroft says ,woad alone dyes a blue colour very durable1 but less vivid and beautiful than that of ,indigo4 ,,logwood 7,bois de ,campche1 ,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 the old dyers1 one of the ,lesser ,dyes1 because the colour loses 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 act is entitled ,an ,act for the abolishing of certeine deceitful stuffe used in the dyeing of clothes1 and it goes on to state that ,whereas there hath been brought from beyond the seas a certeine kind of stuff called logwood1 alias blockwood1 wherewith divers dyers1 etc41 and ,whereas the clothes therewith dyed1 are not only solde and uttered to the great deceit of the ,queene's loving subjects1 but beyond the seas1 to the great discredit and sclaunder of the dyers of this realme4 ,for reformation whereof1 be it enacted by the ,queene our ,soveraygne ,ladie1 that all such logwood1 in whose handes soever founde1 shall be openly burned by authoritie of the maior4 ,the person so offending was liable to imprisonment and the pillory4 ,this is quoted from ,the ,art of ,dyeing1 by ,james ,napier1 written in #ahec4 ,he goes on to say1 ,upwards of eighty years elapsed before the real virtues of this dyeing agent were acknowledged2 and there is no dyewood we know so universally used1 and so universally useful4 ,the principal use for logwood is in making blacks and greys4 ,the logwood chips should be put in a bag and boiled for #bj minutes to hour1 just before using4 ,logwood is used with galls and copperas for the various shades of greys1 inclining to slate1 lavender1 dove1 and lead colour1 etc4 ,for this purpose you fill a cauldron full of clean water1 putting into it as much nut galls as you think proper4 ,you then add a bag of logwood1 and when the whole is boiled1 having cooled the liquor1 you immerse the stuff1 throwing in by degrees some copperas1 partly dissolved in water4--,hellot4 ,hellot is very scornful of logwood1 naming it as one of the lesser dyes1 and not to be used by good dyers4 ,,recipes ,,for ,,dyeing ,,with ,,logwood4 #a74 ,,black ,,for ,,cotton4-- ,after washing1 work the cotton in a cold infusion of #cj to #dj of ,sumach1 or its equivalent in other tannin matter#ae 7ground gall nuts1 myrobalans1 etc47 and let steep over-night4 ,squeeze out and without washing pass through a bath containing a diluted solution of lime water1 or soda4 ,work in a cold solution of copperas for hour1 then back into the soda for a hour at a temperature of #ej to #fj;,c4 ,then wash4 ,dye in a freshly made bath of logwood with a small proportion of old ,fustic or ,quercitron ,bark4 ,the cotton is introduced into the cold dye liquor and the temperature gradually raised to boiling4 ,boil for an hour4 ,after dyeing1 the cotton should be passed through a warm solution of ,bichromate of ,potash4 7#e grains per litre74 ,it is then washed and worked in a warm solution of soap and dried4 ,more ,fustic makes a greener black4 ,when catechu is the tanning matter employed1 the cotton should be worked in a boiling decoction of it and allowed to steep till cold4 #b74 ,,grey ,,drab ,,for ,,wool4 7#aj lbs47 ,dissolve oz4 ,bichromate of ,potash in water1 and then boil for hour2 lift the wool and add #a oz4 logwood3 boil for hour4 ,lift out1 wash and dry4 #c74 ,,logwood ,,grey ,,on ,,cotton4 ,the cotton is worked in a weak decoction of logwood at #dj to #ej;,c41 and then in a separate bath containing a weak solution of ferrous sulphate or ,bichromate of ,potash4 ,wash4 #d74 ,,green ,,black ,,for ,,wool4-- ,mordant wool with #c ,bichromate of ,potash and #a ,sulphuric acid 7or #d ,tartar7 for #a to #a hours4 ,then wash and dye with #ce to #ej of ,logwood4 ,this gives a blue black4 ,it is greened by adding #e old ,fustic to the dye bath4 ,the more ,fustic the greener the black becomes4 ,if #c to #d alum is added to the mordanting bath1 a still greener shade is obtained4 ,sulphuric acid in the mordant produces a dead looking blue black4 ,tartar yields a bright bluish black4 #e74 ,,logwood ,,blue ,,for ,,wool4 ,mordant the wool for #a to #a hours at #ajj;,c41 with #d alum and #d to #e cream of ,tartar4 ,wash well and dye for #a to #a hours at boiling point with #ae to #cj logwood and #b to #c chalk4 ,this colour is not very fast1 but can be made faster by adding #a to #c bichromate of potash and #a sulphuric acid4 ,the brightest logwood blues are obtained by dyeing just below boiling point4 ,long boiling dulls the colour4 #f74 ,,green ,,black ,,for ,,wool4 ,mordant with #b ,chrome and #be sulphuric acid4 ,boil #a hours and leave overnight4 ,dye with #dj logwood and #aj ,fustic4 ,boil #a hour4 #g74 ,,logwood ,,blue ,,for ,,wool4 ,chrome #a1 ,alum #c1 ,tartar #a4 ,boil #a hours and leave over-night4 ,dye with logwood #bj and ,cudbear #a4 ,boil one hour1 then throw in #bj quarts of single muriate of tin1 diluted with #bj to #cj gallons of water4 ,immerse #ae minutes and wash4 #h74 ,,fast ,,purple ,,for ,,cotton4 7,for #bj lbs4 cotton47 ,mordant with copperas4 ,wash slightly2 then a bath of muriate of tin4 ,dye with #d to #e lbs4 logwood4 #i74 ,,fast ,,black ,,on ,,wool4-- ,put wool into a strong logwood bath1 the stronger the better1 and boil for #a hour4 ,take out and drain1 and put into a ,bichromate of ,potash bath and keep at #aej;,f4 for about #e minutes4 ,then a bath of ,fustic or ,quercitron4 ,after which wash well in cold water4 #aj74 ,,black ,,for ,,cotton4-- 7,for #aj lbs47 ,steep cotton in hot decoction of #c lbs4 ,sumach and let stay over night4 ,wring out and work for #aj minutes through lime water3 then work for hour in a solution of #b lbs4 copperas4 ,it may be either washed from this1 or worked again through lime water for #aj minutes4 ,dye for hour in a warm decoction of #c lbs4 logwood adding pint chamber lye4 ,take out cotton and add to the same bath #b oz4 copperas4 ,work #aj minutes1 then wash and dry4 #a lb4 ,fustic is added for jet black4 #aa74 ,,fast ,,black ,,for ,,woollens4-- 7,for #ej lbs47 ,mordant with #b lbs4 chrome1 #a lb4 ,tartar1 #a quart ,muriate of ,tin4 ,boil #a hour and wash well4 ,dye with #be lbs4 logwood and #c lbs4 ,fustic4 ,boil #cj minutes4 ,take out and add #a pint ,vitriol4 ,return for #aj minutes1 wash and dry4 #ab74 ,,jet ,,black ,,for ,,silk4 7,for #ej lbs47 ,mordant in hot solution of ,nitro-,sulphate of ,iron at #aej;,f41 work for hour4 ,wash well1 then boil up #ah lbs4 ,fustic4 ,put off the boil1 enter silk and work for #cj minutes4 ,take out4 ,boil #af lbs4 logwood1 put off the boil and decant the liquor into fresh bath1 add #a lb4 white soap1 enter and work from #cj to #dj minutes4 ,wash well4 #ac74 ,,lavender ,,for ,,wool4 7,for #f lbs47 ,mordant with #c oz4 ,bichromate of ,potash1 for #de minutes and wash4 ,dye with #b oz4 madder1 #a oz4 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 #ad74 ,,black ,,for ,,wool4 ,mordant #f lbs4 wool with #d oz4 ,chrome4 ,boil for #de minutes4 ,dye with #ej oz4 logwood1 #a oz4 ,fustic4 ,raise to boil and boil for #de minutes4 #ae74 ,,fast ,,chrome ,,black ,,for ,,wool4 7,for #dj lbs4 wool47 ,dissolve #c lbs4 copperas and boil for a short time4 ,then dip the wool in this for hour1 airing frequently4 ,take out wool and make dye with #bd lbs4 logwood4 ,boil for hour4 ,dip hour1 air wool1 dip hour longer and then wash in strong soap suds4 #af74 ,,light ,,silver ,,drab ,,for ,,wool4 7,for #ej lbs4 wool74 lb4 logwood1 lb4 alum4 ,boil well and enter wool and dip for #a hour4 #ag74 ,a ,,fast ,,logwood ,,blue ,,for ,,wool4 7,highland recipe74 ,mordant with #c ,bichromate of ,potash and boil wool in it for #a hours4 ,wash and dry wool4 ,make a bath of #ae to #bj logwood with about #c 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 heather1 or boiling it in heather till the desired tint is obtained4 #ah74 ,,green ,,black ,,for ,,wool4 7,for #ej lbs4 wool74 ,boil #bj minutes with #a lb4 chrome4 ,dye with #bj lbs4 ,fustic1 #h lbs4 logwood4 ,boil for hour4 #ai74 ,,slate ,,purple4 7,for #hj lbs4 yarn74 ,mordant with #b lbs4 chrome for #bj minutes4 ,dye with #aj lbs4 logwood #a lb4 ,cudbear4 ,boil for hour4 #bj74 ,,raven ,,grey ,,for ,,wool4 7,for #fj lbs47 ,dissolve #h oz4 ,alum and work the wool very quickly for hour at boiling heat2 then take it out and add to the same liquor #c or #d lbs4 copperas1 work it at boiling heat for hour4 ,then wash4 ,in another copper1 boil #a pailfull of logwood chips for #bj minutes4 ,put the wool into this for hour2 then return it into the alum and copperas for #aj to #ae minutes4 #ba74 ,,dark ,,red ,,purple ,,with ,,logwood ,,for ,,wool4--7,for #b lbs47 ,mordant with #aj oz4 alum and #b oz4 cream of tartar for #a hour4 ,let cool in the mordant1 then wring out and put away for #d or #e days in a linen 7or other7 bag in the dark4 ,dye with #a lb4 logwood1 and lb4 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 boil4 ,boil from hour to #a hours4 ,wash thoroughly4 #bb74 ,,violet ,,with ,,logwood ,,for ,,silk4 ,the silk is washed from the soap and drained4 ,for every pound of silk1 dissolve in cold water #a oz4 verdigris2 when it is well mixed with the water1 the silk is immersed and kept in this liquor for an hour4 ,this does not give colour4 ,it is then wrung aired4 ,a logwood liquor is then made2 the silk dipped in it when cold2 it takes a blue colour sufficiently dark4 ,the silk is taken out and dipped in a clear solution of alum2 it acquires a red which produces a violet on the silk just dyed blue4 ,the quantity of alum is undetermined2 the more alum the redder the violet4 ,the silk is then washed4 #bc74 ,,ordinary ,,logwood ,,purple ,,for ,,wool4 7,for #a lb47 ,mordant wool with lb4 alum and oz4 tartar for #a hour2 wring out and put away in a bag for some days4 ,dye with lb4 logwood for #a hour4 ,,footnotes3 #ab ,early dyers were particular as to the naming of their colours4 ,here is a list of blues1 published in #affi4--,white blue1 pearl blue1 pale blue1 faint blue1 delicate blue1 sky blue1 queen's blue1 turkey blue1 king's blue1 garter blue1 ,persian blue1 aldego blue1 and infernal blue4 #ac ,i give here recipes for the simpler vats which can be used on a small scale4 ,the more complicated recipes can only be done in a well-fitted dye house4 ,i would refer the reader to those in ,the ,art of ,dyeing by ,hellot1 ,macquer and ,d',apligny1 and ,elements of the ,art of ,dyeing by ,berthollet4 #ad ,woad1 pastel and ,indigo are used in some dye books to mean the same dye1 and they evidently have very much the same preparation in making4 #ae ,see page #cf4 ,,chapter ,,vii4 ,,red4 ,,kermes1 ,,cochineal1 ,,lac-,,dye1 ,,madder4 ,,kermes4 ,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 ,europe4 ,it is said to be still in use in ,italy1 ,turkey1 ,morocco and other places4 ,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 dyed with it4 ,the following recipe for its use is from an old ,french dye book3-- #bj lbs4 of wool and a bushel of bran are put into a copper with a sufficient quantity of water1 and suffered to boil half-an-hour1 stirring every now and then4 ,it is then taken out to drain4 ,while the wool is draining the copper is emptied and fresh water put in1 to which is added about a fifth of sour water1 four pounds of ,roman ,allum grossly powdered and two pounds of red ,tartar4 ,the whole is brought to boil1 and that instant the hanks are dipped in1 which are to remain in for two hours1 stirring them continually4 ,when the wool has boiled two hours in this liquor1 it is taken out1 left to drain1 gently squeezed and put into a linen bag in a cool place for five or six days and sometimes longer4 ,this is called leaving the wool in preparation4 ,after the wool has been covered for five or six days1 it is fitted to receive the dye4 ,a fresh liquor is then prepared1 and when it begins to be lukewarm1 take #ab oz4 of powdered ,kermes for each pound of wool to be dyed1 if a full and well coloured scarlet is wanted4 ,if the ,kermes was old and flat1 a pound of it would be required for each pound of wool4 ,when the liquor begins to boil1 the yarn1 still moist1 7which it will be1 if it has been well wrapped in a bag and kept in a cool place7 is put in4 ,previous to its being dipped in the copper with the ,kermes1 a handful of wool is cast in1 which is let to boil for a minute4 ,this takes up a kind of scum which the ,kermes cast up1 by which the wool that is afterwards dipped1 acquires a finer colour4 ,the handful of wool being taken out1 the prepared is put in4 ,the hanks are passed on sticks continually stirring and airing them one after the other4 ,it must boil after this manner an hour at least1 then taken out and placed on poles to drain1 afterwards wrung and washed4 ,the dye still remaining in the liquor may serve to dip a little fresh parcel of prepared wool2 it will take some colour in proportion to the goodness and quality of the ,kermes put into the copper4 ,another ,recipe for ,dyeing with ,kermes4--,the wool is first boiled in water along with bran for half-an-hour 7 bushel of bran for #bj lbs4 of wool7 stirring it from time to time4 ,drain4 ,next boil for #b hours in a fresh bath with a fifth of its weight of alum and a tenth of ,tartar4 ,sour water is usually added4 ,it is then wrung1 put into a bag and left in a cool place for some days4 ,the ,kermes is then thrown into warm water in the proportion of #ab oz4 to every pound of wool4 ,when the liquor boils1 a handful of waste wool is thrown in1 to take up the dross of the ,kermes1 and removed4 ,the wool is then put in and boiled for an hour4 ,it is afterwards washed in warm water in which a small quantity of soap has been dissolved4 ,then washed and dried4 ,to prepare wool for the ,kermes dye1 it is to be boiled in water with about of its weight in alum1 and half as much of ,tartar1 for the space of two hours and afterwards left in the same liquor four or five days1 when being rinsed1 it is to be dyed in the usual way with about #ab oz4 of ,kermes for every pound of wool4 ,scarlets1 etc41 given from ,kermes1 were called grain colours1 because that insect was mistaken for a grain4 ,wool prepared with a nitro-muriatic solution of tin 7as is now practised for the cochineal scarlet7 and dyed with ,kermes takes a kind of aurora1 or reddish orange colour4--,bancroft4 ,,cochineal ,the dried red bodies of an insect 7,coccus ,cacti7 found in ,mexico are named ,cochineal4 ,,recipes ,,for ,,dyeing4 #a74 ,,scarlet ,,for ,,wool4 ,for each pound of wool put #bj quarts of water4 ,when the water is warm1 add #b oz4 ,cream of ,tartar1 #a drachms of powdered ,cochineal4 ,when the liquor is nearly boiling1 put in #b oz4 of ,solution of ,tin 7which the ,dyers call ,composition for ,scarlet74 ,as soon as it begins to boil1 the wool1 which has been wetted1 is dipped and worked in the liquor for an hour and a half4 ,a fresh liquor is then prepared1 #a oz4 of starch is put in and when the water is warm #f drachms of ,cochineal4 ,when nearly boiling #b oz4 of solution of tin is put in4 ,it must boil1 and then the wool is put in and stirred continually for #a hours4 ,it is then taken out1 wrung and washed4 ,the ,scarlet is then in its ,perfection4 #b74 ,,cochineal ,,for ,,cotton4 ,prepare #ej lbs4 of cotton with #ae lbs4 ,sumach1 #aj lbs4 ,alum4 ,dye with #b lbs4 of ,cochineal4 ,leave for #bd hours in the ,sumach2 lift2 winch #b to #c hours in a hot solution of ,alum2 wash in two waters1 then boil up the cochineal2 put off the boil1 enter cotton winch till colour be full enough2 then wash and dry4 #c74 ,,orange ,,red ,,for ,,wool4 #a74 ,mordant wool with ,alum4 #b74 ,dye in a bath of weak ,fustic4 ,wash and ,dry4 #c74 ,put into cold water1 ,cream of ,tartar1 ,tin1 ,pepper and ,cochineal4 ,when warm1 enter the wool and boil4 #d74 ,,pink ,,with ,,cochineal ,,for ,,wool4 7,for #fj lbs4 wool74 #e lbs4 #ab oz4 alum4 ,boil and immerse wool for #ej minutes4 ,then add #a lb4 ,cochineal and #e lbs4 cream of tartar4 ,boil and enter wool while boiling1 till the required colour is got4 #e74 ,,scarlet ,,for ,,wool4 7,for #ajj lbs47 #f lbs4 of ,tartar are thrown into the water when warm4 ,the bath is stirred briskly and when hot lb4 powdered cochineal is added and well mixed4 ,then #e lbs4 of clear solution of ,tin is carefully mixed in4 ,when it is boiling the wool is put in and moved briskly4 ,after #b hours it is taken out1 aired and washed4 ,the second bath4 ,when the water is nearly boiling #e lbs4 of powdered cochineal is put in4 ,a crust will form on the surface which will open in several places4 ,then #ac to #ad lbs4 of solution of tin is poured in4 ,after this is well mixed1 the wool is entered and stirred well4 ,boil for an hour1 then wash and dry4 ,these two processes can be done together with good result4 ,the colour can be yellowed by fustic or turmeric4 ,more tartar in the second bath increases the colour4 ,the scarlet may be brightened by common salt4 ,alum will change the scarlet to crimson1 the wool being boiled in a solution of it for one hour4 #f74 ,,crimson ,,for ,,wool4 ,mordant with #b oz4 alum and #a oz4 tartar for every lb4 of wool4 ,then dye with #a oz4 cochineal4 ,solution of tin is sometimes added4 ,also salt4 #g74 ,,violet ,,for ,,wool4 ,mordant with #b oz4 alum for #a lb4 wool4 ,dye with #a oz4 cochineal and #a oz4 of solution of iron in which the wool is kept till the shade is reached4 #h74 ,,scarlet ,,with ,,cochineal1 ,,for ,,wool4 7,for #ajj oz4 clean wool74 ,put #f oz4 ,oxalic acid1 #f oz4 ,stannous ,chloride 7,tin ,crystals71 #h oz4 powdered cochineal in a bath containing about half the quantity of water required to cover wool4 ,boil #aj minutes1 then add sufficient water to cover wool4 ,enter the wool1 work well in the dye and boil for hour1 after which take out the wool1 wash and dry4 #i74 ,,purple1 ,,for ,,wool4 7,for #b lbs4 wool74 ,mordant with ,bichromate of ,potash1 #a oz4 in #aj gallons of water4 ,dye with #f to #h oz4 cochineal4 ,with alum mordant 7#d oz47 a crimson colour is got4 ,with tin mordant 7#b oz47 a scarlet4 ,with iron mordant 7#b oz47 a purplish slate or lilac4 #aj74 ,,scarlet1 ,,for ,,wool4 ,mordant the wool for #a to #a hours with #f stannous chloride and #d cream of tartar4 ,wash4 ,dye with #e to #ab of ground cochineal for #a to #a hours4 ,to dye the wool evenly1 enter it in both the mordant and the dye when the water is warm1 and raise gradually to boiling4 #aa74 ,,scarlet1 ,,for ,,wool4 ,fill the dye bath half full of water1 add #f to #h of ,oxalic acid1 #f of stannous chloride and #e to #ab per cent4 ground cochineal1 boil up for #e to #aj minutes1 then fill up the dye bath with cold water4 ,introduce the wool1 heat up the bath to the boiling point in the course of to #a hour and boil hour4 ,washing between mordanting and dyeing is not absolutely essential4 ,the addition of tartar up to #h per cent4 increases the intensity and yellowness of the colour4 ,in order to obtain bright yellow shades of scarlet it is usual to add a small proportion of some yellow dye to the bath4 ,wool mordanted with #aj per cent4 of ,copper sulphate and dyed in a separate bath with cochineal gives a reddish purple1 or claret colour4 ,with ferrous sulphate as mordant very good purplish slate or lilac colours can be got4 ,mordant and dye in separate baths4 ,use #h per cent4 of ferrous sulphate and #bj per cent4 of tartar4 #ab74 ,,crimson ,,for ,,silk4 ,mordant the silk by working for hour in a concentrated solution of alum1 then leave to steep over night4 ,wash well and dye in a fresh bath containing #dj per cent4 of cochineal4 ,enter the silk at a low temperature and heat gradually to boiling4 #ac74 ,,scarlet ,,for ,,silk4 ,after boiling and washing1 the silk is first slightly dyed with yellow by working it for hour at #ej;,c41 in a weak soap bath containing about #aj per cent4 of ,annatto2 it is then well washed4 ,mordant the silk by working it for hour1 then steeping it over night in a cold solution of #dj per cent4 of nitro-muriate of tin4 ,wash and dye in a fresh bath with a decoction of #bj to #dj per cent4 of cochineal and #e to #aj per cent4 cream of tartar4 ,enter the silk at a low temperature and heat gradually to boiling4 ,brighten in a fresh bath of cold water1 slightly acidified with tartaric acid4 ,good results can also be obtained with the single bath method with cochineal1 stannous chloride and oxalic acid4 ,with the use of iron mordants very fine shades of lilac may be obtained on silk with cochineal4 ,,lac ,,dye4 ,like ,cochineal and ,kermes1 ,lac is a small scale insect1 ,coccus lacca4 ,it is found in ,india1 ,burmah and other ,eastern countries2 it was introduced into ,england in #agif4 ,the method of dyeing with lac is very much the same as with cochineal2 it yields its colour less readily however1 and should be ground into a paste with the tin solution employed and a little hydrochloric acid and allowed to stand for a day before using4 ,it is said to be a faster dye than cochineal1 but is often used in combination with it1 being a fuller colour though not so bright4 ,a good fast scarlet is produced by the following recipe3--,for #ajj lbs4 wool4 #h lbs4 lac1 previously ground up with part of the tin spirits1 #e lbs4 cochineal1 #e lbs4 tartar1 #bj lbs4 tin spirit4 ,,madder4 ,madder consists of the ground up dried roots of a plant1 7,rubia tinctorum7 cultivated in ,france1 ,holland1 and other parts of ,europe1 as well as in ,india4 ,madder is not much used for silk dyeing1 but for wool1 linen and cotton it is one of the best dyes4 ,it is also used largely in combination with other dyes to produce compound colours4 ,when used for cotton the colour is much improved by boiling in a weak solution of soap after the dyeing4 ,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 ,berthollet distinguishes two kinds of madder red on cotton1 one of which is given in ,no4 #d4 ,the other is the well-known ,turkey red or ,adrianople red1 a very difficult and complicated dye1 but one of the most permanent dyes known4 ,madder reds are said to be not so beautiful as those from ,kermes1 lac or cochineal1 but my experience has been that with care1 the finest reds can be got with madder4 ,birch leaves are used in ,russia to improve the colour of madder4 ,they are added to the dye bath4 ,,recipes ,,for ,,use ,,of ,,madder4 #a74 ,,red ,,for ,,wool4 ,for #ajj oz4 7#f lbs47 wool4 ,mordant #h oz4 ,alum and #b oz4 ,tartar4 ,boil the wool in the mordant for one hour and wash in cold water4 ,dye3 #ej oz4 ,madder4 ,enter the mordanted wool1 raise to boil and boil gently for one hour4 ,wash thoroughly in cold water and dry4 ,if the water is very soft1 a small quantity of lime or chalk added to the dye bath improves the shade4 ,alder bark or alder leaves added to the dye bath darkens the colour4 ,the best results are obtained when the dye bath is maintained just under the boiling point4 #b74 ,,reddish ,,brown ,,for ,,wool4 ,mordant with #c bichromate of potash and dye with ,madder4 ,good results can be got by the single bath method4 7,see page #ad1 ,no4 #c47 #c74 ,,brownish ,,red ,,for ,,wool4 ,mordant the wool with #f to #h per cent4 of alum and #e to #g per cent4 of tartar4 ,dye with #fj to #hj of ,madder4 ,begin the dyeing at about #dj;,c41 and raise the temperature of the bath gradually to #hj to #ajj;,c41 in the course of an hour1 and continue the dyeing about an hour4 ,wash and dry4 ,the colour can be brightened by adding a small proportion of stannous chloride to the mordant or it can be added to the dye bath towards the end of the dyeing4 ,brighter shades are got by keeping the temperature at about #hj;,c41 and prolonging the dyeing process4 ,after dyeing1 the colour can be brightened by working the wool at #gj;,c41 in a weak soap bath1 or a bath containing bran4 #d74 ,,bright ,,red ,,for ,,cotton4#af 7,for #bb lbs474 ,the cotton must be scoured1 then galled in the proportion of #a part of nut galls to #d of cotton1 and lastly alumed in the proportion of #a of alum to #d of cotton4 ,to the solution of alum is added one twentieth of solution of soda ley 7 lb4 ordinary soda to #a pints water74 ,it is then dried slowly and alumed again4 ,then dried slowly again4 ,the more slowly the drying takes place the better the colour4 ,the cotton is then ready to be dyed4 ,heat the water of the dye bath as hot as the hand can bear2 mix in #f lbs4 madder and stir carefully4 ,when thoroughly mixed1 put in the cotton work for hour without boiling4 ,take it out add about a pint of soda ley4 ,the cotton is then returned to the bath and boiled for #ae to #bj minutes4 ,it is then brightened by passing it quickly thro' a tepid bath with a pint of ley in it4 ,it is then washed and dried4 #e74 ,,bright ,,orange ,,red ,,for ,,wool4 ,for #a lb4 scoured fleece1 mordant with #d oz4 alum and #a oz4 cream of tartar4 ,dissolve the mordant1 enter the wool and raise to boiling point and boil for #a hour4 ,allow the wool to cool in the mordant4 ,then wring out and put in a linen bag in a cool place for #d or #e days4 ,soak #h oz4 madder over night in water and boil up before using4 ,put into dye bath1 enter wool when warm1 bring gradually to the boil and boil for hour4 #f74 ,,bright ,,red ,,for ,,wool4 ,mordant #a lb4 wool with #e oz4 of ,alum1 and #a oz4 of ,tartar2 leave to drain and then wring out2 put into a linen bag and leave in a cool place for several days4 7,the wool should still be damp when taken out to dye2 if it is dry1 damp with warm water74 ,if the ,tartar is increased a cinnamon colour is got4 ,dye with lb4 of madder for every pound of wool4 ,the water should not boil1 but kept just below boiling for an hour2 then boil up for #e minutes before taking out and washing4 ,with sulphate of copper as a mordant1 madder gives a clear brown bordering on yellow 7one part of sulphate of copper and #b parts of madder74 #g74 ,,red ,,for ,,silk4 ,the silk is mordanted over night with alum1 by steeping it in a cold concentrated solution2 wash well and dye in a separate bath with #ej per cent4 of madder4 ,begin dyeing at a low temperature and gradually raise to #ajj;,c4 ,the addition of bran tends to give brighter colours4 ,a small quantity of ,sumach could be added if a fuller colour is wanted4 ,after dyeing1 wash and then brighten in a boiling solution of soap1 to which a small percentage of stannous chloride has been added4 ,afterwards wash well4 ,by mordanting with ,copperas1 either alone or after an ,alum bath1 violet and brown shades can be got4 #h74 ,,red ,,with ,,madder ,,for ,,wool4 ,pound up carefully without heating some roots of madder4 ,mordant the wool with ,alum1 adding some cayenne pepper4 ,dye with the madder1 adding cream of tartar to the dye bath4 ,birch leaves improve the colour4 #i74 ,,madder ,,red ,,for ,,cotton4 ,take a piece of white cotton1 about #bj yards4 ,melt in some water #a lb4 of potash2 boil the cotton in this for #bj minutes1 then rinse it4 ,put #d lbs4 of the best ,sumach in the copper and fill it up with boiling water1 and boil for #aj minutes4 ,put to cool and work the cotton well in this for an hour4 ,take it out and give it a scalding hot alum and sugar of lead bath for half-an-hour2 rinse in two waters2 put it back in the sumach for half-an-hour2 then alum again for #bj minutes4 ,rinse4 ,put #b lbs4 of madder into hot water and boil gently for a few minutes4 ,put in the cotton1 work well and boil for half-an-hour gently4 ,after1 give it a hot alum for #bj minutes1 and rinse4 ,put #a lb4 fresh madder in the copper1 put in the cotton and boil for #bj minutes4 ,then wash4 #aj74 ,,red ,,for ,,cotton4 ,scour the cotton4 ,then gall in the proportion of #a of gall nuts to #d of cotton4 ,then alum in the proportion of #a of alum to #d of cotton1 with a little soda and tartar added4 ,dissolve the alum1 etc41 and put in the cotton1 and boil half-an-hour4 ,cool down and ring out4 ,then dry slowly4 ,repeat the aluming4 ,put madder into water and when hot dip in cotton for hour1 keeping it under boiling point1 then boil up for hour and wash4 ,dry4 #aa74 ,,madder ,,red ,,for ,,cotton ,,linen4 7,for #a lb47 #ast ,mordant4--,boil #a oz4 ground gall nuts in #e quarts of water for hour4 ,put in thread and soak for #bd hours4 ,dry4 #bnd ,mordant4--,melt #b oz4 of alum1 oz4 of ,turmeric1 and oz4 of gum ,arabic in two quarts of water1 over a slow fire4 ,let cool4 ,melt #a oz4 soda1 #a oz4 arsenic1 oz4 potash 7crushed7 in a bath1 and when dissolved1 add the alum1 turmeric and gum ,arabic mixture4 ,stew hour4 ,put in thread1 which should be covered with the liquid1 and let it soak for #bd hours4 ,dry4 #ast4 ,bath4--,put #b oz4 ,madder into #aj quarts of water1 heat up to boiling but do not let it boil4 ,put in thread and stir well for #a hour4 #bnd4 ,bath4--,put #c oz4 ,madder in #aj quarts of water2 treat as in first bath1 from which the thread should be taken and put straight into the #bnd4 bath4 ,stir for #a hour4 ,soak for #bd hours2 wash and dry4 #crd4 ,bath4--,put #c oz4 ,madder in #aj quarts water2 repeat the process described for #bnd4 bath4 ,the thread should be washed in cold water lastly in warm water in which a little soft soap has been dissolved4 ,when drying do not wring the skeins as this is likely to make the colour uneven4 ,there are a few other red dyes of minor importance which should be mentioned4 ,,brazil ,,woods1 various leguminous trees1 including lima1 sapan and peach wood1 dye red with alum and tartar1 and a purplish slate colour with bichromate of potash4 ,they are not fast colours4 ,some old dyers used ,brazil wood to heighten the red of madder4 ,,camwood1 ,,barwood1 ,,sandalwood or ,,sanderswood1 are chiefly used in wool dyeing1 with other dye woods such as ,old ,fustic1 and ,logwood for browns4 ,they dye good but fugitive red with bichromate of potash1 or alum4 ,,red from ,,ladies ,,bedstraw4 ,the crushed roots of this plant are used4 ,mordant the wool with either alum or bichromate of potash4 ,the red with alum is an orange red1 with chrome1 a crimson red4 ,make the dye bath with #cj to #ej of bedstraw roots and boil the mordanted wool in it for an hour4 ,,red for ,,cotton4 ,for #aj lbs4 cotton boil #c lbs4 ,sumach1 let the cotton steep in this over night3 wring out and work in red spirits 7#a gill to a gallon of water74 ,wring out and wash well4 ,boil up #c lbs4 limawood 7or ,brazil or ,peach wood7 and #a lb4 fustic4 ,work the cotton in this hour1 as warm as the hand can bear2 add #a gill red spirits and work #ae minutes longer4 ,wash4 ,,footnote3 #af ,this recipe can also be used for linen1 but linen takes the colour less easily than cotton1 and should have the various operations repeated as much as possible4 ,,chapter ,,viii4 ,,yellow4 ,,weld4 ,,old ,,fustic4 ,,turmeric4 ,,quercitron4 ,,dyer',s ,,broom4 ,,heather1 ,,and ,,other ,,yellow ,,dyes4 ,there are ten species of drugs for dyeing yellow1 but we find from experience that of these ten there are only five fit to be used for the good dye--viz4 ,weld1 savory1 green wood1 yellow wood and fenugrec4 ,weld or wold yields the truest yellow1 and is generally preferred to all the others4 ,savory and green wood1 being naturally greenish1 are the best for the preparation of wool to be dyed green3 the two others yield different shades yellow4--,hellot4 ,,weld ,weld1 ,reseda luteola1 an annual plant growing in waste sandy places4 ,the whole plant is used for dyeing except the root4 ,it is the best and fastest of the yellow natural dyes4 ,hellot's directions for dyeing with weld are the following3--,allow #e or #f lbs4 of weld to every pound of stuff3 some enclose the weld in a clean woollen bag1 to prevent it from mixing in the stuff2 and to keep the bag down in the copper1 they put on it a cross of heavy wood4 ,others hold it in the liquor till it has communicated all its colour1 and till it falls to the bottom3 the stuff is then suspended in a net1 which falls into the liquor1 but others1 when it has boiled1 take out the weld with a rake and throw it away4 ,the plant is gathered in ,june and ,july1 it is then carefully dried in the shade and tied up into bundles4 ,when needed for dyeing it is broken up into pieces or chopped finely1 the roots being discarded and a decoction is made by boiling it up in water for about 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 ,the dye bath is prepared just before dyeing1 the chopped weld being put into weighted bags and boiled in soft water for to #a hour4 #b 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 ,stannous chloride instead of alum4 ,with #f copper sulphate and #h chalk1 weld gives a good orange yellow4 ,wool mordanted with #d of ferrous sulphate and #aj tartar and dyed in a separate bath with weld with #h chalk1 takes a good olive yellow4 #h of alum is often used for mordant for weld4 ,the dye bath should not be above #ij;,c4 ,it is good to add a little chalk to the dye bath as it makes the colour more intense1 while common salt makes the colour richer and deeper4 ,woollen dyers frequently add a little stale urine or lime and potash to the water in which it is boiled4 ,they commonly employ #c or #d oz4 of alum and one of tartar for each pound of the wool4 ,tartar is supposed to render the yellow colour a little more clear and lively4--,bancroft4 ,weld is of greater antiquity than most1 if not all other natural yellow dyes4 ,it is cultivated for dyeing in ,france1 ,germany and ,italy4 ,it is important for the silk dyer1 as it dyes silk with a fast colour4 ,the silk is mordanted in the usual way with alum1 washed and dyed in a separate bath of #bj to #dj weld1 with a small quantity of soap added4 ,after dyeing1 the colour is brightened by working the silk for #aj minutes in a fresh soap bath with a little weld added to it4 ,wring out without washing4 ,,recipes ,,for ,,dyeing ,,with ,,weld4 #a74 ,,yellow ,,for ,,silk4 ,scour the silk in the proportion of #bj lbs4 soap to #ajj lbs4 of silk4 ,afterwards alum and wash4 ,a bath is made of #b parts weld for #a of silk1 and after hour's boiling1 it is filtered through a cloth into another bath4 ,when this bath is cooled a little1 the silk is immersed and turned about till dyed4 ,the weld is in the meantime boiled up again with a little pearl ash1 and after being strained1 it is added to the first bath 7part of the first bath having been thrown away7 until the desired colour is got4 ,the bath must not be too hot4 ,if more golden yellows are wanted1 add some annotto to the second bath4 #b74 ,,yellow ,,for ,,cotton4 ,scour the cotton in a lixivium of wood ashes1 wash and dry4 ,it is alumed with of its weight of alum4 ,after #bd hours it is taken out of the bath and dried without washing4 ,a weld bath is prepared with #a parts weld to #a of cotton1 and the cotton dipped in till the shade is got4 ,it is then worked in a bath of sulphate of copper 7 copper to #a of cotton7 for #a hours4 ,it is next thrown1 without washing1 into a boiling solution of white soap 7 soap to #a cotton74 ,it is boiled for #a hour1 then washed and dried4 #c74 ,,deep ,,yellow ,,for ,,cotton ,,or ,,linen4 #b parts of weld for #a of cotton1 with a little copper sulphate added to the bath4 ,the cotton is well worked in this till the cotton has the desired colour4 ,it is then taken out and a little soda ley is poured in4 ,it is returned and worked in this for hour1 then washed and dried4 #d74 ,,old ,,gold ,,for ,,wool4 ,mordant with #b chrome and dye with #fj of weld in a separate bath4 #c of chalk adds to the intensity of colour4 #e74 ,,yellow ,,for ,,wool4 ,boil wool with #d of alum for #a to #b hours1 and dye in a separate bath of #ej to #ajj weld for #bj minutes to an hour at #ij;,c4 #f74 ,,yellow ,,for ,,wool4 ,mordant with alum and tartar1 and dye with #e or #f lbs4 of weld for every lb4 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 #g74 ,,weld ,,yellow ,,for ,,silk4 ,work the silk 7#a lb47 for an hour in a solution of alum1 #a lb4 to the gallon1 wring out and wash in warm water4 ,boil #b lbs4 weld for hour2 strain and work the silk in this for hour4 ,add #a pint alum solution to the weld bath and return the silk2 work ten minutes1 wring out and dry4 ,,old ,,fustic4 ,fustic is the wood of ,morus tinctoria1 a tree of ,central ,america4 ,it is used principally for wool4 ,it does not produce a fast dye for cotton4 ,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 colours4 7#d to #e copper sulphate and #c to #d tartar74 ,with ferrous sulphate1 darker olives are obtained 7#h 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 ,the chips should be tied up in a bag and boiled for hour before using4 ,it is still better to soak the wood over-night1 or boil up in a small vessel and strain into the dye bath4 ,the proportion of ,fustic to be used for a good yellow is #e to #f parts to #af parts of wool4 ,,recipes ,,for ,,dyeing ,,with ,,old ,,fustic4 #a74 ,,old ,,gold ,,for ,,wool4 ,boil the wool with #c to #d ,chrome for #a to #a hours4 ,wash1 and dye in a separate bath for #a to #a hours at #ajj;,c4 with #bj to #hj of ,old ,fustic4 #b74 ,,light ,,yellow ,,for ,,silk4 ,work the silk for to hour at #ej to #fj;,c4 in a bath containing #af alum and a decoction of #h to #af of old ,fustic4 ,for dark yellow the silk is mordanted with alum1 washed and dyed for about an hour at #ej;,c41 with #ej to #ajj of ,fustic4 ,the colour can be made faster and brighter by working the silk in a cold solution of nitro-muriate of ,tin for an hour4 #c74 ,,bright ,,yellow ,,for ,,wool4 ,mordant wool with #h of stannous chloride for #a to #a hours1 and #h of tartar4 ,wash1 and dye with #bj to #dj of ,fustic at #hj to #ajj;,c4 for #cj to #dj minutes4 #d74 ,,old ,,gold ,,for ,,wool4 ,mordant #f lbs4 7#ajj oz47 wool with #c oz4 chrome1 for hour and wash4 ,dye with #bd oz4 ,fustic #d oz4 madder for #de minutes4 #e74 ,,yellow ,,for ,,wool4 ,mordant #f lbs4 wool with #c oz4 chrome1 for hour and wash4 ,dye with #f oz4 ,fustic1 #b drachms logwood4 ,boil hour4 #f74 ,,bright ,,yellow ,,for ,,wool4 7,single bath method74 ,fill the dye bath full of water1 add #b oxalic acid1 #h stannous chloride1 #d tartar and #dj per cent4 of ,fustic4 ,boil up for #e or #aj minutes1 then fill the bath with cold water4 ,put in the wool heat up the bath to boiling in the course of to #a hour1 boil for hour4 #g74 ,,yellow ,,for ,,wool4 7,single bath74 #d stannous chloride1 #d oxalic acid and #ej ,fustic4 #h74 ,,yellow ,,for ,,silk4 7#e lbs47 ,work the silk through an alum solution of #a lb4 to a gallon of water4 ,wash in warm water4 ,boil #b lbs4 ,fustic for hour in water and in this work the silk for hour4 ,lift and add #a pint of the alum solution4 ,work #aj minutes longer1 then wash and dry4 #i74 ,,fustic ,,yellow ,,for ,,silk4 7#e lbs47 ,alum the silk4 ,boil up #c lbs4 ,fustic and work silk in it while hot for hour4 ,lift1 add #b oz4 red spirits4 ,work for #ae minutes4 ,wash out in cold water4 ,work #aj minutes in a soap solution4 ,wring out and dry4 #aj74 ,,buff ,,colour ,,on ,,wool4 7#de lbs47 ,boil #d lbs4 ,fustic and #a lbs4 madder4 ,add #g lbs4 alum and boil up together4 ,allow to cool a little1 enter wool and boil for hour4 #aa74 ,,yellow ,,for ,,wool4 ,mordant with alum and tartar4 ,solution of tin increases the colour2 salt makes it deeper4 #e or #f oz4 ,fustic for every pound of wool4 ,,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 it 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;,c4 for about 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 recommended as although it gives very beautiful colours1 it is a fugitive dye4 ,as ,berthollet says ,the shade arising from the ,turmeric is not long of disappearing in the air4 ,,quercitron4 ,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 hours with one sixth or one eighth of its weight of alum2 then 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 a bag7 as there were used of alum to prepare the wool1 which is to be then 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 ,,quercitron ,,for ,,silk4 ,bancroft4 #a to #b lbs4 of bark to every #ab lbs4 silk according to shade required4 ,the bark1 tied up in a bag1 should be put into the dyeing vessel whilst the water is cold1 as soon as it gets warm the silk1 previously alumed1 should also be put in and dyed as usual4 ,a little chalk should be added towards the end of the operation4 ,a little murio sulphate of tin is used where more lively shades of yellow are wanted4 ,boil at the rate of #d lbs4 bark to every #c lbs4 of alum #b lbs4 murio sulphate of tin with a suitable quantity of water1 for #aj to #ae minutes4 ,reduce the heat so that the hand can bear it1 put in the silk and dye till it has acquired the shade4 ,by adding suitable proportions of sulphate of indigo to this yellow liquor and keeping it well stirred1 various and beautiful shades of ,saxon green may be dyed4 ,by dissolving different proportions of copperas or copperas and alum in the warm decoction of bark1 silk may in the same way be dyed of all the different shades of olive and drab colours4 ,,for ,,cotton ,,and ,,linen4 ,soak the yarn in a liquor made by dissolving of its weight of alum in the necessary water1 to which it will be highly advantageous to add at the rate of #a lb4 potash or #aj oz4 chalk for every #f or #g lbs4 alum4 ,the yarn is taken out and dried well3 being afterwards rinsed1 it is to be dyed in cold liquor made by boiling #a lbs4 of the plant for each lb4 of yarn1 which1 after having received a sufficient body of colour1 is to be taken out of the dyeing liquor and soaked for an hour and more in a solution of sulphate of copper 7blue vitriol7 containing at the rate of #c or #d oz4 for every pound of yarn3 it is then removed without being washed1 put into a boiling solution of hard soap1 containing #c or #d oz4 soap for each pound of yarn4 ,stir well and boil for about hour or more4 ,then wash and dry4 ,and again1 take a sufficient quantity of acetate of alumina4 ,this is made by dissolving #c lbs4 alum in a gallon of hot water1 then adding #a lb4 sugar of lead1 stirring well for #b or #c days1 afterwards adding about #b oz4 potash and #b oz4 powdered chalk1 7carbonate of lime71 mix with warm water and soak linen or cotton well in this for #b hours1 keeping warm2 squeeze out1 dry2 soak again in mordant1 squeeze2 dry2 soak in lime water1 dry2 this mordanting and liming can be repeated if a fast yellow is required3 it should then be well washed4 #ab to #ah lbs4 of ,quercitron bark1 for every #ajj lbs4 cotton or linen1 is tied up in a bag and put in cold water1 and slightly heated4 ,the cotton is put in1 stirring for an hour to an hour and a half while the water gets warm3 then the liquor is heated to boiling point and the cotton boiled a few minutes only4 ,slow raising to boiling point gives the best colour4 ,instead of using acetate of alumina1 the cotton can be impregnated with some astringent such as galls or myrobalans 7#a lb4 in #b or #c gallons of water with a little soda74 ,macerate the cotton an hour or two in this and dry1 then a solution of alum 7#h lbs4 alum1 #a lb4 chalk1 in #f gallons of water7 soak cotton #b hours1 and dry1 then soak in lime water and dry4 ,second time in alum and dry4 ,then wash and dye slowly in the ,quercitron4 ,this is a lasting yellow for cotton or linen4 ,,other ,,yellow ,,dyes4 ,root of the dock1 bark of the ,ash tree1 leaves of the almond1 peach and pear trees1 all give good yellow dyes1 more or less fine according to the time they are boiled and in proportion to the ,tartar and alum used4 ,a proper quantity of alum brings these yellows to the beautiful yellows of the weld4 ,if the ,tartar is in greater quantity1 these yellows will border on the orange1 if too much boiled they take brown shades4 ,from a dyeing book1 #aggh4 ,,barberry4 ,the roots and bark of ,berberis ,vulgaris1 used principally for silk dyeing1 without a mordant4 ,the silk is worked at #ej to #fj;,c4 in a solution of the dye wood slightly acidified with sulphuric1 acetic or tartaric acid4 ,for dark shades1 mordant with stannous chloride4 ,,dyers ,,broom4 ,genista tinctoria4 ,the plant grows on waste ground4 ,it should be picked in ,june or ,july 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 ,,leaves1 ,ligustrum vulgare1 dye a good fast yellow with alum and tartar4 ,,heather4 ,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 alum1 is put into the dye bath with the 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 ,,recipes3--#a74 ,,yellow ,,for ,,wool4 ,for #f lbs4 mordant with #e oz4 alum for #a hour and wash4 ,boil up #h oz4 heather twigs1 leaves and flowers4 ,enter the wool and boil for #a hour4 ,wash in cold water dry4 #b74 ,,golden ,,yellow ,,for ,,wool4 ,for #f lbs4 mordant with #c oz4 bichromate of potash for hour4 ,wash in cold water4 ,dye with #ej oz4 heather and boil for #de minutes4 ,,chapter ,,ix4 ,,brown ,,and ,,black4 ,,catechu4 ,,alder ,,bark4 ,,sumach4 ,,walnut4 ,,peat ,,soot4 ,,logwood1 ,,and ,,other ,,dyes ,,catechu4 ,catechu1 7,cutch7 is an old ,indian dye for cotton4 ,it can be used for wool1 and gives a fine rich brown4 ,it is obtained from the wood of various species of ,areca1 ,acacia1 and ,mimosa trees4 ,bombay ,catechu is considered the best for dyeing purposes4 ,catechu is soluble in boiling water4 ,it is largely used by the cotton dyer for brown1 olive1 drab1 grey1 and black4 ,the ordinary method of dyeing cutch brown on cotton is to steep the cotton in a hot solution of catechu1 containing a small addition of copper sulphate1 and leave it in the solution for several hours4 ,to #g or #h gallons of water put #a lb4 catechu and boil till all is dissolved1 then add #a to #b ozs4 of sulphate of copper and stir4 ,it is then put into a boiling chrome bath 7#c7 for hour4 ,for deep shades the dyeing and chroming operations are repeated4 ,with alum mordanted cotton1 the colour is a yellowish brown1 with tin it becomes still yellower4 ,with iron it is brownish or greenish grey4 ,when catechu only is used1 a darker shade of brown is got by adding to the catechu #f of its weight of copper sulphate4 ,when mordants are used1 they may be applied before or after the chrome bath1 the cotton being worked in their cold solution4 #a74 ,,catechu ,,brown ,,for ,,cotton4 7#aj lbs47 ,work the cotton at a boiling heat for #b hours1 or steep for several hours in a cool liquid1 in #b lbs4 catechu4 7,to each #g or #h gallons of water put #a lb4 of catechu1 and boil till all is dissolved1 then add #b oz4 sulphate of copper and stir74 ,wring out and then work for hour in a hot solution of chrome1 #f oz4 ,wash in hot water4 ,if soap is added the colour is improved4 ,any depth of colour can be got by repeating the operations4 #b74 ,,brown ,,for ,,cotton4 ,soak cotton in warm water4 ,boil for hour in a solution of catechu1 in the proportion of #a oz4 of catechu to #e oz4 of cotton4 ,put it into a #c solution of chrome for hour and boil4 ,then repeat these two operations till the colour is obtained4 ,then boil in a bath of ,fustic4 #c74 ,,brown ,,for ,,cotton4 7#ajj lbs47 ,boil #bj lbs4 catechu in water3 dissolve in the liquid #aj lbs4 alum and let it settle3 enter the yarn into the hot liquid and after working well take out and enter into a fresh bath of boiling water with #d lbs4 of chrome4 ,rinse and soften with oil and soap4 #d74 ,,cream ,,colour ,,for ,,cotton ,,with ,,catechu4 7#aa lbs74 ,boil out oz4 of catechu in water1 and dissolve #b lbs4 #c oz4 curd soap in the clear liquid4 ,enter the cotton at #aij ,f4 and work for an hour4 #e74 ,,catechu ,,fast ,,brown4 7#ej lbs47 ,steep yarn over-night in a decoction of #aj lbs4 cutch4 ,lift work in a hot solution of chrome1 rinse dry4 #f74 ,,light ,,fast ,,catechu ,,brown ,,for ,,cotton4 7#ej lbs47 ,boil #bj lbs4 catechu in one boiler and #e lbs4 chrome in another4 ,enter in the catechu bath first1 work #bj minutes1 and wring out3 then through the chrome #aj minutes1 and wring out4 ,through catechu again1 then chrome4 ,repeat this till dark enough1 finishing with catechu4 #g74 ,,light ,,catechu ,,brown ,,for ,,cotton4 7#bj lbs74 #c lbs4 of catechu and #c oz4 copper sulphate1 boil up1 and put into a bath of warm water4 ,enter cotton and work for hour2 wring out4 ,in another bath of hot water dissolve #h oz4 of chrome4 ,enter cotton when boiling1 and work for hour4 ,then wash4 #h74 ,,catechu ,,black ,,for ,,cotton4 ,work the cotton in a hot decoction of catechu1 allowing it to steep in the bath till cold1 then work it in a cold solution of iron4 ,wash1 and dye in a cold or tepid bath of logwood1 and finally pass through a solution of chrome4 #i74 ,,catechu ,,brown ,,for ,,wool4 ,the wool is boiled for #a to #a hours1 with #aj to #bj catechu1 then sadden with #b to #d of copper sulphate1 ferrous sulphate1 or chrome1 at #hj to #ajj;,c41 in a separate bath for hour4 #aj74 ,,catechu ,,stone ,,drab4 7#aj lbs4 cotton74 ,work the cotton for hour with #b pints catechu 7#a lb4 catechu to #g or #h gallons water2 boil and add #b oz4 copper sulphate7 in hot water1 lift and add #b oz4 copperas in solution4 ,work for hour and wash4 ,add #b oz4 logwood to a bath of warm water work cotton in this for #aj minutes4 ,lift and add oz4 alum4 ,work #aj minutes2 wring out and dry4 ,,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 oz4 copperas for every pound of wool for black4 ,,sumach ,sumach is the ground up leaves and twigs of the ,rhus coriaria growing in ,southern ,europe4 ,it dyes wool a yellow and a yellow brown1 but it is chiefly used in cotton dyeing4 ,,walnut ,the green shells of the walnut fruit and the root are used for dyeing brown4 ,the husks are collected when the fruit is ripe1 put into a cask and covered with water4 ,in this way they can be kept for a year or more2 it is said the longer they are kept the better colour they give4 ,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 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 is for darkening other colours4 ,william ,morris says3-- ,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 99 99 99 99 99 ,of all the ingredients used for the brown dye1 the walnut rind is the best4 ,its shades are finer1 its colour is lasting1 it softens the wool1 renders it of a better quality1 and easier to work4 ,to make use of this rind1 a copper is half filled1 and when it begins to grow luke-warm1 the rind is added in proportion to the quantities of stuffs to be dyed and the colour intended4 ,the copper is then made to boil1 and when it has boiled a quarter-of-an-hour1 the stuffs which were before dipped in warm water1 are put in4 ,they are to be stirred and turned until they acquire the desired colour4--,james ,haigh1 #agig4 ,,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 alum and a little cayenne pepper4 ,boil it up lightly and keep warm for #f days4 ,drying #b or #c times in between makes the colour more durable4 ,dry4 ,boil a quantity of onion skins1 and cool2 then put in wool and boil lightly for half-an-hour to an hour2 then keep warm for a while4 ,wring out and wash4 ,,madder for ,,brown4 7,for #b lbs4 wool74 ,mordant with #b oz4 copperas and #b oz4 cream of tartar4 ,dye with madder4 ,,madder1 ,,etc41 for ,,french ,,brown4 7,for #ej lbs4 wool47 ,mordant with #a lbs4 chrome4 ,dye with #f lbs4 ,fustic1 #a lb4 madder1 lb4 cudbear1 #a lb4 ,tartar4 ,if not dark enough add #h oz4 logwood4 ,boil for hour4 ,wash and dry4 ,,for ,,black ,,thread4 7,from an old ,dutch book on ,dyeing4 #aehc74 ,take a quantity of broken or bruised galls and boil them in water in a small pot and when they have a little boiled1 take out all the galls and put into the same pot so much ,copperas as ye had of galles and put therewith a little gumme of ,arabic and then give it again another boiling4 ,so let it boil a little1 and with the said dye ye shall colour therein your thread1 then take it forth and ye shall see it a fair shining black4 ,,tan ,,shade4 7for #f lbs4 wool74 ,mordant with #c oz4 ,chrome for #de minutes and wash in cold water4 ,boil for hour1 in a bag1 #e oz4 madder1 #d oz4 ,fustic1 oz4 logwood4 ,enter the wool1 raise to the boil1 and boil for #de minutes4 ,by altering the proportions of madder fustic various shades of brown can be got4 ,a ,,good ,,black for cotton1 7#bj lbs47 to stand milling and scouring4 ,steep all night with #f lbs4 of ,sumach1 pass through lime liquor and sadden with copperas2 repeat in each of the last #b tubs1 adding more lime and copperas to each4 ,pass through logwood and wash4 ,soften with a little oil and soda ash4 ,a ,,good ,,black for cotton1 7#bj lbs47 ,in a tub of cold water add #e lbs4 sumach1 give a few turns and let it steep in it all night2 then in another tub of cold water add a few pails of lime water1 wring out2 in another tub add #b lbs4 dissolved copperas and a pailful of old ,sumach liquor4 ,enter1 give #f turns1 wring out4 ,in lime tub put two pails more lime liquor4 ,scald #b lbs4 logwood1 #a lb4 ,fustic in water2 enter cotton1 give #aj turns1 sadden with a little copperas in the same liquor4 ,soften with a little oil and soda ash4 ,,black ,,for ,,linen ,,and ,,cotton4 ,the yarn is first of all scoured in the ordinary way1 galled1 alumed1 and then turned through a bath of weld4 ,it is then dyed in a decoction of logwood to which one fourth part of sulphate of copper must be added for one part of yarn4 ,it is then washed4 ,it is dyed in a bath made with one part of madder for two of yarn4 ,the yarn is then turned through a bath of boiling soap water1 washed and dried4 ,,doeskin ,,black4 7,for #ajj lbs4 wool47 ,camwood #h4 ,boil for #ej minutes4 ,then add ,chrome #c1 ,alum #a1 ,argol #a4 ,boil for #ej minutes1 take out of dye and allow to stand overnight4 ,dye in #de logwood1 #h ,fustic1 #d ,sumac4 ,boil for #a hours1 wash and dry4 ,a fast permanent colour4 ,,green ,,black ,,for ,,wool4 ,mordant with #b ,chrome and #be ,sulphuric acid4 ,boil #a hours2 and leave over-night4 ,dye with #dj logwood1 and #aj ,fustic4 ,boil #a hour4 ,wash4 ,,brownish ,,black ,,for ,,wool4 7,for #a lb47 ,mordant with #c per cent4 ,chrome4 ,dye with #b oz4 ,fustic1 #b oz4 logwood1 #a oz4 madder1 and #a oz4 copperas4 ,,brown ,,for ,,wool4 ,mordant #b hours with alum2 dye with pine needles 7larch7 collected in ,autumn when they drop4 ,,black is obtained from the whole plant of ,spirea ,ulmaria1 but especially the root4 ,it is gathered then dried in the sun1 and a strong decoction made by boiling for some hours1 7a large handful to #c pints of water74 ,after it has boiled slowly for #b to #c hours1 stale urine is added to supply the loss by evaporation4 ,then set aside to cool4 ,the cloth to be dyed1 is rubbed strongly with bog iron ore1 previously roughened and moistened with water4 ,it is then rolled up and boiled in the decoction4 ,this is of a brilliant black4 ,a fine black is said to have been formerly obtained from the roots of ,angelica ,sylvestris4--7,edmonstone on the ,native ,dyes of the ,shetland ,islands1 #ahda47 ,william ,morris says2 #ag;,black is best made by dyeing dark blue wool with brown2 and walnut is better than iron for the brown part1 because the iron-brown is apt to rot the fibre2 as you will see in some pieces of old tapestry1 or old ,persian carpets1 where the black is quite perished1 or at least in the case of the carpet--gone down to the knots4 ,all intermediate shades of flesh colour can be got by means of weak baths of madder and walnut saddening2 madder or cochineal mixed with weld gives us orange1 and with saddening 7walnut7 all imaginable shades between yellow and red1 including the ambers1 maize-colour1 etc4 ,from a ,dye ,book of #agje4--;,black may be compared to ,night and ,death1 not only because all other colours are deepened and buried in the ,black ,dye1 but that as ,death puts an end to all ,evils of ,life1 tis necessary that the ,black ,dye should remedy the faults of other colours1 which have been occasioned by the deficiency of the ,dyer or the ,dye1 or the change of ,fashion according to the times and caprice of man4 ,,footnote3 #ag--;,for other recipes for ,black1 see ,chapter ,,vi on ,logwood4 ,,chapter ,x4 ,,green ,green results from the mixing of blue and yellow in varying proportions according to the shade of colour required4 ,berthollet says3-- ,many different plants are capable of affording green colours2 such as1 the field broom grass1 ,bromus secalinus2 the green berries of the berry bearing alder1 ,rhamnus frangula2 wild chervil1 ,chrophyllum silvestre2 purple clover1 ,trifolium pratense2 common reed1 ,arundo phragmites2 but these colours have no permanence4#ah ,hellot says3--,it is impossible to obtain more than one colour from a mixture of blue and yellow1 which is green2 but this colour comprehends an infinite variety of shades1 the principal of which are the ,yellow green1 the ,light green1 the ,gay green1 the ,grass green1 the ,laurel green1 the ,molequin green1 the ,deep green1 the ,sea green1 the ,celadon green1 the ,parrot green1 and1 ,i shall add1 the ,duck-wing green1 and the ,celadon green with ,blue4 ,all these shades and the intermediate ones are made after the same manner and with the same ease4 ,the stuff or wool dyed blue1 light or dark1 is boiled with ,alum and ,tartar1 as is usually done to make white stuff yellow1 and then with ,weld1 ,savory1 or ,greening ,wood4 ,the ,weld and the ,savory are the two plants that afford the finest greens4 ,another old ,dye book says3-- ,if you would dye your goods green1 you must first dye them yellow with ,broom or ,dyer's ,weed1 otherwise ,yellow ,weed2 after which put them into the ,blue vat4 ,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 dyed first in the blue vat2 then washed and dried2 then after mordanting 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 #c different ways3--#ast4 in the indigo vat 7see page #fh et seq472 #bnd4 with ,indigo ,extract 7see pages #fe-fg72 #crd4 with logwood1 the wool having been previously mordanted with chrome 7see p4 #hb1 ,no4 #g1 and p4 #he ,no4 #ag74 ,for a good bright green1 dye the wool a rather light blue1 then wash and dry2 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 ,bancroft gives many recipes for dyeing green with quercitron4 ,he says3-- ,wool which has been first properly dyed blue in the common indigo vat may be made to receive any of the various shades of green which are usually given in this way from weld1 by boiling the blue wool 7after it has been well rinsed7 in water1 with about one eighth of its weight in alum1 and afterwards dyeing it unrinsed with about the same quantity of ,quercitron bark and a little chalk which should be added towards the end of the process4 ,in the same way cloth that has previously received the proper shade of ,saxon blue1 may be dyed to a beautiful ,saxon green3 it will be proper to add about #c lbs4 chalk with #aj to #ab pounds of alum for the preparation liquor for #ajj lbs4 weight of wool which is to be turned and boiled as usual for about an hour1 and then without changing the liquor1 #aj or #ab lbs4 of ,quercitron bark1 powdered and tied up in a bag1 may be put into it1 and the dyeing continued4 ,when the dyeing has continued about #ae minutes1 it will be proper to add another lb4 of powdered chalk1 stirring it well in1 and to repeat this addition once1 twice or three times at intervals of #f or #h minutes4 ,the chalk does not merely answer the purpose of decomposing the acid left in the wool by the sulphate of indigo1 but it helps to raise the colour and to render it more durable4 ,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 hundred lbs4 wool with a similar quantity of water4 ,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 about hour4 ,it is best to keep the water just at the boiling point4 ,,recipes ,,for ,,dyeing ,,green4 #a74 ,,bottle ,,green ,,for ,,silk ,,with ,,fustic4 7#e lbs47 ,dissolve #b lbs4 alum and #a lb4 copperas in water2 work the silk in this for hour2 wash in warm water4 ,work for an hour in a decoction of #f lbs4 ,fustic4 ,lift1 and add #b oz4 ,indigo ,extract4 ,work #bj minutes4 ,wash and dry4 #b74 ,,green ,,for ,,wool ,,with ,,fustic4 lb4 of wool is mordanted with oz4 chrome and oz4 ,cream of ,tartar for an hour to #a hour4 ,soak overnight in water1 #c oz4 ,fustic and #b oz4 logwood1 and boil for #b hours4 ,strain1 and enter wool4 ,boil for #b hours4 #c74 ,,green ,,for ,,linen ,,with ,,larch ,,bark4 ,mordant #d lbs4 linen with lb4 alum4 ,boil for #b hours2 wring out but do not dry4 ,boil up a quantity of larch bark and boil linen in this for #b hours4 #d74 ,,fustic ,,green ,,for ,,wool4 7#ej lbs47 ,mordant wool with #aa lbs4 alum4 ,soak #ej lbs4 ,fustic over-night1 and boil up4 ,enter the wool and boil for half-an-hour or more4 ,add ,extract of ,indigo in small quantities at a time1 till the desired colour is got4 #e74 ,,saxon ,,green ,,for ,,wool4 ,mordant the wool with alum and tartar for half-an-hour2 it is then taken out and aired1 but not washed4 ,the bath is refreshed with cold water1 and half the amount of the solution of ,indigo which is to be used is well mixed in4 ,the wool is entered and rapidly stirred for #e or #f minutes1 without boiling4 ,it is taken out and the rest of the ,indigo solution is well mixed in4 ,the wool is put in and boiled for ten minutes2 then taken out and cooled4 ,the bath is then three-quarters emptied and filled up with a decoction of fustic4 ,when the bath is very hot1 the wool is put in until the desired shade of green is got4 #f74 ,,green ,,with ,,quercitron ,,for ,,wool4 ,dye the wool blue in the ,indigo vat4 ,wash well4 ,for #ajj parts of wool1 put #c parts of chalk and #aj or #ab of alum4 ,boil the wool in this for #a hour4 ,then to the same bath1 add #aj or #ab parts of ,quercitron1 and continue the boiling for hour4 ,then add #a part of chalk1 and this addition is repeated at intervals of #f to #h minutes till a fine green colour is brought out4 #g74 ,,green ,,with ,,quercitron ,,for ,,cotton4 ,first1 the cotton is dyed a sky blue colour by means of indigo dissolved by potash and orpiment2 then it is passed through a strong decoction of sumach1 in which it is left until well cooled4 ,it is then dried1 passed through the mordant of acetate of alumina1 dried again1 washed1 worked for #b hours in tepid bath of ,quercitron1 7#bf lbs4 to #aaj lbs4 cotton74 #h74 ,,green ,,with ,,indigo ,,extract ,,weld ,,for ,,wool4 ,mordant #a lb4 wool with #d oz4 alum and oz4 cream of tartar4 ,dye blue with sufficient quantity of ,indigo ,extract4 ,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 ,,footnote3 #ah ,note page #db on ,british plants which dye green4 ,,appendix ,,lichens ,,used ,,for ,,dyeing ,,wool ,,brown4 ,continued from page #fb ,s4 scrobiculata4 ,aik-raw1 ,oak rag4 ,found on trees in ,scotland and ,england4 ,gyrophora deusta4 ,scorched looking gyrophora4 ,found on rocks in ,scandinavia4 ,linnus states that it furnishes a paint called ,tousch1 much used in ,sweden4 ,g4 cylindrica4 ,cylindrical gyrophora4 ,on rocks in ,iceland4 ,greenish brown4 ,also ,g4 deusta4 ,alectoria jubata4 ,horse hair lichen1 ,rock hair4 ,on fir trees in ,england1 pale greenish brown4 ,parmelia parietina4 ,common yellow wall lichen1 ,wg-mssa1 ,wag-laf4 ,england and ,sweden on trees1 rocks1 walls1 palings4 ,used to dye ,easter eggs4 ,used in ,sweden for wool dyeing4 ,cetraria juniperina4 ,en-mossa4 ,on trees in ,scandinavia4 ,borrera flavicans4 ,yellow borrera4 ,on trees in ,germany1 gamboge yellow4 ,lecanora candelaria4 ,ljus mssa4 ,on trees in ,sweden4 ,evernia flavicans4 ,wolf's-bane evernia4 ,on trees in ,scandinavia1 gamboge yellow4 ,lecidea atro-virens4 ,map lichen4 ,on rocks in ,scandinavia4 ,lepraria chlorina4 ,brimstone coloured lepraria4 ,scandinavia1 on rocks4 ,l4 ,iolithus4 ,viol-mssa4 ,sweden1 on stones4 ,gives to stones the appearance of blood stains4 ,,bibliography ,prof4 ,g4 ,henslow4 ,uses of ,british ,plants4 ,dr4 ,plowright4 ,british ,dye ,plants4 7,journal of the ,royal ,horticultural ,society1 ,vol4 #bf4 #aija47 ,sowerby4 ,useful ,plants of ,great ,britain4 ,sowerby4 ,english ,botany4 ,professor ,g4 ,s4 ,boulger4 ,the ,uses of ,plants4 #ahhi4 ,alfred ,edge4 ,some ,british ,dye ,lichens4 7,journal of the ,society of ,dyers and ,colourists4 ,may #aiad74 ,j4 ,j4 ,hummel4 ,the ,dyeing of ,textile ,fabrics4 ,clement ,bolton4 ,a ,manual of ,wool ,dyeing4 #aiac4 ,w4 ,crooks4 ,dyeing and ,tissue ,printing4 #ahhb4 ,rawson1 ,gardiner and ,laycock4 ,a ,dictionary of ,dyes1 ,mordants1 #aija4 ,james ,haigh4 ,the ,dyer's ,assistant4 #aggh4 ,james ,napier4 ,a ,manual of ,dyeing ,receipts4 #ahee4 ,james ,napier4 ,a ,manual of the ,art of ,dyeing4 #ahec4 ,a ,profitable ,boke4 7,on ,dyeing74 ,translated from the ,dutch4 #aehc4 ,darwin and ,meldola4 ,woad4 7,nature1 ,nov4 #ab1 #ahif74 ,mrs4 ,anstruther ,mackay4 ,simple ,home ,dyeing4 ,english ,encyclopdia4 ,dyeing4 #ahjb4 ,gardiner ,d4 ,hiscock4 #bjth ,century ,book of ,recipes1 ,formulas and ,processes4 #aijg4 ,f4 ,j4 ,bird4 ,the ,dyer's ,hand ,book4 #ahge4 ,hurst4 ,silk ,dyeing and ,printing4 7,technological ,hand ,book4 #ahib74 ,smith4 ,practical ,dyers' ,guide4 #ahdi4 ,t4 ,sims4 ,dyeing and ,bleaching4 7,british ,manufacturing ,industries4 #ahgg47 ,david ,smith4 ,the ,dyers' ,instructor4 #aheg4 ,the ,dyer and ,colour ,maker's ,companion4 #ahei4 ,thomas ,love4 ,the ,practical ,dyer and ,scourer4 #ahed4 ,knecht1 ,rawson and ,lowenthal4 ,a ,manual of ,dyeing4 #ahic4 ,berthollet4 ,the ,art of ,dyeing4 #ahbd4 ,george ,jarmain4 ,on ,wool ,dyeing4 #f ,lectures4 #ahgf4 ,hellot1 ,macquer1 ,m4 le ,pilleur ,d',apligny4 ,the ,art of ,dyeing ,wool1 ,silk and ,cotton4 7,translated from the ,french1 #aghi4 ,new ,edition1 #aija47 ,the ,art of ,dyeing4 7,translated from the ,german4 #agje4 ,reprint #aiac47 ,r4 ,p4 ,milroy4 ,handbook on ,dyeing for ,woollen ,homespun ,workers4 7,congested ,districts ,board for ,ireland74 ,dr4 ,w4 ,l4 ,lindsay4 ,on the ,dyeing ,properties of ,lichens4 7,edinburgh ,new ,philosophical ,journal1 #ahee74 ,t4 ,edmonston4 ,on the ,native ,dyes of the ,shetland ,islands4 7,transactions of ,botanical ,society of ,edinburgh1 ,vol4 ,i4 #ahda74 ,edward ,bancroft4 ,the ,philosophy of ,permanent ,colours4 #agid4 ,francheville4 ,on ,ancient and ,modern ,dyes1 #agfg4 7,royal ,academy of ,sciences1 ,berlin74 ,parnell's ,applied ,chemistry4--,article on ,dyeing4 ,william ,morris4 ,of ,dyeing as an ,art4 7,essays by ,members of the ,arts and ,crafts ,exhibition ,society1 #aijc74 ,william ,morris4 ,the ,lesser ,arts of ,life4 7,from ,architecture1 ,industry and ,wealth4 #aijb74 ,brewster's ,edinburgh ncyclopdia4 #ahcj4 ,dyeing4 ,sansome4 ,dyeing4 #ahhh4 ,john ,m4 ,thomson4 ,the ,practical ,dyer's ,assistant4 #ahdi4 ,,glossary ,,and ,,index4 ,a4--,adjective dyes1 #bd4 ,dyes which require a mordant4 ,alder bark1 #dc1 #dd1 #ajj1 #abf4 ,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 hydrocarbons1 discvrd41 #ahfh4 ,alkaline ley1 #bh4 ,almond1 #abj4 ,amber1 #acb4 ,alum1 #bf-bi4 ,aluminium sulphate1 #bf4 ,aniline1 #c4 ,discovered1 #ahbf 7ail1 ,span4 indigo74 ,first prepared from indigo by means of caustic potash4 ,found in coal in #ahcd4 ,manufactured on a large scale after ,perkin's discovery of mauve in #ahef4 ,anatta1 7,anotto1 ,arnotto1 ,roucou71 #aaa4 ,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 ,archil1 #eb1 #ec1 #ed4 ,argol1 #aca4 ,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 ,ash1 #da1 #abj4 ,astringents1 #ai1 #bf4 ,b4--,barberry1 #da1 #abj4 ,barwood1 #fg1 #ajf4 ,beck4--,a large vessel or tub used in dyeing4 ,bichromate of ,potash1 #cb4 ,birch1 #ch1 #db1 #dc1 #ii1 #ajc4 ,black1 #abb-abc2 from logwood1 #gi-he4 ,black ,dye ,plants1 #dd4 ,blue1 #fc2 from ,indigo1 #ff-ge2 from lichen1 #fa2 from logwood1 #gi-he4 ,blue black1 #ha4 ,blue ,dye ,plants1 #ci4 ,blue stone1 #cc4 ,blue vitriol1 #cc-cf4 ,bois de ,campche1 #gg4 ,bois jaune1 ,fustic1 yellow wood4 ,brazil woods1 #ajf4 ,british ,dye ,plants1 #cg-dd4 ,broom1 #da1 #acd4 ,brown1 #abb-acc2 from lichens1 #de-di1 #ea1 #ef1 #eg1 #fj-fb1 #adj2 from madder1 #ajb1 #ajf2 from weld1 #aab2 from woad1 #gf4 ,brown ,dye ,plants1 #dc4 ,buff1 #aae4 ,c4--,campeachy ,wood1 #gg4 ,camwood1 #ajf1 #aca4 ,carthamus4 ,safflower1 an annual plant cultivated in ,s4 ,europe1 ,egypt and ,asia for the red dye from its flowers4 ,catechu1 #cc1 #ce1 #cf1 #abb-f4 ,caustic ,soda4 ,carbonate of soda1 boiled with lime4 ,chestnut1 #ce4 ,chrome1 #cb1 #cc4 ,cinnamon1 #ajb4 ,claret1 #ea1 #hd4 ,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 ,cochineal1 #ib-g1 #acb4 ,copper1 #cc-e4 ,copper sulphate1 #cc4 ,copperas1 #bi1 #cj1 #abi4 ,corcur1 #ea4 ,cotton1 #ah2 the dyeing of1 #ai2 without mordant1 #ba2 method in ,india1 #ai1 #bj2 the mordanting of1 #bf4 ,cream1 from catechu1 #abd4 ,cream of ,tartar1 #bh-cb1 #cd4 ,see argol4 ,crimson1 #id-if1 #ajf2 from lichens1 #di1 #fj4 ,crottle1 #df1 #ef-fj1 #fb4 ,cudbear1 #de1 #eb1 #ed1 #ee1 #eg1 #eh1 #fg1 #he1 #abi4 ,d4--,detergent1 #ae4 ,a cleansing agent4 ,dip4 ,generally applied to immersing cloth etc4 in the blue vat4 ,divi-divi1 #ce1 #cf4 ,the dried pods of ,csalpina coriaria1 growing in the ,west ,indies and ,s4 ,america4 ,they contain #bj to #ce tannin and a brown colouring matter4 ,dock1 #dj1 #dd1 #ej1 #fi1 #abj1 #ace4 ,drab1 #hj1 #aah1 #abf4 ,dyer's ,broom1 #dj1 #aba1 #ace4 ,dyer's ,spirit1 #cb4 ,aqua fortis1 #aj parts2 ,sal ,ammoniac1 #e parts2 ,tin1 #b parts2 dissolved together4 ,dyer's ,weed1 #dj1 #acd4 ,e4--,enter4 ,to enter wool1 to put it into the dye or mordant liquor4 ,extract of ,indigo1 #fe-fi4 ,f4--,felting1 to prevent1 #ae4 ,fenugrec1 ,fenugreek1 #ajg4 ,trigonnella fnugrcum4 ,ferrous sulphate1 #bi4 ,flavin4 ,a colouring matter extracted from quercitron4 ,fleece1 various kinds of1 #ac4 ,flesh colour1 #acb4 ,full1 to4 ,to tread 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 ,thistle or ,teasle4 ,dipsacus fullonum4 ,used for fulling cloth4 ,fustet4 ,young fustic4 ,venetian ,sumach4 ,rhus cotinus4 ,it gives a fine orange colour1 which has not much permanence4 ,fustic1 #aac-aaf1 #acj1 #aca1 #ace4 ,g4--,galls1 ,gall nuts1 #bf1 #abi4 ,oak galls produced by the egg of an insect1--the female gall wasp4 ,an excrescence is produced round the egg1 the insect1 when developed1 pierces a hole escapes4 ,those gall nuts which are not pierced contain most tannic acid4 ,the best come from ,aleppo and ,turkey4 ,gramme or ,gram4 ,about #ae grains 7,troy74 ,green1 #acc-i2 with fustic1 #acg-h2 with weld1 #aci4 ,green ,dye ,plants1 #db4 ,green ,vitriol1 #bi4 ,green wood1 #ajg1 #ajh1 #acd4 ,greening weed1 #aba4 ,grey1 #fg1 #gi2 from logwood1 #hj1 #he4 ,h4--,hazel colour1 #abh4 ,heather1 #dj1 #he1 #aba1 #ace4 ,i4--,iceland moss1 #ea1 #fa4 ,indigo1 #fc-ge1 #ace-aci4 ,indigo ,extract1 #fd-gj2 for green1 #ace-aci4 ,iron1 #bi-cj4 ,k4--,kermes1 #hg-ia4 ,kilo4 ,kilogramme4 ,equals #b lbs4 #cb oz4 ,korkalett1 #ej4 ,l4--,lac1 #ig1 #ih4 ,larch1 #dc1 #aca1 #acg4 ,lavender1 #hd4 ,lesser ,dye1 #gg1 #gi4 ,ley1 see lye4 ,lichen1 #de-fb1 #adj4 ,lilac1 #ie1 #if1 #ig4 ,lima ,wood1 #ajf1 #ajg4 ,linen1 #ba2 to bleach1 #bb2 the mordanting of1 #bf2 various kinds of1 #ba4 ,litre1 #hj4 ,nearly #a pints4 ,lixiviation4 ,the process of separating a soluble substance from an insoluble by the percolation of water4 ,lixivium4 7,lye74 ,a term often used in old dye books4 ,water impregnated with alkaline salts extracted by lixiviation from wood ashes4 ,logwood1 #gg1 #acj1 #aca1 #acg4 ,lye or ,ley4 ,any strong alkaline solution1 especially one used for the purpose of washing1 such as soda lye1 soap lye4 ,m4--,madder1 #ch1 #ih-aje1 #acb4 ,magenta1 #dd4 ,maize1 #acb4 ,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 ,mordants1 #bd2 general remarks on1 #cd2 primitive mordants1 #be4 ,muriate of ,tin1 #ca4 ,myrobalans1 #bf1 #ce1 #cf4 ,the fruit of several species of trees1 growing in ,china the ,east ,indies1 containing tannic acid1 7#be-dj tannin74 ,o4--,oak bark1 #abh4 ,oak galls1 #ce1 #cf4 ,oil of ,vitriol1 #fd1 #fe1 #fg4 ,sulphuric acid4 ,old ,fustic1 see ,fustic4 ,old ,gold1 #aji1 #aab-aad4 ,olive1 #aji1 #aac1 #aah1 #ace4 ,onion skins1 #abh4 ,orange1 #ia1 #ic1 #ajb1 #ajf1 #aji1 #abj1 #acb2 from lichens1 #dh1 #ea1 #eh1 #fj-b4 ,orchil1 #de1 #eb-ee4 ,organzine4 ,twisted raw silk from best cocoons1 used for warp4 ,orseille1 #eh4 ,oxalic ,acid1 #cj1 #ca4 ,p4--,pastel1 #gg4 ,woad4 ,peach1 #abj4 ,peach wood1 #ajf-ajg4 ,pear1 #da1 #abj4 ,pearl ash4 ,carbonate of ,potash4 ,peat ,soot1 #abh4 ,persian ,berries4 ,the dried unripe fruit of various species of ,rhamnus4 ,also called ,french berries1 ,grains of ,avignon4 ,philamort1 #dh4 ,pink1 #ic2 from lichen1 #eg4 ,plum colour1 from lichen1 #dh4 ,poplar1 #db1 #ace4 ,potassium ,carbonate4 7,potashes74 ,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 ,potassium dichromate1 #cb4 ,privet1 #ci1 #da1 #db1 #aba4 ,purple1 from lichens1 #ec1 #eg-fj1 #fb2 with cochineal1 #ie1 #if2 with logwood1 #hb1 #he1 #hf1 #hg4 ,purple ,dye ,plants1 #dc4 ,q4--,quercitron1 #aaf-abj2 for green1 #ace-acg4 ,r4--,red1 #hg-ajg2 from lichens1 #dh-ea1 #ec1 #ef1 #eh1 #fj4 ,red ,dye ,plants1 #ch4 ,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 ,retting1 #ba4 ,roucou4 ,anatta1 ,arnotto4 ,s4--,sandalwood or ,saunderswood1 #ajf4 ,sadden1 to1 saddening1 #ad1 #cj1 #cd1 #abg1 #acj1 #acb4 ,to darken or dull in colour4 ,sapan wood1 #ajf4 ,savory1 #ajg1 #ajh4 ,sawwort1 #da1 #ace4 ,saxon blue1 #fg1 #gj1 #acf4 ,the dye made by ,indigo dissolved in oil of vitriol4 ,saxon green1 #aah1 #acf1 #ach4 ,scarlet1 #hh1 #ia1 #ib1 #ic1 #id1 #ie1 #ig1 #ih4 ,scarlet of ,grain1 #hg4 ,scotch ell4 #cgb inches4 ,scour1 to4 ,to wash4 ,scroop4 ,the rustling property of silk4 ,scrottyie1 #di1 #ej1 #ei4 ,silk1 #af-ah2 to alum1 #ah2 general method of dyeing1 #ag2 to mordant1 #bf2 the preparation of1 #ag2 to soften1 #ah2 various kinds of1 #af2 raw1 #af1 #ag2 waste1 #af4 ,silver drab1 #hd4 ,sloe1 #ci4 ,soda ash4 ,carbonate of soda4 ,soda ley1 #aja4 ,sour water1 #bh4 ,to every gallon of water1 add #a gill vitriol2 stir thoroughly4 ,stuff steeped in this should be covered with the liquor1 otherwise it will rot4 7#b74 ,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 #bd hours it is ready to use4 7#c74 ,throw some handfuls of bran into hot water and let it stand for #bd hours1 or till the water becomes sour1 when it is fit for use4 ,stannous ,chloride1 #ca4 ,staple1 #aa1 #ab4 ,a term applied to cotton and wool1 indicating length of fibre4 ,stuffing and ,saddening1 #ad1 #cj4 ,substantive ,dye1 #bd1 #eb1 #fe1 #aaf4 ,a dye not requiring a mordant4 ,sulphuric ,acid1 #fd1 #ff1 #fg1 #gj1 #abj1 #aca4 ,sumach1 #bf1 #ce1 #cf1 #abf4 ,leaves and twigs of several species of ,rhus1 containing ,tannic acid4 ,it is sold in the form of crushed leaves or as a powder1 7#ae-bj tannin74 ,t4--,tannic ,acid1 #bf1 #ce4 ,tannin1 #ce1 #cf4 ,tin1 #ca1 #cb4 ,tin crystals1 #ca4 ,tin salts1 #ca4 ,tram4 ,slightly twisted raw silk1 used for weft4 ,turkey ,red1 #ii4 ,turmeric1 #aaf4 ,turquoise1 #fi4 ,tyrian purple4 ,a purple colour obtained from certain shell fish1 such as ,buccinum ,purpura4 ,it is mentioned by ,pliny as being discovered in #adjj ,b4,c4 ,it was a lost art in the middle ages4 ,v4--,valonia1 #ce4 ,acorn cups of certain species of oak from ,s4 ,europe1 containing #be-ce of tannic acid4 ,vegetable alkali4 ,potash4 ,verdigris1 #cc4 ,acetate of copper4 ,violet1 #hf1 #id1 #ajc4 ,vitrum1 #gf4 ,w4--,walnut1 #dc1 #abg1 #acb4 ,water for dyeing1 #bc4 ,weld1 #ajg-aab1 #abj1 #acj1 #acd1 #ace4 ,wet out1 to4 ,to damp1 before putting the yarn or cloth into the dye4 ,woad1 #ci1 #ge-gg4 ,wool1 #aa2 to bleach1 #af2 to cleanse1 #ae1 #af2 long staple wool1 #ab2 various kinds of1 #aa1 #ab1 #ac4 ,wool ,dyeing1 general methods1 #ac-af4 ,y4--,yarn1 to soften1 #af4 ,yellow1 #ajg-abb2 from lichens1 #ea1 #eg1 #adj2 from sumach1 #abf4 ,yellow ,dye ,plants1 #ci4 ,yellow ,weed1 #acd4 ,yellow ,wood1 #ajg4 ,,errata page #ei4 ,rock ,urcolaria shld4 be ,rock ,urceolaria4 page #fa4 ,flowering lusnea shld4 be ,flowering ,usnea4 page #add4 7printed without being corrected74 ,add3--,alder bark1 #dc1 #dd1 #ajj1 #abf4 ,almond1 #abj4 ,amber1 #acb4 ,argol1 #aca4 ,ash1 #da1 #abj4 ,barwood1 #fg1 #ajf4 ,correct3-- authracene to anthracene anie to ail ,roucon to ,roucou sorrounding to surrounding ,printed by ,douglas ,pepler at ,ditchling ,illustration3 ,a ,,wood ,,cut ,,illustration ,,from ,,the ,,devil',s ,,devices 7see advert47 ,,books ,published by ,,douglas ,,pepler ,,at ,,the ,,hampshire ,,house ,,workshops ,,hammersmith ,,cottage ,,economy ,,by ,,william ,,cobbett with an ,,introduction ,,by ,g4 ,k4 ,,chesterson ,price #bs4 #f;d4 net 7,postage #c;d47 ,a ,,reprint of a ,,standard ,,work ,which should be of use1 in these days1 to ,many beside ,cottagers4 ,a ,,carol ,,and ,,other ,,rhymes ,by ,,edward ,,johnston ,price #as4 net4 7,postage #b;d47 ,a ,,book ,,on ,,vegetable ,,dyes ,by ,,ethel ,m4 ,,mairet ,price #es4 net 7,postage #d;d47 ,,the ,,devil',s ,,devices or ,control versus ,service by ,,douglas ,,pepler1 with ,wood-cut ,illustrations by ,eric ,gill4 ,price #bs4 #f;d4 net4 ,the first #bjj copies will be numbered and signed4 ,price #cs4 #f;d4 net4 ,this book contains an account of a cinematograph entertainment in ,satan's ,circuit2 a crafty devil2 and an appreciation of ,no4 #bg1 an ,english working-man4 ,,the ,,reviewers ,,on ,,the ,,devil',s ,,devices4 ,,what ,,will ,,they ,,say ,,next8 ,but we believe that the effect upon most people will be what it certainly is upon one reader1 who is ,,not ,,in ,,the ,,least ,,shocked1 but is considerably ,,bored4 --,c4 ,o4 ,review4 ,a verse may find him who a sermon flies1 and there is likely to be here and there one1 who seeing in a bookseller's window the red cover and the black1 the very black1 cart thereon1 will incontinently purchase4 --,the ,new ,witness4 ,his arguments are closely logical when he chooses to make them so1 though their sequence and arrangement are bewilderingly haphazard4 --,the ,herald4 ,the whole effect is of a hotch-potch composed in a lunatic asylum2 and the pictures seem madder than the letterpress4444 ,much to the irritation of my wife1 for supper was waiting1 ,i read on till ,i had read the book right through4444 ,the mad author of this book is ,douglas ,pepler1 the mad artist is ,eric ,gill4 ,when ,i say mad ,i am1 for the moment1 taking it for granted that the world is sane4-- ,labour ,leader4 99 99 99 99 99 7and so on very nicely for several columns47-- ,land and ,water4 ,the drama is skilfully unfolded 7though the author fails over the spelling of ,nietzsche1 page #bi7 and interspersed with wood-cuts 444 and a still more excellent account of the passing of the poor man's parlour4 ,the ,cambridge ,magazine4 ,the author has marked with the toe of his boot the moral weakness on which the ,devil depends for his power over the modern world4-- ,red ,feather4 ,mr4 ,pepler perpetually ,,drops into dialogue with ,,fatal ,,results4 ,new ,age4