The Dyer's Guide / Being a compendium of the art of dyeing linen, cotton, silk, wool, muslin, dresses, furniture, &c. &c.; with the method of scouring wool, bleaching cotton, &c., and directions for ungumming silk, and for whitening and sulphuring silk and wool; and also an introductory epitome of the leading facts in chemistry, as connected with the art of dyeing

by Thomas Packer

On the theory relative to fast and fugitive colours.

Many attempts have been made by chemical philosophers to account for the permanence or want of permanence of various colours, when imparted to cloths and other bodies as a dye. Among these, Hellot, D'Apligny, and others of the old, and Berthollet, Bancroft, Henry, and others of the modern school, may be mentioned.

The power of resisting vegetable acids, alkalies, and soap, and, above all, the action of air and light, constitutes the durability of a colour. But this property has a very unequal standard, according to the nature of the colour and the species of the stuff.

There is no obscurity in the action of water, alkalies, acids, and soap: for a solution is effected by means of these agents, or a small portion of acid or alkali unites to the combination, which forms the colour. But this is not the case with the action of light and air. Till lately, however, it was not known in what this action consisted.

Of the two principles which compose atmospheric air, it is only the oxygen gas which acts on the colouring particles. It combines with them, and thus impairs their colour or makes them fade. But its action is soon chiefly exerted on the hydrogen which enters into their composition, and it thereby forms water. This effect may be compared to a feeble combustion. Hence the carbon, which enters into the composition of the colouring particles, becomes predominant, and the colour usually passes to yellow, dun, or brown, or other appearances.

Light promotes this decomposition of the colouring particles, which frequently takes place only with its concurrence, and thus it contributes to the destruction of the colour. Heat also favours the same result, but less efficaciously so, unless it have a certain intensity.

It is concluded, therefore, that colours are more or less fixed in the air, according to the greater or less tendency which the colouring particles have to undergo this change[6]. Hence the utility of mordants in rendering fugitive colours fast.

To prove the colours of Dyed Stuffs, &c.

The natural proofs of a dye's being effectual, are exposure to the air, to the sun, or to rain. If the colour be not changed by such exposure after twelve or fourteen days, it may be considered as fixed. These proofs are not, however, adapted to every colour: for some resist the action of air, light, and rain, yet are nevertheless injured by certain acids. There are also colours which do not resist the natural proofs and yet remain unchanged by acids.

Colours may be arranged in this respect in three classes: the first class is tried with alum, the second with soap, the third with tartar. For the proof with alum, half an ounce of this salt must be dissolved in a pint of water in an earthen pipkin, and into this liquor is to be put half a quarter of an ounce of the dyed thread or stuff, the whole being boiled about five minutes; it is then to be washed clean with water. Thus are tried crimson, scarlet, flesh-colour, violet, ponceau, peach-blossom, different shades of blue, and other colours bordering on these.

The next proof consists in boiling a quarter of an ounce of soap in a pint of water, with half a quarter of an ounce of the dyed stuff or thread for five minutes. With this proof all sorts of yellow, green, madder-red, cinnamon, and similar colours are to be tried.

The proof with tartar consists in boiling one ounce of that salt, previously powdered very fine, with a quarter of an ounce of dyed thread or stuff, in a pint of water for five minutes. This proof is used for all colours bordering upon fallow, or hair-brown.—Journal of Science, vol. xxii. 219.

But notwithstanding these general rules may be given for dye-tests, yet so many are the niceties in this art, that, after all, nothing but long practice combined with scientific knowledge, will enable the dyer to become in this respect, a complete and successful artist.