Black. Deepest shade of indigo.[308]
Speaking of Indian coloured textiles, Sir G. Birdwood says: “All violent contrasts are avoided. The richest colours are used, but are so arranged as to produce the effect of a neutral bloom, which tones down every detail almost to the softness and transparency of the atmosphere.” He says that in their apparel both the colouring and the ornaments are adapted to the effect which the fabrics will produce when worn and in motion. “It is only through generations of patient practice that men attain to the mystery of such subtleties.”
An outline, in black or some dark colour that harmonizes with the ground, or else worked in gold, is common in Indian work, not only for the purpose of isolating the colours of the design, but also to give a uniform tone to the whole surface of the texture. Their traditional arrangements of tints were thoroughly satisfying to the eye. But degenerated by European commerce, the artistic sense of beauty itself is disappearing throughout our Indian Empire.
Persian carpets (the fine old ones of the fourteenth to the seventeenth centuries) give us lessons in the art of isolating colours. In these, a flower will lie upon a surface which contains two or more other tints, and as the design passes over them, the outline colour is changed, so as to isolate the flower equally on the different grounds. This is done with such art that the eye ignores the transition till it is called to remark it. For instance, as a white, or no-coloured pattern, wanders over a green and red ground, the outline changes suddenly from green to red, and again to green as it leaves the opposite colour on the ground pattern.
Mr. Floyer speaks of the brilliancy and lasting qualities of the dyes which the Persians, by slow and tedious processes, extract from plants; from the “runaschk” (madder), a fine red; from the “zarili” (the golden), which is a yellow flower from Khorasan, and also from the leaves of the vine, a bright yellow.[309] They import indigo from Shastra (or from India), by the Khurum river. He says these dyes are perfectly fast, leaving no trace on a wetted rubber, whereas the European dyes they sometimes use come off freely.
Pliny says the Gauls had invented dyes counterfeiting the purple of Tyre; also scarlet, violet, and green, all of these were dipped in the juices of herbs.[310]
Vitruvius says the Romans extracted dyes from flowers and fruits, but he neither specifies nor describes them.
The ancient Highland tartans were dyed with bark of alder for black, bark of willow for flesh colour. A lichen growing on stones supplied their violets and crimson.[311] The lichen on the birch-tree gives a good brown; heather gives red, purple, and green.[312]
Thus we see that pure colours for dyeing textiles have been extracted from vegetable substances—herbs, wood, seeds, flowers and fruits, mosses and sea-weeds;[313] mineral substances—earths, sands, ores, metals, rusts, and stones; animal substances—both of land, water, and air; beasts, fishes, shells, birds, and insects.
It is evident, from the derivation of the word, that there were chromatic scales in colour before the phrase was ever applied to music.