Chapter XVIII: The Influence of the War Upon the Dyestuff

INDUSTRY 260

Rise of the German Dyestuff Monopoly—Ruin of the English Dyestuff
Industry—Dyestuff Industry in the United States—Changed
Conditions Due to the War—Lists of Best Dyestuffs.

THE ILLUSTRATIONS

PLATES IN COLOR

PLATE

I Indigo dyed batik from Madras _Frontispiece_

FACING PAGE

II Japanese towelling, showing impression of fresh damp leaves 26

III Same towelling after immersion in iron spring 30

IV (_a_) Example of tied and dyed work } 210
(_b_) Example of tied and discharged work }

V Japanese towelling stencilled in resist and dyed by
immersion in iron spring 230

ILLUSTRATIONS IN HALF-TONE

FIG.

1 Shellfish used by the ancients for Tyrian purple 12

Sir W. H. Perkin 42

2 Tied and dyed headdress from an Inca tomb in Peru 192

3 Shikar chundri, from Rajputana, with knots still untied 196

4 Same chundri untied and shaken out 198

5 Bagobo headdress from the Island of Mindanao 200

6 Sample of tied and dyed work, “tied on itself” 202

7 Sample of tied and dyed work, “tied in bands” 204

8 Tied and dyed work—Folding the cloth 206

9 Starting to tie 206

10 Centre portion tied 206

11 Centre and corners tied 208

12 Dyed, untied and shaken out 208

13 Japanese stencil knife 212

14 Japanese stencil brushes 212

15 Japanese stencil, showing holes punched by hand tool 216

16 Japanese stencil, showing use of stops 216

17 Japanese stencil, showing use of sewing instead of stops 216

18 Japanese stencils, showing use of both stops and net 218

19 Large and handsome Japanese stencil, showing use
of net 224

20 “Teapot” model of tjanting 248

21 Walther glass tjanting 248

22 “Wax pencil” model of tjanting 248

23 Javanese tjantings 250

24 American modification of Javanese tjanting 250

DIAGRAMS IN THE LETTERPRESS

Primary Colors 73

Mixed Colors 79