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The “Science” of Natural Dyestuffs in the Laboratory

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Colouring Textiles

Part of the book series: Boston Studies in the Philosophy of Science ((BSPS,volume 217))

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Abstract

The art of dyeing and printing was often the subject of academic discussion, but, as Goethe clearly stated in his Zur Farbenlehre (Theory of Colours), scientific theories were used as a rhetorical strategy more than as a tool for material changes. In addition, the interest that artisans and new industrialists expressed in the possibilities of the new science for practical applications in the factory was variable.2 Books that mixed elements of theory and practice were numerous.3

It is curious, in this view, to take a glance at the works containing directions on the art of dyeing. As the Catholic, on entering his temple, sprinkles himself with holy water, and after bending the knee, proceeds perhaps to converse with his friends on his affairs, without any especial devotion; so all the treatises of dyeing begin with a respectful allusion to the accredited theory, without afterwards exhibiting a single trace of any principle deduced from this theory, or showing that it offers any useful hints in furtherance of practical methods“.1

Johann Wolfgang Goethe (1810).

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Notes

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  3. Samuel Parkes, Chemical Essays. 5 vols. Batwin, Cradock, Joy. London 1815; Edward Bancroft, Experimental Researches Concerning the Philosophy of Permanent Colours. Cadell T. and W. Davies. London 1794; James Haigh, The Dyer’s Assistant in the Art of Dyeing Wool and Woollen Goods. J. Mawman, T. Wilson, R. Spence. London and York 1800; Charles O’Neill, A Dictionary of Calico Printing and Dyeing. Simpkin, Marshall Stationer’s. London 1862; Andrew Ure, The Philosophy of Manufactures. Charles Knight. London 1835; Edward Parnell, Applied Chemistry in Manufactures, Arts and Domestic Economy. 2 vols. Taylor and Walton. London 1844.

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  49. “The art of making an indigo-vat consists in forming such a mixture of lime and sulphate of iron as shall most effectually deoxidize the indigo; as indigo has no affinity for cloth in its natural or oxygenated state”. Samuel Parkes, Chemical Essays. op. cit. (note 3), II, pp. 146–147.

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  52. Edward Bancroft, Experimental Researches. op. cit. (note 3), I. p. 82. In spite of his critical introduction of the new nomenclature, Bancroft still considered sunlight and oxygen as the two most powerful chemical reagents to alter and change colours citing the works of the Swiss naturalist Jean Senebier on the influence of light for the development of plants. On the influence of light on the quality of colours, see Stanley D. Forrester, “The history of the development of the light fastness testing of dyed fabrics up to 1902”, Textile History,6, 1975, 32–88.

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Nieto-Galan, A. (2001). The “Science” of Natural Dyestuffs in the Laboratory. In: Colouring Textiles. Boston Studies in the Philosophy of Science, vol 217. Springer, Dordrecht. https://doi.org/10.1007/978-94-017-1081-7_3

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