Medieval Dyes, Part 2

 

Part 1 covered blue, black, red, yellow, and green. Let's look at some others.

Gray was a humble color, and could be had by using leftover dye from making black. Cistercians and the Friars Minor of the Franciscans wore gray habits.

Pink was easy to make, since madder root used for red or brazilwood could be used in a lesser strength or by soaking the cloth for a shorter duration. Medieval illustrations often show ladies wearing pink dresses, which makes one wonder if pink was considered a feminine color centuries ago. Men also could be painted in pink, but their hosiery, not upper/outer wear. (By the way, the name brazilwood comes from a Portuguese word, pau-brasil, a flowering plant in the Old World. When Portuguese sailors found a related species growing all over the coast of South America, they named the place Terra do Brasil, "land of brazilwood." That's right: the country was named for the plant, not the other way around!)

If you wanted to suggest purity or innocence, you went for white. This was not always a bright white, but linen looked white enough prior to dyeing that it qualified as white. You could also soak linen in lye made from wood ashes, and throw in some lime. Since clothes could get dirty, wearing white was a sign that you afford to not get "down in the dirt" as a farmer. In the 14th century poem Piers Plowman—in which we happened to find the earliest reference to a "Robin Hood"—of all the characters introduced, there are few descriptions of their appearance, except when white clothing is mentioned; it always indicates a person of purity or innocence.*

Brown or russet/orange came in many shades and can be produced by anyone with access to boiling water and walnut shells or bark.

And so we come to purple, the color of royalty; so much so, that the phrase "born to the purple" indicated royalty, and porphyrogenitus was used in Byzantium as a title. Expensive purple candles were reserved for Advent, the "coming of Christ the King." Dressing a king's favorite in purple, as Edward II did for Piers Gaveston, was a clear indication to all the court of the king's favor. A species of sea snail (Murex) was an ancient source of the color, but it took thousands to make 1 gram of purple dye. Its expense made it rare, and its rarity gave it value, and its value made it reserved to the wealthy and ultimately limited to emperors and the highest classes.

There has been lots of research into the history of dyes. Although I do not quote from it, the Innsbruck Manuscript of 1330 (translated here) has instructions on dying. Vassar has a bibliography on works on dyeing. And there are many websites devoted to medieval times that instruct on dyeing the old-fashioned way. For instance, the illustration above is found on one such site.

In the paragraph on gray, I looked for a link to explain the Cistercians, and discovered that I have mentioned them many, many times, but there's no "introduction" to them. Let me correct that next time.

*A little trivia about me: "Clothing Imagery in Piers Plowman" was one of the first papers I ever wrote in grad school in the Medieval Studies program at UConn-Storrs.

Medieval Dyes, Part 1

Yesterday's post about "blue" jeans from Genoa mentioned indigo, a color dye that had to come from plantations in India until other sources of blue were found. Western Europe found a substitute in woad.

Woad was a plant in the mustard family, and ancient burials in Germany and the UK have found evidence of woad being used thousands of years ago. It was not a consistent blue, however, and its result ranged from a grayish-blue to black. It also took several months to produce properly. Indigo was a more reliable blue, though expensive.

Madder root was used to make red, and gave its name to the color rose madder. A darker red could be unstained by repeated dying, or from an import from India called dragonsblood.

Green was a popular color for interior walls of a house apparently, but for clothing it had different connotations. It could be considered unlucky to wear because it symbolized the decay after death. Chaucer's Yeoman, however, wore green because of its rustic connotation. Bright green clothes were associated with the rich, just as emeralds were the most sought-after gemstone.

To produce yellow there was a plant native to Europe and Western Asia called by many names such as dyer's rocket or weld. When picked before the flowers became too mature, it produced a bright yellow that worked well on linen, silk, and wool.

Black was a difficult color to produce in fabric, but had strong symbolism that made it desirable for different classes. It required a mixture of madder, woad, and weld, and it needed lots of alum. "Alum" refers to a salt (potassium alum, or sodium alum, or ammonium alum), known to Pliny and earlier as an astringent substance helpful in dyeing (and medicine). Black was considered a "humble" color and used for clerical garb. The complexity which its manufacture required also made it desirable by the upper classes. Along with red and purple, black is most often listed as one of the colors restricted to the elite.

I'll share the sources of more colors tomorrow.