dyed with mauve, and according to Punch, the London policemen directed 

 loiterers to 'get a mauve on' " (Holmyard, 1958, vol. 5, p. 272). 



Although news of the new dye reached the United States soon after its 

 appearance, a number of years passed before it was in general use — partly 

 due to the political upheavals that were taking place in America during 

 that period. For decades after aniline dyeing became standard procedure, 

 the old natural dyes continued to be used side by side with the latest 

 manufactured dyestuffs. But by the end of the 19th century all but a few 

 natural dyes such as logwood, indigo, catechu, and cochineal had been 

 replaced by the more dependable manufactiuTd dyes. At that time Ameri- 

 can professional dyers depended almost entirely on Germany for supplies. 



World War I cut off supplies of dyestufFs, causing a "dye famine" that 

 jolted American chemical manufacturers into the business of large-scale 

 dye manufacture. During the war there had been a temporary upsurge in 

 demands for natural dyes. As soon as American manufacturers could supply 

 the textile industries with a wide range of colors, however, natural dyes 

 became obsolete. Only in mountainous and rural areas of the southeastern 

 quarter of the country, traditional methods of weaving and dyeing survived 

 among home dyers unaware of developments in large-scale chemical dyeing. 

 These country dyers, working far from the mainstream of American life, 

 did not follow the trends toward standardization of dyes and dyeing pro- 

 cedures generally accepted in the northern industrial areas. They are unique 

 in this respect and preserved traditions of home dyeing with natm^al ma- 

 terials longer than any other group of dyers in the United States. 



During the first quarter of the 20th century a revival of interest in arts 

 and crafts led to experimentation with old methods of spinning, weaving, 

 and dyeing. This movement, plus efforts to encourage the continuation of 

 southern mountain folk crafts, inspired textile craftsmen throughout the 

 country to explore the field of natural dyes once more. During the same time 

 the Navajo Indians almost entirely ceased working with the generally poor 

 quality commercial dyes they had used since the late 19th century, replacing 

 them with natural dyes. Today the Indians are once again turning to 

 chemical dyes in which improved color range and fastness and ease of 

 application permit users to color yarns more quickly and efficienth' than 

 heretofore. 



Many contemporary textile craftsmen, working professionally or as 

 hobbyists, however, turn to natural dyes for color ideas. Although fine, 

 dependable commercial dyes are on the market, devotees of natural 

 coloring materials derive a nostalgic pleasure from handling \egetable 

 materials and extracting uniquely "impure" colors from them. It is this 

 latter group who would find that experimentation with untried plants 

 might turn up unexpectedly interesting results. 



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