sed alike for frescoes and for
painting cotton cloths, though vegetable dyes were needed for woollens
and linens). These were: for _white_, pure chalk; for _black_,
bone-black mixed with gum; for _yellow_, yellow ochre; for _green_, a
mixture of yellow ochre and powdered blue glass; for _blue_, this same
blue glass mixed with white chalk; for _red_, an earthy pigment
containing iron and aluminium.[305] They understood the chemistry of
bleaching, and the use of mordants in dyeing.[306]

The statistical records of China of the time of Hias (2205 B.C.),
according to Semper, mention colours as being of five tints, and all
the produce of the Chinese Empire.[307]

In the unchanging art of India, the ancient colours are used now.
Therefore, when we give the following list, we must suppose that it
embraces all that have been known from the beginning.

Indian dyes are mostly vegetable. For _yellow_, akalbir, the root of
the Datiscus Canabinus; also yellow is dyed with asbarg, the flower of
the Cabul larkspur (_Delphinium sp._).

_Orange._ Soneri dyed with narsingar, the honey-scented flower of
nyclanthes (_Arbor Tristis_).

_Scarlet_ is first dyed with cochineal (formerly with kermes), which
gives a crimson colour; next with narsingar, which turns it vermilion.

_Purple_ is dyed first with cochineal (formerly kermes), afterwards
with indigo.

_Lilac._ Ditto, only paler.

_Blue._ All shades of indigo.

_Green._ With indigo first, and next the various yellow dyes.

_Brown._ Sandal-wood, called "sandali;" almond colour (Badami).

_Grey._ Sulphate of iron and gold.

_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 o