Source citation ledger
Philosophy of Permanent Colours
Edward Bancroft
book · 1813 (and later PD editions)
Edward Bancroft, Experimental Researches Concerning the Philosophy of Permanent Colours.
Experimental Researches Concerning the Philosophy of Permanent Colours
Added 2026-10-18 (yield-gated wave 9). Preflight dye/pigment orphans (~32 classical). Refuse modern arylide/hansa/cadmium chrome. License-check required. Keep apart beck-draper and merrifield-painting.
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European folklore
Quercitron is used in Dye.
Bancroft seats quercitron bark (quercus tinctoria) as a durable yellow dyeing drug for topical and bath yellows, comparing it with weld and fustic yellows. A named quercitron in that black-oak bark dye speech — Bancroft’s own trade yellow — not weld alone, and not old fustic.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Bancroft seats Morus tinctoria — improperly called old fustic by the English, bois jaune by the French — as a West-India yellow dyeing wood used with aluminous bases for drab and Saxon greens. A named old-fustic dyeing wood, not Rhus cotinus young fustic, and not quercitron bark.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Young Fustic is used in Dye.
Bancroft seats Rhus cotinus (Venice sumach), commonly though improperly called young fustic, as a yellow-orange dyeing shrub wood distinct from Morus tinctoria. A named young-fustic dyeing wood, not old fustic, and not leaf-sumac tannin alone.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Bancroft seats cudbear — the Scottish lichen purple powder named from Dr. Cuthbert Gordon — among orchal/cudbear dyeing drugs employed to colour wool. A named cudbear in that lichen-purple trade speech, not Mediterranean orchil alone, and not mauveine.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Bancroft seats Camwood (pao-gabam / kambe from Sierra Leone) as an African red dyeing heartwood employed with aluminous mordants, akin to ordinary Nicaragua wood. A named camwood in that African red-wood dye speech, not barwood, and not brazilwood.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Bancroft seats Barwood from Angola as an African red dyeing wood giving yellowish-brown reds on wool and cotton with alum, often saddened with iron for Bandana-style dark grounds. A named barwood in that African red-wood dye speech, not camwood, and not peachwood.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Bancroft seats Nicaragua or peach wood as Central American red dyeing woods of uneven quality, employed for inferior fugitive reds on the aluminous basis. A named peachwood in that Nicaragua red-wood dye speech, not Pernambuco brazilwood alone, and not camwood.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Sappanwood is used in Dye.
Bancroft seats sappan or sampfan red wood among East-Indian red dyeing woods used with aluminous mordants beside Brasil wood. A named sappanwood in that Asian brazilwood-kin dye speech, not New World brazilwood alone, and not logwood.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Butternut Dye is used in Dye.
Bancroft seats the North-American butternut tree (walnut, commonly butternut) for the use of its bark in dyeing brown colours. A named butternut-dye in that butternut-bark dye speech, not black-walnut rind alone, and not alder bark.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Bancroft seats Morinda citrifolia (aal roots) and related morinda species as red dyeing roots of Indian cloth practice. A named morinda in that aal/morinda red-root dye speech, not European madder alone, and not chay root.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Bancroft seats chay / chaia / chayaver root (Oldenlandia umbellata) of Coromandel and Malabar as a classical South-Indian cotton red dyeing root, compared experimentally with madder. A named chay-root in that Coromandel red-root dye speech, not munjeet, and not Turkey-red process alone.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Turkey Red is historically related to Madder.
Bancroft repeatedly seats Turkey red as the durable cotton/linen red whose oily–gall–alumine preparation receives madder-family adjective colour, citing Henry, Berthollet, and Chaptal on the process. A named turkey-red in that madder-oil cotton-red kinship, not bare madder root alone, and not Adrianople as a separate workshop lemma only.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Adrianople Red is historically related to Madder.
Bancroft names the process for dyeing the Adrianople or Turkey red when discussing oily and astringent preparations that fix alumine for permanent adjective colours on linen or cotton. A named adrianople-red in that paired Adrianople/Turkey madder-red speech, not a free-standing Edirne monograph, and not bare madder root alone.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Bancroft seats coccus lacca / lac / lacsha as the Indian lac-insect comb whose boiled colouring matter dyes cloths red, the residual mass becoming painters’ artificial lac. A named lac-dye in that lac-insect red dye speech, not shellac varnish alone, and not cochineal.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Persian berries is used in Dye.
Bancroft seats unripe berries of Rhamnus infectorius as French berries (grains d’Avignon) and Levant Turkey berries for topical yellows in calico printing on aluminous mordant — lively but fugitive beside weld or quercitron. A named persian-berries seat in that French/Turkey buckthorn-berry dye speech, not stil-de-grain lake alone, and not quercitron bark.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Bancroft seats saw-wort (Serratula tinctoria) as a good substitute for weld, giving a bright lemon yellow of considerable durability on the aluminous basis with alum and tartar. A named sawwort in that Serratula yellow dye speech, not weld alone, and not dyers’ broom.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
used in · sourced · documented
Alder Bark is used in Dye.
Bancroft seats alder bark among astringent dyeing barks used with logwood and for brownish yellows on cloth, listing it with gall-nuts and walnut rinds among historical dye materials. A named alder-bark in that alder-bark dye speech, not oak-gall alone, and not butternut bark.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Barberry Dye is used in Dye.
Bancroft seats roots and bark of Berberis vulgaris (barberry) as communicating a fine yellow to wool without a basis, though without permanence against air or soap. A named barberry-dye in that berberine yellow dye speech, not weld, and not a bare barberry plant dump.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Anil is historically related to Indigo.
Bancroft seats Indigofera anil among indigo plants and notes anil / nil as the American name of indigo adopted from Hindu speech. A named anil in that Indigofera-anil indigo-plant kinship, not finished indigo cake alone, and not woad.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Cream of tartar is used in Alum.
Bancroft seats cream of tartar with alum in mordant baths (and with cochineal) for dyeing, noting alum and cream of tartar do not decompose each other in the usual scarlet and related preparations. A named cream-of-tartar in that alum–tartar mordant adjunct speech, not argol identity alone, and not a bare acid dump.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Iron gall ink is historically related to Iron.
Bancroft’s black-dye and writing-ink chapter seats the black from iron with galls (and related tannins) as the combination that later became common writing ink, after lampblack-and-gum inks. A named iron-gall-ink kinship toward iron in that iron–gall black speech, not copperas identity alone, and not logwood purple.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Writing Ink is historically related to Iron.
Bancroft seats the history of writing-ink from Pliny’s lampblack-and-gum librarium toward the later adoption of the black produced by iron with gall-nuts as common writing ink. A named writing-ink in that iron–gall writing-ink reception, not printers’ ink, and not india-ink alone.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Sugar of lead is historically related to Lead.
Bancroft seats sugar of lead (acetate of lead) as the oxide of lead dissolved for improving the aluminous mordant by decomposing alum toward acetate of alumine for madder and related colours. A named sugar-of-lead in that lead-acetate mordant speech, not white-lead pigment alone, and not chrome yellow.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Umber is historically related to Earth.
bancroft-colours seats umber among its lemmas — umber speech, not a free modern dump alone.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Orange is historically related to Workshop.
bancroft-colours seats orange beside workshop as a craft peer — object speech, not a text-container or tradition dump.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Yellow is historically related to Yellow ochre.
Bancroft’s colour handbook seats yellow ochre among earth yellows used as ordinary yellow paint stock. A named yellow beside yellow-ochre as a chief earth, not Naples yellow or chrome yellow as later recipes.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Brown is historically related to Brown ochre.
Bancroft’s colour handbook seats brown ochre among earth browns of ordinary paint speech. A named brown beside brown-ochre, not Vandyke brown as a named mix alone.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Grey is historically related to Payne's grey.
Bancroft’s colour handbook seats Payne’s grey among mixed greys of watercolor and print speech. A named grey beside that specialty mix, not ash or iron as materials alone.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
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Paint is historically related to Oil Paint.
Bancroft’s colour handbook seats oil paint among ordinary painting media of pigment in drying oil. A named paint beside oil-paint as a chief historical medium, not dye as cloth colour.
from Edward Bancroft · Philosophy of Permanent Colours, 1813 (and later PD editions)
historically related to · sourced · documented