It is interesting to examine what is the action of light upon compound colors. Is a fugitive color rendered faster by being applied along with a fast color?

My own opinion, based upon general observation, is that it is not, and that when light acts upon a compound color the unstable color fades, while the stable color remains behind. A woaded color, for example, is only fast in respect of the vat indigo which it contains, and yet how frequent is the custom to unite with the indigo such dyes as barwood, orchil, and indigo-carmine, the fugitive character of which I have pointed out.

Having thus rapidly surveyed these numerous coal tar colors, both in their dyed and exposed conditions, I again ask why are they so generally regarded as altogether fugitive?

First, because we have, especially among these "direct dyes," a very large number which are undoubtedly very fugitive.

Moreover, all the earlier coal tar dyes - mauve, magenta, Nicholson blue, etc., belonged to a class which, even up to the present time, has only furnished us with fugitive colors. They were indeed prepared from aniline, and it appears to me that the defects of these early aniline colors, as well as their designation, have been handed down to their successors without due discrimination, so that in the popular mind the term "aniline color" has become, as a matter of habit, synonymous with "fugitive color." But science is progressive, fields of investigation other than aniline have been opened up, so that now, although a large number of fugitive dyes are still manufactured from coal tar, there are others, as we have seen, which are as fast and permanent as we have ever had from natural sources.

Finally, and perhaps this is the most important cause of all, many of the fugitive coal tar colors are gifted, I will not say with fatal beauty, but with a facility of application, and such comparative cheapness in consequence of their intense coloring power, that the dyer, tempted by competition, applies them not unfrequently to materials for which, because of their ultimate uses, they are altogether unsuited; and so it comes about that we find the most fugitive colors applied indiscriminately and without due discretion.

As we look upon these multitudinous colors, one other thought cannot fail to cross our minds. Is there not surely an overproduction of these fugitive coal tar colors? Is not the dyer bewildered with an embarras de richesses, so that he knows not where to choose?

There is indeed much truth in this. With rare skill and ingenuity an army of chemists is busy elaborating these wonderful dyes; but in such quick succession are they introduced into the dye house that the busy dyer has no time sufficiently to prove them, and it is not surprising therefore that he is liable to commit errors in their application.

But if there is an over-production of fugitive colors, there is also at work, as in the organic world around us, the counteracting influence of the law of the survival of the fittest. Sooner or later, the fugitive colors must give way to those which are more permanent, and already the number of coal tar colors which have been discarded, for one reason or another, is considerable.

Not unfrequently one is asked the question, Is there no method whereby these fugitive colors can be made fast? Knowing the efficacy of mordants with certain coloring matters, is there no mordant which we can generally apply with this desirable object in view? The discovery of such a universal mordant I believe to be somewhat chimerical, and yet, curiously enough, a number of experiments have been recorded in recent years, which almost seem to point in the direction of selecting for such a purpose ordinary sulphate of copper.

Some of these diagrams before you this evening show clearly the fastness to light generally of the lakes formed with copper mordant. This peculiarity of the copper compounds has not escaped the notice of other observers. Dr. Schunck, for example, during the progress of his research on chlorophyl, noticed the very permanent green dye which this otherwise fugitive coloring matter gives in combination with copper.

Then there is the assertion of practical dyers, that the use of copper sulphate in dyeing catechu brown on cotton assists materially in rendering this color fast to light.

The use of copper mordant with phenolic coloring matters is perfectly natural. Some time ago, however, it was successfully applied, for the purpose of rendering more permanent, to certain of the Congo colors on cotton, e.g., benzo-azurine, etc., in the application of which, metallic salts had not hitherto been deemed necessary.

Noelting and Herzberg have also observed that the fastness to light, even of basic colors, e.g., magenta, methyl violet, malachite green, etc., is increased by a subsequent treatment of the dyed fabric with copper sulphate solution, although in many cases the color is much soiled thereby.

Still more recently, A. Scheurer records that by impregnating or padding certain dyed fabrics with an ammoniacal solution of copper sulphate, the colors gain considerably in fastness to light. As the result of his experiments Scheurer concludes that this protective influence of copper on dyed colors is a general fact, apparently applicable to all colors; that it is not necessarily due to its action as a lake-forming substance, since intimate union between the coloring matter and the copper salt is not necessary. He seems rather inclined to ascribe its efficacy to the light being deprived of its active rays during its passage through the oxide of copper.

Knowing, however, the strong reducing action of light in many cases, and with the absence of positive knowledge concerning the cause of the fading of colors, it seems to me that the beneficial influence of the copper may just as probably be due to its well known oxidizing power, which counteracts the reducing action of the light.

It is interesting to note, in connection with Scheurer's view, that, many years ago, Gladstone and Wilson (1860) proposed to impregnate colored materials with some colorless fluorescent substance, e.g., sulphate of quinine, evidently with the idea of filtering off the active ultra-violet rays. How far some such method as this might prove successful I cannot say, but since we cannot keep our dyed textile materials in a vacuum, as Chevreul did, nor is it desirable to impregnate them with mastic varnish for the purpose of excluding air and moisture, as Mr. Laurie proposes, in order to preserve the colors of oil paintings, it is perhaps well to bear in mind the principle here alluded to as a possible solution of the difficulty.

I have dwelt rather long on this important question of the action of light on dyed colors, but I have done so because I thought it would most interest you. With the remaining portions of my subject I must be more brief.

(To be continued.)

To introduce free fat acids from an oil, it must be decomposed. This may be done by the use of lead oxide and water or by analogous processes. To clarify an oil, expose to the sun in leaden trays. Often washing with water will answer the purpose.