Indigo: Recreating Pharaoh's

Total Page:16

File Type:pdf, Size:1020Kb

Indigo: Recreating Pharaoh's Image courtesy of SixRevisions; image source: Flickr Indigo: recreating Image courtesy of Jeff Dahl; image source: Wikimedia Commons Wikimedia Dahl; image source: Image courtesy of Jeff Indigo being extracted Pharaoh’s dye from plant leaves What links your jeans, sea snails, woad plants and the Egyptian royal family? It’s the dye, indigo. Learn about its fascinating history and how you can extract it at school. Image courtesy of gitane; image source: Wikimedia Commons By Gianluca Farusi (see box on page 46), we even know All about indigo the dyeing methods used by ancient Indigo is an organic compound that n ancient Egypt, only one boat had civilisations. This activity allows your is found in three differently coloured a purple-dyed sail. It belonged students to follow in the footsteps of forms – indigo itself, which is blue; to the Pharaoh and was a vibrant these early chemists, extracting indigo purple mono-bromoindigo; and red- Iand powerful sign to other Nile users from the leaves of the woad plant. purple di-bromoindigo (figure 1). Nat- that they should move aside to let the Using basic lab equipment, second- urally derived dyes can contain just royal boat pass. ary students of all ages could carry one of these pigments or a mixture of Even today, deep blue, purple and out this extraction in one or two prac- two or three in variable proportions, crimson are traditionally associated tical sessions. Younger students (ages leading to a range of colours from red with royalty, luxury and wealth. This 11-15) could simply do the extraction to blue (Cooksey, 2001). The intensity is because they are difficult and ex- without going into much detail about of the colour is also influenced by the pensive colours to achieve using natu- the chemical reaction [although note way it is processed, such as whether ral dyes. Until the advent of synthetic that the reviewer suggested the activ- the dyed cloth is dried in the light or dyes 100 years ago, natural dyes (from ity was suitable for students aged shade. plant, animal or mineral sources) were 14+]. More advanced organic chemis- In ancient Egyptian times, the best the only way to colour fabrics. try students (ages 16+) could inves- quality indigo was extracted from The vivid purple of the Pharaoh’s tigate the compounds and reactions Murex sea snails, which were once sail was achieved using indigo – a more thoroughly. The experiment is common in the coastal waters of the natural dye that can be extracted from also relevant to the use of science in eastern Mediterranean. Archaeologi- certain plants and animals. Thanks industry and could be used as part of cal evidence from Crete suggests that to Roman naturalist Pliny the Elder a project on this topic. indigo extraction from Murex snails 40 I Science in School I Issue 24 : Autumn 2012 www.scienceinschool.org Image courtesy of dudchik / iStockphoto Science education projects Chemistry Image courtesy of Jeff Dahl; image source: Wikimedia Commons Wikimedia Dahl; image source: Image courtesy of Jeff Modern painting of an Egyp- tian royal boat, with a furled Chemistry imperial purple sail. Note that Biology ‘purple’ is not always what we Organic chemistry would expect today Botany Ages 14-19* In this and several other Sci- ence in School articles, Gi- anluca Farusi successfully blends ancient history and chemistry in an unusual mixture – in this case, an Images courtesy of Gianluca Farusi innovative and simple prac- had begun by 2000 BC. By 1000 BC the tical activity to isolate the Phoenicians, a civilisation centred in dye indigo from the leaves what is now Lebanon, were exploit- of the woad plant (Isatis ing this valuable dye. Their entire tinctoria). In my experi- economy was based on trading Tyrian ence, practical activities in- purple, a violet-purple indigo dye volving intense colours are derived from the snail Murex brandaris an effective way to attract (now known as Bolinus brandaris). the students’ attention. They were so famed for it that the The additional activities name Phoenician is derived from the and supplemental ques- Greek word ‘phoinísso’, meaning ‘to tions suggested in the arti- make red’. cle should help the students Murex-derived indigo was so expen- gain yet more practical sive because 12 000 snails yield just skills and also stimulate in- 1.4 g Tyrian purple – enough to dye a triguing questions, as well handkerchief! The compounds used as offering sound answers. to make the dyestuff are secreted by Vladimir Petruševski, the snail’s hypobranchial gland, found Republic of Macedonia between the bowels and the branchial *Note that the author recom- organ. The snails appear to produce Figure 1: Structures of indigo (top), mended the activity for 11- to these indigo precursors as a defence mono-bromoindigo (middle) and REVIEW 19-year-olds response and for their antimicrobial di-bromoindigo (bottom) www.scienceinschool.org Science in School I Issue 24 : Autumn 2012 I 41 A O B OH Indoxyl (A) and Image courtesy of H Zell; image source: Wikimedia Commons Wikimedia Image courtesy of H Zell; image source: indolin-3-one (B) are tautomers – isomers that exist together in N N equilibrium H H properties. The fresh secretions are The Phoenicians perfected this colourless, but darken when exposed process over hundreds of years and to air. According to Pliny the Elder, discovered that by varying the species the dye was extracted by crushing of snail, extraction methods and pro- Shell of the snail Murex brandaris, the snails, leaving them to putrefy for cessing, they could produce a range the secretions of which were first three days in alkaline salt water, and of colours from red to purple to blue used to make indigo in 2000 BC then boiling them for up to ten days – (table 1). imagine the smell! Species Appearance Dye precursors Dye name Colour Chemical found in the or- composition ganism of dye source: Wikimedia Wikimedia source: Commons Image courtesy of H Zell; image Bolinus 6-bromoindoxyl Tyrian purple / Red-purple Mainly brandaris imperial purple di-bromoindigo (formerly / argaman Murex brandaris) source: Wikimedia Wikimedia source: Commons Image courtesy of Dezidor; image Hexaplex Indoxyl and Royal blue / Blue-purple Mixture of indigo, trunculus 6-bromoindoxyl tekhelet mono- and (formerly di-bromoindigo Murex trunculus ) Image courtesy of Kurt Stüber; image source: Indigofera Wikipedia Commons Indican Indigo Blue Indigo tinctoria (true indigo) Image courtesy of Pethan; image source: Isatis tinctoria Wikipedia Commons Isatan B Indigo Blue Indigo (woad) Table 1: Natural sources of indigo 42 I Science in School I Issue 24 : Autumn 2012 www.scienceinschool.org Image courtesy of PKM; image source: Wikimedia Commons Science education projects Indigo-dyed linen from 1873 Chemistry A B Images courtesy of Gianluca Farusi Lower-quality indigo can also be Figure 2: Indigo precursors found in plants: indican (indoxyl-β-D-glucoside, found in extracted from certain plants, and true indigo; A) and isatan B (indoxyl 3-ketogluconate, from woad; B) this technique actually pre-dates the Phoenicians’ snail-derived dye. In Images courtesy of Gianluca Farusi India, methods of extracting indigo HO OH from the ‘true indigo’ shrub Indigo- fera tinctoria were known before 2000 HO OH O A: Boiling the leaves to BC. In Europe, the dye was extracted extract the water-soluble from woad (Isatis tinctoria). Although Boiling O isatan B these two plants contain different O precursors, indican in true indigo and isatan B in woad (table 1 and N H figure 2), they both ultimately yield the same dye – indigo. The production of indigo from HO OH woad takes place in three main B: Adding alkali (ammo- O stages: HO OH nia) to hydrolyse the O molecule, removing the Ammonia 1. Boiling the leaves to extract the O carbohydrate group to water-soluble isatan B (figure 3A; O leave indolin-3-one (or N steps 1-6 in the activity below). H its tautomer, indoxyl) 2. Adding alkali (ammonia) to N H hydrolyse the molecule, removing the carbohydrate group to leave O O O indolin-3-one or its tautomer, indoxyl (figure 3B; step 7 in the H C: Exposing the extract to activity below). N N N H H H the air, leading to the 3. Exposing the extract to the air, O oxidation and coupling H leading to the oxidation and N of two indolin-3-one coupling of two indolin-3-one OO molecules to form the molecules to form the blue- N blue-coloured indigo H coloured indigo (figure 3C; O N N dyeing the wool and obtaining H H indigo powder in the activity Figure 3: Chemical conversion of isatan B to indigo below). www.scienceinschool.org Science in School I Issue 24 : Autumn 2012 I 43 Student activity: extracting indigo from woad leaves Materials Flickr image source: Image courtesy of naturaldyer; For each group of students: • Fresh woad (Isatis tinctoria) leaves (enough to fill a 1 l beaker) Woad seeds are easily obtainable from garden centres, and in some countries woad is a very common plant. • 20 wt% ammonia solution • Three 1 l beakers • Distilled water • Octanoic acid (optional) • Bunsen burner and tripod • Stirring rod Powdered indigo against a background of woad from which it was extracted • Sieve or strainer • Measuring cylinders and/or 10 ml pipettes water, stirring both the extract in To use the indigo powder as a dye, the beaker and the water in the • Heatproof gloves it needs to be dissolved in water and tray. You now have a solution mixed with a reducing agent, such • Funnel and filter paper containing, among lots of other as sodium hydrosulphite (Na S O ). • Knife for cutting the leaves 2 2 4 things, isatan B, which is an When the dyed material (e.g.
Recommended publications
  • Indigo Fructose Dye Vat
    Kraftkolour Pty Ltd Factory 2, 99 Heyington Ave THOMASTOWN Vic 3074 Tel: 1300 720 493 Web: Kraftkolour.net.au Indigo Fructose Dye Vat The fructose indigo vat was developed by Michel Garcia. The addition of the fructose sugar acts as a reducing agent to the Indigo. The sugar removes one of the oxygen molecules from the indigo making it soluble in water. The addition of the Calcium Hydroxide (slaked or hydrated lime) changes the pH from an acid to a base. The proper pH to get good colour on wool should be about +9 and for cotton and cellulose +10. When the yarn or fabric is dipped into the indigo dye vat, it turns a green colour. When the yarn is raised into the air, the oxygen molecules from the air, bind with the indigo and turn the green into blue. To get darker and more intense blues, the yarn needs to be dipped into the indigo vat and raised into the air to oxidize several times. The colour builds up onto the yarn or cloth in layers. Keep dipping and airing out the yarn until the desired level of colour is achieved. An Indigo vat can be re-used and kept alive for several weeks until all of the indigo has been exhausted. If the Vat still has indigo but has turned blue, reheat the Vat to 50 deg C. Check the pH. Add about a teaspoon of fructose crystals and wait 15-30 minutes. The Vat should turn green. If it is still blue add some Calcium Hydroxide.
    [Show full text]
  • Tyrian Purple (6,6'-Dibromoindigo)
    Tyrian Purple (6,6’-dibromoindigo) A New Twist on the Dye of Old An Ancient Process The Current Way The base chemical of 6,6’-dibromoindigo dye is Dow Chemical Company was the first company to make found naturally in mollusks and certain other crustaceans. Fabric can be dyed through synthetic indigo dye. 6,6’-dibromoindigo soon followed. Indigo direct dyeing, where the fabric or fiber is dyes (including 6,6’-dibromoindigo) are no longer made in the coated with the paste of the mollusk’s mucus U.S., because it is cheaper to import them from other countries. gland. The pasted fabric is allowed to sit in the Today, indigo dye is produced using laboratory chemical sun so that the purple can develop. Fabric can processes. These processes are highly efficient and cost-effective also be dyed using vat dyeing. In this process, the saliva of the mollusk is combined with for the companies that use them, but there are a growing paste of the mucus gland and allowed to dry. number of environmental concerns that are associated with their This residue is ground into a powder and put manufacture and use, as the dying process creates a large into a warm solution of sodium hydroxide or amount of chemical waste that must be disposed of carefully. At lye, away from sunlight, and fabric this time, both lawmakers and chemists are investigating simpler, is immersed in it. Finally, the dyed fabric is put through a finishing process (for safer, and more efficient ways to get the vividly colored clothing example, an acid wash), and washed with soap and water.
    [Show full text]
  • H'mong Ancient Methods of Indigo Dyeing and Beeswax Batik in Cat
    International Journal of Science and Research (IJSR) ISSN: 2319-7064 ResearchGate Impact Factor (2018): 0.28 | SJIF (2019): 7.583 H’mong Ancient Methods of Indigo Dyeing and Beeswax Batik in Cat CAT Village, Hoang Lien Commune, SAPA Town, Lao Cai Province, Vietnam Le Thi Hanh Lien1*, Nguyen Thi Hai Yen2, Dao Thi Luu3, Phi Thi Thu Hoang4, Nguyen Thuy Linh5 1, 2, 3, 4 Institute of Geography, Vietnam Academy of Science and Technology, 18 Hoang Quoc Viet Road, Nghia Do, CauGiay District, Ha Noi, Vietnam 5Management Development Institute of Singapore *Corresponding author: lehanhlien2017[at]gmail.com Abstract: Indigo dyeing and beeswax batik are the two traditional crafts that have long been associated with the H’Mong people in Sa Pa in general, Cat Cat village in particular and still preserved until the presentday. Through many stages of making indigo dye combined with sophisticated techniques and the ingenuity, meticulousness of the artisans in each motif and pattern, unique beeswax batik and indigo dyeing products have been created bringing the cultural identity of the H’mong people. These handicraft products have become a highlight to attract tourists to learn and discover local cultural values and they are meaningful souvenirs for visitors after each trip. In recent years, the development of the community-based tourism model in Cat Cat village has brought many benefits to the local community. Meanwhile, it has also contributed to creating opportunities for the development and restoration of H’mong traditional crafts. Keywords: indigo dyeing, beeswax batik, H’Mong, Cat Cat, Sa Pa 1. Introduction cultural and religious life of the H'Mong.
    [Show full text]
  • An Empirical Assessment of the Relationship Of
    An International Multidisciplinary Journal, Ethiopia Vol. 7 (2), Serial No. 29, April, 2013:350-370 ISSN 1994-9057 (Print) ISSN 2070--0083 (Online) DOI: http://dx.doi.org/10.4314/afrrev.7i2.22 Adire in South-western Nigeria: Geography of the Centres Areo, Margaret Olugbemisola- Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] & Kalilu, Razaq Olatunde Rom - Department of Fine and Applied Arts, Ladoke Akintola University of Technology, P. M. B 4000, Ogbomoso, Nigeria E-mail; [email protected] Abstract Adire, the patterned dyed cloth is extant and is practiced in almost all Yoruba towns in Southwestern Nigeria. The art tradition is however preponderant in a few Yoruba towns to the extent that the names of these towns are traditionally inseparable with the Adire art tradition. With Western education, introduction of foreign religions, influence from other cultures, technique and technology, there is a shift in the producers of Adire, the training pattern, and even an evolution in the production centre. While Western education resulted in a shift from the hitherto traditional Copyright© IAARR 2013: www.afrrevjo.net 350 Indexed African Journals Online: www.ajol.info Vol. 7 (2) Serial No. 29, April, 2013 Pp.350-370 apprenticeship method to the study of the art in schools, unemployment gave birth to the introduction of training drives by government and non governmental parastatals. This study, a field research, is an appraisal of the factors that contributed to the vibrancy of the traditionally renowned centres, and how the newly evolved centres have in contemporary times contributed to the sustainability of the Adire art tradition.
    [Show full text]
  • Roadmap of Solid-State Lithium-Organic Batteries Toward 500 Wh Kg−1 † † Lihong Zhao, Alae Eddine Lakraychi, Zhaoyang Chen, Yanliang Liang, and Yan Yao*
    Focus Review http://pubs.acs.org/journal/aelccp Roadmap of Solid-State Lithium-Organic Batteries toward 500 Wh kg−1 † † Lihong Zhao, Alae Eddine Lakraychi, Zhaoyang Chen, Yanliang Liang, and Yan Yao* Cite This: ACS Energy Lett. 2021, 6, 3287−3306 Read Online ACCESS Metrics & More Article Recommendations *sı Supporting Information ABSTRACT: Over the past few years, solid-state electrolytes (SSEs) have attracted tremendous attention due to their credible promise toward high-energy batteries. In parallel, organic battery electrode materials (OBEMs) are gaining momentum as strong candidates thanks to their lower environmental footprint, flexibility in molecular design and high energy metrics. Integration of the two constitutes a potential synergy to enable energy-dense solid- state batteries (SSBs) with high safety, low cost, and long-term sustainability. In this Review, we present the technological feasibility of combining OBEMs with SSEs along with the possible cell configurations that may result from this peculiar combination. We provide an overview of organic SSBs and discuss their main challenges. We analyze the performance-limiting factors and the critical cell design parameters governing cell-level specific energy and energy density. Lastly, we propose guidelines to achieve 500 Wh kg−1 cell-level specific energy with solid-state Li−organic batteries. Downloaded via Yan Yao on August 25, 2021 at 16:56:41 (UTC). rganic battery electrode materials (OBEMs) have molecules (<2 g cm−3) penalizes the energy density received considerable attention in the past few years. (volumetric) of assembled cells; second, low electronic O With a chemical composition derived from naturally conductivity imposes the use of large amount of conductive abundant elements (C, H, N, O, and S), a real possibility of agents which lower the cell-level specific energy (gravimetric); being generated from renewable resources (biomass), and an See https://pubs.acs.org/sharingguidelines for options on how to legitimately share published articles.
    [Show full text]
  • Effect of Indigo Dye Effluent on the Growth, Biomass Production and Phenotypic Plasticity of Scenedesmus Quadricauda (Chlorococcales)
    Anais da Academia Brasileira de Ciências (2014) 86(1): 419-428 (Annals of the Brazilian Academy of Sciences) Printed version ISSN 0001-3765 / Online version ISSN 1678-2690 http://dx.doi.org/10.1590/0001-3765201420130225 www.scielo.br/aabc Effect of indigo dye effluent on the growth, biomass production and phenotypic plasticity of Scenedesmus quadricauda (Chlorococcales) MATHIAS A. CHIA1 and RILWAN I. MUSA2 1Laboratório de Cianobactérias, Escola Superior de Agricultura Luiz de Queiroz, Universidade de São Paulo, Av. Pádua Dias, 11, 13418-900 Piracicaba, SP, Brasil 2Department of Biological Sciences, Ahmadu Bello University, Zaria, Postal Code 810001, Nigeria Manuscript received on June 26, 2013; accepted for publication on October 14, 2013 ABSTRACT The effect of indigo dye effluent on the freshwater microalga Scenedesmus quadricauda ABU12 was investigated under controlled laboratory conditions. The microalga was exposed to different concentrations of the effluent obtained by diluting the dye effluent from 100 to 175 times in bold basal medium (BBM). The growth rate of the microalga decreased as indigo dye effluent concentration increased (p <0.05). The EC50 was found to be 166 dilution factor of the effluent. Chlorophyll a, cell density and dry weight production as biomarkers were negatively affected by high indigo dye effluent concentration, their levels were higher at low effluent concentrations (p <0.05). Changes in coenobia size significantly correlated with the dye effluent concentration. A shift from large to small coenobia with increasing indigo dye effluent concentration was obtained. We conclude that even at low concentrations; effluents from textile industrial processes that use indigo dye are capable of significantly reducing the growth and biomass production, in addition to altering the morphological characteristics of the freshwater microalga S.
    [Show full text]
  • (12) United States Patent (10) Patent No.: US 8,546,502 B2 Shimanaka Et Al
    USOO8546502B2 (12) United States Patent (10) Patent No.: US 8,546,502 B2 Shimanaka et al. (45) Date of Patent: Oct. 1, 2013 (54) METHOD FOR PRODUCING DYE POLYMER, JP 2000-500516 A 1, 2000 DYE POLYMER AND USE OF THE SAME JP 2000-514479. A 10, 2000 JP 2000-515181 A 11, 2000 JP 2005-345512 A 12/2005 (75) Inventors: Hiroyuki Shimanaka, Chuo-ku (JP); JP 2005-352053 A 12/2005 Toshiyuki Hitotsuyanagi, Chuo-ku (JP); JP 2006-16488 * 1, 2006 Yoshikazu Murakami, Chuo-ku (JP); JP 2006-016488 A 1, 2006 JP 2006-167674 * 6, 2006 Atsushi Goto, Uji (JP); Yoshinobu JP 2006-0167674. A 6, 2006 Tsujii, Uji (JP); Takeshi Fukuda, Uji JP 2007-277533 A 10/2007 (JP) WO WO97, 18247 A1 5, 1997 WO WO98/O1478 A1 1, 1998 (73) Assignees: Dainichiseika Color & Chemicals Mfg. WO WO 98.01480 A1 1, 1998 Co., Ltd., Chuo-ku, Tokyo (JP); Kyoto WO WO99,05099 A1 2, 1999 University, Kyoto-shi, Kyoto (JP) OTHER PUBLICATIONS (*) Notice: Subject to any disclaimer, the term of this Shimizu Itaru, JP2006016488 (Jan. 2006), English Translation.* patent is extended or adjusted under 35 Shimizu Itaru et al., JP2006 167674 (Jun. 2006), English Transla U.S.C. 154(b) by 0 days. tion. Hawker, C., et al., New Polymer Synthesis by Nitroxide Mediated (21) Appl. No.: 12/737,239 Living Radical Polymerizations, Chemical Review, vol. 101, No. 12, 2001, pp. 3661-3688. (22) PCT Filed: Jun. 26, 2009 Kamigaito, M., et al., Metal-Catalyzed Living Radical Polymeriza tion, Chemical Review, vol. 101, No.
    [Show full text]
  • Indigo: Sources, Processes and Possibilities for Bioregional Blue
    Indigo: Sources, processes and possibilities for bioregional blue Nicholas Wenner and Matthew Forkin June 2017 Photo by Kalie Cassel-Feiss by Kalie Photo Table of Contents Introduction . .3 Indigo . .4 The Indigo Process . 11 Conclusions . 15 Photo by Paige Green Green by Paige Photo Indigo Overview 2 Introduction his report was completed with funding generously provided by the Jena and Michael King TFoundation as part of Fibershed’s True Blue project . It is one project of many that support Fibershed’s larger mission: “Fibershed develops regional and regenerative fiber systems on behalf of independent working producers, by expanding opportunities to implement carbon farming, forming catalytic foundations to rebuild regional manufacturing, and through connecting end-users to farms and ranches through public education.” In this report we present the various sources of blue dye and of indigo, and motivate the use of plant-based indigo in particular . We also identify the limitations of natural dyes like indigo and the need for larger cultural and systemic shifts . The ideal indigo dye production system would be a closed-loop system that moves from soil to dye to textiles and back to soil . The indigo process has three basic steps: planting, harvesting, and dye extraction . In this document, we provide an overview of each, and detailed explorations are given in two separate documents that will be available through Fibershed by late-summer 2017 . This report is based on a literature review of academic research, natural dye books, online content, and personal interviews . It benefited greatly from conversations with (and the generosity of) many skilled artisans and natural dyers, including Rowland Ricketts, Jane Palmer, and Kori Hargreaves .
    [Show full text]
  • Indigo Chromophores and Pigments Structure and Dynamics
    Dyes and Pigments 172 (2020) 107761 Contents lists available at ScienceDirect Dyes and Pigments journal homepage: www.elsevier.com/locate/dyepig Indigo chromophores and pigments: Structure and dynamics T ∗ V.V. Volkova, R. Chellib, R. Righinic, C.C. Perrya, a Interdisciplinary Biomedical Research Centre, School of Science and Technology, Nottingham Trent University, Clifton Lane, Nottingham, NG11 8NS, United Kingdom b Dipartimento di Chimica, Università degli Studi di Firenze, Via della Lastruccia 3, Sesto Fiorentino, 50019, Italy c European Laboratory for Non-Linear Spectroscopy (LENS), Università degli Studi di Firenze, Via Nello Carrara 1, Sesto Fiorentino, 50019, Italy ARTICLE INFO ABSTRACT Keywords: In this study, we explore the molecular mechanisms of the stability of indigo chromophores and pigments. Indigo Assisted with density functional theory, we compare visible, infrared and Raman spectral properties of model Raman molecules, chromophores and pigments derived from living organisms. Using indigo carmine as a representative Infrared model system, we characterize the structure and dynamics of the chromophore in the first electronic excited Density functional theory state using femtosecond visible pump-infrared probe spectroscopy. Results of experiments and theoretical stu- Excited state dies indicate that, while the trans geometry is strongly dominant in the electronic ground state, upon photo- excitation, in the Franck-Condon region, some molecules may experience isomerization and proton transfer dynamics. If this happens, however, the normal modes of the trans geometry of the electronic excited state are reconfirmed within several hundred femtoseconds. Supported by quantum theory, first, we ascribe stabilization of the trans geometry in the Franck-Condon region to the reactive character of the potential energy surface for the indigo chromophore when under the cis geometry in the electronic excited state.
    [Show full text]
  • Red, Blue and Purple Dyes
    Purple, Blue and Red Dyes We have discussed the vibrant colors of flowers, the somber colors of ants, the happy colors of leaves throughout their lifespan, the iridescent colors of butterflies, beetles and birds, the attractive and functional colors of human eyes, skin and hair, the warm colors of candlelight, the inherited colors of Mendel’s peas, the informative colors of stained chromosomes and stained germs, the luminescent colors of fireflies and dragonfish, and the abiotic colors of rainbows, the galaxies, the sun and the sky. The natural world is a wonderful world of color! The infinite number of colors in the solar spectrum was divided into seven colors by Isaac Newton—perhaps for theological reasons. While there is no scientific reason to divide the spectral colors into seven colors, there is a natural reason to divide the spectral colors into three primary colors. Thomas Young (1802), who was belittled as an “Anti-Newtonian” for speaking out about the wave nature of light, predicted that if the human eye had three photoreceptor pigments, we could perceive all the colors of the rainbow. He was right. 751 Thomas Young (1802) wrote “Since, for the reason assigned by NEWTON, it is probable that the motion of the retina is rather of a vibratory [longitudinal] than of an undulatory [transverse] nature, the frequency of the vibrations must be dependent on the constitution of this substance. Now, as it is almost impossible to conceive each sensitive point of the retina to contain an infinite number of particles, each capable of vibrating
    [Show full text]
  • Tyrian Purple: Its Evolution and Reinterpretation As Social Status Symbol During the Roman Empire in the West
    Tyrian Purple: Its Evolution and Reinterpretation as Social Status Symbol during the Roman Empire in the West Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Graduate Program in Ancient Greek and Roman Studies Ann Olga Koloski-Ostrow and Andrew J. Koh, Advisors In Partial Fulfillment of the Requirements for the Degree Master of Arts in Ancient Greek and Roman Studies by Mary Pons May 2016 Acknowledgments This paper truly would not have come to be without the inspiration provided by Professor Andrew Koh’s Art and Chemistry class. The curriculum for that class opened my mind to a new paradigmatic shift in my thinking, encouraging me to embrace the possibility of reinterpreting the archaeological record and the stories it contains through the lens of quantifiable scientific data. I know that I would never have had the courage to finish this project if it were not for the support of my advisor Professor Ann Olga Koloski-Ostrow, who never rejected my ideas as outlandish and stayed with me as I wrote and rewrote draft after draft to meet her high standards of editorial excellence. I also owe a debt of gratitude to my parents, Gary and Debbie Pons, who provided the emotional support I needed to get through my bouts of insecurity. When everything I seemed to put on the page never seemed good enough or clear enough to explain my thought process, they often reminded me to relax, sleep, walk away from it for a while, and try again another day.
    [Show full text]
  • The History of the Sacred Purple: the Use of Muricidae As a Dye Source
    The Discovery of Purple by Theodoor van Thulden (1606-1669), painted 1636-1638, oil. The History of the Sacred Purple: The Use of Muricidae as a Dye Source By Her Ladyship Claire le Deyare Barony of Dragon’s Mist, Kingdom of An Tir [email protected] 1 Introduction When mentioning the color of purple cloth to someone in a historical context, all sorts of misconceptions come into play. Some refer to the color as royal purple, or Tyrian purple. Some people say it refers to a certain shade, rather than the whole color pallet. Others will tell you that it is the color of kings and that no one else can wear the color. All of these statements are both true, and untrue at the same time. The intent of this research paper is to help correct those misconceptions, as well as to give background and insight into what is arguably the world’s most famous and least understood dye. Historically, the word purple referred not to a particular shade of dye, but rather a family of dye colors that came from one particular type of animal, the marine snail Murex, commonly known as the rock snail (Cardon, 2007). The epicenter of their use, and where they are most famous, is the Mediterranean. But there are also other species that were historically used in China, Japan, Mexico, and parts of Central and South America (see Figure 1. Baker, 1974). Many species of molluscs in the family Muricidae are used for dye, there are now different genus names besides Murex used for the snails that were historically used for dye (Cardon, 2007).
    [Show full text]