4 Same chundri untied and shaken out 198 5 Bagobo headdress from the Island of Mindanao 200 6 Sample of tied and dyed work, “tied on itself” 202 7 Sample of tied and dyed work, “tied in bands” 204 8 Tied and dyed work—Folding the cloth 206 9 Starting to tie 206 10 Centre portion tied 206 11 Centre and corners tied 208 12 Dyed, untied and shaken out 208 13 Japanese stencil knife 212 14 Japanese stencil brushes 212 15 Japanese stencil, showing holes punched by hand tool 216 16 Japanese stencil, showing use of stops 216 17 Japanese stencil, showing use of sewing instead of stops 216 18 Japanese stencils, showing use of both stops and net 218 19 Large and handsome Japanese stencil, showing use of net 224 20 “Teapot” model of tjanting 248 21 Walther glass tjanting 248 22 “Wax pencil” model of tjanting 248 23 Javanese tjantings 250 24 American modification of Javanese tjanting 250 DIAGRAMS IN THE LETTERPRESS Primary Colors 73 Mixed Colors 79 PREFACE When a new text-book is offered to an innocent and long-suffering public about such an ancient subject as Dyes and Dyeing, it is, perhaps, the very least that the author can do, to explain briefly his reasons for hoping that his particular book may prove of some special usefulness. As a matter of fact this book is intended for the use of craftsmen and others who are trying to dye and stain textiles by hand and on a small scale, rather than for professional dyers or dyeing chemists who are interested in factory dyeing, conducted on a large scale. For the latter there is little or no difficulty in getting any information that they desire, either from the large and carefully written text-books or, still better, from the many excellent dyeing manuals and books of directions issued at frequent intervals by the great color houses.