Medieval artists were as familiar with woad as
today’s artists are with tubes of paint. Woad, processed in large
quantities for dying cloth, was an easy and relatively inexpensive
blue pigment to manufacture, as the pigment was created from a
by-product of the dye. An illuminator who could not afford or find
access to such sumptuous blue pigments as lapis lazuli or azurite
would find woad an agreeable substitute. An unscrupulous
illuminator, who was contracted for a piece in which more expensive
lapis or azurite was requested, might use woad instead, thus
creating more income for himself.
Woad is a biennial plant, isatis tinctoria,
and grows as well today in New York City as it did in medieval
Britain, Europe, Asia, and North Africa. However, there is little
woad industry today. The use of woad was first replaced by the more
vibrant indigo, and now, natural dyes have largely been replaced by
synthetic dyes.
Early Uses of Woad
Woad’s usefulness as a blue dye was discovered by the Picts, an
early people of obscure origin who inhabited the present-day
Scotland (noted on early maps as Pictland). In the 9th
century, the Picts and the Scots joined. The Picts were know to
have tattooed themselves with designs, possibly of beasts. They
used woad for these unique tatoos, and their appearance is described
by Caesar in his Commentaries on the Gallic War, as he
writes: “All Britons stain themselves with woad, which forms a
bluish color, and by this they are more frightful in appearance in
battle.”(1)
The Economy of Woad
The making of a blue dye from woad plant became a profitable
industry, and proliferated in the Middle Ages. The many stages of
making the dye and pigment employed several people, and certain
towns were known for their woad production. However, a better
source of blue, indigo, was imported to Europe from the Far East and
America in the late 16th century, and the use of woad was
slowly abandoned. The indigo plant grown in Asia and America was
cheaper than woad, and produced a more vibrant blue. Thus, despite
several efforts to ban indigo’s importation and use, the woad
industry steadily declined. Because of the significance of the woad
industry, many areas suffered economically when it was supplanted by
indigo.
The Effect of Woad on Land
Woad was especially harsh on land where it was grown. It
depleted the land of salts, and had other toxic effects on the
soil. Unfortunately for land owners, this reaction took place over
a short period of time; woad used up the soil in 2 years. After
that time, the land was considered “woad sick”, and was not
available for other corps until the soil recovered. Martin Luther
observed to effects of woad on the land in the following: “Erfurt
has been a very fruitful Bethlehem. But the land has be ruined by
woad, so that the blessing has turned into a curse.” (2) Today,
woad’s detrimental effects on the land have been noted, with woad
referred to “weed called dyer’s woad”. Woad has been “infesting
parts of the western U. S. with toxic arsenal against neighboring
plants. [Woad] Is hard to eradicate and replaces grasses that are
used fo animal forage.” (3)
From Green Plant to Blue Dye: Making the
Pigment
The process for creating the blue dye and pigment from woad varied, but
the basic steps remain. The leaves of the woad plant were picked, and
crushed beneath the large wooden wheel of a woad mill. Following this,
the leaves were dampened, dried, and re-dampened, then packed into fist
size balls, known as “woad balls”. Woad balls were then left to dry in
woad house. As the balls dried, the interior fermented, turning blue.
The ball would eventually crumble, and be put into a heated vat. Once
in the vat, depending upon the recipe, the woad was combined with soap
wort, water and urine to create a blue dye. Atop the dye vat a scum
accumulated. This scum was known as the flower or the “fleury”, which
had a stronger blue color than the rest of the batch. This “flower” is
what was used as the blue source for paint making. Several recipes
exist for making paint using the flower of woad.