The term "mulberry" was likely used to refer to the color imparted to cotton fabrics that were died with the juice of the mulberry tree's fruit. That color would start out somewhere between a dirty pink and a purplish-black, but the reddish components would quickly oxidize to a brownish-black. China collectors have used the term "mulberry" to refer to a slightly broader range of colors, encompassing pinks and reds at one end, earthy browns in the middle, and unadulterated black at the other end. Ellen Hill vehemently objected to the inclusion of pinks, reds and purples on the mulberry palette, but included brown and black, and did not mind if other colors were present so long as they were minor components. Because of the color of fresh mulberry juice, her "definition" would seem somewhat inconsistent with the derivation of the term "mulberry."
Ellen also made the point that her book on "Mulberry" made no issue of "Flow," even though the majority of collectors refer to "flow mulberry" as opposed to simply "mulberry." When reminded that black transferware is virtually never called "mulberry," even by her, and that she included flowing black patterns in her Mulberry book, and that this was inconsistent with her claim that "mulberry was independent of flow, Ellen would just shrug. I would remind you that technically, definitions are determined by usage, though not necessarily by the first person to write a book on the subject.
If you want to approach the question of mulberry color from science, start with the facts that many of the metal oxides that are used to formulate these ceramic-decorating colors have multiple oxidation states, that kiln atmospheres are either oxidative or reductive depending on the fuel-to-oxygen ratio in use, and that these two facts make the end color results variable and difficult to control. Then know that, generally speaking, mulberry colors start with manganese oxide, and are variously modified (by the potter) by the addition of copper, iron, nickel, chromium or cobalt oxides, most of which experience color change as the kiln atmosphere changes, and most of which behave somewhat differently when exposed to so-called "flow powders." This can result in a printed image in one color surrounded by a "flown" halo of a different color.
As for specifying a required amount of flow, the closest you might come to having that sort of criterion would be that there must be some sort of visible "halo" surrounding the printed or hand-painted decorations. Not under magnification, but readily visible to someone with eyesight approaching normal. It would be impractical to attempt to instrumentally qualify "flow". We simply have to live with the fact that some examples will fall squarely on top of wherever we draw the line, and in those cases we may have to agree to disagree.
As for the Athens-by-Adams sherd you questioned, this pattern is agreed upon by the FBICC members empowered to make such calls to be a mulberry pattern (the color being predominantly black) and that it is a flowing example. After having been in this field for about 50 years, I can say that I have never seen this pattern that did not have some flow, but also that no examples that flowed heavily were ever seen. I believe that Adams used a minimum amount of "flow powders" in the glaze formulation he used for this pattern to achieve such a mild flow, though a similarly understated effect could have been caused by including in the color formula only a modest amount of the metal oxides that flow. (Many coloring oxides cannot be made to flow in the "flow powder" manner.)
One last point: Your "... 'Flow Black' (a dark version of Flow Blue)" is a misleading statement. Cobalt oxide is black, but it cannot flow and remain black. Cobalt oxide only turns blue when it successfully dissolves into a silica-based glaze. Flow blue is made by making cobalt oxide flow. "Flow Black" would have to be made using manganese and nickel oxides, or some other combination that would be both black and able to be made to flow.
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