GOEREE, Willem, Verlichterie-kunde, of recht gebruyck der Water-Verwen: in welcke des selfs kennis, en volkomen gebruyck tot de Schilder-Kunde, ende de Illuminatie ofte Verlichterie noodigh zijnde, kortelijck werden geleert : Eertijts uytgegeven dor den voortreffelijcken verlichter Mr. Geerard ter Brugge. Ende nu tot nut der Liefhebbers voor de tweedemael doorgaens met noodige aenmerckingh vermeerdert; dienende om neffens het Illumineeren ofte Afsetten, oock het Coloreeren en Schilderen met Water-Verwen te Oeffenen, Den tweeden Druck, Middelburg, Wilhelmus Goeree, 1670.

Getty Research Institute Los Angeles ND2125 .G67 1670 Frontispice 190 quotations 132 terms
Willem Goeree (Middelburg 1635 – Amsterdam 1711) was the son of the prominent physician and theologian Hugo Willem Goeree. In 1665 he married Elisabeth Janssonius van Waesberge, daughter of the important Amsterdam publisher Johannes Janssonius van Waesberge. At the time of his marriage, he was a bookseller and initially his Middelburg bookshop functioned as a branch of his father-in-law’s publishing house. Amongst their collaborative publications we find a re-edition of Franciscus Junius’ Schilderkunst der Ouden (Begin, heerlijcke voortgangh. en grootdadigh vermogen der wijdberoemde schilderkonst der antycken, 1675). After his marriage, Willem Goeree started to publish books himself. In 1680, the couple moved to Amsterdam and Goeree collaborated more closely with his father-in-law. However, in 1681 Johannes Janssonius van Waesberge died, as did Goeree’s wife in 1683 and the relationship with his brothers-in-law soon grew bad and all collaboration ended.  Willem Goeree’s son Jan (1670-1731) studied with Gerard de Lairesse and became a draughtsman and engraver. He produced many illustrations and frontispieces for books. His other two sons Willem and David continued the Goeree publishing house after their father’s death until 1732. [1]
            As an author, Goeree published on art and (the history of) religion. In 1668, he published Verlichterie-kunde of recht gebruyck der water-verwen. The book was bounded in the same volume as the Inleydinge tot de Al-ghemeene Teycken-Konst, also written by Goeree. In 1670, the Inleydingh tot de practijck der al-gemeene Schilder-Konst followed. Willem Goeree had the intention to write a six-volume magnum opus on the Art of Painting. In the preface to the reader in the Inleydingh tot de practijck der al-gemeene Schilder-konst of 1670, he writes that, apart from the volumes on Drawing and Painting, this book – which he calls “onse geheele Schilderkonst” –  would consist of books on Perspective, Anatomy, Architecture, Composition and Invention (“Ordineeringh and Inventeeringh”) and Light and Colour (“…de kracht en Eygenschap der schaduwen, dagen, reflexien en houdinge en wat verder in ‘t coloreeren waer te nemen state, door Wiskundige figueren te betoogen”) and was intended to assist and improve artistic instruction. The Verlichterie-kunde was not part of this series. Only two of the envisioned other volumes were published: one on Architecture (d’Algemeene Bouwkunde volgens d’Antyke en Hedendaagse Manier, 1681) and the other on Anatomy (Natuurlyk en Schilderkonstig Ontwerp der Menschkunde, 1682). Goeree stated in the latter that he had written the volume on composition, but it was never published.
 
The Verlichterie-kunde of recht gebruyck der water-verwen (1668) is a considerably enlarged edition of Gerard Ter Brugghen’s Verlichtery kunst-boeck in de welcke de rechte fondamenten, ende het volcoomen ghebruyck der illuminatie met alle hare eyghenschappen klaerlijcken werden voor oogen ghestelt, which had first been published in 1616 with subsequent editions in 1634 (Leiden: Jacob Roels) and 1667 (Amsterdam: Willem Gort). Goeree restructured the book, rewrote the text in a more appropriate contemporary Dutch and added information throughout. The reference to Ter Brugghen’s text is included on the title pages of all editions of Goeree’s book, both in Dutch and in German and English translations, suggesting the importance and notoriety of Ter Brugghen’s book. Goeree’s book appears to have enjoyed a similar popularity, as it was republished three times (1670, 1697 and 1705).[2]
            For the first edition of 1668, the treatise was bound together in one volume with the Teycken-konst. This example is followed in the English translation (1674), which was based on this first edition. Subsequent editions appeared in separate volumes. However, the German edition of 1678 (which was used for the analysis in the database) bound together the Verlichterie-kunde, Teycken-konst and Schilder-konst.
            Goeree divided his Verlichterie-kunde in two parts. In the first, he discusses the tools and the different colours, followed by technical advice. In the second part, he elaborates on the use of colours to depict particular subjects, going into great detail. The book includes a page on which the owner could add samples of all the colours that are discussed in the text.
            Although the detailed description of how to paint different subjects may be of great interest to the reader, the variety of art terms that are used in this part is limited, therefore, we have often chosen to only select chapter or paragraph titles. The database user is encouraged to open the pdf pages and consult the rest of the text. Moreover, for the first occurrence of a particular colour, we have added an index of subsequent occurrences of this colour in the text.

A suggested translation of the selected citations is added for the convenience of the database user who might not be familiar with the Dutch language. Please note that this should by no means serve as a definite translation, it is a work in progress.
The analysis is based on the second Dutch edition of 1670, instead of the first edition of 1668. The reason for this decision is both scientific (Goeree revised the first edition) and practical (the availability of a digitized version). For the analysis of the translations, we have worked with the only English translation (1674), which was likely based on the first Dutch edition (1668) and bound together with a translation of Goeree’s Teycken-konst. For the German, the analysis is based on the second edition of 1677 and not the first of 1669. The edition of 1677 was based on the second Dutch edition and was bound together with the translation of the Teycken-konst and Schilder-konst.

Marije Osnabrugge

[1] For more information on Goeree’s life and work as a publisher, see: KWAKKELSTEIN, 1998.
[2] For more information about the German translations of the text, see: OSNABRUGGE, forthcoming 2018.
in-8 dutch

Dedication
Aenden Leser

Structure
Avis au lecteur at

GOEREE, Willem, Verlichtery-konst, In de welcke den rechten grondt, ende volkomen gebruyck der Water-Verwen, tot de Schilder-Konst, ende de Illuminatie ofte Verlichtery noodigh zijnde, met alle hare Eygenschappen klaerlijck werden geleert. Eertijds uyt-ghegeven door den voortreffelijcken Verlichter Mr. Geerard ter Brugge, Ende nu tot nut der Lief-hebbers, doorgaens vermeerdert en verbetert, met eenighe aen-merckingen rakende neffens de Illuminatie, het Colloreeren en Schilderen met Waterverwen. Door W.G. Tot Middelburgh, Middelburg, Wilhelmus Goeree, 1668.

GOEREE, Willem, Verligterie-kunde, of regt gebruik der Water-Verwen: in welke Desselfs Kennis, en Gebruik tot de Schilderkunde, en de Illuminatie of Verligterie noodig zijnde, kortelijk geleerd word. Eertijds uytgegeven door den Voortreflijken Verligter Mr. Geerard ter Brugge. Ende nu tot nut der Liefhebbers, doorgaans met noodige aanmerkingen vermeerder; om neffens het Illumineeren of Afzetten, insonderheid het Schilderen met Water-Verwen te Oeffenen. Door W. Goeree. Den Derden Druk, Amsterdam, Daniel van Dalen, 1697.

GOEREE, Willem, Verligterie-kunde, Of regt Gebruyk der Water-Verwen. In welke Desselfs Kennis, en Gebruik tot de Schilder-kunde, en de Illuminatie of Verligterie noodig zijnde, kortelijk geleerd word. Eertijds uytgegeven door den Voortreffelijken Verligter Mr. Geerard ter Brugge. Ende Nu tot nut der Liefhebbers, doorgaans met noodige aanmerkingen vermeerderd; om neffens het Illumineeren of Afzetten, insonderheid the schilderen met Water-Verwen te Oeffenen. Door W. Goeree. Den Vierden Druk, Amsterdam, Andries van Damme, 1705.

GOEREE, Willem, Verligterie-kunde, of regt Gebruik der water-verwen: in welke deszelfs kennis, en gebruik tot de schilderkunde, en de illuminatie of verligterie noodig zijnde, kortelijk geleerd word / eertijds uytgeg. door ... Geerard ter Brugge ; ende nu tot nut der liefhebbers, ... met noodige aanmerkingen vermeerderd ...Amsterdam, Van Dalen, 1697 (derde druk), Doornspijk, Davaco, 1974.

GOEREE, Willem, Verlichtery-konst, In de welcke den rechten grondt, ende volkomen gebruyck der Water-Verwen, tot de Schilder-Konst, ende de Illuminatie ofte Verlichtery noodigh zijnde, met alle hare Eygenschappen klaerlijck werden geleert. Eertijds uyt-ghegeven door den voortreffelijcken Verlichter Mr. Geerard ter Brugge, Ende nu tot nut der Lief-hebbers, doorgaens vermeerdert en verbetert, met eenighe aen-merckingen rakende neffens de Illuminatie, het Colloreeren en Schilderen met Waterverwen. Door W.G. Tot Middelburgh, Middelburg, Wilhelmus Goeree, 1668.

GOEREE, Willem, Kurtzer Begrif der Erleuchterei- und Anfarbe-Kunst: darinnen der rechte grund, und volkommene gebrauch der so wohl zur Mahl- als Erleuchterei nöhtigen Wasserfarben, mit allen ihren eigenschaften erklahret wird. ehrmahls durch den fürtreflichen Erleuchter Gerharden zur Brügge herausgegeben, und nach der Zeit durch den Kunsterfarnen Wilhelm Goeree mit etlichen zum Anlegen und Mahlen mit Wasserfarben so wohl als zum Erleuchtern dienlichen Anmerkungen vermehret und verbessert; nun mehr aber aus den Niederdeutschen verhochdeutschet durch F. von Zesen, trad. par VON ZESEN, Philipp, Hamburg, Johann Naumann und Georg Wolffen, 1669.

GOEREE, Willem, Verlichterie-kunde, of recht gebruyck der Water-Verwen: in welcke des selfs kennis, en volkomen gebruyck tot de Schilder-Kunde, ende de Illuminatie ofte Verlichterie noodigh zijnde, kortelijck werden geleert : Eertijts uytgegeven dor den voortreffelijcken verlichter Mr. Geerard ter Brugge. Ende nu tot nut der Liefhebbers voor de tweedemael doorgaens met noodige aenmerckingh vermeerdert; dienende om neffens het Illumineeren ofte Afsetten, oock het Coloreeren en Schilderen met Water-Verwen te Oeffenen, Den tweeden Druck, Middelburg, Wilhelmus Goeree, 1670.

GOEREE, Willem, An Introduction to the general Art of Drawing, Wherein is set forth The Grounds and Properties, which of this infallible and judicious Art are necessary to be known and understood. Being not only Profitable unto them that Practise Drawing; Picture-Drawers, Engravers, Carvers, Stone-Cutters, Jewellers, Goldsmiths, Silversmiths, &c. But also to all Lovers and well-affected, as well to this as to other ARTS (flowing from thence) a commodious Knowledge Communicated: With an Illustration of twenty five Copper-Prints of Figures, for young Learners to practise by. Likewise, An Excellent Treatise of the Art of Limning, in the which the true Grounds, and the perfect Use of Water-Colours, with all their Properties, are clearly and perfectly taught. Formerly set out by that Excellent Limner Mr. Gerhard of Brugge. And now much Augmented and Amended, with some Observations, teaching (besides Illumination) the Colouring and Painting with Water-Colours. Set forth at Middleburgh by W. GORE. Truly Translated into English by J.L. Published by Robert Pricke for the Lovers and Practitioners of this Noble and Admirable Art, London, Robert Pricke, 1674.

GOEREE, Willem, Illuminir- oder Erleuchterey Kunst, Oder der rechte Gebrauch der Wasserfarben Darinnen derselbigen rechter Grund und vollkommener Gebrauch so wol zu der Mahlerey als Illuminirung und Erleuchterey kürßlich gezeiget wird. Ehermahls durch den fürtrefflichen Illuminerer Gerhard zur Brügge Und nun den Liebhabern zu Nussen zum andernmahl durchaus mit nothigen und nebenst den Illuminiren auch zu den Anlegen und Mahlen mit Wasserfarben dienlichen Anmerckungen vermehret und verbessert Durch Willhelm Goeree. Und aus dem Nieder- ins Hochdeutsche überseßet von Johan Langen, trad. par LANGE, Johann, Hamburg, Johann Naumann und Georg Wolffen, 1678.

GOEREE, Willem, Illuminir- oder Erleuchterey-Kunst, Oder der Rechte Gebrauch der Wasserfarben: Darinnen Derselbigen rechter Grund und vollkom[m]ener Gebrauch so wohl zu der Mahlerey als Illuminirung und Erleuchterey kürtzlich gezeiget wird,Ghemahls durch den fürtrefflichen Illuminirer Gerhard zur Brügge / Und nun den Liebhabern zu Nussen zum andernmahl durchaus mit nöthigen, und nebenst dem Illuminiren auch zu den Anlegen und Mahlen mit Wasserfarben, dienlichen Anmerckungen vermehret und verbessert. Durch Wilhelm Goeree. Und aus dem Nieder- ins hochteutsche übersesset Von Johann Langen, trad. par LANGE, Johann, Hamburg, Samuel Heyl, 1723.

GOEREE, Willem, Anweisung zu der Mahler-Kunst, worinnen nebst derselben Fürtreflichkeit und Nutzen gezeiget wird, was einer zum gründlichen Verstand der Mahler-Kunst wissen, und wie er sich durch Ubung darinnen perfectioniren soll, nebst einem gründlichen Unterricht von der Reiss- und Zeichen- wie auch Illuminir-Kunst, oder dem rechten Gebrauch der Wasser-Farben, Leipzig, Friedrich Lanckischens Erben, 1744.

GOEREE, Willem, Anweisung zu der Mahler-Kunst, worinnen nebst derselben Fürtreflichkeit und Nutzen gezeiget wird, was einer zum gründlichen Verstand der Mahler-Kunst wissen, und wie er sich durch Ubung darinnen perfectioniren soll, nebst einem gründlichen Unterricht von der Reiss- und Zeichen- wie auch Illuminir-Kunst, oder dem rechten Gebrauch der Wasser-Farben, Neue und verbesserte Auflage, Leipzig, Friedrich Lanckischens Erben, 1750.

GOEREE, Willem, Anweisung zu der Mahler-Kunst, worinnen nebst derselben Fürtreflichkeit und Nutzen gezeiget wird, was einer zum gründlichen Verstand der Mahler-Kunst wissen, und wie er sich durch Ubung darinnen perfectioniren soll, nebst einem gründlichen Unterricht von der Reiss- und Zeichen- wie auch Illuminir-Kunst, oder dem rechten Gebrauch der Wasser-Farben, Neue und verbesserte Auflage, Leipzig, landischen Handlung, 1756.

KWAKKELSTEIN, Michael W., Willem Goeree: inleydinge tot de al-ghemeene teycken-konst: een kritische geannoteerde editie, Leiden, Primavera press, 1998.

VAN DE LINDT, Adriana, « Willem Goeree (1635-1711) : un amateur entre art et Lumières radicales », dans HECK, Michèle-Caroline (éd.), L’histoire de l’histoire de l’art septentrional au XVIIe siècle, Actes des journées d’études de Lille et Bruxelles, Turnhout, Brepols, 2009, p. 155-186.

FILTERS

CONCEPTUAL FIELDS

QUOTATIONS

Oock konnen door de Water-Verwen aerdige en fraye dingen gemaeckt worden, soo wel van die gene welckmen selfs Inventeert, Teyckent, Copyeert, ofte na het leven volght, als Opgedruckte Papiere Print-Konst:

terms translations

[suggested translation, Marije Osnabrugge:] With the Water-Colours one can make some nice and beautiful things, both of the kind that one invents himself, draws, copies, or follows after the life, and Printed Paper Art of Print:

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → technique du dessin
PEINTURE, TABLEAU, IMAGE → définition du dessin

En of schoon datter veel aen vast is, datmen de Teycken-Konst diende te verstaen, en deswegen veel Arbeydts en Hooft-breeckingh van nooden is, om de Verlichterie-Kunde te Leeren; soo moetmen hier op weten, dat alhoewel dese Konst sulcks al vereyst, ghelijckse dat oock doet; datter evenwel veel fraye dingen inde selve konnen ghemaeckt werden, sonder heel geleert inde Teycken-Kunde te wesen: gelijck als daer dan zijn de Freuytagien, Bancketten, Vogelkens, en alderhande Looven en Bloemen welcke insonderheyt playsant voor d’Ooge zijn, en stoffe genoegh geeft van veranderlijckheyt, oock om sijnen goeden Geest en Kennis diemen besit, daer in bekent te stellen, en een roemruchtigen naem van hem te laten uytgaen. De swaere dingen, als daer zijn Beelden, Ordinantien, Beesten, Lantschappen en diergelijcke mogen Jonge Borsten, ofte die na meerder Geleertheydt staen, of alreede hebben, aenvanghen, na dat yeder tot dese andere tot andere dingen van sijn ingenium geleyt wort; oock kan het ligt gebeuren dat sommige Geestige Ionckvrouwen door ’t Oeffenen vande gheringhste Werckstucken, inde Konst, door het wel gelucken van haren Arbeyt, lust souden krijghen om verder tot de algemeenheydt deser Konst in te booren, en alsoo uytnemende te werden.

terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

GENRES PICTURAUX → nature morte
terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → figure et corps
GENRES PICTURAUX → peinture d’histoire
terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

GENRES PICTURAUX → nature morte
terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

GENRES PICTURAUX → nature morte
terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

GENRES PICTURAUX → nature morte
terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTS ESTHETIQUES → génie, esprit, imagination
terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

GENRES PICTURAUX → paysage
terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

GENRES PICTURAUX → peinture d’histoire
CONCEPTION DE LA PEINTURE → composition
terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → beauté, grâce et perfection
terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

L’HISTOIRE ET LA FIGURE → sujet et choix
terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

PEINTURE, TABLEAU, IMAGE → définition de la peinture
PEINTURE, TABLEAU, IMAGE → définition du dessin
terms translations

[suggested translation, Marije Osnabrugge:] And although much depends on being able to understand the Art of Drawing, for which much Work and pondering is necessary, to learn the Art of Illumination; yet one should know that although this Art needs all this that she does; that still many beautiful things can be made in this art, without being very learned in the Art of Drawing: such as the Fruit pieces, Banquets, Birds, and all sorts of Foliage and Flowers which are especially pleasant to the Eye and offer enough material of changeability, also to make one’s good Mind and Knowledge – which one has – familiar with it and radiate an illustrious name. The difficult things, such as Figures, Compositions, Animals and Landscapes and the like, may be began by Young Men who either lean towards more Knowledge, or have it already, after everyone is led towards these other [ndr: things] by other elements of his ingenuity; it can moreover easily happen that some Spirited Young Ladies by practicing the small tasks of the Art, would get the desire – because of the success of their labour – to penetrate further into the general parts of this Art and thus become excellent.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

GENRES PICTURAUX → nature morte

Den Geest besit hier de Vryheydt, soo wel als inde algemeene Schilder-Konst op Tafereelen, want daer in verkiest yeder Meester soodanighen Study als met sijne genegentheydt alderbest accordeert, ghemerckt het niet wel alle Universeele en in elck dingh, even groote Meesters konnen zijn.

terms translations

[suggested translation, Marije Osnabrugge:] The Mind has the Freedom here, like in the general Art of Painting on Panel, because every Master choses such a Study that coincides with his inclination, as it is not easy to all be Universal and be equally great Masters in all things.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
terms translations

[suggested translation, Marije Osnabrugge:] The Mind has the Freedom here, like in the general Art of Painting on Panel, because every Master choses such a Study that coincides with his inclination, as it is not easy to all be Universal and be equally great Masters in all things.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

L’ARTISTE → qualités
CONCEPTS ESTHETIQUES → génie, esprit, imagination
terms translations

[suggested translation, Marije Osnabrugge:] The Mind has the Freedom here, like in the general Art of Painting on Panel, because every Master choses such a Study that coincides with his inclination, as it is not easy to all be Universal and be equally great Masters in all things.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] The Mind has the Freedom here, like in the general Art of Painting on Panel, because every Master choses such a Study that coincides with his inclination, as it is not easy to all be Universal and be equally great Masters in all things.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

L’ARTISTE → qualités
terms translations

[suggested translation, Marije Osnabrugge:] The Mind has the Freedom here, like in the general Art of Painting on Panel, because every Master choses such a Study that coincides with his inclination, as it is not easy to all be Universal and be equally great Masters in all things.

The introduction to the English translation does not follow the text of the original. [MO]

Conceptual field(s)

CONCEPTS ESTHETIQUES → génie, esprit, imagination
L’ARTISTE → qualités

Wit. {1. Loot-wit. 2. Schelp-wit. 3. Schelp-silver.}
Blaeuw. {4. Indigo. 5. Blauw Lack. 6. Blaeuw As. 7. Smalt. 8. Oltermarijn. 9. Lackmoes.}
Geel. {10. Ligte Schijtgeel. 11. Bruyne schijt Geel van verscheyde soorten. 12. Masticot. 13. Geel Oprement. 14. Saffraen. 15. Geel-Besien. 16. Geel Oocker. 17. Guttegom. 18. Rustgeel. 19. Schulp Gout.}
Groen. {20. Spaens groen. 21. Sap groen. 22. Bergh groen. 23. Groene Aerd of Terreverde.}
Root. {24. Fermilioen. 25. Meny. 26. Root Krijt. 27. Roon Oocker of Bruyn root. 28. Lack. 29. Brezilje verf.}
Bruyn. {30. Bruyn Oocker. 31. Bitter, of Root uyt de Schoorsteen. 32. Keulse aerde.}
Swart. {33. Lamp-swart. 34. Been-swart. 35. Wijngaert-swart. 36. Smee-Kool-swart. 37. Oostindische Inct.}
De andere Coleuren nu die in de Verlichterie souden mogen dienen, konnen alle uyt dese boven-genoemde Verwen, door vermengingh getempert en gevonden werden;

terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

Blauwe As is the same as Ascus. This colour is also cited on pages: part I: 2, 9, 11, 50; part II: 4, 5, 6, 18, 19, 21, 32, 41, 46, 47, 54, 57. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 3, 28. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 20; part II: 15, 16, 21, 55. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 3, 13, 14, 27; part II: 8, 9, 11, 12, 13, 14, 15, 16, 17, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 34, 35, 36,37, 38, 39, 40, 42, 43, 44, 46, 48, 50, 51, 53, 56, 58. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

root uyt de schoorsteen

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 8. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 3, 23, 24, 30; part II: 44, 45, 51. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: d, 13, 14, 16, 26, 27, ; part II: 9, 11, 12, 13, 14, 15, 16, 17, 19, 20, 23, 24, 26, 27, 28, 29, 30, 31, 34, 35, 36, 48, 50, 51. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part II: 3, 23, part II: 8, 10, 12, 17, 22, 24, 25, 29, 58. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

rode oker

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I : 2, 13, 14, 41; part II : 7, 20, 21, 23, 33, 35, 43, 46, 47, 53, 55, 57. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 21. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

terreverde

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 16. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 7, 9, 10, 12; part II: 6, 7, 11, 12, 15, 16, 20, 21, 22, 26, 29, 32, 37, 41, 42, 43, 49, 51, 54, 55, 57. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 3, 27. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

verwe

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 3, 23; part II: 6, 8, 10, 11, 12, 18, 28, 30, 37, 40, 43, 44, 45,46, 47, 48, 49, 50, 51, 52, 54, 56, 58. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 10, 11, 25; part II: 50, 51. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 3, 28; part II: 12. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 6, 9, 22, 25; part II: 3, 4, 12, 24. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 13, 19, 21; part II: 5, 6, 7, 13, 14, 19, 21, 23, 26, 29, 32, 33, 34, 35, 43, 44, 46, 47, 48, 49, 50, 51, 54, 57. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 3, 14, 15, 21, 30; part II: 5, 6, 7, 33, 34, 35, 36, 46, 48, 50, 53, 54, 56. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 15, 26; part II: 10, 12, 13, 14, 15, 20, 21, 24, 25, 26, 27, 29, 31, 35, 39, 40, 46, 47, 50, 53, 56. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: I: 3, 7, 29,; part II: 11, 49, 53, 54, 55. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 13. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part II: 3, 23, part II: 8, 10, 12, 17, 22, 24, 25, 29, 58. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

bruyn root

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 3, 13, 14, 27; part II: 8, 9, 11, 12, 13, 14, 15, 16, 17, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 34, 35, 36,37, 38, 39, 40, 42, 43, 44, 46, 48, 50, 51, 53, 56, 58. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

bitter

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 3, 22; part II: 24, 27, 30, 39, 40. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 12; part II: 54. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 13, 14, 15, 22, 26, 41; part II: 7, 16, 20, 22, 23, 24, 26, 27, 33, 34, 35, 36, 37, 48, 50, 56. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 19, 20; part II: 15, 16, 19, 20, 22, 33, 41, 46, 48, 49, 50, 51, 53, 55. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 6, 24; part II: 10, 53. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 6, 7, 8; part II: 58. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: licht schijtgeel: part I: 2, 12; part II: 15, 16, 29, 34, 39, 42, 57 bruin schijtgeel: 2, 12, 15; part II: 11, 12, 41. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 7, 12, 14, 15, 16; part II: 7, 56. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 10. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 3, 6, 7, 10, 11, 12. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 18, 19; part II: 15, 19, 20, 21, 22, 42, 43, 44, 46, 48, 51, 53, 55, 57. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 21. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

groene aarde

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 2, 9, 11. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

coleur

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 3, 21, 30; part II: 10, 11, 12, 17, 18, 22, 24, 26, 27, 28, 30, 33, 35, 36, 37, 40, 44, 45, 46, 54. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] White. {1. Lead White. 2. Flake white. 3. Shell-silver.} Blue. {4. Indigo. 5. Blue Laquer. 6. Blue bice. 7. Smalt. 8. Ultramarine. 9. Litmus.} Yellow. {10. Light Pinck. 11. Brown Pinck. 12. Masticot. 13. Yellow orpiment. 14. Saffron. 15. French berries. 16. Yellow Ocher. 17. Gum bugee. 18. Spruce Oker. 19. Shell-Gold.} Green. {20. Verdigris. 21. Sap Green. 22. Bergh Green. 23. Terraverde.} Red. {24. Vermilion. 25. Red lead. 26. Red Chalk. 27. Red Ocher. Spanish brown. 28. Lake. 29. Brasil.} Brown {30. Brown Ocher. 31. Soot. 32. Collins Earth.} Black {33. Lamp black. 34. Ivory Black. 35. Vine black. 36. Smal-coal black. 37. East India ink.} The other Colours that may be of use in the Illumination, can all be mixed and found from the aforementioned Colours through mixing;

This colour is also cited on pages: part I: 3, 20. In between pages 2 and 3, Goeree inserted a sample sheet, on which the owner of the book could paint the different colours mentioned in the book. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Aengaende de Pinceelen, daer van moetmen der veel hebben, opdatmen in Curieuse dingen niet verleghen zy, maer licht een schoon nemen kan; (…) Die sijn dingen suyver en net wil doen, moet tot yeder bysonder Colorijt dat hy Tempert ofte gebruyckt, ’t sy dat hy d’een op d’ander leydt, ten minsten twee Pinceelen houden, oock wel dry, op dat hy daer mede niet en behoeve van d’een Verf in d’ander te komen, waer door de Verwen vuyl worden, en haer schoon Coleur verliesen.

terms translations

[suggested translation, Marije Osnabrugge:] Regarding the Brushes, one should have many of them, in order not to be in need for specific things, but to be able to easily take a clean one; […] He who wants to do his things purely and neatly, should have at least two Brushes for every specific Colouring that he mixes or used, leading the one to the other, even three, so that he does not need to come from one paint into the other, which makes the Colours dirty, and lose their beautiful colour.

This chapter is missing in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → touche
terms translations

[suggested translation, Marije Osnabrugge:] Regarding the Brushes, one should have many of them, in order not to be in need for specific things, but to be able to easily take a clean one; […] He who wants to do his things purely and neatly, should have at least two Brushes for every specific Colouring that he mixes or used, leading the one to the other, even three, so that he does not need to come from one paint into the other, which makes the Colours dirty, and lose their beautiful colour.

This chapter is missing in the English translation. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils
terms translations

[suggested translation, Marije Osnabrugge:] Regarding the Brushes, one should have many of them, in order not to be in need for specific things, but to be able to easily take a clean one; […] He who wants to do his things purely and neatly, should have at least two Brushes for every specific Colouring that he mixes or used, leading the one to the other, even three, so that he does not need to come from one paint into the other, which makes the Colours dirty, and lose their beautiful colour.

This chapter is missing in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → touche

Men moet hem hier oock versien van ettelijcke stucken Blanck Glas, die gelat en suyver zijn, dienende om sijne Verwen op te leggen, daer op te Temperen, en van daer te gebruycken; gemerckt houte Palletten hier toe niet en dienen.

terms translations

[suggested translation, Marije Osnabrugge:] One should also be equipped with several pieces of clear Glass, that are smooth and pure, serving to place his paints on, to mix them om and work from it; seen that wooden palettes cannot serve for this.

This chapter is missing in the English translation. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → outils

Het tweede Capittel. Van ’t Loot en Schelp-wit sijn Temperatie en gebruyck, oock van het Schelp-silver. Loot-Wit

terms translations

[suggested translation, Marije Osnabrugge:] Of White Lead and Shell-white: its mixing and use, also of Shell-silver. White Lead

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Het derde Capittel. Vande Blaeuwe Verwen, haer soort, Temperantie ende gebruyck. Indigo

terms translations

[suggested translation, Marije Osnabrugge:] Of the blue colours: their types, mixing and use. Indigo.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Blaeuwe Lack

terms translations

[suggested translation, Marije Osnabrugge:] Blue Lacquer

This paragraph is missing in the English translation. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Blaeuwen Ascus

terms translations

[suggested translation, Marije Osnabrugge:] Blue ascus

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Smalt

terms translations

[suggested translation, Marije Osnabrugge:] Smalt

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Lackmoes

[suggested translation, Marije Osnabrugge:] Litmus.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Oltermarijn

terms translations

[suggested translation, Marije Osnabrugge:] Ultramarine

This paragraph is missing in the English translation. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Het vierde Capittel. Vande Geele Verwen haer bereydingh, temperantie ende gebruyck. Lichte Schijt-geel

terms translations

[suggested translation, Marije Osnabrugge:] Of the yellow colours: their preparation, mixing and use. Light Stil de grain yellow.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Soo wert oock de Bruyne Schijt-geel, die mede schoone en slechte gevonden wort, weynigh inde Water-Verwen gebruyckt; maer inde Oly-verwen geeft de beste, een Gloeyent doorschijnigh Colorijt, na den Bruyn-geelen aerdende.

terms translations

[suggested translation, Marije Osnabrugge:] Of the yellow colours: their preparation, mixing and use. Brown Stil de grain yellow. Similarly the Brown Stil de grain yellow, which can be found in beautiful and bad [ndr: varieties], is rarely used in the Illumination; but the best type gives a Glowing transparent Colour, close to Brown-Yellow, in Oil paints.

This paragraph is missing in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

[suggested translation, Marije Osnabrugge:] Of the yellow colours: their preparation, mixing and use. Brown Stil de grain yellow. Similarly the Brown Stil de grain yellow, which can be found in beautiful and bad [ndr: varieties], is rarely used in the Illumination; but the best type gives a Glowing transparent Colour, close to Brown-Yellow, in Oil paints.

This paragraph is missing in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

[suggested translation, Marije Osnabrugge:] Of the yellow colours: their preparation, mixing and use. Brown Stil de grain yellow. Similarly the Brown Stil de grain yellow, which can be found in beautiful and bad [ndr: varieties], is rarely used in the Illumination; but the best type gives a Glowing transparent Colour, close to Brown-Yellow, in Oil paints.

This paragraph is missing in the English translation. [MO]

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

[suggested translation, Marije Osnabrugge:] Of the yellow colours: their preparation, mixing and use. Brown Stil de grain yellow. Similarly the Brown Stil de grain yellow, which can be found in beautiful and bad [ndr: varieties], is rarely used in the Illumination; but the best type gives a Glowing transparent Colour, close to Brown-Yellow, in Oil paints.

This paragraph is missing in the English translation. [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Den Masticot is mede een seer goede Verwe, d’een soort hooger Geel, dan d’ander zijnde, wert meest onder de Groene Verwen getempert, want sy alleen wat schrael is: Sy wert evenwel gebruyckt om somtijts eenige Somerachtige helderheyt, in de verschieten der Lochten aen te leggen, datmen sachtjens tegen de blaeuwe Bergen aen drijven moet: Oock dientse tot Hooghsels van eenighe Boomen, Veldtstreecken van eenighe Verlichte Valeyen, of vlackheden op de Bergen ende diergelijcke, als dat in ’t aenleggen vande Landtschappen sal geseyt worden.

terms translations

[suggested translation, Marije Osnabrugge:] Of the yellow colours: their preparation, mixing and use. Massicot. Massicot is a very good Colour, some more Yellow than others, is mostly mixed with Green Colours, because by itself it is a bit pale: She is also used sometimes to give a Summery clarity to the perspective of the Sky, which one should softly place against the blue Mountains: It also serves for the Highlights of some Trees, the fields of sunlit Valleys, or plateaus in the Mountains and the like, as will be discussed with regard to the building up of landscapes.

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
EFFET PICTURAL → qualité de la lumière
terms translations

[suggested translation, Marije Osnabrugge:] Of the yellow colours: their preparation, mixing and use. Massicot. Massicot is a very good Colour, some more Yellow than others, is mostly mixed with Green Colours, because by itself it is a bit pale: She is also used sometimes to give a Summery clarity to the perspective of the Sky, which one should softly place against the blue Mountains: It also serves for the Highlights of some Trees, the fields of sunlit Valleys, or plateaus in the Mountains and the like, as will be discussed with regard to the building up of landscapes.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] Of the yellow colours: their preparation, mixing and use. Massicot. Massicot is a very good Colour, some more Yellow than others, is mostly mixed with Green Colours, because by itself it is a bit pale: She is also used sometimes to give a Summery clarity to the perspective of the Sky, which one should softly place against the blue Mountains: It also serves for the Highlights of some Trees, the fields of sunlit Valleys, or plateaus in the Mountains and the like, as will be discussed with regard to the building up of landscapes.

Conceptual field(s)

EFFET PICTURAL → perspective

Oprement

terms translations

[suggested translation, Marije Osnabrugge:] Orpiment

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Saffraen

terms translations

[suggested translation, Marije Osnabrugge:] Saffron.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Het Bezie-Geel wert oock veel gebruyckt, en komt in Coleur den Saffraen seer na, […] Het en verdraeght om sijn doorschijnentheydt geen verhooghingh, ten sy met Schulp-Gout. […]

terms translations

[suggested translation, Marije Osnabrugge:] Of the yellow colours: their preparation, mixing and use. French berries. French berries is frequently used as well, and comes close to Saffron in colour, […] Because of its transparency it does not endure heightening, unless with shell gold. […]

Conceptual field(s)

EFFET PICTURAL → qualité des couleurs
terms translations

[suggested translation, Marije Osnabrugge:] Of the yellow colours: their preparation, mixing and use. French berries. French berries is frequently used as well, and comes close to Saffron in colour, […] Because of its transparency it does not endure heightening, unless with shell gold. […]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Geel Oocker

terms translations

[suggested translation, Marije Osnabrugge:] Yellow Ochre.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Gutte Gomme

terms translations

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

 […] En gelijckwe hier van het Gout geseyt hebben, soo handelt men even met het Silver; invoegen de bereydingh en gebruyck, een en ’t selve is.

terms translations

[suggested translation, Marije Osnabrugge:] Of the yellow colours: their preparation, mixing and use. Gold Leaf. […] And as we have said here about the Gold, one treats Silver the same way; as the preparation and use is one and the same.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] Of the yellow colours: their preparation, mixing and use. Gold Leaf. […] And as we have said here about the Gold, one treats Silver the same way; as the preparation and use is one and the same.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Spaens Groen

terms translations

[suggested translation, Marije Osnabrugge:] Of the green colours: their preparation, mixing and use, according to the different types. Verdigris.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Sap-groen

terms translations

[suggested translation, Marije Osnabrugge:] Sap green.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Voor eerst is er dan het Bergh-Groen (…) Engels-Groen (…) Sever-Groen komt met desen in allen over een. De Groene Aerde ofte Terreverd, wort inde Verlichterie om sijn onplaysant Coleur niet gebruyckt, soo dat wy achten niet noodigh te zijn yets meer vande Groenen te seggen, ghemerckt die d’een uyt d’ander, daer-en-boven uyt Blaeuw en Geel te samen gemenght, in ontelbare verschillige Coleuren konnen getempert en door Wit, of Geel na begeeren ge-aert werden.

terms translations

[suggested translation, Marije Osnabrugge:] Of the green colours: their preparation, mixing and use, according to the different types. Different greens. Firstly there is bergh green […] verditor […] seder green is similar to these in all ways. Green Earth or Terraverde, is not used in the Illumination because of its unpleasant Colour, which is why we do not think it is necessary to say anything more about the Greens, seen that they are mixed the one from the other and moreover mixed together from Blue and Yellow in innumerable different Colours and adjusted with White or Yellow as desired.

For the translation of the names of the different types of green, I have used the translation from the English translation (1674). [MO]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs
terms translations

[suggested translation, Marije Osnabrugge:] Of the green colours: their preparation, mixing and use, according to the different types. Different greens. Firstly there is bergh green […] verditor […] seder green is similar to these in all ways. Green Earth or Terraverde, is not used in the Illumination because of its unpleasant Colour, which is why we do not think it is necessary to say anything more about the Greens, seen that they are mixed the one from the other and moreover mixed together from Blue and Yellow in innumerable different Colours and adjusted with White or Yellow as desired.

For the translation of the names of the different types of green, I have used the translation from the English translation (1674). [MO]