[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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;

GOEREE, Willem, Stael of Monsterken of Colours , dans 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, p. 2-3.

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]

[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]

[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]

[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]

[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;

GOEREE, Willem, Stael of Monsterken of Colours , dans 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, p. 2-3.

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]

[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]

[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]

[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]

[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]

[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]

[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]

[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;

GOEREE, Willem, Stael of Monsterken of Colours , dans 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, p. 2-3.

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]

[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]

[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]

[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]

[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]

[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]

[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;

GOEREE, Willem, Stael of Monsterken of Colours , dans 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, p. 2-3.

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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

[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;

GOEREE, Willem, Stael of Monsterken of Colours , dans 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, p. 2-3.

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]

[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;

GOEREE, Willem, Stael of Monsterken of Colours , dans 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, p. 2-3.

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]

[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]

[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]

[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;

GOEREE, Willem, Stael of Monsterken of Colours , dans 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, p. 2-3.

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]

[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]

[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]

[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]

[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;

GOEREE, Willem, Stael of Monsterken of Colours , dans 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, p. 2-3.

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]

[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]

[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]

[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]

[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]

[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]

[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]

[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]

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

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

[suggested translation, Marije Osnabrugge:] Blue Lacquer

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

[suggested translation, Marije Osnabrugge:] Blue ascus

[suggested translation, Marije Osnabrugge:] Smalt

[suggested translation, Marije Osnabrugge:] Litmus.

[suggested translation, Marije Osnabrugge:] Ultramarine

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

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

[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]

[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]

[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]

[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]

[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.

[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.

[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.

[suggested translation, Marije Osnabrugge:] Orpiment

[suggested translation, Marije Osnabrugge:] Saffron.

[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. […]

[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. […]

[suggested translation, Marije Osnabrugge:] Yellow Ochre.

[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.

[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.

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

[suggested translation, Marije Osnabrugge:] Sap green.

[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]

[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]