YELLOW (n.)

BERG-GELB (deu.) · BLEIGELB (deu.) · GEEL (nld.) · GEELACHTIGHEID (nld.) · GELB (deu.) · GIALLO (ita.) · JAUNE (fra.) · KÖNIGSGELB (deu.) · PARIS GELB (deu.) · RAUSCHGELB (deu.) · SCHEISSGELB (deu.)
TERM USED AS TRANSLATIONS IN QUOTATION
JAUNE (fra.)
MARTINET, Marie-Madeleine, « L'or et l'argent dans l'art au XVIIe et au XVIIIe siècles en Angleterre : couleurs, lumières, valeurs », Argent et valeurs dans le monde anglo-américain aux XVIIe et XVIIIe siècles, Actes du colloque de Paris, Paris, Société d'études anglo-américaines des XVIIe et XVIIIe siècles, 1980, p. 61-74 [En ligne : http://www.persee.fr/doc/xvii_0294-1953_1980_act_11_1_2167 consulté le 25/10/2016].

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Quotation

Whether all colours be compounded of white and black or no.
Theophrastus hath long since laboured to proove blacke to be no colour at all, his reason is, because that colour is proper to none of the elements, for faith he, water, ayre and earth are white, and the fire is yellow, but rather would fetch it from white and yellow, whereto Scaliger leaving Aristotle, perhaps for singularitie sake, seemeth to give consent, who sets downe four primary or first colours, viz.
 
White in the dry body as the earth.
Greene in thicke and moyst as the water.
Blew in the thin and moyst as the ayre.
Yellow in the hot as the fire.
 
Yet not without reason, for
Aristotle affirmed that blacke was the privation of white, as darknesse of light, to that whom Scaliger replyes nothing can be made of privation and habit, but we will leave their argument.

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Quotation

Of Yellow.
Yellow is so called from the Italian word
Giallo, which signifieth the same ; Giallo hath his Etymology from Geel the high Dutch, which signifieth lucere, to shine, and also hence commeth Gelt, and our English word Gold, in French Jaulne, in Spanish Ialdo, or Amarillo, in Latine Flavus, luteus, of lutum, in Greeke ξανθὸς so that blacke, white, and yellow according to Aristotle are the foure primary or principall colours as immediately proceeding from the elements, and from those all other colours have their beginning.
 Your principall yellow be these.
Orpiment.
Masticot.
Saffron.
Pinke Yellow.
Oker de Luce.
Umber.

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Quotation

A Brasse Colour.
This is compounded of Masticot and Umber.

A gold yellow for Armes.
Take Orpment, and Masticot, grinde each by themselves : but in grinding of the Masticot, adde a little Saffron, and worke with them. Note you may alay your Orpment with chalke, and sadde it with browne of Spain or Oker de Luke.

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Quotation

A good yellow.
Take Saffron, or Cambugium, and temper it with gum water, Sad it with Vermilleon.

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Quotation

Of Limning in Water-Colours
The True Order and Names of Colours, the means to prepare them for the Pensill and to clense them from their corrupt mixtures, wherewith they are Sophisticate.
We name them
Seaven (though in truth the first and last White and Black are no Colours ; but Elements.) [...] Yellows,
Masticoate.
Oker of England.

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Quotation

The five perfect Colours, with their Lights and Shaddowes.
{Murray, or Amethyst.} The best for
Limning, is a Lake of it self, of a Murray colour, which is best made, and to be had at Venice, or in Flanders at Antwerp ; […]. [...] 5. Yellow, or Topas.
{5. Yellow, or Topas.}
Yellow the best is Masticote, whereof there are divers sorts, paler or deeper ; yellow Oker, for want of better, is another also ; and these wash’d, not ground, do best ; […].

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Quotation

Of sundry Greens in Oyl.
For a deep and sad Green, as in the inmost leaves of trees, mingle Indico and Pinke. 
For a light Green, Pinke and Masticote : for a middle and Grasse green, Verdigreace and Pinke.
Remember ever to lay-on your Yellows, Blews, Reds, and Greens, upon a white ground, which giveth them their life.

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Quotation

Of Colours there be seven Species, to wit, White, Red, Yellow, Green, Blew, Brown, and Black. White and Black are the extremities, and the parents of all other Colours ; for Red is an equal mixture of White and Black, and so is Green : Yellow is two parts of White, and one of Red, &c.

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Quotation

An Exposition of Colours.
Abram colour,
i.e. brown
Auburne or Abborne,
i.e. brown or brown-black.
Cole black.
Sable black.
Velvet black.
Pitchy black.
Blanket colour,
i. e. a light watchet.
Venice blew,
i. e. a light blew.
Lincolne blew.
Coventry blew.
A Prince blew.
Crimson,
i. e. Scarlet.
Cumatical colour,
i. e. blew.
Flesh colour, a certain mixture of red white.
Gangran colour,
i. e. divers colours together, as in a Mallards, or Pigeons neck.
Sabell colour,
i. e. flame colour.
Incardine, or flesh colour.
Peacocke colour,
i. e. changeable blew, or red blew. 
Patise, or a kinde of red or Arsenick colour.
Plumbet colour,
i. e. like little Speks of gray clouds in a fair day. 
Puke colour,
i. e. between russet and black.
Purpurine, or Purple colour ; of which read
Matth. 27.2. A colour much used heretofore, by the Tyrians ; but now it is not to be had.
Ried colour, or Diversified.
Scarlet,
i. e. crimson, or stammel.
Shammy colour, a smoakie, or rain colour, which is a kind of yellow ; as you may see upon whited walls or in a Chymny.
Stammel,
i. e. Scarlet, as before.
Lyon Tawny.
Turkie colour,
i. e. Venice blew, or as others will have it, red.
Milke white.
Paper white.
Snow white. 
Bastard yellow.
Bright yellow.
Dark yellow.


Of the Names of Colours, read more in
Aul. Gel. Noct. Attic.

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Quotation

CHAP. XVII. Of the seven Colours in General. [...] V. The chief YELLOWS are these : Orpiment, Masticot, Saffron, Pink yellow, Oker de luce. [...].

Les différents jaunes mentionnés dans cette partie sont ceux que l'on doit utiliser dans le cas de la peinture à l'eau (limning).

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Quotation

CHAP. II. Of the Colours in General.
I. The chief
Whites for painting in oyl are, White lead, Ceruse, and Spodium. [...] V. The chief Yellows are, Pink, Masticote, English Oker, Spruse Oker, Orpiment.

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Quotation

The Colours to be used in Limning are termed thus,


Whites (Flake white / Serus)
Red (Carmine, / Indian Lake, / Red Lead, / Indian Red, / Burnt Ocur, &c.)
Yellow (Masticot, / Yellow ocur, / Eng. ocur, / Pinck.)
Greens (Sap Green, / Pinck and Bice, / Green Bice, / Terra Vert.)
Blews (Ultra Marine, / Dutch Bice, / Smalt, / Indigo.)
Browns (Gall Stone, / Mumme, / Cullins Earth, / Umber, / Rust.)
Blacks (Ivory black, / Sea-cole, / Lamp black, / Cherry Stone.)

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Quotation

The NAMES of the COLOURS Most useful and onely necessary for MINITURE.


(
Flake White)
Reds (Carmine / Indian Lake / Cynnabar LakeFlorence Lake / Cynnabar / Red Lead / Yellow Oker burnt)
Blews (Ultra Marine / Dutch Bice / Smalt / Indigo)
Yellows (Light Masticote / Deep Masticote /Yellow Oker / Roman Oker / Gall-stone / Light Pink / Dark Pink)
Greens (Green Pink / Green Bice / TerraVerte)
Browns (Collens Earth / Burnt Umber / Umber / Rust of Iron)
Blacks (Burnt Ivory / Sea Cole / Cherry-stone burnt / Verditer burnt)

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Quotation

SECT III. Of Colours.
There are simply six,
viz. White, Black, Red, Green, Yellow, and Blew ; to which we may add Browns, but they are compounded. […].

Chap. II,
Of Colours used in Limning : their names, and how to order them.
SECT. I.
Of the Names of Colours, and how every Colour is to be prepared ; whether Ground, Wash’d, or Steep’d.

BLACKS. /
Cherry-stones burnt. / Ivory burnt. / Lamp black.

WHITES. /
Ceruse. / White-Lead.

REDS. /
Red-Lead. / Lake.

GREENS. /
Bise. / Pink. / Sapgreen. / Cedar-green.

BLEWS. /
Indico. / Ultramarine. / Bise. / Smalt.

YELLOWS. / English
Oker. / Masticote.

BROWNS. /
Umber. / Spanish Brown. / Colen’s Earth.

These are the principal Colours used in Limning ; I have omitted many others but they are such that are not fitting for this Work, which I shall speak of when I come to teach how to
wash Maps and printed Pictures, for which use those Colours I have omitted are only useful.
Of the Colours here mentioned, useful in Limning, they are to be used three several ways,
viz. either Washed, Grownd, or Steeped.

The Colours to be only
Washed are these :
Bise. / Smalt.
Cedar. / Ultramarine.
Red-Lead. / Masticote.

To be
Steeped, only Sap-green.

The Colours to be
Washed and Grownd, are these :
Ceruse. / White-Lead. / Lake. / English Oker.
Pink. / Indico. / Umber. / Colens Earth.
Spanish
Brown. / Ivory, / and Cherry-stone. ) black.

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Quotation

Chap. I. Of the Names of your Colours, and how to Grind and order them.

The Names of the Colours in Oyl.
BLACKS /
Lamp-black. / Seacoal-black. / Ivory-black. / Charcoal-black. / Earth of Colen.
WHITES /
White-Lead.
GREENS. /
Verdigrease. / Terra vert. / Verditer.
BLEWS. /
Bise. / Indico. / Smalt. / Ultamarine.
REDS. /
Vermilion. / Red-Lead. / Lake. / India-Red. / Ornotto.
YELLOWS. /
Pink. / Masticote. / English Oker. / Orpiment. / Spruse Oker.
Spanish
Brown, Burnt Spruse, Umber.

These are the chief Colours that are used in Painting in Oyl, the most part of which are to be grownd very fine upon your Stone with a Muller, with Linseed-Oyl : some must be Burnt before they be Grownd ; others must be only temper’d upon the Pallat, and not grownd at all.
The Colours to be burnt are these :
Ivory, Spruse, Oker, and Umber.
The Colours that are not to be Grownd at all, but only tempered with Oyl upon your Pallat, are these :
Lamp-black, Verditer, Vermilion, Bise, Smalt, Masticote, Orpiment, Ultamarine.
All the rest are to be Grownd upon your Stone with Linseed-Oyl ; only White-Lead, when you are to use that for Linnen, you must grind it with Oyl of Walnuts, for Linseed-Oyl will make it turn yellow.

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Quotation

Chap. VI, Of Garments of several colours, and of their proper Colouring.
The next thing I shall speak of, shall be of
Drapery or Garments, and the true and proper manner of Colouring of them.
And
1. For a Red Garment.
For a light-red Garment, first dead-colour it with Vermilion, and when you would finish it, glaze it over with Lake, and heighten it with White.
For a Scarlet.
[…]
For a Crimson Velvet.
[…]
For a sad Red.
[…]
2.
For Green Garments.
The best Green for holding, is Bise and Pink, heighten it with Masticote, and deepen it with Indico and Pink.
For Green Velvet.
[…].
3.
For Blew Garments.
Take Indico and White, first lay the White in its due places, and then your mean colour, namely Indico and White mixed in their due places, then deepen it with Indico only, […].
4. For
Yellow Garments.
For a Yellow Garment, Masticote, yellow Oker, and Umber ; lay the dead colour of Masticote and White in the lightest places, Oker and White in the mean places, and Umber in the darkest places ; when it is dry glaze it with Pink. […].
5.
For Black Garments.
Let the dead colour be Lamp-black, and some Verdigrease ; when that is dry, go over it with Ivory-black and Verdigrease ; before you go over it the second time, heighten it with White.
6.
For Purple Garments.
Oyl Smalt, tempered with Lake and White-Lead, heighten it with White Lead.
7.
Orange Colour.
Red-Lead and Lake, lay the lightest parts of all with Red-Lead and White, the mean parts with Red-Lead alone, the deeper parts with Lake, if need require heighten it with White.
8.
Hair Colour.
Umber and White for the ground, Umber and Black for the deeper shadows, Umber and
English Oker for mean shadows, for heightning White with a little English Oker.

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L’HISTOIRE ET LA FIGURE → vêtements et plis
MATERIALITE DE L’ŒUVRE → couleurs

Quotation

Colours to be used in Washing, which are not used in Limning.
BLACKS. /
Printers Black, / or / Franckford-black, / to be had of the / Plate-Printers.
REDS /
Vermilion. / Rosset.
BLEWS. /
Verditure. / Litmos. / Flory.
YELLOWS.
Gumbooge, Yellow-berries, Orpiment.

Also these ;
Brazeel and Log-wood ground, and Turnsoil.
Of these Colours above-mentioned,
Printers Black, Vermilion. Rosset, Verditure, and Orpiment are to be Ground as is taught in the second Section of the second Chapter of the third Book, page 70. and therefore, I say, Grind them as you are there taught.
Now for the other Colours above-mentioned, they are to be ordered several ways, as followeth.
And
1. Of
Litmos, how to order it.
Take fine
Litmos and cut it in small pieces, then lay it in steep the space of twenty four hours […] it will be a pure Blew Water, good to Wash withall.

2.
Of Flory Blew.
Take
Flory Blew and grind it with the white of an Egg, […].
Flory thus ground, if you add thereto a little Rosset, it maketh a light Violet-colour.
If you mix with it both Red and white Lead, it maketh a Crane Feather-colour.
It, and Pink, Masticote, or Gum-booge make a fair Green.


3.
Of Gumbooge.
Take Gumbooge and dissolve it in fair spring-water, and it maketh a most beautiful and transparent Yellow.

4.
Of Yellow-Berries.
Take
Yellow-Berries, bruise them a little, and let them steep in Allum-water all night, in the morning you will have a very fair Yellow to Wash withall.

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Quotation

What Colours sets off best together.
1. Whites are very useful in all Colours, and sets off Black and Blew very well ; but Blacks are not much used, but upon necessary occasions in some things, as you judgement shall direct you.
2. Reds sets off well with Yellows.
3. Yellows sets off well with Reds, sad Blews Greens, Browns, Purples.
4. Blews sets off well with Reds, Yellows, Whites, Browns, and Blacks ; but Blews set not off well with Greens and Purples.
5. But Greens sets off well with Purples and Reds.

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Quotation

BEFORE we leave this eminent Master [ndr : Apelle], we cannot but take notice what Pliny in two several Places, has, with pretty positive Assurance asserted, that in all the stupendious Paintings of this ARTIST above-cited, he made use of but four Colours only, which were White, Yellow, Red, and Black ; his White Tripoli of Melos ; for Yellows, Okre of Athens ; for Reds, red Okre and Synopye of Pontos, and for Black, ordinary Vitrial, or Shoemakers Black. […] in another Place himself [ndr : Pline] tells us (besides the other Black above-mention’d) Apelles was the first that invented to make Black of Ivory, or the Tooth of an Elephant burnt, which was call’d Elephantinum, and gives us the Particulars of several other Colours, both Natural and Artificial, found out and used among the Greek, […]. 

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