PEACHAM, Henry, The Gentlemans Exercise. Or, An exquisite practise, as well for drawing all manner of Beasts in their true Portraitures : as also the making of all kinds of colours, to be used in Limning, Painting, Tricking, and Blazon of Coates, and Armes, with divers other most delightfull and pleasurable observations, for all young Gentlemen and others. As also Serving for the necessary use and generall benefit of divers Trades-men and Artificers, as namely Painters, Ioners, Free-Masons, Cutters and Carvers, &c. for the farther gracing, beautifying, and garnishing of all their absolute and worthy pieces, either for Borders, Architects, or Columnes, &c., London, J. Legat, 1634.3 quotations
A bright Murrey.
In Latine Murrhinus color, Græc. μυῤῥινον, is a wonderfull beautifull colour, composed of purple and white, resembling the colour of a precious stone of that name, which besides the faire colour yeeldeth a marvellous odoriferous and sweet smell ; it is found in the Easterne parts of the world, the best among the Parthians, being all over spotted with Rosie coloured, and milke white spots yeelding a glosse like changeable silke of this colour : […].
Some have mistaken and thought that colour which wee call Murinus colour to bee this murrey which is properly the colour of a mouse or as some will have it an asse colour. […].
A deepe Purple.
From the Dutch Purple, in French Purpurin, in Italian Porporeo, in the Spanish and Portugall Purpureo, in Latine Purpureus, in Greeke πορφύρεος from πόρφυρα a kinde of shelfish that yeeldeth a liquor of this colour, […] Plato taketh ἄλος to be of a deepe red mixed with blacke and some white, and so it is taken also of Aristotle and Lucian, […].
BATE, John, The Mysteryes of Nature and Art : Conteined in foure severall Tretises, The first of water workes The second of Fyer workes. The third of Drawing, Colouring, Painting, and Engraving. The fourth of divers Experiments as wel serviceable as delightful: partly Collected, and partly of the Authors Peculiar Pratice, and Invention, London, Ralph Mab - Thomas Harper, 1634.2 quotations
A Purple colour.
Take two pound of Heidleber, two ounces of Allum, halfe an ounce of ashes of Copper, halfe a pound of water ; put them into a Skillet, and let them boyle till a third be consumed : when it is cold, straine it into a cleane vessell, and let it stand a while, then straine it into another, and then let it stand till it be thicke enough.
A purple or violet Colour.
This is a compounded colour, and it is made either by mixing a quantitie of Azure, and a portion of Turnsole : or else by mixing a quantitie of cusset, and a quantitie of Azure :
PEACHAM, Henry, The Compleat Gentleman: Fashioning Him absolute in the most Necessary and Commendable Qualities, concerning Mind, or Body, that may be required in a Person of Honor. To which is added the Gentlemans Exercise or, An exquisite practise, as well for drawing all manner of Beasts, as for making Colours, to be used in Painting, Limning, &c. The Third Impression much inlarged, especially in the Art of Blazonry, by a very good Hand, London, E. Tyler, 1661.1 quotations
An Exposition of Colours.
Abram colour, i.e. brown
Auburne or Abborne, i.e. brown or brown-black.
Blanket colour, i. e. a light watchet.
Venice blew, i. e. a light 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.
Turkie colour, i. e. Venice blew, or as others will have it, red.
Of the Names of Colours, read more in Aul. Gel. Noct. Attic.
ANONYME, The Excellency of the Pen and Pencil, Exemplifying The Uses of them in the most Exquisite and Mysterious Arts of Drawing, Etching, Engraving, Limning, Painting in Oyl, Washing of Maps & Pictures. Also the way to Cleanse any Old Painting, and Preserve the Colours. Collected from the Writings of the ablest Masters both Ancient and Modern, as Albert Durer, P. Lomantius, and divers others. Furnished with divers Cuts in Copper, being Copied from the best Masters, and here inserted for Examples for the Learner to Practice by. A Work very useful for all Gentlemen, and other Ingenious Spirits, either Artificers or others, London, Dorman Newman, 1688.3 quotations
SECT. VII. Of Compounded Colours.
Of the six simple Colours before named, [ndr : White, Black, Red, Green, Yellow, Blue, voir p. 86], together with the Browns, many others may be compounded for Faces of all Complexions, Garments, Lanskips, Building ; for Birds, Fishes, Beasts, and what not : I will shew how to compound some, and by those you may by practice find out and invent infinite more. I shall instance in these following, As,
A Violet. / A Lead-colour. / Flame-colour. / Scarlet.
Light-green. / Purple. / A Bay-colour. / A Murry. [...] A Purple colour.
Indico, Spanish brown, and White.
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.
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.
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.