BERGGROEN

BERGGRÜN (deu.)
TERM USED IN EARLY TRANSLATIONS
/ · BERGGRÜN (deu.) · BERGH GREEN (eng.)

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Quotation

Daer en is niet een onder d’oude Meesters, of hij heeft de Menie-verwen in sijn Schilderijen vernepentlick aenghewreven, ghelijck als men de medicijnen spaerighlick plaght te ghenieten. Nu daerenteghen worden gheheele mueren niet alleen met dese verwe grof en groot bekladt, maer men is daerenboven wonderlick rijs in het ghebruyck van berg-groen, purpur, blaeuwen azuyr, en andere dierghelijcke verwen meer, de welcke alhoewelse sonder eenighe konst aenghestreken sijn, soo treckense nochtans d’ooghen der beschouwers door haeren helderen schijn, dies moeten oock de selvighe verwen, nae den eysch der wetten, van den aenbesteder (om datse kostelick sijn) en niet van den aennemer des wercks verschaft worden.

[Suggested translation, Marije Osnabrugge:] There is not one amongst the old Masters, or he has thinly brushed the red lead paints in his Paintings, just like one tends to enjoy the medicines sparingly. Now, on the other hand, entire walls are not only blotted coarsely and greatly with this paint, but they are also remarkably bold in the use of mountain-green, purple, blue azure, and other similar paints, which although they are brushed on without any art, they still attract the eyes of the viewers with their bright sheen, these same paints, as is demanded by the law, have to be provided by the commissioner (because they are costly) and not by the accepter of the work.

Junius discusses a quote from Vitruvius regarding the use of different colors throughout history, he mentions the colors red-lead, mountain-green, purple and blue azure specifically. Moreover, the colors mentioned in the Latin edition are not the same as the ones in the Dutch text: chryosocolla, ostrum and armenium. The citation is translated rather differently – and erratically – in the English edition. According to Vitruvius, the old masters used these pigments sparingly, whereas contemporary painters use large quantities which they apply very generously. The technique of the artist in applying the paint apparently plays no role in its appreciation. It is also mentioned that the commissioner pays for these costly pigments.

term translated by / in JUNIUS, Franciscus, De pictura veterum libri tres, Amsterdam, Joannes Blaeu, 1637., p.68

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

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

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

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

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

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

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

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

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

8. ’T Groen slaanwe daar om over; om dat men ’t uit geel en Blaauw temperen kan. ’t is waar, daar zijn groene stoffen in de nature; waar onder de beste zijn gedistilleert spaansgroen, ongedistilleert groen, terreverde, bequaam in verschieten van landschappen, en berggroen: maar dus heeftmen ook sonder mengelinge bruin in omber en keulze aarde; zonder dat men die behoeft een Hooftverwe daarom te noemen; waaromwe het (yeder nogtans zijn vryheid van gedagten, en leydinge van inbeeldinge latende) met de voornoemde drije zullen laten berusten, […]

[translation: BEURS, en preparation, transl. Myra Scholz:] 8. We skip over green because it can be mixed from yellow and blue. It is true that there are green pigments in nature, the best of which are distilled Spanish green, verdigris, green earth, attractive in distant landscapes, and mountain green. But we also have unmixed brown in umber and Cologne earth, which does not mean they should be called main colors. We will therefore leave it at the aforesaid three (nevertheless allowing everyone the freedom to follow their own ideas) […]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs