SCHELPWIT

SCHULPWEISS (deu.)
TERM USED IN EARLY TRANSLATIONS
FLAKE WHITE (eng.) · MUSCHELWEISS (deu.)

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LINKED QUOTATIONS

2 sources
4 quotations

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

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

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

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

{Stoffen van wit en swart.} 9 Om wit te maken, gebruikt men schulpwit en loodwit, en tot swart, bezigtmen yvoorswart, persike swart, koolswart en lampswart. [...]

[translation: BEURS, en preparation, transl. Myra Scholz:] {Pigments of white and black} 9. To make white, one uses flake white and lead white, and for black one uses ivory black, peach black, carbon black, and lamp black.

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs

Quotation

{Roem van wit.} Wy vangen dan aan ’t Wit nader te bezien, dat zuiverste en aangenaamste, ’t sinnebeeld van onschuld, waarheid, opregtigheid, en van overwinninge.
{Schulpwit.} Onder de Stoffen van wit te voren genoemt, is het
Schulpwit het beste, dat men onder ons nu weet; […]
{Loodwit zijn verkiezinge en bereydinge.} ’T
Loot wit  werd aldus in zijn deugt beproeft: […]
’T Goede ongemalen
Lootwit bereidmen op de zelve wyze, als het Schulp-wit; dog ’t is gemakkelijker om vryven; […]
{Swart.} Wat het
Swart belangt, dat de minste stralen weersteuit en zeer weynige, daar valt niets bysonders van te verklaren, in ’t verkiezen isser niets, als dat het eene hier, ’t andere daar voor dienstiger is.

[translation: BEURS, en preparation, transl. Myra Scholz :] {Fame of white} We begin then by looking more closely at white, the purest and most pleasing of all, emblem of innocence, truth, honesty, and victory. {Flake white} Of the white pigments mentioned earlier, flake white is the best presently known to us; […] {Lead white, its selection and preparation} Lead white is tested for its quality as follows: […] {It is not as good as flake white} Good unground lead white is prepared in the same way as flake white; but it is easier to grind, also less costly,[…] {Black} As for black, from which the least number of rays, actually very few, bounce back, nothing special needs to be explained—only that in selecting a pigment one is more useful for this and another for that. […]

Conceptual field(s)

MATERIALITE DE L’ŒUVRE → couleurs