Exploring "Italian pink" and "Dutch pink"

"Dutch pink"and "Italian pink", probably actually green and yellow pigments, are mentioned to in a note in De Arte Illuminandi (Thompson and Hamilton 43).

68 For the identification of these prugnameroli as buckthorn berries (buckthorn = It. spincervino, spino gerbino), fruits of varieties of the buckthorn, Rhamnus, see Cennino, ed.cit., II, 32, n. 1. Two pigments were and are derived from Rhamnus berries: a yellow and a green. The product of the unripe berries is the Giallo santo (cf. M. P. Merrifield, op.cit., I, clxiv), known in English by the extraordinary names, "Italian Pink" and "Dutch Pink." The juice of the ripe berries yields the pigmentum e fructibus rhamni catharticae, succus veridis, listed by H. L. Gerth van Wijk, Dictionary of Plantnames, I, 1135, among the technical products of R. catharticus, the color known in English as "Sap green," the Italian verde di vescica (so called because the inspissaded juice was preserved in bladders), the Safftgrien of Valentin Boltz, who specifies, ed. cit., p. 75, that it is to be made from "krutzber, die man auch nent hagenberlin," gathered "ungeforlich vierzehn tag vor Michaelis" (that is, about September 15). For the yellow color, ibid., p. 72, "Du must gar eigentlichen warnemmen der zyt diser hagenberlin im Augustmonat, daz sy nit zu satt oder zu alt werden." If, therefore, in Alsace, the color came out yellow if the berries were gathered in August, and green if they were gathered about the middle of September, we may probably assume that the quality of green yielded by these Rhamnus fruits was not entirely definite. It must have varied in it's content of yellow, according to the date and nature of the season. (Thompson and Hamilton 43)

As well as the Introduction of Medieval and Renaissance Treatises on the Arts of Painting: Original Texts with English Translations by Mrs. Mary P. Merrifield.

Giallo santo was a kind of yellow lake, which was made from various plants. It was sometimes prepared from the berries of the buckthorn (note leads to p 708, her translation of the Paduan Manuscript recipe) (spincervino)...
The French call pigments of this description "stil de grain," and include under them not only these pigments which are a pure yellow colour, but such as incline to green. The English term for this class of pigments is or was "pink" Thus we have "Dutch pink," "Italian pink," "brown pink," &etc. (Merrifield I, clxiv)

So, for tonight, that is my search and citation of sources. Pigment Compendium also references Italian, Dutch and brown pink but that transcription is for another day.

2016 Buckthorn with vinegar paint results

Here are the paint results from these buckthorn and vinegar recipes in 2016.

 

I was able to make a nice sap green from the buckthorn with white wine vinegar by adding a little potassium aluminum sulfate (alum).

Note that the 25% acidic vinegar and buckthorn produced a thick juice that required more thinning and would require more water and more gum Arabic to produce a smooth paint.

When I added alum to both buckthorn and vinegar recipe it resulted in green!  By itself, the results were less satisfying and not what I would call green but more blue gray.

Side note: I think the shininess on the first two swatches is the result of a little too much gum Arabic.

2016 sap green from Buckthorn Experiment 2 Results

This experiment began in November 2016 and was finished up at the beginning of 2017.

The ripe buckthorn, Rhamnus spp., juice had been extracted from refrigerated, and slightly dessicated buckthorn berries from Saco, Maine. The berries were reconstituted with distilled water (DW), and then rock alum (potassium aluminum sulfate) was added to the juice.  Commercially available gum Arabic was then used with distilled water to paint it out on 12/23/16.

By 12/29/16 the dark blue had turned to dark green and further trials were performed. 

The change of color from blue to green suggests a few possibilities to me.  Either the alum had a chance to change the buckthorn after sitting with it for a while or it could have come into contact with calcium carbonate contaminates from the enviornment like egg or clam shell (neither of which are scarce in my house) or the Strathmore Bristol vellum finish paper is prepared with a buffer that reacted with the acids and berry juice. 

Further trials were painted out from the original berry juice with alum in the palette and shell with gum.  More distilled water was used to re-hydrate the paint and thin it out for greater visibility.

The juice with alum alone, in a clam shell and with crushed egg shell all yield what I would describe as a gentle sap green.  The trial with lye turned from a rather interesting olive to quite a bright yellow reminiscent of the yellow yielded from the green buckthorn drupes and in another ripe drupe recipe discussed here.

Buckthorn sap green Experiment 2, 2016

Merrifield 420 with variables

Buckthorn yellow 2016

This year I decided to try using concepts from De Arte Illuminandi to try unripe, green berries to make yellow, a possibility indicated by the translators.

Two pigments were and are derived from Rhamnus berries; a yellow and a green.  The product of the unripe berries is the Giallo santo (cf. M. P. Merrifield, op cit., I clxiv), known in English by the extraordinary names, "Italian Pink" and "Dutch Pink."(Thompson and Hamilton 43)

That page of Merrifield's text explains,

 Giallo santo was a kind of yellow lake, which was made from various plants.  It was sometimes prepared from the berries of buckthorn (Merrifield clxiv)

and the result is reinforced by the Pigment Compendium that explains,

various species of the Rhamnacea family give a yellow dye on extraction of the unripe berries (drupes)

 It seems that the medieval artists more commonly would have probably used the local ochers from the land or orpiment, arsenic sulfide, or one of the lead yellows... but I have buckthorn berries from Saco, that I picked, for free, and don't feel like playing with arsenic or lead today!  

Here's a preview picture of them, 

yellow clothlets from green buckthorn berries in the foreground, sap green clothlets behind

And now I'll explain how I made them, just click 'read more' below.

Buckthorn 2016

It's nearly the 'vintage season' again and that means Buckthorn berry recipes!

Sap Green Buckthorn clothlets 2016

 

Summary of medieval pigments for a class handout

Medieval Pigments

Reds:

Minium (red lead), Vermillion (HgS), Brazilwood (Caesalpinia echinata), 

cynople (Brazilwood in chalk?), Folium/Turnsole (Chrozophora tinctoria)(acid), Madder (Rubia tinctorum), Kermes, Red Ochre, Cochineal, Naturally occurring Cinnabar, Stick Lac, Ivy Lac, Dragonsblood (sap of Pterocarpus draco or Dracoena draco), grain (Coccus ilicis stings Quercus coccifera and dies on it)

Blues:

Silver Blue (a type of verdigris), Egyptian Blue Frit (recipe lost after the fall of Byzantium),

Indigo (Indigoferra), Woad (Isatis tinctoria), Lapis Lazuli, Ultramarine (purified lapis lazuli),

Ultramarine Ash, Azurite, Cornflower Blue, Bilberry Blue, Folium/Turnsole (Chrozophora tinctoria) (alkaline)

Greens:

Malachite, Verdigris, Terre Vert (gluconite and celadonite), Prasinus (?De Diversis Artibus),

Iris Green, Rue Green, Cabbage Green, Leek Green, Buckthorn (or Sap) Green (Rhamnus spp),

Black Nightshade (leaves), Caprifolium Seed Green, Vergaut (indigo + orpiment)

Yellow:

Saffron, Lead Tin (I) Yellow, Weld (Reseda Luteola), Yellow Ochre, Orpiment (As2S3),

Realgar (orangey As4S4), Buckthorn Yellow (unripe), Massicot Yellow/ Litharge (Yellow Lead), Naples Yellow (Lead-Antimony Oxide) volcanic activity, Violet Yellow (unnamed in De Arte Illuminandi), Turmeric Yellow, Black Poppy Yellow (De Arte Illuminandi), Mosic/Musive Gold (SnS2)

Purples:

Lichen (Rocella tinctoria), Tyrian Purple (Shellfish purple from Muricidae which is ph sensitive),

Elderberry Juice, Wild Poppy Violet (Strasburg Manuscript recipe), Rose Purple (Mappae

Clavicula, species unspecified), Purple Fluorite

Whites:

Ceruse/Lead White, Bone White, Chalk White, Gypsum

Browns:

Brown Ochers (Umber, Raw Siena...)

Blacks:

Carbon Black, Vine Black, Lamp Black

This is a summary from http://wiesenfeuer.ansteorra.org/links/artsandsciences/medievalpigments.pdf and

https://www.ischool.utexas.edu/~cochinea/pdfs/a-baker-04-pigments.pdf

Who are using

Mappae Clacicula, 9-12^th century

On Divers Arts Theophilus, 12^th century

Liber de Coloribus Illuminatorum Siue Pictorum, also known as Sloane MS No. 1754, 14^th century

De Arte Illuminandi, Naples, Biblioteca Nazional, MS XII.E.27, 14^th century

Liber diversarum arcium, 14^th century

Il Libro dell'Arte Cennini, 15^th century

Strasburg Manuscript, 15^th century

YIS Adrienne d'Evreus 207-651-5837 adrienne.devreus@gmail.com