More Saffron yellow resources

From Booke of Secrets:

Another yellow

Mix saffron with the yolke of an eg, and it maketh a faire shining colour. Otherwise.
Put saffron and alum into a clout, and put vineger into it, and strain it out: or take saffron, the yolke of an eg, gum Arabike and alum, and mix them together.

And another from a translation of Simone's MS 1793 in the Getty's Historical Painting:

Wallert 1996

Calendula paint

and here it is under different lighting, click Read More please!

Calendula yellow

Calendula officinalis, pot marigold, is a beautiful little flower, sometimes called poor man's saffron.

I know one can make paint out of saffron, like I did here, so why not try Calendula?

 Read more about my Calendula experiment below!

'vergaut'? Blue and yellow make green!

The term 'vergaut' was introduced to me by Elena Wyth when she asked a question about mixing indigo and orpiment on Facebook. I hadn't come across it before, so I went to the books!

There seem to be many medieval instructions for mixing orpiment and indigo but few call it vergaut, as far as I can see. Read more below to see what a brief search helped me find.

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.

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.

Saffron paint

One of the first pigment experiments I did was with saffron.  Didn't it turn out pretty?!

 Read on for my references and methods...

Buckthorn berries, Yellow Experiment(s) 2

I tried to begin to follow another source to produce yellow.  I was working from Merrifield's Bolognese Manuscript, De Fiendis Viridibus again!  This book is so big, I'll never run out of possibilities. :D I will, ultimately, have to read it cover to cover.  I know I'm missing her details about general color production, opinions and her references.

Merrifield pg 428

The last ripe berries from Shana's New Hampshire Buckthorn bushes, about 30g, only yielded about 20 drops of juice so that attempt was unsuccessful.  At the end of September I found Buckthorn across the street in Saco.  I acquired the appropriate permission and went picking berries.  Someday I need to find an identification key for these Rhamnus spp bushes.  These berries seem plumper and larger, it must be a different variety or maybe they're just really ripe?

The 189g of big, juicy berries were manually squished with gloved hands and squeezed through cheesecloth to yield about 63g sludgy juice that I closed in a jar.

With fall archery events we were busy for more than the next month.  The juice sat closed in the jar for almost five weeks.  That was longer than the instructions indicated but I'm a volunteer... busy with being an archery safety officer and regular life activities when I'm not doing scribal or other Arts&Sciences projects!
I noted that when I finally opened the jar that the juice was definitely fermented and smelled like wine.
Athena Thickstun's blog helped me define that a 'fiasco' of wine is 2 liters.  One quarter of that would be 500g.  I didn't need that much so I made a smaller batch. Taking 200g distilled water I added a teaspoon of lye, K2CO3 (<1g on the kitchen scale that I had access to since I flooded the little one I had been using).  Then I added about the same quantity of alum (aluminum sulfate Al₂(SO₄)_3. which resulted in immediate fizzling.  [I have since found out that that is the wrong alum.  Next time I will use rock alum which I have learned is KAl(SO₄)₂.]  As instructed I heated it in my corning ware sauce pot on low for the time that it took me to recite the Our Father prayer in Latin:

Pater noster qui es in coelis sanctificetur nomen tuum.
Adveniat regnum tuum. Fiat voluntas tua sicut in coela et in terra.
Panem nostrum quotidianum da nobis hodie.
Et dimitte nobis debita nostra, sicut et nos demittimus debitoribus nostris.
Et ne nos inducas in temptationem.
Sed libera nos a malo.
Amen.

Adding the prepared lye/alum/water to the jar of juice there was an immediate color change of the reddish juice to a yellow/green liquid.

"Very fine white earth like the fellmongers use" is defined in Alexander's glossary in the Dover edition of Merrifield's treatises as lime.

In the spring of 2016 I was able to come back to this experiment.

I found pulverized (vs. pelletized) lime at one of the big box garden centers.

Speaking to Randy Asplund about it again he advised that I was basically making a lake pigment and elaborated on the volume of a mezetta, "In Florence the mezzetta was equal to 0.7613 liters."  I recalled that I had made a smaller volume and not very accurately measured the lye and water in the fall because my little scale had died the quick death of drowning in a different experiment.  Water under the bridge; I'll know the correct mezzetta volume next time!  Regardless, this might have worked anyway.

Back to creating a lake pigment... Cool!  I have never made a lake.  The Materials and Techniques of medieval painting talks about brazil lakes:

Sometimes the decoction of brazil wood with alum was precipitated with chalk, and a more opaque, pink, rose colour was produced by the resulting admixture of calcium sulphate to the alumina lake.  Sometimes, in England, instead of adding chalk to the solution, a chalk stone was hollowed out, and little holes were made in the bottom of the hollow, and the hot alum solution coloured with brazil was poured into the hollow of the chalk.  The reaction between the alum and the chalk took place at the surface of the chalk stone, in that case, and a crust of semi-opaque brazil lake was formed in the hollow and in the little holes.
When lakes were made by precipitating the alum solution with the chalk, the calcium sulphate was formed automatically along with the lake, in intimate combination with it.  Sometimes brazil lakes were given some opacity by adding opaque substances to them at the moment of precipitation, and even after.  When white lead was used, as it sometimes was, it had no other effect than to give a little substance to the lake, to make it a little less transparent, and to develop the rosy colour.  when marble dust and powdered egg shells were added to the newly formed lakes, or introduced along with the precipitating agent, they probably had the further effect of controlling the colour produced by reacting chemically with any excess of alum which might give a brown cast instead of the desired rose.  In all these cases the brazil colour was mordanted upon the white material, whether calcium sulphate, or an excess of chalk, or white lead, or marble dust, or powered egg shells.  The white substances were, so to speak, dyed with the brazil; and the pigment so formed was different from a mixture of a finished lake with the white pigment. (Thompson 119)

So, since I'm making a lake, I tried both crushed eggshell and pulverized lime.  I took about 10 g of each and pipetted off about 5 g of liquid from the jar into each material.  The eggshell is probably not pulverized enough to paint with.  I wonder if I can mull it or crush it down and use it anyway.  And just maybe add more of the buckthorn/aluminum sulfate/lye juice after "in order that it may become more beautiful and of a brighter colour" (Merrifield 428)

Buckthorn yellow.  Ripe buckthorn berry juice with lye and aluminum sulfate with crushed eggshell.

Buckthorn yellow.  Ripe buckthorn berry juice with lye and aluminum sulfate with pulverized lime.

This experiment produced beautiful yellows!  Some day I'll try to paint with them.  I bet you can paint with the plain juice like with the sap green as a transparent glaze.  I wonder if you can make a green lake with that juice with lime or eggshells too.  Anyway, yay yellow!

Mr. Asplund advises that this yellow lake can be produced in the same way from green berries too.  Awesome!

Sap Green and yellow from Buckthorn berries

Several important books talk about Sap Green, a medieval and renaissance pigment used in Book illumination among other things.  This year I had a mission to make some of this paint using the techniques and methods medieval paint makers may have utilized.

First I made note of all the different recipes for sap green and then had to find the materials these paint makers talk about.  

In De Arte Illuminandi, an anonymous 14th century treatise, translated from the Latin by Daniel Varney Thompson, Jr. and George Heard Hamilton in 1933, the author talks about several greens including buckthorn berries. (Thompson and Hamilton, pg 6-7)  

Buckthorn Berries are further described by the translators in their note "For the identification of these prugnameroli as buckthorn berries (Buckthorn = It. spincervino, spino gerbino), fruits of the varieties of buckthorn, Rhamnus, see Cennino ed. cit., II, p 32, n 1. (Thompson and Hamilton p 43). 

Further reading of this note explains the etymology of Sap Green which has nothing to do with the juice or sap from the plant and berries but how it may have been stored. 

"the color known in English as 'Sap Green,' the Italian verde di vescica (so called because the inspissated juice was preserved in bladders), the Saffgrien of Valentine Boltz, who specifies ed. cit., pg 75" the time of year "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." De Arte Illuminandi pg. 29

So, Sap Green and yellow from the Buckthorn...

It took me what felt like forever to find Rhamnus spp. berries.  I searched the fields and ditches nearby, went to "Buckthorn Lane" in my local neighborhood in Saco, Maine; I found other trees with other fruits but no Buckthorn!  Finally someone said 'look for tall trees, usually somewhere wet' so I went back to my stomping grounds as a teenager in Wesbrook, Maine and found spindly trees in what used to be a protected wetland for turtles.  "This?!  Is this it?!" I begged my friends to confirm cell phone pictures of my find.  

The leaves look right from the plant books, the berries are dark and the bush was spindly and taller than I might have guessed, growing somewhere wet.  "Yes!", they chorused, "that looks right, try it!"

So I tried some of the recipes and will post them soon.  Sorry it's taken so long!

Alexandre Saint Pierre's Calligraphy with Yellow ink from Buckthorn.

Yellow ink from green buckthorn berries:

Buckthorn Yellow from green buckthorn berries. a Paduan MS recipe.

Most students of the history of medieval and renaissance paint are familiar with Sap Green, often produced from ripe buckthorn berries. Fewer have experimented with a yellow pigment that can be made using the unripe green buckthorn berries. In Mary Merrifield's book Original Treatises a recipe from the Paduan Manuscript (662) explains how it's done!  Merrifield thinks that the Paduan Manuscript dates from the late 16th or more probably the mid or late 17th century (643).

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

Saffron Water and Saffron Yellow

A&S Project: Saffron Water 2015
1 TBSP boiling water with 6 strands of saffron.

Presented at Hadchester's Caristia III

 Contested by only myself, I won the People's Choice Award.

Using the saffron water as is half and half with Gum Arabic from Michael's it was too pale to see the resulting ink...

...so I added another pinch of saffron to the mixture.  Immediate results were obtained and I hope with more time a yellow ink will result as described by Cennino d'Andrea Cennini.

The paint results are here!