Verdigris and the Infinite Mixing of Colors
Preserving copper green with varnish and aloe, and the plan to enumerate all color mixtures.
Continuing the Treatise on Painting, this page treats the pigment made from copper (verdigris). It warns that copper green loses its beauty unless varnished at once and can even be washed off the panel with a damp sponge, because it is made by the force of salt that dissolves readily in wet weather. A further chapter describes improving it with camel aloe and saffron, and glazing a finished green with aloe dissolved in water. A final chapter announces that the mixing of colors extends toward infinity and promises a systematic discourse beginning from the simple colors.
On this page
Copper green is fugitive unless varnished at once
The passage warns that green made from copper, even laid in oil, loses its beauty in smoke if not immediately varnished, and can be lifted from the painted panel by a sponge dampened with plain water, especially in damp weather. This happens because such copper green is made by the force of salt, which dissolves readily in rainy weather. It is worst when the pigment is wetted and washed with the aforesaid sponge.
Improving verdigris with camel aloe and saffron
Chapter [212] advises that mixing camel aloe with copper green gives it great beauty, and saffron would add more were it not fugitive. The aloe's quality shows when it dissolves in warm aqua vitae, which works better than cold. Glazing a finished plain-green work thinly with aloe dissolved in water yields a most beautiful color, and the aloe can also be ground in oil by itself or with any color.
The mixing of colors extends toward infinity
Chapter [213] observes that although the mixing of colors one with another extends toward infinity, Leonardo will nonetheless make a little discourse upon it. He proposes to set down first several simple colors. The passage breaks off as it begins this enumeration, which continues on the following page.