DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0056
OF THE COLOURS USED
xivi
Much confusion has been occasioned by some authors describing
the Lapis Armenus as a blue stone, while others say it is green.
The fact is, that it consists of one of those ores of copper united with
other substances, and that it is sometimes blue, sometimes green,
and sometimes of a greenish blue. See Pliny, Book xxxv. c. 6.
G. Agricola, De Metallicis, 219, 221, 452. Constant de Massoul’s
Treatise on Painting, and the Composition of Colours, 152, and
Bulengerius de Pictura, Sculptura, et Plastice, Lib. n. c. in. Le Vieil
(De la Peinture sur Verre, p. 108, n.) says, it is a stone of a lighter
colour, not so heavy and more friable than ultramarine; it is found
in France, Germany, and especially in the Tyrol. G. Agricola
(p. 452) mentions, that “he saw some Armenio in one shop only in
Venice, and that the possessor valued it much.” The scarcity of
the pigment is sufficiently accounted for, by the provinces which
produced it being in the hands of the Turks. The Venetians, how-
ever, seem to have maintained an intercourse with them, since
Gentile Bellini was sent to practise his art, at the court of Mahomet
the Second, at Constantinople. As merchandize is generally im-
ported in considerable quantities, the Armenio seen by Agricola at
Venice, in one shop, might have been the remains of the old stock
imported while the Turks and Venetians had still commercial rela-
tions. It is not the blue pigments only which became scarce on
account of the wars, the Sinopia also fell into disuse about the same
period, as Agricola declares, and from the same cause. Another
reason also for the scarcity of the carbonates of copper was, as we
have before observed, the use of the artificial pigments prepared in
imitation of the natural pigments ; many recipes for which are to be
found in every work on colours.
Matthioli (p. 1412) observes, “Armenian stone is of a bluish
colour, although not a pure blue, nor is it so hard as the stone called
“ Azulo,” because the Armenian stone is of a sandy nature, and the
painters sometimes use it instead of Azzurro.” He says also that
the same mineral was found in Germany as well as in Armenia, and
he adds that the Armenian stone which the painters use, being taken
in the quantity of the twelfth part of a drachm, was useful in
removing melancholy. It was also given to children for disorders
of the breast, &c. This is sufficient proof that the Armenian Stone
xivi
Much confusion has been occasioned by some authors describing
the Lapis Armenus as a blue stone, while others say it is green.
The fact is, that it consists of one of those ores of copper united with
other substances, and that it is sometimes blue, sometimes green,
and sometimes of a greenish blue. See Pliny, Book xxxv. c. 6.
G. Agricola, De Metallicis, 219, 221, 452. Constant de Massoul’s
Treatise on Painting, and the Composition of Colours, 152, and
Bulengerius de Pictura, Sculptura, et Plastice, Lib. n. c. in. Le Vieil
(De la Peinture sur Verre, p. 108, n.) says, it is a stone of a lighter
colour, not so heavy and more friable than ultramarine; it is found
in France, Germany, and especially in the Tyrol. G. Agricola
(p. 452) mentions, that “he saw some Armenio in one shop only in
Venice, and that the possessor valued it much.” The scarcity of
the pigment is sufficiently accounted for, by the provinces which
produced it being in the hands of the Turks. The Venetians, how-
ever, seem to have maintained an intercourse with them, since
Gentile Bellini was sent to practise his art, at the court of Mahomet
the Second, at Constantinople. As merchandize is generally im-
ported in considerable quantities, the Armenio seen by Agricola at
Venice, in one shop, might have been the remains of the old stock
imported while the Turks and Venetians had still commercial rela-
tions. It is not the blue pigments only which became scarce on
account of the wars, the Sinopia also fell into disuse about the same
period, as Agricola declares, and from the same cause. Another
reason also for the scarcity of the carbonates of copper was, as we
have before observed, the use of the artificial pigments prepared in
imitation of the natural pigments ; many recipes for which are to be
found in every work on colours.
Matthioli (p. 1412) observes, “Armenian stone is of a bluish
colour, although not a pure blue, nor is it so hard as the stone called
“ Azulo,” because the Armenian stone is of a sandy nature, and the
painters sometimes use it instead of Azzurro.” He says also that
the same mineral was found in Germany as well as in Armenia, and
he adds that the Armenian stone which the painters use, being taken
in the quantity of the twelfth part of a drachm, was useful in
removing melancholy. It was also given to children for disorders
of the breast, &c. This is sufficient proof that the Armenian Stone