210° 79% 0.91
Azuline (or Bleu de Paris)
Colour names
210° 100% 1
Azure
Cited in narrative
0° 0% 0
Black
240° 100% 1
Blue
330° 100% 1
Bright pink
Cited in narrative
28° 100% 0.2
Brown
Cited in narrative
45° 100% 1
Chrome yellow
Cited in narrative
120° 95% 0.62
Chromium-based green
215° 100% 0.67
Cobalt blue
Cited in narrative
29° 72% 0.72
Copper resin
Cited in narrative
5° 51% 0.97
Coralline
348° 91% 0.86
Crimson red
Cited in narrative
120° 100% 0.39
Dark green
Cited in narratives
140° 60% 0.78
Emerald green
Cited in narrative
202° 100% 0.49
Gentian blue
Cited in narrative
51° 100% 1
Gold
120° 100% 1
Green
50° 3% 0.92
Lead white
58° 100% 1
Lemon yellow
Cited in narrative
355° 83% 0.89
Madder Carmine
328° 85% 0.79
Magenta
Cited in narrative
295° 99% 0.61
Mauveine
30° 98% 1
Minium
Cited in narrative
3° 71% 1
Orange Vermilion
205° 100% 0.33
Prussian blue
Cited in narrative
300° 100% 0.5
Purple
0° 100% 1
Red
Cited in narratives
- Renaissance revival and chemistry: the colours of Italian maiolica
- From old to new: the colours of William Burges’s Great Bookcase
- John Ruskin and ‘the gentian blue’
- The colours of the biblical past in Owen Jones’s *History of Joseph and His Brethren*
- Gottfried Semper and the 'Chemical Proof' of polychromy
358° 69% 0.82
Red lacquer
Cited in narrative
4° 66% 0.57
Red ochre
341° 65% 0.59
Red purple
Cited in narrative
222° 92% 0.4
Sapphire
Cited in narrative
315° 94% 0.99
Shocking pink
Cited in narrative
197° 43% 0.92
Sky blue
Cited in narrative
54° 51% 0.89
Straw yellow
Cited in narrative
244° 93% 0.56
Ultramarine
177° 63% 0.7
Verdigris
Cited in narrative
5° 77% 0.89
Vermilion
Cited in narrative
0° 0% 1
White
60° 100% 1
Yellow
46° 94% 0.88
Yellow ochre
Cited in narrative
359° 0% 1
Zinc white