Natures Palette A Color Reference System From The Natural World (Patrick Baty Patrick Syme

N at u r e ’ s Pa l e t t e .
N AT U R E ’ S
PA L E T T E .
A color reference system
from the natural world.
with 1,000 illustrations.
Princeton University Press

Princeton and Oxford
N AT U R E ’ S
PA L E T T E .
A color reference system
from the natural world.
with 1,000 illustrations.
Princeton University Press

Princeton and Oxford
co lou rs. Co n t en t s.
te
n A Colour Reference System From The Natural World.
Whi
6
ow
110. Blackish Brown

Br ow n
Br
hite
n
red
ite
W h it e
ow
W hi te
ed
ow
wn
e
n
Wh
Int ro duct io n .
ow
wn
lou
r
r
1. Snow Whi te
ish W
hit
16
ow
w
li
B
ou
109. Ol ive Br
o
o
Br
ish
ilk
B ro
wn
o
r Br
te
br
ol
hW
p l is h
e- co
r
2. Re dd is h
cc
The Origins, Development and Influence
a ir B
h
hi
c
l l ow
w
o
d-m
ut
is
-
o
r
ood
ge
nis
Live
o
hW
dd
d
ang
B
10 8. Br
n
ll
y
Re
at R e d
of Werner’s Nomenclature of Colours.
8. G i m m e
an
3. P u r
er
13 . Pe nc Gre
s
10 7. H
ey
ree
99 . De p Re
d
1 1 S m o r ey
W
e
yis
. Ye
e
4. Ye
Re
ey
5. O r
b
pl
Ch
Gr
1 0 6.
h
.
d
m
is y
e
5
by Patrick Baty, Heritage Paint Specialist.
e
oc nis
Gr
hG
e
r
6. G
e
Re
k
98 . B r e p
104
e
.U
10
k
h
Pu
r
.
10 . De
lo G r
7. S
3
h
d
y
9 7 . C h ow
10
l
As
2
re y
h
o
o
10
el rl
e

o
re
is
w
Gr
10
d Bl G
9.
0
n
.
Re
a
ey
10
.F
h
w
s
is h
is Gr
l
ou
ro
a ed u k
en
e
Bl sh
12
.Y
n
ac
.B
ei hin sh R
. e i l
1 4 . G r ac k h B
whit e s, g reys a n d blac ks.
V c i d
ck
.
i. 36
Re
k
l
96 . Co rp
15 . Bl yis Bla ac
ck Bl
n
9 5 . Pu m so d e
1 6
G r s h B la i sh
i n 1. Werner’s Mineralogical System and How His Nomenclature 74
i e
.
1 7 B lu n i s h
94 C r
w
d
eR ed
ro
. Re mR
. e rB
93 L a k i n e
sso 18 Gre ,o k
of Colours Became Syme’s Colour Standard.
. m
h c
2
.
o
la
r
19 c
9
Ca ch Bl
91. Pit hB
2 0. e d d i s
a
. Pe e Red
90 o s
ed 21.
R
Bla
ck by Peter Davidson.
Ink ac k
R
8 9. sh R Red
Fle l Bl
ood 22. v e t Bl
8 8.
V e l
. b lu e
a
23
er i
otch
t
blue s a n d purple s.
r
8 7. A
24. sc ii. 88
Red
lu e
ro r a
s s ia n B
8 6. Au
25. P ru
il io n Red
2. Colours in Zoology: Subjective or Systematic? 122
85. V e r m
go Bl ue
84 . Sc ar le t Re
d 26. In di
27. China Blue
83. Hyacint h Red by Elaine Charwat.
82. Tile Red 28. Azure Blue
29. Ultr am ar
81 . De ep Re in e Blue
30. Fl a x
g reen s.
dd is h Or an
-F l ow e iii. 144
8 0. R e d ge
d is h O
3 1. B e r B lu e
r l in
range
B lu e
7 9. B r
32 . V
3. Syme’s Colour Chart in Botany: Origin and Impact. 172
ow n
erd
78. O ish O
3 3. G itte
rang
r Bl
rpim e
ree ue
by Giulia Simonini.
7 7. B ent
34. nis
uff Ora
nge
Gr hB
lu e
76.
e
Ora
Du nge 3 5. yis
Bl hB
7 5. tc
36 uis lu e
Cr hO
. hL
3 7. B lu i
74 ea ra
yellows a n d o ra n g e s.
ng
ila
. mY
73 Och
iv. 190
e
sh
38 Vio cP
el
Pu ur
.S re lo
. l rp pl
39 Pa n e t
72 i w
. W enn Yel
Pu le e
. s 4. One for All? Werner’s Nomenclature of Colours as a General 224
lo
C
71
40
aY
am y P rp
. in w
41 . Im
70 St
le
e el
69 . H r aw e l
Y lo pa ur
.A pl
pe nu Standard of Colour and Its Particular Use in Medicine.
w
e
l
u
o
ri ria
.G
la
n Ye ow
42 . Re ven
68 . Ki mbo Yel
a l ey
cu P
ll
.P
l
43 La e b
by André Karliczek.
.
67 . Ga
u
Sa
la Pu
ls Ye
rp
ow
lu L i
4 4 Pa l
66 Lem Yel
ll
Pu r pl
ff
le
to
45 Cel
m
6
ow
n
d
r
46
n
64
Pu c P
.
e
.
rp
on
g’
e
47.
6 3. u l p h
.
. W m ro
rp
Ye
s
4 8.
62 .
le
la r Pu
Ye
reds a n d brown s.
4 9.
61.
Ye
Mo k Gre
ll
le
5 0. V
P
6 0. O
v. 236
a
de
51. B
5 9. O
o
ll
Le
ri
52 . A p
S
ll
5 8. A s p
ge
ow
53. Em er
57. Pi stac
54. Gr ass Gr ee
56.
an
55. Duck Green
n
Bla
la
ur
ow
i
ow
e
nt
Ye
ski
di
erd
ck
lu i s
il G
pl
Sap
l
cki
ll
ain
ne
i
rp
l
ple G
lo
e
is
s
nG
v
u
o
a
ow
igr
l
e Gr
ree
h
w
Gr
w
sh
Gre
h Gr
r
e
Ye
Gr
e
al d G r ee
Pu
ree
Ye
ee
hi
is G
g
Gre
ll
ee
reen
n
rp
ll
een
en
us G r e
References for the contemporary printer, 282

o
een
n
ow
le
ow
ree
Gr
en
n
artist and decorator.

ee
n
n
en
n
bibliography. 284
sources of Illustrations. 286
Index. 288
Acknowledgments. 290
co lou rs. Co n t en t s.
te
n A Colour Reference System From The Natural World.
Whi
6
ow
110. Blackish Brown

Br ow n
Br
hite
n
red
ite
W h it e
ow
W hi te
ed
ow
wn
e
n
Wh
Int ro duct io n .
ow
wn
lou
r
r
1. Snow Whi te
ish W
hit
16
ow
w
li
B
ou
109. Ol ive Br
o
o
Br
ish
ilk
B ro
wn
o
r Br
te
br
ol
hW
p l is h
e- co
r
2. Re dd is h
cc
a ir B
h
hi
c
l l ow
w
o
d-m
ut
is
-
o
r
ood
ge
nis
Live
o
hW
dd
d
ang
B
10 8. Br
n
ll
y
Re
at R e d
8. G i m m e
an
3. P u r
er
13 . Pe nc Gre
s
10 7. H
ey
ree
99 . De p Re
d
1 1 S m o r ey
W
e
yis
. Ye
e
4. Ye
Re
ey
5. O r
b
pl
Ch
Gr
1 0 6.
h
.
d
m
is y
e
5
by Patrick Baty, Heritage Paint Specialist.
e
oc nis
Gr
hG
e
r
6. G
e
Re
k
98 . B r e p
104
e
.U
10
k
h
Pu
r
.
10 . De
lo G r
7. S
3
h
d
y
9 7 . C h ow
10
l
As
2
re y
h
o
o
10
el rl
e

o
re
is
w
Gr
10
d Bl G
9.
0
n
.
Re
a
ey
10
.F
h
w
s
is h
is Gr
l
ou
ro
a ed u k
en
e
Bl sh
12
.Y
n
ac
.B
ei hin sh R
. e i l
1 4 . G r ac k h B
whit e s, g reys a n d blac ks.
V c i d
ck
.
i. 36
Re
k
l
96 . Co rp
15 . Bl yis Bla ac
ck Bl
n
9 5 . Pu m so d e
1 6
G r s h B la i sh
i n 1. Werner’s Mineralogical System and How His Nomenclature 74
i e
.
1 7 B lu n i s h
94 C r
w
d
eR ed
ro
. Re mR
. e rB
93 L a k i n e
sso 18 Gre ,o k
of Colours Became Syme’s Colour Standard.
. m
h c
2
.
o
la
r
19 c
9
Ca ch Bl
91. Pit hB
2 0. e d d i s
a
. Pe e Red
90 o s
ed 21.
R
Bla
ck by Peter Davidson.
Ink ac k
R
8 9. sh R Red
Fle l Bl
ood 22. v e t Bl
8 8.
V e l
. b lu e
a
23
er i
otch
t
blue s a n d purple s.
r
8 7. A
24. sc ii. 88
Red
lu e
ro r a
s s ia n B
8 6. Au
25. P ru
il io n Red
2. Colours in Zoology: Subjective or Systematic? 122
85. V e r m
go Bl ue
84 . Sc ar le t Re
d 26. In di
27. China Blue
83. Hyacint h Red by Elaine Charwat.
82. Tile Red 28. Azure Blue
29. Ultr am ar
81 . De ep Re in e Blue
30. Fl a x
g reen s.
dd is h Or an
-F l ow e iii. 144
8 0. R e d ge
d is h O
3 1. B e r B lu e
r l in
range
B lu e
7 9. B r
32 . V
3. Syme’s Colour Chart in Botany: Origin and Impact. 172
ow n
erd
78. O ish O
3 3. G itte
rang
r Bl
rpim e
ree ue
by Giulia Simonini.
7 7. B ent
34. nis
uff Ora
nge
Gr hB
lu e
76.
e
Ora
Du nge 3 5. yis
Bl hB
7 5. tc
36 uis lu e
Cr hO
. hL
3 7. B lu i
74 ea ra
yellows a n d o ra n g e s.
ng
ila
. mY
73 Och
iv. 190
e
sh
38 Vio cP
el
Pu ur
.S re lo
. l rp pl
39 Pa n e t
72 i w
. W enn Yel
Pu le e
. s 4. One for All? Werner’s Nomenclature of Colours as a General 224
lo
C
71
40
aY
am y P rp
. in w
41 . Im
70 St
le
e el
69 . H r aw e l
Y lo pa ur
.A pl
pe nu Standard of Colour and Its Particular Use in Medicine.
w
e
l
u
o
ri ria
.G
la
n Ye ow
42 . Re ven
68 . Ki mbo Yel
a l ey
cu P
ll
.P
l
43 La e b
by André Karliczek.
.
67 . Ga
u
Sa
la Pu
ls Ye
rp
ow
lu L i
4 4 Pa l
66 Lem Yel
ll
Pu r pl
ff
le
to
45 Cel
m
6
ow
n
d
r
46
n
64
Pu c P
.
e
.
rp
on
g’
e
47.
6 3. u l p h
.
. W m ro
rp
Ye
s
4 8.
62 .
le
la r Pu
Ye
reds a n d brown s.
4 9.
61.
Ye
Mo k Gre
ll
le
5 0. V
P
6 0. O
v. 236
a
de
51. B
5 9. O
o
ll
Le
ri
52 . A p
S
ll
5 8. A s p
ge
ow
53. Em er
57. Pi stac
54. Gr ass Gr ee
56.
an
55. Duck Green
n
Bla
la
ur
ow
i
ow
e
nt
Ye
ski
di
erd
ck
lu i s
il G
pl
Sap
l
cki
ll
ain
ne
i
rp
l
ple G
lo
e
is
s
nG
v
u
o
a
ow
igr
l
e Gr
ree
h
w
Gr
w
sh
Gre
h Gr
r
e
Ye
Gr
e
al d G r ee
Pu
ree
Ye
ee
hi
is G
g
Gre
ll
ee
reen
n
rp
ll
een
en
us G r e
References for the contemporary printer, 282

o
een
n
ow
le
ow
ree
Gr
en
n
artist and decorator.

ee
n
n
en
n
bibliography. 284
sources of Illustrations. 286
Index. 288
Acknowledgments. 290
a co lour r e fe r e nce system
f ro m th e natur al world.
In 1774, in order to help identify and describe minerals, German are organized into ten groups: whites, greys, blacks, blues, purples,
geologist Abraham Gottlob Werner devised a classification system greens, yellows, orange, red and browns. On pages 8–9, Werner’s
based on the external properties of minerals. He considered colour complete mineral collection is displayed, each mineral accompanied
to be one of the key characteristics for mineral identification and by a colour swatch and name taken from Syme’s second edition.
devised a nomenclature of 54 colours for that purpose, assembling In Nature’s Palette Syme’s work has been fully realized and
a collection of minerals as physical examples of each. Werner revised enhanced. An individual page is devoted to each colour standard
and expanded his nomenclature during the next 40 or so years, and and contemporary illustrations of every animal, vegetable and
periodically gave updated lists to his students, who used and added mineral referenced by Syme presented. In cases where he did not
to them in their own works. In 1814 Scottish artist Patrick Syme suggest an example, this volume provides one (indicated by *),
expanded Werner’s nomenclature to 108 colour terms and then in completing Syme’s colour reference system. Syme’s colour swatch,
Gree ns. (pages 144 to 171).

1821 to 110. He supplemented Werner’s references to mineral original references and colour description appear at the top of each
examples with references to animal and vegetable species, and entry; he added a [W] to indicate that the colour name could be
added a painted swatch for each of the colour standards named. found in Werner’s original or subsequent lists. Please note that over
On these pages are displayed the 13 colour plates from Syme’s time, the colours in Syme’s swatches and in the illustration plates
second edition of Werner’s Nomenclature of Colours (1821), which have become more muted. Supplementing these pages are displays
presents each of Syme’s 110 colour standard terms alongside a of 19th-century naturalists’ collections in which each specimen has
painted swatch, and, in most cases, reference to an animal, vegetable been paired with one of Syme’s standard colours to demonstrate
and mineral example that exhibits that colour. The colour standards how the system might be used by naturalists and artists.
A C O LOU R R E F E R E N C E SYST E M F RO M T H E NAT U R A L WO R L D.
7.
whites, greys and blacks. (pages 36 to 73).
Yellows and Orang e s. (pages 190 to 223).

6.

notes
Throughout the book we have
retained Syme’s idiosyncratic
spellings of ‘Verditter’ and
‘Chesnut’ when referring to
b lu e s and pu r ple s. (pages 88 to 121).
Re ds an d Brow ns. (pages 236 to 281).

colour numbers 32 and 103.
Although Syme listed colour

number 109 as ‘Clove Brown’ in
plate 13 (far right), he referred to
the same colour as ‘Olive Brown’
in the accompanying description
on the adjacent page and when
referring to the colour elsewhere.
He regarded the two names as
interchangeable. We have used
the name ‘Olive Brown’ when
referring to this colour throughout
the book as that is the name he
used most often.
a co lour r e fe r e nce system
f ro m th e natur al world.
In 1774, in order to help identify and describe minerals, German are organized into ten groups: whites, greys, blacks, blues, purples,
geologist Abraham Gottlob Werner devised a classification system greens, yellows, orange, red and browns. On pages 8–9, Werner’s
based on the external properties of minerals. He considered colour complete mineral collection is displayed, each mineral accompanied
to be one of the key characteristics for mineral identification and by a colour swatch and name taken from Syme’s second edition.
devised a nomenclature of 54 colours for that purpose, assembling In Nature’s Palette Syme’s work has been fully realized and
a collection of minerals as physical examples of each. Werner revised enhanced. An individual page is devoted to each colour standard
and expanded his nomenclature during the next 40 or so years, and and contemporary illustrations of every animal, vegetable and
periodically gave updated lists to his students, who used and added mineral referenced by Syme presented. In cases where he did not
to them in their own works. In 1814 Scottish artist Patrick Syme suggest an example, this volume provides one (indicated by *),
expanded Werner’s nomenclature to 108 colour terms and then in completing Syme’s colour reference system. Syme’s colour swatch,
Gree ns. (pages 144 to 171).

1821 to 110. He supplemented Werner’s references to mineral original references and colour description appear at the top of each
examples with references to animal and vegetable species, and entry; he added a [W] to indicate that the colour name could be
added a painted swatch for each of the colour standards named. found in Werner’s original or subsequent lists. Please note that over
On these pages are displayed the 13 colour plates from Syme’s time, the colours in Syme’s swatches and in the illustration plates
second edition of Werner’s Nomenclature of Colours (1821), which have become more muted. Supplementing these pages are displays
presents each of Syme’s 110 colour standard terms alongside a of 19th-century naturalists’ collections in which each specimen has
painted swatch, and, in most cases, reference to an animal, vegetable been paired with one of Syme’s standard colours to demonstrate
and mineral example that exhibits that colour. The colour standards how the system might be used by naturalists and artists.
7.
whites, greys and blacks. (pages 36 to 73).
Yellows and Orang e s. (pages 190 to 223).

6.

notes
Throughout the book we have
retained Syme’s idiosyncratic
spellings of ‘Verditter’ and
‘Chesnut’ when referring to
b lu e s and pu r ple s. (pages 88 to 121).
Re ds an d Brow ns. (pages 236 to 281).

colour numbers 32 and 103.
Although Syme listed colour

number 109 as ‘Clove Brown’ in
plate 13 (far right), he referred to
the same colour as ‘Olive Brown’
in the accompanying description
on the adjacent page and when
referring to the colour elsewhere.
He regarded the two names as
interchangeable. We have used
the name ‘Olive Brown’ when
referring to this colour throughout
the book as that is the name he
used most often.
Fine-grained 1. Dogtooth spar 2. Fine-grained 2. Kaolin, or china 2. Fine-grained 4. Baryte. 4. Malachite on 50. Ground and 50. Polished and cut 52. Crystalline crust 52. Peridot, or 57. Crystalline crust 57.
marble. calcite crystals. dolomite. clay. marble. quartz and limonite. polished malachite. chrysoprase. of annabergite. chrysolite, fragments. of pistacite.
Medium-grained 4. Arsenopyrite in 5. Arsenopyrite. 5. Quartz. 8. Foliated talc. 6. Asbestos fibres. 6. Serpentine slab 49. Chrysoberyl 58. Pitchstone with 59. Polished slab of 59. Golden beryl, or 60. Fuller’s earth. 60.
limestone. gneiss. with pyrope. pebbles. shell-like fractures. phonolite. heliodor, fragments.
Fine-grained 6. Milky quartz. 7. Opal. 7. Antimony. 12. Skutterudite with 12. Grey arsenic. 13. Encrustation of 61. Autunite and 61. Talc on 61. Sulphur on calcite 62. Sulphur on calcite 62. Chalcopyrite on 63.
limestone. quartz. zippeite. hematite on chert. serpentinite. and limestone. and limestone. quartz.
9.
Coarse stibnite, 15. Fine-grained 15. Molybdenite with 14. Galena with 14. Chalcocite, or 16. Fine-grained grey 14. Coarse 63. Sulphur on marl. 71. Coarse pyrite. 75. Pyrite fragments. 75. Wax opal. 64. Fluorite crystals 70.
or antimonite. stibnite. quartz. baryte and quarz. vitreous copper. limestone. chalcopyrite. on quartz.
Fine-grained 14. Porcelain jasper. 12. Porcelain jasper. 12. Amethyst on 12. Flint stone. 10. Polished flint disc. 10. Fragments of 65. Gold platelets in 67. Claystone 74. Claystone 74. Ochre with jasper. 74. Fragment of 68.
limestone. fluorite. fibrous orpiment. quartz vein. containing limonite. containing limonite. siderite.
Fluorite crystals 10. Slate slab. 15. Flint stone. 13. Light mica. 13. Grey quartz with 9. Dark grey siderite. 16. Fragments of 72. Wulfenite on 76. Realgar on 86. Realgar on chert. 86. Ochre with 83. Zirconium 83.
on baryte. acanthite. topaz. limestone. greywacke. hematite. crystals.
Mica flakes. 16. Ore with quartz 16. Basalt with olivine 17. Basalt. 17. Magnetite with 21. Fine-grained 21. Heulandite on 82. Heulandite on 82. Porcelain jasper 82. Cinnabarite, or 84. Cinnabarite, or 84. Grains of pyrope. 87.
and pyrite. and augite. calcite. magnetite. basalt. basalt. with iron inclusions. cinnabar. cinnabar.
8.
Obsidian. 23. Obsidian. 23. Gneiss with biotite. 20. Amphibolite. 19. Amphibolite. 19. Asbolane with 18. Siderite with 85. Limestone with 88. Coarse baryte 88. Feldspar with 88. Spinel fragments. 93. Cinnabarite, or 95.
limonite. nickel. claystone. with fluorite. schorl crystals. cinnabar, on ore.
Purple fluorite 42. Amethyst pebbles. 37. Amethyst cut and 37. Clay rock with 44. Ground and 28. Azurite with 28. Coarse cinnabar, 95. 89. Rose quartz. 89. Fibrous erythrite 91. Fibrous kermesite 97. Kermesite, or red 97. Fine-grained 99.
crystals on quartz. polished slab. crust. polished azurite. fibrous malachite. or cinnabarite. on quartz. on quartz. antimony. ironstone.
Grey-green 26. Grey-green 26. Grey-green 26. Chlorite aggregate. 27. Ground and 33. Cut and polished 33. Ironstone ooids. 99. Pitchstone. 101. Pitchstone. 101. Sphalerite with 101. Sphalerite on 101. Smoky quartz. 109.
vivianite powder. vivianite powder. vivianite powder. polished turquoise. turquoise. green sahlite. quartz.
Cryptocrystalline 50. Celadonite. 46. Green mudstone. 47. Radiant actinolite. 48. Radiant green 48. Fibrous malachite 50. Fibrous glass on 109. Jasper. 104. Mica flakes. 105. Chert-like jasper, 106. Goethite ooids. 110. Crude bitumen. 110.
chrysocolla. quartz crystals. with chalcopyrite. dense limonite. partly opalized.
Fine-grained 1. Dogtooth spar 2. Fine-grained 2. Kaolin, or china 2. Fine-grained 4. Baryte. 4. Malachite on 50. Ground and 50. Polished and cut 52. Crystalline crust 52. Peridot, or 57. Crystalline crust 57.
marble. calcite crystals. dolomite. clay. marble. quartz and limonite. polished malachite. chrysoprase. of annabergite. chrysolite, fragments. of pistacite.
Medium-grained 4. Arsenopyrite in 5. Arsenopyrite. 5. Quartz. 8. Foliated talc. 6. Asbestos fibres. 6. Serpentine slab 49. Chrysoberyl 58. Pitchstone with 59. Polished slab of 59. Golden beryl, or 60. Fuller’s earth. 60.
limestone. gneiss. with pyrope. pebbles. shell-like fractures. phonolite. heliodor, fragments.
Fine-grained 6. Milky quartz. 7. Opal. 7. Antimony. 12. Skutterudite with 12. Grey arsenic. 13. Encrustation of 61. Autunite and 61. Talc on 61. Sulphur on calcite 62. Sulphur on calcite 62. Chalcopyrite on 63.
limestone. quartz. zippeite. hematite on chert. serpentinite. and limestone. and limestone. quartz.
9.
Coarse stibnite, 15. Fine-grained 15. Molybdenite with 14. Galena with 14. Chalcocite, or 16. Fine-grained grey 14. Coarse 63. Sulphur on marl. 71. Coarse pyrite. 75. Pyrite fragments. 75. Wax opal. 64. Fluorite crystals 70.
or antimonite. stibnite. quartz. baryte and quarz. vitreous copper. limestone. chalcopyrite. on quartz.
Fine-grained 14. Porcelain jasper. 12. Porcelain jasper. 12. Amethyst on 12. Flint stone. 10. Polished flint disc. 10. Fragments of 65. Gold platelets in 67. Claystone 74. Claystone 74. Ochre with jasper. 74. Fragment of 68.
limestone. fluorite. fibrous orpiment. quartz vein. containing limonite. containing limonite. siderite.
Fluorite crystals 10. Slate slab. 15. Flint stone. 13. Light mica. 13. Grey quartz with 9. Dark grey siderite. 16. Fragments of 72. Wulfenite on 76. Realgar on 86. Realgar on chert. 86. Ochre with 83. Zirconium 83.
on baryte. acanthite. topaz. limestone. greywacke. hematite. crystals.
Mica flakes. 16. Ore with quartz 16. Basalt with olivine 17. Basalt. 17. Magnetite with 21. Fine-grained 21. Heulandite on 82. Heulandite on 82. Porcelain jasper 82. Cinnabarite, or 84. Cinnabarite, or 84. Grains of pyrope. 87.
and pyrite. and augite. calcite. magnetite. basalt. basalt. with iron inclusions. cinnabar. cinnabar.
8.
Obsidian. 23. Obsidian. 23. Gneiss with biotite. 20. Amphibolite. 19. Amphibolite. 19. Asbolane with 18. Siderite with 85. Limestone with 88. Coarse baryte 88. Feldspar with 88. Spinel fragments. 93. Cinnabarite, or 95.
limonite. nickel. claystone. with fluorite. schorl crystals. cinnabar, on ore.
Purple fluorite 42. Amethyst pebbles. 37. Amethyst cut and 37. Clay rock with 44. Ground and 28. Azurite with 28. Coarse cinnabar, 95. 89. Rose quartz. 89. Fibrous erythrite 91. Fibrous kermesite 97. Kermesite, or red 97. Fine-grained 99.
crystals on quartz. polished slab. crust. polished azurite. fibrous malachite. or cinnabarite. on quartz. on quartz. antimony. ironstone.
Grey-green 26. Grey-green 26. Grey-green 26. Chlorite aggregate. 27. Ground and 33. Cut and polished 33. Ironstone ooids. 99. Pitchstone. 101. Pitchstone. 101. Sphalerite with 101. Sphalerite on 101. Smoky quartz. 109.
vivianite powder. vivianite powder. vivianite powder. polished turquoise. turquoise. green sahlite. quartz.
Cryptocrystalline 50. Celadonite. 46. Green mudstone. 47. Radiant actinolite. 48. Radiant green 48. Fibrous malachite 50. Fibrous glass on 109. Jasper. 104. Mica flakes. 105. Chert-like jasper, 106. Goethite ooids. 110. Crude bitumen. 110.
chrysocolla. quartz crystals. with chalcopyrite. dense limonite. partly opalized.
11.
27. 71. 32. 56. 77. 10. 102. 86. 12. 75. 44. 84. 89. 87. 32. 85. 76. 56. 29. 50.
1 0.
41. 84. 50. 54. 76. 28. 61. 66. 34. 14. 25. 30. 86. 27. 15. 57. 52. 85. 108. 92.
11.
27. 71. 32. 56. 77. 10. 102. 86. 12. 75. 44. 84. 89. 87. 32. 85. 76. 56. 29. 50.
1 0.
41. 84. 50. 54. 76. 28. 61. 66. 34. 14. 25. 30. 86. 27. 15. 57. 52. 85. 108. 92.
1
2
2
4
1
1 3.
3
3 4
6
5
6
9
7
7
8
9
12.
1 78. Orpiment Orange. 2 85. Vermilion Red. 3 53. Emerald Green. 1 76. Dutch Orange. 2 98. Chocolate Red. 3 29. Ultramarine Blue.
4 1. Snow White. 5 28. Azure Blue. 6 77. Buff Orange. 4 67. King’s Yellow. 5 84. Scarlet Red. 6 78. Orpiment Orange.
7 64. Wax Yellow. 8 81. Deep Reddish Orange. 9 32. Verditter Blue. 7 50. Verdigris Green. 8 8. Greyish White. 9 33. Greenish Blue.
1
2
2
4
1
1 3.
3
3 4
6
5
6
9
7
7
8
9
12.
1 78. Orpiment Orange. 2 85. Vermilion Red. 3 53. Emerald Green. 1 76. Dutch Orange. 2 98. Chocolate Red. 3 29. Ultramarine Blue.
4 1. Snow White. 5 28. Azure Blue. 6 77. Buff Orange. 4 67. King’s Yellow. 5 84. Scarlet Red. 6 78. Orpiment Orange.
7 64. Wax Yellow. 8 81. Deep Reddish Orange. 9 32. Verditter Blue. 7 50. Verdigris Green. 8 8. Greyish White. 9 33. Greenish Blue.
1 4. Yellowish White.
2 108. Broccoli Brown.
1 3 5. Orange-coloured White.
4 103. Chesnut Brown.
5 35. Bluish Lilac Purple.
2 3 6 2. Reddish White.
7 46. Celandine Green.
8 13. Yellowish Grey.

4
9 107. Hair Brown.
10 90. Peach Blossom Red.
5 6 7 11 7. Skimmed-milk White.
1 5.
12 6. Greenish White.

13 8. Greyish White.
14 104. Yellowish Brown.
15 88. Flesh Red.
16 43. Red Lilac Purple.

8
17 51. Bluish Green.
18 102. Umber Brown.
19 79. Brownish Orange.

9 10 11 12
20 3. Purplish White.
13 14
14.
15 16
17 18
left Syme’s colours matched to

cuckoo eggs collected by Edgar
19 20 Percival Chance, 1920–22.
pp. 10–11 Syme’s colours matched to

parrots illustrated by Edward
Lear as preliminary drawings
for Illustrations of the Family
of Psittacidæ, or Parrots, 1832.
pp. 12–13 Syme’s colours matched to tropical

taxidermy birds displayed in
glass domes, c. 1880.
In tro duct i o n.

b y Pat r i c k B at y.
In his Systema naturae, of 1735, the Swedish The work of Abraham

botanist and zoologist Carl Linnaeus (1707–1778) Gottlob Werner
outlined his ideas for the hierarchical classifi‑
cation of the natural world. He divided it into Abraham Gottlob Werner (1749–1817) came
three kingdoms, namely the regnum animale, from a family with a long association with the
regnum vegetabile and regnum lapideum – mining industry, including his father, who
the Animal, Vegetable and Mineral Kingdoms. was inspector of the ironworks of the Count
By 1753, in his Species plantarum, he had of Solms-Baruth in Wehrau and Lorenzdorf
listed every species of plant then known, using (now in Poland). After a short time working in
binomial nomenclature – the two-term naming the ironworks in Wehrau, by 1769 Werner had
system by which every organism is given its been invited to enrol in the recently founded
distinct label, the genus and species. With the Freiberg School of Mining. He soon realized,
publication of the tenth edition of the Systema however, that he would be unable to progress
I N T RO DUC T I O N.
1 7.
naturae, in 1758–59, he introduced the same far without a law degree, so studied for three
system for animals, which he broke down into years at the University of Leipzig.
six classes – Mammalia, Aves, Amphibia, Although he devoted himself to his legal
Pisces, Insecta and Vermes. However, he was education, Werner also continued his
less successful with minerals, as he lacked mineralogical pursuits, and in 1774, while
both the technology to identify their chemical still a student, he published the first modern
16.
composition and also a knowledge of crystals. textbook of descriptive mineralogy. The book
Before the late 18th century, mineralogy was titled Von den äusserlichen Kennzeichen
could hardly be called a science as it lacked der Fossilien (later published in English as
precise definitions. The same substance was A Treatise on the External Characters of
often given different names, while different Fossils – at that time fossils meant rocks and
substances were sometimes called by the minerals),3 and it very quickly brought him to
same name. Its descriptive language was arbit- the attention of the mineralogists of the day,
rary, vague and ambiguous. It was generally being described as ‘the first example of the
acknowledged that a standardized set of true method of describing mineral species’.4
terms relating to characteristics including Werner presented a method of identifying
form and colour would make identification rocks and minerals by their external
and communication easier. Fortunately, as characteristics as perceived by the five
the Irish geologist Richard Kirwan (1733–1812) senses – sight, touch, smell, hearing and
stated in the Preface to the second edition of even taste. Since he believed that a mineral’s
his Elements of Mineralogy: (visible) colour made the first impression,
he produced a list of 54 colours under eight
After many ineffectual attempts to obviate principal headings – white, grey, black, blue,
these difficulties, by Linnaeus, Peithner,1 green, yellow, red and brown. These generic
and others, descriptive language was at colours (his Hauptfarben) were each modified
last reduced to as much precision as it was by a descriptive word that tended to be based i.
capable of receiving by Mr Werner in 1774.2 on either a mixture, such as reddish-white or
(i). James Caldwall after John Russell and John Opie, Carolus Linnaeus
Receives Honour from Aesculapius, Flora, Ceres and Cupid, coloured
stipple engraving, 1806. Carl Linnaeus is known as the ‘father of modern
taxonomy’ for his work formalizing the modern system for naming
organisms during the eighteenth century.
In tro duct i o n.

b y Pat r i c k B at y.
In his Systema naturae, of 1735, the Swedish The work of Abraham

botanist and zoologist Carl Linnaeus (1707–1778) Gottlob Werner
outlined his ideas for the hierarchical classifi‑
cation of the natural world. He divided it into Abraham Gottlob Werner (1749–1817) came
three kingdoms, namely the regnum animale, from a family with a long association with the
regnum vegetabile and regnum lapideum – mining industry, including his father, who
the Animal, Vegetable and Mineral Kingdoms. was inspector of the ironworks of the Count
By 1753, in his Species plantarum, he had of Solms-Baruth in Wehrau and Lorenzdorf
listed every species of plant then known, using (now in Poland). After a short time working in
binomial nomenclature – the two-term naming the ironworks in Wehrau, by 1769 Werner had
system by which every organism is given its been invited to enrol in the recently founded
distinct label, the genus and species. With the Freiberg School of Mining. He soon realized,
publication of the tenth edition of the Systema however, that he would be unable to progress
1 7.
naturae, in 1758–59, he introduced the same far without a law degree, so studied for three
system for animals, which he broke down into years at the University of Leipzig.
six classes – Mammalia, Aves, Amphibia, Although he devoted himself to his legal
Pisces, Insecta and Vermes. However, he was education, Werner also continued his
less successful with minerals, as he lacked mineralogical pursuits, and in 1774, while
both the technology to identify their chemical still a student, he published the first modern
16.
composition and also a knowledge of crystals. textbook of descriptive mineralogy. The book
Before the late 18th century, mineralogy was titled Von den äusserlichen Kennzeichen
could hardly be called a science as it lacked der Fossilien (later published in English as
precise definitions. The same substance was A Treatise on the External Characters of
often given different names, while different Fossils – at that time fossils meant rocks and
substances were sometimes called by the minerals),3 and it very quickly brought him to
same name. Its descriptive language was arbit- the attention of the mineralogists of the day,
rary, vague and ambiguous. It was generally being described as ‘the first example of the
acknowledged that a standardized set of true method of describing mineral species’.4
terms relating to characteristics including Werner presented a method of identifying
form and colour would make identification rocks and minerals by their external
and communication easier. Fortunately, as characteristics as perceived by the five
the Irish geologist Richard Kirwan (1733–1812) senses – sight, touch, smell, hearing and
stated in the Preface to the second edition of even taste. Since he believed that a mineral’s
his Elements of Mineralogy: (visible) colour made the first impression,
he produced a list of 54 colours under eight
After many ineffectual attempts to obviate principal headings – white, grey, black, blue,
these difficulties, by Linnaeus, Peithner,1 green, yellow, red and brown. These generic
and others, descriptive language was at colours (his Hauptfarben) were each modified
last reduced to as much precision as it was by a descriptive word that tended to be based i.
capable of receiving by Mr Werner in 1774.2 on either a mixture, such as reddish-white or
(i). James Caldwall after John Russell and John Opie, Carolus Linnaeus
Receives Honour from Aesculapius, Flora, Ceres and Cupid, coloured
stipple engraving, 1806. Carl Linnaeus is known as the ‘father of modern
taxonomy’ for his work formalizing the modern system for naming
organisms during the eighteenth century.
bluish-black, or a pigment, for instance ochre- principal colours – white, black, blue, green,
yellow or carmine-red, or a familiar object, thus yellow, red and brown – Schäffer then detailed
sky-blue, apple-green, milk-white. Each colour the pigments that should be used to produce
was further divided into dark, clear, light or them. So, for example, the pigments for red
pale versions, which, in theory, increased the were given as minium, cochineal, cinnabar,
total to 216 colours. carmine, kugellack,8 Brazil red, Florentine
Werner’s system was designed to be of lake and English red (or brown red). These
practical application to natural philosophers pigments were also used to colour a red shield-
(scientists) as well as geologists. However, like device in Table I at the end of the work, and
while all the colour names were reasonably were shown in the same order in compartments
self-explanatory and required no specialist 1–8 of the red chart of Schäffer’s Table II.
knowledge, no actual colour samples were Table II was divided into 150 numbered
provided in the book, and subjectivity could compartments, of which only 33 were coloured.
lead to different interpretations. The serious The others were left blank for the student
mineralogist might have his own collection of to paint with mixtures of two or three of
rocks and minerals to refer to, stored in a special the principal colours. Compartments 69–71
cabinet, such as that of Johann Wolfgang von contained a few of the colours relating to plants,
Goethe (1749–1832) in his garden pavilion in for example number 71, rose red, was a mixture
Weimar.5 Robert Jameson (1774–1854), the of cochineal and lead white. Compartments
Scottish natural historian who studied under 76–78 were filled with some mineral colours –
Werner (see below), had his own ‘Colour-suite of number 76, brick red, was produced by mixing
19.
Minerals’,6 made under Werner’s supervision. minium, lead white, orpiment and English red.
i. ii. Collections in academic institutions might also Compartments 104–12 were a random collection
be available for students, but the amateur of colours: number 105, for example, was
would have found it difficult to be absolutely kugellack and Florentine lake mixed together.
certain of the colours described. However, this list of pigments already
To improve accuracy for a few of the colours, illustrates one of the problems Schäffer was
1 8.
Werner described how they could be mixed. For faced with, because kugellack and Florentine
example, he said that for ‘Morning, or aurora- lake were themselves variants of carmine,
red’ (Morgenroth, oder Auror) the painter which was produced from the kermes insect.
would use minium (red lead) and that the colour More than an understanding of the nature of
could be seen in examples of red lead ore from pigments, what was required was confidence
Siberia, from realgar and in some spots in red in the honesty and accuracy of the colourman,
blende from Scharfenberg. the supplier of the pigments. Early pigments
It is perhaps surprising that while Werner were frequently adulterated and produced
made a number of references to an earlier work using a variety of processes, resulting in
of 1769 by naturalist Jacob Christian Schäffer different versions, often with the same name.
(1718–1790), the title of which can be translated as The problem was further compounded by
Plan for a Universal Relationship of Colours; the recipes for mixing the colours. As no prop‑
or Research and Model for Determining and ortions were given, the number of permutations
Naming Colours in a Way that is Useful to the was countless – all producing different results.
General Public,7 he failed to follow its example Werner borrowed from Schäffer but added
by including colour samples. Schäffer came up grey to the principal colours, which he observed
with his plan after experiencing difficulties occurs frequently in the mineral kingdom, and
when producing a work of hand-coloured also disagreed with the latter’s use of numbers
illustrations of insects. This early attempt at to identify colours as he thought they were not
iii. iv. standardizing colours would ultimately fail sufficiently memorable. That Werner found
due to practical issues. Having identified seven Schäffer’s colour samples useful is shown by
(i). Plate 1 of minerals, Swebach-Desfontaines, Histoire naturelle, 1789.

(ii). Plate 6a of minerals, Swebach-Desfontaines, Histoire naturelle, 1789.
(iii). Colour samples of the seven simple and natural principal colours, Jacob Christian Schäffer,
Entwurf einer allgemeinen Farbenverein, 1769.
(iv). Table II, chart of reds, Jacob Christian Schäffer, Entwurf einer allgemeinen Farbenverein, 1769.
bluish-black, or a pigment, for instance ochre- principal colours – white, black, blue, green,
yellow or carmine-red, or a familiar object, thus yellow, red and brown – Schäffer then detailed
sky-blue, apple-green, milk-white. Each colour the pigments that should be used to produce
was further divided into dark, clear, light or them. So, for example, the pigments for red
pale versions, which, in theory, increased the were given as minium, cochineal, cinnabar,
total to 216 colours. carmine, kugellack,8 Brazil red, Florentine
Werner’s system was designed to be of lake and English red (or brown red). These
practical application to natural philosophers pigments were also used to colour a red shield-
(scientists) as well as geologists. However, like device in Table I at the end of the work, and
while all the colour names were reasonably were shown in the same order in compartments
self-explanatory and required no specialist 1–8 of the red chart of Schäffer’s Table II.
knowledge, no actual colour samples were Table II was divided into 150 numbered
provided in the book, and subjectivity could compartments, of which only 33 were coloured.
lead to different interpretations. The serious The others were left blank for the student
mineralogist might have his own collection of to paint with mixtures of two or three of
rocks and minerals to refer to, stored in a special the principal colours. Compartments 69–71
cabinet, such as that of Johann Wolfgang von contained a few of the colours relating to plants,
Goethe (1749–1832) in his garden pavilion in for example number 71, rose red, was a mixture
Weimar.5 Robert Jameson (1774–1854), the of cochineal and lead white. Compartments
Scottish natural historian who studied under 76–78 were filled with some mineral colours –
Werner (see below), had his own ‘Colour-suite of number 76, brick red, was produced by mixing
19.
Minerals’,6 made under Werner’s supervision. minium, lead white, orpiment and English red.
i. ii. Collections in academic institutions might also Compartments 104–12 were a random collection
be available for students, but the amateur of colours: number 105, for example, was
would have found it difficult to be absolutely kugellack and Florentine lake mixed together.
certain of the colours described. However, this list of pigments already
To improve accuracy for a few of the colours, illustrates one of the problems Schäffer was
1 8.
Werner described how they could be mixed. For faced with, because kugellack and Florentine
example, he said that for ‘Morning, or aurora- lake were themselves variants of carmine,
red’ (Morgenroth, oder Auror) the painter which was produced from the kermes insect.
would use minium (red lead) and that the colour More than an understanding of the nature of
could be seen in examples of red lead ore from pigments, what was required was confidence
Siberia, from realgar and in some spots in red in the honesty and accuracy of the colourman,
blende from Scharfenberg. the supplier of the pigments. Early pigments
It is perhaps surprising that while Werner were frequently adulterated and produced
made a number of references to an earlier work using a variety of processes, resulting in
of 1769 by naturalist Jacob Christian Schäffer different versions, often with the same name.
(1718–1790), the title of which can be translated as The problem was further compounded by
Plan for a Universal Relationship of Colours; the recipes for mixing the colours. As no prop‑
or Research and Model for Determining and ortions were given, the number of permutations
Naming Colours in a Way that is Useful to the was countless – all producing different results.
General Public,7 he failed to follow its example Werner borrowed from Schäffer but added
by including colour samples. Schäffer came up grey to the principal colours, which he observed
with his plan after experiencing difficulties occurs frequently in the mineral kingdom, and
when producing a work of hand-coloured also disagreed with the latter’s use of numbers
illustrations of insects. This early attempt at to identify colours as he thought they were not
iii. iv. standardizing colours would ultimately fail sufficiently memorable. That Werner found
due to practical issues. Having identified seven Schäffer’s colour samples useful is shown by
(i). Plate 1 of minerals, Swebach-Desfontaines, Histoire naturelle, 1789.

(ii). Plate 6a of minerals, Swebach-Desfontaines, Histoire naturelle, 1789.
(iii). Colour samples of the seven simple and natural principal colours, Jacob Christian Schäffer,
Entwurf einer allgemeinen Farbenverein, 1769.
(iv). Table II, chart of reds, Jacob Christian Schäffer, Entwurf einer allgemeinen Farbenverein, 1769.
the fact that he related eight of his own ten works. There are such vague terms as reddish,
examples of red to coloured strips in Schäffer’s yellowish and greyish white, as well as new ones
table. It seems likely that he would have done like purplish red and reddish purple.
the same for the other principal colours, had In the list itself he only cites a generic black
Schäffer provided them. and has few whites or greys, but he does intro‑
duce two new colours – sparrow grass green
The development of and copper yellow. It is debatable whether the
Werner’s colour system former was the same as grass green, or whether
that was what he implied by meadow green.
The first foreign translation of Werner’s Further confusion arises when he uses the
book was into Hungarian, by Ferentz Benkö term grass green in his description of chlorite.12
(1745–1816), a Calvinist minister. He had Kirwan includes about 20 of the colour terms
studied Werner’s work while attending the in his description of agates, which ‘as Mr
mineralogical lectures of the German naturalist Werner justly remarks, do not form a distinct
J. F. Gmelin (1748–1804) at Göttingen in the 1770s species of stone, but consist of quartz, crystal,
and published his translation when he returned hornstone, flint, calcedony [sic], amethyst,
to Hungary in 1784.9 It subsequently became jasper, carnelian, heliotropium, jade’.13
known as Magyar Werner. Benkö enlarged Werner’s colour nomenclature was also
the original by adding his own notes, as well as applied by others, including Johann Georg
Hungarian locations and examples, all of which Lenz (1748–1832), professor of mining and
are clearly marked as additions. mineralogy at the University of Jena in
21.
A translation into French by Claudine Germany. He initially studied as a philosopher
Picardet (1735–1820) was published in 1790 as but having encountered Werner’s system was i. ii.
Traité des caractères extérieurs des fossiles. sufficiently inspired to switch to mineralogy.
She had already translated a number of key In 1791 Lenz published his Mineralogisches
scientific works from English, Swedish and Handbuch durch weitere Ausführung des
German, and later married Louis-Bernard Wernerschen Systems, which, as the title
2 0.
Guyton de Morveau (1737–1816), the eminent stated, was a development of Werner’s book
chemist, politician and aeronaut who is credited and used identical terminology. For example,
with producing the first systematic method of his description of common flint (Feurstein) can
chemical nomenclature. In her translation, be translated as ‘sometimes it appears smoke-
Picardet added 17 colours to Werner’s list. yellowish-dark grey and greyish black, some‑
While Richard Kirwan refers to Werner in times brownish red, ochre yellow, reddish- and
the Preface of the first edition of his Elements yellowish brown’.14 Seven of these eight terms
of Mineralogy of 1784, he seems unconvinced were used by Werner, and dark grey would
by the importance of colour-naming, saying have been a standard term pre-dating him.
that it ‘is difficult, if not impossible, to render Lenz’s work was a great success and was
the various shades of colour intelligible by any expanded in later editions. By the time of
description’.10 Ten years later, in 1794, when the the fifth edition, in 1796, 150 pages had been
second edition appeared, ‘with considerable added, along with many more Werner-
improvements and additions’, he seems to have like descriptions. Among these additions,
relented. On his pages listing colour terms, columbine red, hair- and wood brown
Kirwan cites 52 colours,11 slightly fewer than (kolombinroth, haarbraun and holzbraun)
Werner, and it is clear that he is using Picardet’s proved to be very popular and were used by
translation. However, in his descriptions of the others later when describing minerals.
various minerals he also employs a number of In 1796 Lenz also founded Die Sozietät für
the more general categories of colours based die gesamte Mineralogie zu Jena (The Society iii.
on mixtures found in both Werner and later for the Entire Mineralogy of Jena), the first
(i). Portrait of the Irish geologist Richard Kirwan by an unknown artist.

(ii). Portrait of German geologist Abraham Gottlob Werner by an unknown artist.
(iii). Group portrait of the French chemists (from left to right) Marie-Anne Paulze Lavoisier,
Claudine Picardet, Claude Louis Berthollet, Antoine François Fourcroy, Antoine
Lavoisier and Louis-Bernard Guyton de Morveau by an unknown artist.
the fact that he related eight of his own ten works. There are such vague terms as reddish,
examples of red to coloured strips in Schäffer’s yellowish and greyish white, as well as new ones
table. It seems likely that he would have done like purplish red and reddish purple.
the same for the other principal colours, had In the list itself he only cites a generic black
Schäffer provided them. and has few whites or greys, but he does intro‑
duce two new colours – sparrow grass green
The development of and copper yellow. It is debatable whether the
Werner’s colour system former was the same as grass green, or whether
that was what he implied by meadow green.
The first foreign translation of Werner’s Further confusion arises when he uses the
book was into Hungarian, by Ferentz Benkö term grass green in his description of chlorite.12
(1745–1816), a Calvinist minister. He had Kirwan includes about 20 of the colour terms
studied Werner’s work while attending the in his description of agates, which ‘as Mr
mineralogical lectures of the German naturalist Werner justly remarks, do not form a distinct
J. F. Gmelin (1748–1804) at Göttingen in the 1770s species of stone, but consist of quartz, crystal,
and published his translation when he returned hornstone, flint, calcedony [sic], amethyst,
to Hungary in 1784.9 It subsequently became jasper, carnelian, heliotropium, jade’.13
known as Magyar Werner. Benkö enlarged Werner’s colour nomenclature was also
the original by adding his own notes, as well as applied by others, including Johann Georg
Hungarian locations and examples, all of which Lenz (1748–1832), professor of mining and
are clearly marked as additions. mineralogy at the University of Jena in
21.
A translation into French by Claudine Germany. He initially studied as a philosopher
Picardet (1735–1820) was published in 1790 as but having encountered Werner’s system was i. ii.
Traité des caractères extérieurs des fossiles. sufficiently inspired to switch to mineralogy.
She had already translated a number of key In 1791 Lenz published his Mineralogisches
scientific works from English, Swedish and Handbuch durch weitere Ausführung des
German, and later married Louis-Bernard Wernerschen Systems, which, as the title
2 0.
Guyton de Morveau (1737–1816), the eminent stated, was a development of Werner’s book
chemist, politician and aeronaut who is credited and used identical terminology. For example,
with producing the first systematic method of his description of common flint (Feurstein) can
chemical nomenclature. In her translation, be translated as ‘sometimes it appears smoke-
Picardet added 17 colours to Werner’s list. yellowish-dark grey and greyish black, some‑
While Richard Kirwan refers to Werner in times brownish red, ochre yellow, reddish- and
the Preface of the first edition of his Elements yellowish brown’.14 Seven of these eight terms
of Mineralogy of 1784, he seems unconvinced were used by Werner, and dark grey would
by the importance of colour-naming, saying have been a standard term pre-dating him.
that it ‘is difficult, if not impossible, to render Lenz’s work was a great success and was
the various shades of colour intelligible by any expanded in later editions. By the time of
description’.10 Ten years later, in 1794, when the the fifth edition, in 1796, 150 pages had been
second edition appeared, ‘with considerable added, along with many more Werner-
improvements and additions’, he seems to have like descriptions. Among these additions,
relented. On his pages listing colour terms, columbine red, hair- and wood brown
Kirwan cites 52 colours,11 slightly fewer than (kolombinroth, haarbraun and holzbraun)
Werner, and it is clear that he is using Picardet’s proved to be very popular and were used by
translation. However, in his descriptions of the others later when describing minerals.
various minerals he also employs a number of In 1796 Lenz also founded Die Sozietät für
the more general categories of colours based die gesamte Mineralogie zu Jena (The Society iii.
on mixtures found in both Werner and later for the Entire Mineralogy of Jena), the first
(i). Portrait of the Irish geologist Richard Kirwan by an unknown artist.

(ii). Portrait of German geologist Abraham Gottlob Werner by an unknown artist.
(iii). Group portrait of the French chemists (from left to right) Marie-Anne Paulze Lavoisier,
Claudine Picardet, Claude Louis Berthollet, Antoine François Fourcroy, Antoine
Lavoisier and Louis-Bernard Guyton de Morveau by an unknown artist.
academic society devoted to mineralogical Struve appears to have based his work largely
studies. Its members included Goethe and on Widenmann and Lenz and also refers to
the great natural historian Alexander von Kirwan.17 He introduced a few highly specific
Humboldt (1769–1859). Goethe was also one of colour terms, such as Rouge de kinorodon,
the 26 subscribers to what is probably the rarest which he described as the red of the fruit of the
coloured mineralogy – Lenz’s Mustertafeln shrub (Rosa eglanteria) or sweet briar18 and
(‘Specimen Tables’) – of 1794 (see p. 82). This also Bleu d’évêque (bishop’s blue).
consisted of tables divided into columns, The mining inspector Ludwig August
which included a hand-coloured drawing of the Emmerling (1765–1841) had also studied with
minerals, their external form, break or fracture, Werner at Freiberg in 1786, and between 1793
transparency and lustre, hardness and name. and 1797 he published a three-volume textbook
While Lenz’s publications were highly of mineralogy, Lehrbuch der Mineralogie. He
significant and influenced others with their refers to Lenz, Estner and ‘Widemann’ [sic]
expanded range of colour terms, it was one of and employs at least 83 colour descriptions
Werner’s students at the Freiberg School of expanded from Werner. His work was perhaps
Mining, Johann Friedrich Wilhelm Widenmann most useful, however, in being one of the means
(1764–1798) who added what had been missing of passing on more of his teacher’s knowledge as
so far – a colour chart. In fact, his Handbuch des Werner published relatively little on his ideas.
oryktognostischen Theils der Mineralogie15 of In charting the influence of Werner on
1794, was based on the translated and expanded colour terminology in the natural sciences, it
version of Werner by Picardet. Widenmann might be expected that the French zoologist
2 3.
added a further three colours to Picardet’s Pierre André Latreille (1762–1833) would make
i. ii. expanded list, greyish white and two browns, an appearance. In volume I of his 14-volume
which appear to have been taken from Lenz, Histoire naturelle, générale et particulière
bringing the total to 74. The colours are des crustacés et des insectes he has a lengthy
illustrated in Table I at the end of the book, chapter on colour and examines several
although in surviving copies a number have systems. He mentions that of the Austrian Jesuit
22.
darkened or altered considerably with age. entomologist Nikolaus Poda von Neuhaus (1723–
It was also in 1794 that Franz Joseph Anton 1798), as outlined by the naturalist Giovanni
Estner (1730–1801), a German clergyman, Antonio Scopoli (1723–1788), but discounts it for
published another expansion of Werner’s book, its small range of colours. He also explains the
Versuch einer Mineralogie, this time with 79 colour wheel of the English entomologist Moses
colour terms and drawing heavily on both Harris (1730–c. 1788) and provides names for 72
Picardet and Lenz.16 Estner’s work is especially of the colours (see also pp. 138–39), almost none
useful as he produced colour samples in four of which are used by Werner and his followers.
separate tables and, for the first time, showed Although he does go on to mention Werner, he
some of the four variants that Werner said could is clearly working from Struve’s book, as he
be applied to the colours, so, for example, on the lists his extended range of 80 colours. Without
page of red samples there are four versions passing comment on Werner’s terms, Latreille
of Blutroth (blood red) from dark to pale. moves on to what he describes as ‘the most
Henri Struve (1751–1826) was a Swiss chemist rational system that has yet been published
who had turned to mineralogy from medicine, on colour nomenclature’ that of the French
and in 1797, while honorary professor at the naturalist Jean-Baptiste Lamarck (1744–1829).19
Lausanne academy, he had written Méthode Werner’s influence can be seen again in a
analytique des fossiles, fondée sur leurs work by Joseph Maria Redemtus Zappe (1751–
caractères extérieurs. This was available in 1826), an Austrian Carmelite monk. In his
iii. iv. two versions – one with two pages containing 80 Mineralogisches Handlexicon (1804) he lists
colour samples and a cheaper version without. Werner’s eight principal colours, but the total
(i). Colour chart, Johann Friedrich Wilhelm Widenmann, Handbuch

des oryktognostischen Theils der Mineralogie, 1794.
(ii). Colour chart, Franz Joseph Anton Estner, Versuch einer Mineralogie, 1794.
(iii). Colours 1–40, Henri Struve, Méthode analytique des fossiles, 1797.
(iv). Colours 41–80, Henri Struve, Méthode analytique des fossiles, 1797.
academic society devoted to mineralogical Struve appears to have based his work largely
studies. Its members included Goethe and on Widenmann and Lenz and also refers to
the great natural historian Alexander von Kirwan.17 He introduced a few highly specific
Humboldt (1769–1859). Goethe was also one of colour terms, such as Rouge de kinorodon,
the 26 subscribers to what is probably the rarest which he described as the red of the fruit of the
coloured mineralogy – Lenz’s Mustertafeln shrub (Rosa eglanteria) or sweet briar18 and
(‘Specimen Tables’) – of 1794 (see p. 82). This also Bleu d’évêque (bishop’s blue).
consisted of tables divided into columns, The mining inspector Ludwig August
which included a hand-coloured drawing of the Emmerling (1765–1841) had also studied with
minerals, their external form, break or fracture, Werner at Freiberg in 1786, and between 1793
transparency and lustre, hardness and name. and 1797 he published a three-volume textbook
While Lenz’s publications were highly of mineralogy, Lehrbuch der Mineralogie. He
significant and influenced others with their refers to Lenz, Estner and ‘Widemann’ [sic]
expanded range of colour terms, it was one of and employs at least 83 colour descriptions
Werner’s students at the Freiberg School of expanded from Werner. His work was perhaps
Mining, Johann Friedrich Wilhelm Widenmann most useful, however, in being one of the means
(1764–1798) who added what had been missing of passing on more of his teacher’s knowledge as
so far – a colour chart. In fact, his Handbuch des Werner published relatively little on his ideas.
oryktognostischen Theils der Mineralogie15 of In charting the influence of Werner on
1794, was based on the translated and expanded colour terminology in the natural sciences, it
version of Werner by Picardet. Widenmann might be expected that the French zoologist
2 3.
added a further three colours to Picardet’s Pierre André Latreille (1762–1833) would make
i. ii. expanded list, greyish white and two browns, an appearance. In volume I of his 14-volume
which appear to have been taken from Lenz, Histoire naturelle, générale et particulière
bringing the total to 74. The colours are des crustacés et des insectes he has a lengthy
illustrated in Table I at the end of the book, chapter on colour and examines several
although in surviving copies a number have systems. He mentions that of the Austrian Jesuit
22.
darkened or altered considerably with age. entomologist Nikolaus Poda von Neuhaus (1723–
It was also in 1794 that Franz Joseph Anton 1798), as outlined by the naturalist Giovanni
Estner (1730–1801), a German clergyman, Antonio Scopoli (1723–1788), but discounts it for
published another expansion of Werner’s book, its small range of colours. He also explains the
Versuch einer Mineralogie, this time with 79 colour wheel of the English entomologist Moses
colour terms and drawing heavily on both Harris (1730–c. 1788) and provides names for 72
Picardet and Lenz.16 Estner’s work is especially of the colours (see also pp. 138–39), almost none
useful as he produced colour samples in four of which are used by Werner and his followers.
separate tables and, for the first time, showed Although he does go on to mention Werner, he
some of the four variants that Werner said could is clearly working from Struve’s book, as he
be applied to the colours, so, for example, on the lists his extended range of 80 colours. Without
page of red samples there are four versions passing comment on Werner’s terms, Latreille
of Blutroth (blood red) from dark to pale. moves on to what he describes as ‘the most
Henri Struve (1751–1826) was a Swiss chemist rational system that has yet been published
who had turned to mineralogy from medicine, on colour nomenclature’ that of the French
and in 1797, while honorary professor at the naturalist Jean-Baptiste Lamarck (1744–1829).19
Lausanne academy, he had written Méthode Werner’s influence can be seen again in a
analytique des fossiles, fondée sur leurs work by Joseph Maria Redemtus Zappe (1751–
caractères extérieurs. This was available in 1826), an Austrian Carmelite monk. In his
iii. iv. two versions – one with two pages containing 80 Mineralogisches Handlexicon (1804) he lists
colour samples and a cheaper version without. Werner’s eight principal colours, but the total
(i). Colour chart, Johann Friedrich Wilhelm Widenmann, Handbuch

des oryktognostischen Theils der Mineralogie, 1794.
(ii). Colour chart, Franz Joseph Anton Estner, Versuch einer Mineralogie, 1794.
(iii). Colours 1–40, Henri Struve, Méthode analytique des fossiles, 1797.
(iv). Colours 41–80, Henri Struve, Méthode analytique des fossiles, 1797.
number of colour terms increased to 82. It is (1764–1829). While this is not obvious in
clear he was working largely from Picardet, Mawe’s earliest work of 1802, by 1813 there
Lenz and Emmerling. The same year, 1804, saw are recognizable terms dotted throughout
yet another work on mineralogy influenced his A Treatise on Diamonds and Precious
by Werner. This was the second volume of Stones. Numerous examples can be found,
Handbuch der Mineralogie nach A. G. Werner such as hyacinth red, yellowish- and reddish-
(‘Handbook of Mineralogy According to A. G. brown, crimson red, indigo blue, sky blue
Werner’) by the German naturalist Christian and violet under ‘Tourmaline’, and blood
Friedrich Ludwig (1757–1823). Throughout, red, cherry red, crimson red and fire red in
he employed Werner’s nomenclature as the ‘Garnet’ and ‘Opal’ sections.22
disseminated by Lenz and Emmerling. In the following year, the English chemist
The first English translation of Werner’s and mineralogist Arthur Aikin (1773–1854)
key text appeared in 1805. This was by another published his A Manual of Mineralogy. The
former student at Freiburg, the English first American edition came out soon after, in
geologist and mining consultant Thomas 1815, and again signs of Werner’s terminology
Weaver (1773–1855). On his return to England are evident, with examples such as wax- and
from Germany he was appointed by the honey yellow, blood red and smoke grey in
government to work at the gold mine at his description of flinty chert.23 Another early
Croghan Moira in County Wicklow, in Ireland. American work was published in 1816 by
He remained there until 1811, accounting for Parker Cleaveland (1780–1858), a geologist and
the fact that his translation was published in mineralogist, entitled An Elementary Treatise
2 5.
Dublin. In a letter to the Dublin Society, Sir on Mineralogy and Geology. He refers to
Humphry Davy (1778–1829), the chemist and Werner, Kirwan and Jameson, among others. i. ii.
inventor, described the translation as being His eight ‘fundamental colours’ and list of 80
‘accurate and profound’.20 colours is almost identical to that in Jameson’s
Entitled A Treatise on the External book of 1805, itself based on Werner’s work.
Characters of Fossils, the book was dedicated to
24.
Richard Kirwan. Weaver took the opportunity The dissemination of

of expanding and updating Werner’s original. Werner’s theory by Jameson
The 77 colour terms included suggests that it
was heavily based on the works of Widenmann Robert Jameson (1774–1854) had enrolled as
and Emmerling, as Weaver himself acknow- a student at the mining academy in Freiberg
ledges in the foreword, as well as that of Lenz. in 1800, where he studied for two years under
He explains that numerous other activities Werner. It was to prove a formative experience,
had prevented Werner from acceding to and he went on to become the prime British
the many requests for an updated edition of his exponent of the Wernerian geological system.
book, hence the need in the translation to refer In 1804, the same year he became Regius
to and include other sources of information: Professor of Natural History at the University
of Edinburgh, he published a Tabular View
These are principally copies of Mr. of the External Characters of Minerals for
Werner’s manuscript corrections and the Use of Students of Oryctognosy, which,
additions as circulated among his pupils, he tells us, he ‘received from WERNER’.
notes taken during his lectures in 1791–1792, This was a translation in English of a list of
and the Mineralogies of his disciples 80 colour names. Then in 1805 the same list,
Wiedenmann [sic] and Emmerling.21 albeit now extended by four names and with the
corresponding terms in German, French and
Werner’s influence can also be seen in Latin, appeared as part of Jameson’s A Treatise iii. iv.
the work of English mineralogist John Mawe on the External Characters of Minerals.24
(i). Colour wheel, Ignaz Schiffermüller, Versuch eines Farbensystems, 1772.

(ii). Chart of blues, Ignaz Schiffermüller, Versuch eines Farbensystems, 1772.
(iii). Coloured stones, John Mawe, A Treatise on Diamonds, 1823.
(iv). Peculiar diamonds, John Mawe, A Treatise on Diamonds, 1823.
number of colour terms increased to 82. It is (1764–1829). While this is not obvious in
clear he was working largely from Picardet, Mawe’s earliest work of 1802, by 1813 there
Lenz and Emmerling. The same year, 1804, saw are recognizable terms dotted throughout
yet another work on mineralogy influenced his A Treatise on Diamonds and Precious
by Werner. This was the second volume of Stones. Numerous examples can be found,
Handbuch der Mineralogie nach A. G. Werner such as hyacinth red, yellowish- and reddish-
(‘Handbook of Mineralogy According to A. G. brown, crimson red, indigo blue, sky blue
Werner’) by the German naturalist Christian and violet under ‘Tourmaline’, and blood
Friedrich Ludwig (1757–1823). Throughout, red, cherry red, crimson red and fire red in
he employed Werner’s nomenclature as the ‘Garnet’ and ‘Opal’ sections.22
disseminated by Lenz and Emmerling. In the following year, the English chemist
The first English translation of Werner’s and mineralogist Arthur Aikin (1773–1854)
key text appeared in 1805. This was by another published his A Manual of Mineralogy. The
former student at Freiburg, the English first American edition came out soon after, in
geologist and mining consultant Thomas 1815, and again signs of Werner’s terminology
Weaver (1773–1855). On his return to England are evident, with examples such as wax- and
from Germany he was appointed by the honey yellow, blood red and smoke grey in
government to work at the gold mine at his description of flinty chert.23 Another early
Croghan Moira in County Wicklow, in Ireland. American work was published in 1816 by
He remained there until 1811, accounting for Parker Cleaveland (1780–1858), a geologist and
the fact that his translation was published in mineralogist, entitled An Elementary Treatise
2 5.
Dublin. In a letter to the Dublin Society, Sir on Mineralogy and Geology. He refers to
Humphry Davy (1778–1829), the chemist and Werner, Kirwan and Jameson, among others. i. ii.
inventor, described the translation as being His eight ‘fundamental colours’ and list of 80
‘accurate and profound’.20 colours is almost identical to that in Jameson’s
Entitled A Treatise on the External book of 1805, itself based on Werner’s work.
Characters of Fossils, the book was dedicated to
24.
Richard Kirwan. Weaver took the opportunity The dissemination of

of expanding and updating Werner’s original. Werner’s theory by Jameson
The 77 colour terms included suggests that it
was heavily based on the works of Widenmann Robert Jameson (1774–1854) had enrolled as
and Emmerling, as Weaver himself acknow- a student at the mining academy in Freiberg
ledges in the foreword, as well as that of Lenz. in 1800, where he studied for two years under
He explains that numerous other activities Werner. It was to prove a formative experience,
had prevented Werner from acceding to and he went on to become the prime British
the many requests for an updated edition of his exponent of the Wernerian geological system.
book, hence the need in the translation to refer In 1804, the same year he became Regius
to and include other sources of information: Professor of Natural History at the University
of Edinburgh, he published a Tabular View
These are principally copies of Mr. of the External Characters of Minerals for
Werner’s manuscript corrections and the Use of Students of Oryctognosy, which,
additions as circulated among his pupils, he tells us, he ‘received from WERNER’.
notes taken during his lectures in 1791–1792, This was a translation in English of a list of
and the Mineralogies of his disciples 80 colour names. Then in 1805 the same list,
Wiedenmann [sic] and Emmerling.21 albeit now extended by four names and with the
corresponding terms in German, French and
Werner’s influence can also be seen in Latin, appeared as part of Jameson’s A Treatise iii. iv.
the work of English mineralogist John Mawe on the External Characters of Minerals.24
(i). Colour wheel, Ignaz Schiffermüller, Versuch eines Farbensystems, 1772.

(ii). Chart of blues, Ignaz Schiffermüller, Versuch eines Farbensystems, 1772.
(iii). Coloured stones, John Mawe, A Treatise on Diamonds, 1823.
(iv). Peculiar diamonds, John Mawe, A Treatise on Diamonds, 1823.
Rather than offering just one lead grey, which was heavily annotated.29 It is also highly
Jameson introduced four variants – common likely Charles Darwin encountered Werner’s
lead grey, fresh lead grey, blackish lead grey and Nomenclature of Colours while studying in
whitish lead grey. He also modified a few of the Edinburgh, which he would use when on his
colours that had been in use for 30 years – in the famous voyage on HMS Beagle (see p. 131).
green section he changed canary green to siskin During his 50 years at Edinburgh University,
green, in the red section brick red became Jameson increased the museum’s collection
tile red and in the brown section coal brown of mineralogical and geological specimens, so
became broccoli brown. Jameson’s list included that in 1852 it contained over 74,000 specimens,
84 colour terms; by the time of the third edition making it the second largest collection in the
of his book, in 1817,25 he had added three more country. Access was limited, but he met his
colours first introduced by Lenz: two blues – students there three times a week for exercises
blackish-blue and duck-blue – and pea-yellow. in the accurate description of the objects that it
In 1808 Jameson founded the Wernerian contained using the Wernerian system.30
Natural History Society, which he was to preside
over until the early 1850s. At one of the first Syme takes up the mantle
meetings of the Society, he read a paper on the
colouring of ‘geognostical’ maps.26 Geognosy or Jameson, it seems, also played a role in the
‘earth knowledge’ was a term that Werner had small volume published in Edinburgh in 1814
used to describe the study of rocks and minerals entitled Werner’s Nomenclature of Colours,
and the formation of the Earth. In his paper, with Additions, Arranged so as to Render
2 7.
Jameson stated that in colouring maps: ‘The it Highly Useful to the Arts and Sciences,
i. ii. colours must agree as nearly as possible with Particularly Zoology, Botany, Chemistry,
nature, that is, they must correspond with the Mineralogy, and Morbid Anatomy. Annexed
most common colour of the rock.’ to which are Examples Selected from Well-
He listed some 30 colours to distinguish Known Objects in the Animal, Vegetable, and
different rocks, which he states ‘have been Mineral Kingdoms. Its author was Patrick
2 6.
recommended by Werner’, the majority being Syme (1774–1845), ‘flower-painter’, of Edinburgh.

those that he had included in his Treatise of Syme was a student of botany and entom‑
1805. Charles Darwin (1809–1882) probably ology, as well as an artist, who painted for both
read Jameson’s paper, since the Memoirs the Caledonian Horticultural and Wernerian
of the Wernerian Natural History Society Natural History societies. As a member of the
was among the list of books marked as ‘read’ former and founder and President of the latter,
in his reading notebook, which he began in Jameson would have known Syme. Syme in
1839.27 As a student in Edinburgh Darwin had fact acknowledges ‘Professor Jamieson’ for his
attended Jameson’s lectures on natural history, help both in laying out specimens of the minerals
but found them ‘incredibly dull’, saying that mentioned by Werner to work from, and also
the ‘sole effect they produced on me was the for the accuracy of Werner’s terminology
determination never as long as I lived to read in describing the colours. The work contained
a book on Geology or in any way study the 108 examples grouped in Werner’s eight
science’.28 One lecture, however, was entitled principal colours – white, grey, black, blue,
On the Origins of the Animal Species, and it green, yellow, red and brown. To these Syme
is interesting to speculate what impact that added purple and orange, saying that they were
might have had on Darwin. He may not have equally entitled to be included.
agreed with all that Jameson was teaching, Despite crediting Werner with establishing
but he came away with much that was to prove such a nomenclature, and explaining his system
iii. useful to him. Not the least was Jameson’s at some length, Syme draws attention to the
Manual of Mineralogy (1821), Darwin’s copy of limitations of his colour range. It was adequate
(i). Plate 1, Robert Jameson, A Treatise on the External Characters of Minerals, 1805.
(ii). George Watson’s portrait of mineralogist Robert Jameson, c. 1800.
(iii). Georges Cuvier and Alexandre Brongniart, Carte géognostique des environs de Paris, 1810.
Rather than offering just one lead grey, which was heavily annotated.29 It is also highly
Jameson introduced four variants – common likely Charles Darwin encountered Werner’s
lead grey, fresh lead grey, blackish lead grey and Nomenclature of Colours while studying in
whitish lead grey. He also modified a few of the Edinburgh, which he would use when on his
colours that had been in use for 30 years – in the famous voyage on HMS Beagle (see p. 131).
green section he changed canary green to siskin During his 50 years at Edinburgh University,
green, in the red section brick red became Jameson increased the museum’s collection
tile red and in the brown section coal brown of mineralogical and geological specimens, so
became broccoli brown. Jameson’s list included that in 1852 it contained over 74,000 specimens,
84 colour terms; by the time of the third edition making it the second largest collection in the
of his book, in 1817,25 he had added three more country. Access was limited, but he met his
colours first introduced by Lenz: two blues – students there three times a week for exercises
blackish-blue and duck-blue – and pea-yellow. in the accurate description of the objects that it
In 1808 Jameson founded the Wernerian contained using the Wernerian system.30
Natural History Society, which he was to preside
over until the early 1850s. At one of the first Syme takes up the mantle
meetings of the Society, he read a paper on the
colouring of ‘geognostical’ maps.26 Geognosy or Jameson, it seems, also played a role in the
‘earth knowledge’ was a term that Werner had small volume published in Edinburgh in 1814
used to describe the study of rocks and minerals entitled Werner’s Nomenclature of Colours,
and the formation of the Earth. In his paper, with Additions, Arranged so as to Render
2 7.
Jameson stated that in colouring maps: ‘The it Highly Useful to the Arts and Sciences,
i. ii. colours must agree as nearly as possible with Particularly Zoology, Botany, Chemistry,
nature, that is, they must correspond with the Mineralogy, and Morbid Anatomy. Annexed
most common colour of the rock.’ to which are Examples Selected from Well-
He listed some 30 colours to distinguish Known Objects in the Animal, Vegetable, and
different rocks, which he states ‘have been Mineral Kingdoms. Its author was Patrick
2 6.
recommended by Werner’, the majority being Syme (1774–1845), ‘flower-painter’, of Edinburgh.

those that he had included in his Treatise of Syme was a student of botany and entom‑
1805. Charles Darwin (1809–1882) probably ology, as well as an artist, who painted for both
read Jameson’s paper, since the Memoirs the Caledonian Horticultural and Wernerian
of the Wernerian Natural History Society Natural History societies. As a member of the
was among the list of books marked as ‘read’ former and founder and President of the latter,
in his reading notebook, which he began in Jameson would have known Syme. Syme in
1839.27 As a student in Edinburgh Darwin had fact acknowledges ‘Professor Jamieson’ for his
attended Jameson’s lectures on natural history, help both in laying out specimens of the minerals
but found them ‘incredibly dull’, saying that mentioned by Werner to work from, and also
the ‘sole effect they produced on me was the for the accuracy of Werner’s terminology
determination never as long as I lived to read in describing the colours. The work contained
a book on Geology or in any way study the 108 examples grouped in Werner’s eight
science’.28 One lecture, however, was entitled principal colours – white, grey, black, blue,
On the Origins of the Animal Species, and it green, yellow, red and brown. To these Syme
is interesting to speculate what impact that added purple and orange, saying that they were
might have had on Darwin. He may not have equally entitled to be included.
agreed with all that Jameson was teaching, Despite crediting Werner with establishing
but he came away with much that was to prove such a nomenclature, and explaining his system
iii. useful to him. Not the least was Jameson’s at some length, Syme draws attention to the
Manual of Mineralogy (1821), Darwin’s copy of limitations of his colour range. It was adequate
(i). Plate 1, Robert Jameson, A Treatise on the External Characters of Minerals, 1805.
(ii). George Watson’s portrait of mineralogist Robert Jameson, c. 1800.
(iii). Georges Cuvier and Alexandre Brongniart, Carte géognostique des environs de Paris, 1810.
for the description of most minerals but lacking largely unchanged. This might suggest that
when applied to general science. Syme intended he was not sufficiently convinced by some of
his book to be a practical reference for a wider Syme’s new names to include them. Conversely,
audience, as set out in his subtitle and the book’s when Syme’s second edition appeared in 1821, it
introduction. In order to help the user he did not include Jameson’s additions. Syme did
provided examples, as far as he was able, from add one blue (Scotch blue) and one red (purplish
the animal, vegetable and mineral kingdoms red) to his second edition of 1821. Rather
of where the exact colour could be found in confusingly, the 1821 recipe for Scotch blue
nature, arranged in columns after the colour was the same as that for indigo blue in the earlier
swatches painted on strips of paper. Separate edition; he also retained the name indigo blue,
text provided the ‘recipe’ for each colour. but with an amended recipe; purplish red was a
To expand its usefulness, Syme added a name that had already been used by Kirwan in
number of new colours, and to avoid confusion his book of 1794; and raven black seems to have
he tells his readers that Werner’s original colours been renamed ink black in the second edition.
are indicated with the letter W. However, there Although there were many different ante‑
are a few inconsistencies. For instance, scarlet cedents, Syme’s book was quite different from
red and liver brown were original Werner anything of its type that had been published
colours, but are not marked as such by Syme. On before. It was compact, almost pocket-sized,
the other hand, cochineal red was a colour intro‑ and laid out in a logical and practical fashion – i. ii.
duced by Claudine Picardet in 1790, and hair ideal for field work. The colours were arranged
brown first appears in the writings of Lenz, yet by family groups and all the key information
2 9.
both were marked as being Werner’s colours. was placed beside the colour samples, they were
A clue as to which source Syme may have also generally brighter than the ones published
been working from is given by the number in those few earlier mineralogical works that
of ‘original’ colours – 79. A close examination included colour samples.
of the many works in various languages that
appeared between 1790 and 1805 reveals only Continuing influence
2 8.
one that lists 79 colours – Estner’s Versuch einer

Mineralogie. However, Estner listed seven In 1858 the Egyptologist Sir John Gardner
whites not eight, and the greyish white that Wilkinson (1797–1875) published a curious
Syme adds first appeared in Lenz’s book of 1791. work entitled On Colour and on the Necessity
In the grey section Estner listed ten colours, for a General Diffusion of Taste Among All
but Syme only eight. The same is found in all Classes. He begins by saying how the English
the other colour groups – each one is different. usually prefer ‘quiet colours’, but for those who
The lists produced by Struve and Latreille are capable of understanding, it only requires
both contain 80 colours, but neither is identical proper instruction to develop an appreciation
to Syme in terms of colour groups or colour of the harmonious use of bright colours. He
names. Closest in terms of colour names is refers to Werner’s Nomenclature of Colours
Jameson’s Tabular View of the External and includes a table of the ‘principal colours’ in
Characters of Minerals (1804), which also English, Arabic, French, German, Greek, Latin
contained 80 colours, and which Jameson and Italian. Among these are 37 colour terms
claimed to have received from Werner. that have been taken from Werner.31
However, there is no simple correlation. The Towards the end of the century, in 1894,
influence of several authors can be detected – a most unusual nomenclature of colours was
Lenz, Zappe, Picardet and Jameson . published, ostensibly for botanists and
It is interesting that when the third edition of zoologists, but primarily for mycologists,
Jameson’s Treatise was published in 1817 (three by Pier Andrea Saccardo (1845–1920), called iii. iv.
years after Syme) his list of colour names was Chromotaxia.32 A small book, printed in Latin,
(i). The rose of temperaments, Johann Wolfgang von Goethe and

Friedrich Schiller, 1798/99. It matches twelve colours to character traits.
(ii). Colour wheel, Johann Wolfgang von Goethe, Zur Farbenlehre, 1810.
(iii). Cover, Patrick Syme, Werner’s Nomenclature of Colours, 1821.
(iv). Chart of purples, Patrick Syme, Werner’s Nomenclature of Colours, 1821.
for the description of most minerals but lacking largely unchanged. This might suggest that
when applied to general science. Syme intended he was not sufficiently convinced by some of
his book to be a practical reference for a wider Syme’s new names to include them. Conversely,
audience, as set out in his subtitle and the book’s when Syme’s second edition appeared in 1821, it
introduction. In order to help the user he did not include Jameson’s additions. Syme did
provided examples, as far as he was able, from add one blue (Scotch blue) and one red (purplish
the animal, vegetable and mineral kingdoms red) to his second edition of 1821. Rather
of where the exact colour could be found in confusingly, the 1821 recipe for Scotch blue
nature, arranged in columns after the colour was the same as that for indigo blue in the earlier
swatches painted on strips of paper. Separate edition; he also retained the name indigo blue,
text provided the ‘recipe’ for each colour. but with an amended recipe; purplish red was a
To expand its usefulness, Syme added a name that had already been used by Kirwan in
number of new colours, and to avoid confusion his book of 1794; and raven black seems to have
he tells his readers that Werner’s original colours been renamed ink black in the second edition.
are indicated with the letter W. However, there Although there were many different ante‑
are a few inconsistencies. For instance, scarlet cedents, Syme’s book was quite different from
red and liver brown were original Werner anything of its type that had been published
colours, but are not marked as such by Syme. On before. It was compact, almost pocket-sized,
the other hand, cochineal red was a colour intro‑ and laid out in a logical and practical fashion – i. ii.
duced by Claudine Picardet in 1790, and hair ideal for field work. The colours were arranged
brown first appears in the writings of Lenz, yet by family groups and all the key information
2 9.
both were marked as being Werner’s colours. was placed beside the colour samples, they were
A clue as to which source Syme may have also generally brighter than the ones published
been working from is given by the number in those few earlier mineralogical works that
of ‘original’ colours – 79. A close examination included colour samples.
of the many works in various languages that
appeared between 1790 and 1805 reveals only Continuing influence
2 8.
one that lists 79 colours – Estner’s Versuch einer

Mineralogie. However, Estner listed seven In 1858 the Egyptologist Sir John Gardner
whites not eight, and the greyish white that Wilkinson (1797–1875) published a curious
Syme adds first appeared in Lenz’s book of 1791. work entitled On Colour and on the Necessity
In the grey section Estner listed ten colours, for a General Diffusion of Taste Among All
but Syme only eight. The same is found in all Classes. He begins by saying how the English
the other colour groups – each one is different. usually prefer ‘quiet colours’, but for those who
The lists produced by Struve and Latreille are capable of understanding, it only requires
both contain 80 colours, but neither is identical proper instruction to develop an appreciation
to Syme in terms of colour groups or colour of the harmonious use of bright colours. He
names. Closest in terms of colour names is refers to Werner’s Nomenclature of Colours
Jameson’s Tabular View of the External and includes a table of the ‘principal colours’ in
Characters of Minerals (1804), which also English, Arabic, French, German, Greek, Latin
contained 80 colours, and which Jameson and Italian. Among these are 37 colour terms
claimed to have received from Werner. that have been taken from Werner.31
However, there is no simple correlation. The Towards the end of the century, in 1894,
influence of several authors can be detected – a most unusual nomenclature of colours was
Lenz, Zappe, Picardet and Jameson . published, ostensibly for botanists and
It is interesting that when the third edition of zoologists, but primarily for mycologists,
Jameson’s Treatise was published in 1817 (three by Pier Andrea Saccardo (1845–1920), called iii. iv.
years after Syme) his list of colour names was Chromotaxia.32 A small book, printed in Latin,
(i). The rose of temperaments, Johann Wolfgang von Goethe and

Friedrich Schiller, 1798/99. It matches twelve colours to character traits.
(ii). Colour wheel, Johann Wolfgang von Goethe, Zur Farbenlehre, 1810.
(iii). Cover, Patrick Syme, Werner’s Nomenclature of Colours, 1821.
(iv). Chart of purples, Patrick Syme, Werner’s Nomenclature of Colours, 1821.
it contains a chart of colour names (Tabella mentions Werner’s Nomenclature of Colours
colori) with translations in Italian, French, (second edition, 1821) among the works that he
English and German. Although Werner received drew names from.34 On this occasion at least 25
no credit, some very familiar terms can be found colour names are recognizable from Syme’s
in various languages, for example flesh-coloured, book, though it could be argued that many
peach-blossom colour, brick-coloured, Berlin were not exclusive to Syme or Werner. The
blue.33 The author also helpfully included 50 work became a standard reference used by
colour samples at the end (see also pp. 188–89). ornithologists for decades after Ridgway’s
The next significant influence is found in death in 1929, as well as by specialists in fields
the work of an American ornithologist, Robert as wide-ranging as mycology, philately and
Ridgway (1850–1929). In addition to being the food colouring.35
first full-time curator of birds at the United Whatever sources Syme borrowed and built
States National Museum (now the Smithsonian) on, his great achievement was to develop and
and author of the eight volumes of The Birds broaden the basic, and very limited, colour range
of North and Middle America (1901–19), he also that had been first published by Werner and
wrote two books in which he set out to stand‑ refined by successive mineralogists to produce
ardize the colour names that ornithologists used a set of standardized colour terms for scientific
to describe birds (see also p. 138 and pp. 142–43). descriptions. In spite of its small size and scope,
The first appeared in 1886 entitled Werner’s Nomenclature of Colours is important
A Nomenclature of Colors for Naturalists. for being the first of a series of colour reference
It was a relatively modest work and included systems that led to much greater things in the
31.
186 colour samples. At least 19 of Syme’s colour two centuries after its first publication. It
i. ii. terms were included in Ridgway’s book, progressed via a convoluted route that included
including primrose yellow, wax yellow, saffron sets of colours designed for French carnation
yellow, auricula purple and wood brown. and chrysanthemum growers (see p. 189) and
In 1912 Ridgway self-published Color British horticulturalists, and that included
Standards and Color Nomenclature, which three British Standard colour ranges, while
3 0.
included 1,115 colours illustrated with painted also taking in more specialized collections for
samples reproduced on 53 plates. Once again, he camouflage purposes and children’s education.
n ot e s — (1). Johann Thaddäus Anton Peithner (1727–1792) Czech mining expert. (2). Kirwan 1794, p. xii, referring to the
publication of Werner’s Von den äusserlichen Kennzeichen der Fossilien. (3). There is a distinction, while all rocks are
made up of minerals, not all minerals are rocks. There were two English translations of Werner’s book, Thomas Weaver’s
A Treatise on the External Characters of Fossils in 1805, and Charles Moxon’s A Treatise on the External Characters
of Minerals in 1849. (4). Jameson quoted in Rees 1819 Vol. 38, s.v. Werner. (5). Hamm 2001, passim. (6). Jameson 1816, pp. 85–6.
(7). By Professor Kärin Nickelsen: Simonini 2018, n.17; its original title in German is Entwurf einer allgemeinen
Farbenverein, oder Versuch und Muster einer gemeinnützlichen Bestimmung und Benennung der Farben. (8). A red lake
pigment also called columbinroth or kolombinroth; Eyssvogel 1756, p. 166. The latter name was introduced as a colour term
by Lenz. (9). A köveknek és értzeknek külsömegesmértetöjegyeikröl. (10). Kirwan 1784, p. viii. (11). Kirwan 1794, pp. 27–30.
(12). There are several other examples of possible confusion with the naming of terms. In theory, Prussian blue and Berlin
blue are interchangeable, yet Patrick Syme uses both. (13). Kirwan 1794, pp. 330–1. (14). In the original: ‘…bald kommt er
rauch – gelblich – dunkelgrau und gräulichschwarz, bald bräunlichroth, ocher-gelb, röthlich – und gelblichbraun vor’, 1796,
p. 14. (15). ‘Handbook of the oryctognostic part of mineralogy’. (16). Versuch einer Mineralogie für Anfänger und Liebhaber
nach des Herrn Bergcommissionsraths Werners Methode: An attempt at mineralogy for beginners and enthusiasts
according to Berg Commissioner Werner’s method. 3 volumes. Vienna 1794–1804. (17). Indeed, Henri Struve indicated that
the new (second) edition of Kirwan’s book was very different to the first and that he had now adopted Werner’s
methods. (18). Struve 1797, p. 8. Although it is worth pointing out that most would regard the red of the fruit of the dog
rose (Rosa canina) as resembling Rouge de kinorodon more closely than the fruit of the sweet briar. Perhaps there was
iii. iv.
confusion with Cynorhodon (rose hip), Dictionnaire languedocien-françois by Pierre Augustin Boissier de Sauvages
de la Croix, 2nd ed., 1821, p. 22. (19). Latreille 1803–4, p. 331. (20). Curry 1834, p. 167. (21). Weaver 1805, pp. viii–ix. (22). Mawe
1813, pp. 116, 137 and 141. From the dates, it seems that the influence came via either Jameson or Weaver’s books of 1805.
(i). Effects of colours, John Gardner Wilkinson, On Colour, 1858. (23). Aikin 1815, p. 198. (24). Jameson 1805 pp. 5–15 (25). Now called A Treatise on the External, Chemical, and Physical
(ii). Plate 1, Pier Andrea Saccardo, Chromotaxia seu Nomenclator colorum, 1894. Characters of Minerals. (26). Jameson 1811, pp. 149–61. (27). https://www.darwinproject.ac.uk/people/about-darwin/
(iii). Primary and secondary combinations, Robert Ridgway, A Nomenclature what-darwin-read/darwin-s-reading-notebooks (28). Hartley 2001, p. 61. (29). Secord 1991(b), p. 135. (30). Morrell 1972, p. 49.
of Colors for Naturalists, 1886. (31). Wilkinson 1858, pp. 81–90. (32). Full title Chromotaxia seu Nomenclator colorum polyglottus additis speciminibus
(iv). Chart of blues, Robert Ridgway, A Nomenclature of Colors for Naturalists, 1886. coloratis ad usum botanicorum et zoologorum (33). Saccardo passim. (34). Ridgway 1912, p. 11. (35). Lewis 2012, p. 235.
it contains a chart of colour names (Tabella mentions Werner’s Nomenclature of Colours
colori) with translations in Italian, French, (second edition, 1821) among the works that he
English and German. Although Werner received drew names from.34 On this occasion at least 25
no credit, some very familiar terms can be found colour names are recognizable from Syme’s
in various languages, for example flesh-coloured, book, though it could be argued that many
peach-blossom colour, brick-coloured, Berlin were not exclusive to Syme or Werner. The
blue.33 The author also helpfully included 50 work became a standard reference used by
colour samples at the end (see also pp. 188–89). ornithologists for decades after Ridgway’s
The next significant influence is found in death in 1929, as well as by specialists in fields
the work of an American ornithologist, Robert as wide-ranging as mycology, philately and
Ridgway (1850–1929). In addition to being the food colouring.35
first full-time curator of birds at the United Whatever sources Syme borrowed and built
States National Museum (now the Smithsonian) on, his great achievement was to develop and
and author of the eight volumes of The Birds broaden the basic, and very limited, colour range
of North and Middle America (1901–19), he also that had been first published by Werner and
wrote two books in which he set out to stand‑ refined by successive mineralogists to produce
ardize the colour names that ornithologists used a set of standardized colour terms for scientific
to describe birds (see also p. 138 and pp. 142–43). descriptions. In spite of its small size and scope,
The first appeared in 1886 entitled Werner’s Nomenclature of Colours is important
A Nomenclature of Colors for Naturalists. for being the first of a series of colour reference
It was a relatively modest work and included systems that led to much greater things in the
31.
186 colour samples. At least 19 of Syme’s colour two centuries after its first publication. It
i. ii. terms were included in Ridgway’s book, progressed via a convoluted route that included
including primrose yellow, wax yellow, saffron sets of colours designed for French carnation
yellow, auricula purple and wood brown. and chrysanthemum growers (see p. 189) and
In 1912 Ridgway self-published Color British horticulturalists, and that included
Standards and Color Nomenclature, which three British Standard colour ranges, while
3 0.
included 1,115 colours illustrated with painted also taking in more specialized collections for
samples reproduced on 53 plates. Once again, he camouflage purposes and children’s education.
n ot e s — (1). Johann Thaddäus Anton Peithner (1727–1792) Czech mining expert. (2). Kirwan 1794, p. xii, referring to the
publication of Werner’s Von den äusserlichen Kennzeichen der Fossilien. (3). There is a distinction, while all rocks are
made up of minerals, not all minerals are rocks. There were two English translations of Werner’s book, Thomas Weaver’s
A Treatise on the External Characters of Fossils in 1805, and Charles Moxon’s A Treatise on the External Characters
of Minerals in 1849. (4). Jameson quoted in Rees 1819 Vol. 38, s.v. Werner. (5). Hamm 2001, passim. (6). Jameson 1816, pp. 85–6.
(7). By Professor Kärin Nickelsen: Simonini 2018, n.17; its original title in German is Entwurf einer allgemeinen
Farbenverein, oder Versuch und Muster einer gemeinnützlichen Bestimmung und Benennung der Farben. (8). A red lake
pigment also called columbinroth or kolombinroth; Eyssvogel 1756, p. 166. The latter name was introduced as a colour term
by Lenz. (9). A köveknek és értzeknek külsömegesmértetöjegyeikröl. (10). Kirwan 1784, p. viii. (11). Kirwan 1794, pp. 27–30.
(12). There are several other examples of possible confusion with the naming of terms. In theory, Prussian blue and Berlin
blue are interchangeable, yet Patrick Syme uses both. (13). Kirwan 1794, pp. 330–1. (14). In the original: ‘…bald kommt er
rauch – gelblich – dunkelgrau und gräulichschwarz, bald bräunlichroth, ocher-gelb, röthlich – und gelblichbraun vor’, 1796,
p. 14. (15). ‘Handbook of the oryctognostic part of mineralogy’. (16). Versuch einer Mineralogie für Anfänger und Liebhaber
nach des Herrn Bergcommissionsraths Werners Methode: An attempt at mineralogy for beginners and enthusiasts
according to Berg Commissioner Werner’s method. 3 volumes. Vienna 1794–1804. (17). Indeed, Henri Struve indicated that
the new (second) edition of Kirwan’s book was very different to the first and that he had now adopted Werner’s
methods. (18). Struve 1797, p. 8. Although it is worth pointing out that most would regard the red of the fruit of the dog
rose (Rosa canina) as resembling Rouge de kinorodon more closely than the fruit of the sweet briar. Perhaps there was
iii. iv.
confusion with Cynorhodon (rose hip), Dictionnaire languedocien-françois by Pierre Augustin Boissier de Sauvages
de la Croix, 2nd ed., 1821, p. 22. (19). Latreille 1803–4, p. 331. (20). Curry 1834, p. 167. (21). Weaver 1805, pp. viii–ix. (22). Mawe
1813, pp. 116, 137 and 141. From the dates, it seems that the influence came via either Jameson or Weaver’s books of 1805.
(i). Effects of colours, John Gardner Wilkinson, On Colour, 1858. (23). Aikin 1815, p. 198. (24). Jameson 1805 pp. 5–15 (25). Now called A Treatise on the External, Chemical, and Physical
(ii). Plate 1, Pier Andrea Saccardo, Chromotaxia seu Nomenclator colorum, 1894. Characters of Minerals. (26). Jameson 1811, pp. 149–61. (27). https://www.darwinproject.ac.uk/people/about-darwin/
(iii). Primary and secondary combinations, Robert Ridgway, A Nomenclature what-darwin-read/darwin-s-reading-notebooks (28). Hartley 2001, p. 61. (29). Secord 1991(b), p. 135. (30). Morrell 1972, p. 49.
of Colors for Naturalists, 1886. (31). Wilkinson 1858, pp. 81–90. (32). Full title Chromotaxia seu Nomenclator colorum polyglottus additis speciminibus
(iv). Chart of blues, Robert Ridgway, A Nomenclature of Colors for Naturalists, 1886. coloratis ad usum botanicorum et zoologorum (33). Saccardo passim. (34). Ridgway 1912, p. 11. (35). Lewis 2012, p. 235.
t h e evo lut i o n o f key The need for the establishment of a universal standard
colour system became important to natural scientists in
and naturalists followed in Werner’s wake, creating their
own lists of colour standards, each drawing to varying
colou r sta n da rd no m e ncl at u re s the late 18th and early 19th centuries for the identification
of species in the field and for taxonomic purposes. In
extents upon previous nomenclatures, including Werner’s
unpublished lists, at different stages, and adding new hues
f rom W er n e r to Sy m e , 17 74– 182 1. addition, artists needed recourse to a standard set

of colours in order to depict animals, vegetables and
of their own. On these pages we show the development of
published colour standard nomenclatures of particular
minerals accurately. Werner’s original colour standard relevance to Werner and Syme; we have necessarily had
nomenclature, published in his mineralogy textbook Of to be selective. Lenz wrote many works that included
the External Characteristics of Fossils (1774), featured colour nomenclatures and we have chosen only those
54 colour standards and was designed to be used in that pertain to the Werner–Syme development of lists of
conjunction with his colour suite of minerals. Over the colour standards. The shape used to denote each colour
next 40 years or so he compiled revised and expanded lists name indicates the name of the scientist who introduced it
and sent some to his students, including Widenmann and in a published work within this context. Where the colour
Jameson, and one to Picardet, who, in 1790, was the first to name was altered slightly but the hue remained the same,
translate Werner’s textbook into French. Mineralogists we have indicated the original name in square brackets.
� Werner, 1774. � Picardet, 1790. � Lenz, Various works. � Widenmann, 1794. � Kirwan, 1794.
54 colours. 71 colours. 94+ colours. 74 colours. 83 colours.
� Bright-white � Brownish-red � Bright-white � Wine-yellow � Bright-white � Bluish-green � Snow-white [Bright] � Straw-yellow � Dead-white � Copper-yellow
� Reddish-white � Reddish-brown � Reddish-white � Ochre-yellow � Reddish-white � Sea-green � Reddish-white � Wine-yellow � Reddish-white � Wax-yellow
� Yellowish-white � Clove-brown � Yellowish-white � Isabella-yellow � Yellowish-white � Oil-green � Yellowish-white � Ochre-yellow � Yellowish-white � Honey-yellow
� Silver-white � Yellowish-brown � Silver-white � Orange-yellow � Silver-white � Sulphur-yellow � Silver-white � Isabella-yellow � Silvery-white � Straw-yellow
� Greenish-white � Tombac-brown � Greenish-white � Morning- / Aurora-red � Greenish-white � Lemon-yellow � Greyish-white � Orange-yellow � Greenish-white � Ochre-yellow
� Milk-white � Liver-brown � Milk-white � Hyacinth-red � Milk-white � Gold-yellow � Greenish-white � Morning- / Aurora-red � Milk-white � Wine-yellow
� Tin-white � Blackish-brown � Tin-white � Brick-red � Tin-white � Bell-metal-yellow � Milk-white � Hyacinth-red � Greyish-white � Isabella-yellow
� Lead-grey � Lead-grey � Scarlet-red � Greyish-white � Straw-yellow � Tin-white � Brick-red � Lead-grey � Orange-yellow
3 3.
� Bluish-grey � Bluish-grey � Copper-red � Bluish-white � Wine-yellow � Lead-grey � Scarlet-red � Bluish-grey � Reddish-yellow
� Smoke-grey � Pearl-grey � Blood-red � Blackish-grey � Isabella-yellow � Bluish-grey � Copper-red � Pearl-grey � Greenish-yellow
� Yellowish-grey � Smoke-grey � Carmine-red � Steel-grey � Ochre-yellow � Pearl-grey � Blood-red � Smoke-grey � Whitish-yellow
� Blackish-grey � Greenish-grey � Cochineal-red � Yellowish-grey � Orange-yellow � Smoke-grey � Carmine-red � Greenish-grey � Aurora-red
� Iron-grey � Yellowish-grey � Crimson-red � Smoke-grey � Honey-yellow � Greenish-grey � Cochineal-red � Yellowish-grey � Hyacinth-red
� Greyish-black � Steel-grey � Flesh-red � Bluish-grey � Wax-yellow � Yellowish-grey � Crimson-red � Steel-grey � Brick-red
� Brownish-black � Blackish-grey � Rose-red � Lead-grey � Reddish-yellow � Steel-grey � Flesh-red � Blackish-grey � Scarlet-red
� Dark-black � Greyish-black � Peach-blossom-red � Pearl-grey � Brass-yellow � Blackish-grey � Rose-red � Ash-grey � Blood-red
32 .
� Bluish-black � Brownish-black � Golden-red � Reddish-grey � Pea-yellow � Greyish-black � Peach-blossom-red � Reddish-grey � Flesh-red

� Indigo-blue � Pitch-black � Brownish-red � Ash-grey � Morning- / Aurora-red � Brownish-black � Golden-red � Brownish-grey � Copper-red
� Berlin-blue � Iron-black � Reddish-brown � Greenish-grey � Scarlet-red � Dark-black � Brownish-red � Greyish-black � Carmine-red
� Azure-blue � Bluish-black � Clove-brown � Greyish-black � Blood-red � Iron-black � Reddish-brown � Greenish-black � Cochineal-red
� Smalt-blue � Indigo-blue � Yellowish-brown � Brownish-black � Copper-red � Bluish-black � Clove-brown � Brownish-black � Crimson-red
� Violet-blue � Prussian-blue [Berlin] � Tombac-brown � Dark-black � Carmine-red � Indigo-blue � Yellowish-brown � Bluish-black � Rose-red
� Sky-blue � Azure-blue � Liver-brown � Bluish-black � Crimson- / ruby-red � Berlin-blue � Wood-brown � Indigo-blue � Peach-blossom-red
� Verdigris-green � Smalt-blue � Blackish-brown � Iron-black � Peach-blossom-red � Azure-blue � Hair-brown � Azure-blue � Golden-red
� Mountain-green � Lavender-blue � Greenish-black � Flesh-red � Smalt-blue � Tombac-brown � Smalt-blue � Brownish-red
� Grass-green � Violet-blue � Velvet-black � Cherry-red � Violet-blue � Liver-brown � Violet-blue � Purplish-red
� Apple-green � Sky-blue � Indigo-blue � Brownish-red � Lavender-blue � Blackish-brown � Lavender-blue � Greyish-red
� Leek-green � Verdigris-green � Berlin-blue � Golden-red � Sky-blue � Sky-blue � Yellowish-red
� Canary-green � Celadon-green � Azure-blue � Cochineal-red � Verdigris-green � Greyish-blue � Reddish-brown
� Sulphur-yellow � Mountain-green � Smalt-blue � Rose-red � Celadon-green � Bluish-purple � Clove-brown
� Lemon-yellow � Emerald-green � Violet-blue � Hyacinth-red � Mountain-green � Reddish-purple � Yellowish-brown
� Gold-yellow � Grass-green � Sky-blue � Brick-red � Emerald-green � Greyish-purple � Tombac-brown
� Bell-metal-yellow � Apple-green � Lavender-blue � Yellowish-red � Grass-green � Verdigris-green � Nut-brown
� Straw-yellow � Leek-green � Greenish-blue � Garnet-red � Apple-green � Celadon-green � Liver-brown
� Wine-yellow � Pistachio-green � Verdigris-green � Ruby-red � Leek-green � Mountain-green � Blackish-brown
� Isabella-yellow � Blackish-green � Mountain-green � Vermilion-red � Blackish-green � Emerald-green � Greenish-brown
� Ochre-yellow � Asparagus-green � Grass-green � Fire-red � Pistachio-green � Meadow-green
� Orange-yellow � Olive-green � Apple-green � Columbine-red � Olive-green � Apple-green
� Morning- / Aurora-red � Canary-green � Emerald-green � Reddish-brown � Asparagus-green � Leek-green
� Scarlet-red � Sulphur-yellow � Leek-green � Clove-brown � Canary-green � Pistachio-green
� Blood-red � Brass-yellow � Olive-Green � Yellowish-brown � Sulphur-yellow � Asparagus-green
� Copper-red � Lemon-yellow � Pistachio-green � Tombac-brown � Brass-yellow � Olive-green
� Carmine-red � Gold-yellow � Asparagus-green � Liver-brown � Lemon-yellow � Canary-green
� Crimson-red � Honey-yellow � Blackish-green � Blackish-brown � Gold-yellow � Sparrow-grass-green
� Peach-blossom-red � Wax-yellow � Celadon-green � Hair-brown � Honey-yellow � Sulphur-yellow
� Flesh-red � Bronze-yellow � Canary-green � Wood-brown � Wax-yellow � Brass-yellow
� Golden-red � Straw-yellow � Smoke-green � Cabbage-brown � Bell-metal-yellow � Lemon-yellow
t h e evo lut i o n o f key The need for the establishment of a universal standard
colour system became important to natural scientists in
and naturalists followed in Werner’s wake, creating their
own lists of colour standards, each drawing to varying
colou r sta n da rd no m e ncl at u re s the late 18th and early 19th centuries for the identification
of species in the field and for taxonomic purposes. In
extents upon previous nomenclatures, including Werner’s
unpublished lists, at different stages, and adding new hues
f rom W er n e r to Sy m e , 17 74– 182 1. addition, artists needed recourse to a standard set

of colours in order to depict animals, vegetables and
of their own. On these pages we show the development of
published colour standard nomenclatures of particular
minerals accurately. Werner’s original colour standard relevance to Werner and Syme; we have necessarily had
nomenclature, published in his mineralogy textbook Of to be selective. Lenz wrote many works that included
the External Characteristics of Fossils (1774), featured colour nomenclatures and we have chosen only those
54 colour standards and was designed to be used in that pertain to the Werner–Syme development of lists of
conjunction with his colour suite of minerals. Over the colour standards. The shape used to denote each colour
next 40 years or so he compiled revised and expanded lists name indicates the name of the scientist who introduced it
and sent some to his students, including Widenmann and in a published work within this context. Where the colour
Jameson, and one to Picardet, who, in 1790, was the first to name was altered slightly but the hue remained the same,
translate Werner’s textbook into French. Mineralogists we have indicated the original name in square brackets.
� Werner, 1774. � Picardet, 1790. � Lenz, Various works. � Widenmann, 1794. � Kirwan, 1794.
54 colours. 71 colours. 94+ colours. 74 colours. 83 colours.
� Bright-white � Brownish-red � Bright-white � Wine-yellow � Bright-white � Bluish-green � Snow-white [Bright] � Straw-yellow � Dead-white � Copper-yellow
� Reddish-white � Reddish-brown � Reddish-white � Ochre-yellow � Reddish-white � Sea-green � Reddish-white � Wine-yellow � Reddish-white � Wax-yellow
� Yellowish-white � Clove-brown � Yellowish-white � Isabella-yellow � Yellowish-white � Oil-green � Yellowish-white � Ochre-yellow � Yellowish-white � Honey-yellow
� Silver-white � Yellowish-brown � Silver-white � Orange-yellow � Silver-white � Sulphur-yellow � Silver-white � Isabella-yellow � Silvery-white � Straw-yellow
� Greenish-white � Tombac-brown � Greenish-white � Morning- / Aurora-red � Greenish-white � Lemon-yellow � Greyish-white � Orange-yellow � Greenish-white � Ochre-yellow
� Milk-white � Liver-brown � Milk-white � Hyacinth-red � Milk-white � Gold-yellow � Greenish-white � Morning- / Aurora-red � Milk-white � Wine-yellow
� Tin-white � Blackish-brown � Tin-white � Brick-red � Tin-white � Bell-metal-yellow � Milk-white � Hyacinth-red � Greyish-white � Isabella-yellow
� Lead-grey � Lead-grey � Scarlet-red � Greyish-white � Straw-yellow � Tin-white � Brick-red � Lead-grey � Orange-yellow
3 3.
� Bluish-grey � Bluish-grey � Copper-red � Bluish-white � Wine-yellow � Lead-grey � Scarlet-red � Bluish-grey � Reddish-yellow
� Smoke-grey � Pearl-grey � Blood-red � Blackish-grey � Isabella-yellow � Bluish-grey � Copper-red � Pearl-grey � Greenish-yellow
� Yellowish-grey � Smoke-grey � Carmine-red � Steel-grey � Ochre-yellow � Pearl-grey � Blood-red � Smoke-grey � Whitish-yellow
� Blackish-grey � Greenish-grey � Cochineal-red � Yellowish-grey � Orange-yellow � Smoke-grey � Carmine-red � Greenish-grey � Aurora-red
� Iron-grey � Yellowish-grey � Crimson-red � Smoke-grey � Honey-yellow � Greenish-grey � Cochineal-red � Yellowish-grey � Hyacinth-red
� Greyish-black � Steel-grey � Flesh-red � Bluish-grey � Wax-yellow � Yellowish-grey � Crimson-red � Steel-grey � Brick-red
� Brownish-black � Blackish-grey � Rose-red � Lead-grey � Reddish-yellow � Steel-grey � Flesh-red � Blackish-grey � Scarlet-red
� Dark-black � Greyish-black � Peach-blossom-red � Pearl-grey � Brass-yellow � Blackish-grey � Rose-red � Ash-grey � Blood-red
32 .
� Bluish-black � Brownish-black � Golden-red � Reddish-grey � Pea-yellow � Greyish-black � Peach-blossom-red � Reddish-grey � Flesh-red

� Indigo-blue � Pitch-black � Brownish-red � Ash-grey � Morning- / Aurora-red � Brownish-black � Golden-red � Brownish-grey � Copper-red
� Berlin-blue � Iron-black � Reddish-brown � Greenish-grey � Scarlet-red � Dark-black � Brownish-red � Greyish-black � Carmine-red
� Azure-blue � Bluish-black � Clove-brown � Greyish-black � Blood-red � Iron-black � Reddish-brown � Greenish-black � Cochineal-red
� Smalt-blue � Indigo-blue � Yellowish-brown � Brownish-black � Copper-red � Bluish-black � Clove-brown � Brownish-black � Crimson-red
� Violet-blue � Prussian-blue [Berlin] � Tombac-brown � Dark-black � Carmine-red � Indigo-blue � Yellowish-brown � Bluish-black � Rose-red
� Sky-blue � Azure-blue � Liver-brown � Bluish-black � Crimson- / ruby-red � Berlin-blue � Wood-brown � Indigo-blue � Peach-blossom-red
� Verdigris-green � Smalt-blue � Blackish-brown � Iron-black � Peach-blossom-red � Azure-blue � Hair-brown � Azure-blue � Golden-red
� Mountain-green � Lavender-blue � Greenish-black � Flesh-red � Smalt-blue � Tombac-brown � Smalt-blue � Brownish-red
� Grass-green � Violet-blue � Velvet-black � Cherry-red � Violet-blue � Liver-brown � Violet-blue � Purplish-red
� Apple-green � Sky-blue � Indigo-blue � Brownish-red � Lavender-blue � Blackish-brown � Lavender-blue � Greyish-red
� Leek-green � Verdigris-green � Berlin-blue � Golden-red � Sky-blue � Sky-blue � Yellowish-red
� Canary-green � Celadon-green � Azure-blue � Cochineal-red � Verdigris-green � Greyish-blue � Reddish-brown
� Sulphur-yellow � Mountain-green � Smalt-blue � Rose-red � Celadon-green � Bluish-purple � Clove-brown
� Lemon-yellow � Emerald-green � Violet-blue � Hyacinth-red � Mountain-green � Reddish-purple � Yellowish-brown
� Gold-yellow � Grass-green � Sky-blue � Brick-red � Emerald-green � Greyish-purple � Tombac-brown
� Bell-metal-yellow � Apple-green � Lavender-blue � Yellowish-red � Grass-green � Verdigris-green � Nut-brown
� Straw-yellow � Leek-green � Greenish-blue � Garnet-red � Apple-green � Celadon-green � Liver-brown
� Wine-yellow � Pistachio-green � Verdigris-green � Ruby-red � Leek-green � Mountain-green � Blackish-brown
� Isabella-yellow � Blackish-green � Mountain-green � Vermilion-red � Blackish-green � Emerald-green � Greenish-brown
� Ochre-yellow � Asparagus-green � Grass-green � Fire-red � Pistachio-green � Meadow-green
� Orange-yellow � Olive-green � Apple-green � Columbine-red � Olive-green � Apple-green
� Morning- / Aurora-red � Canary-green � Emerald-green � Reddish-brown � Asparagus-green � Leek-green
� Scarlet-red � Sulphur-yellow � Leek-green � Clove-brown � Canary-green � Pistachio-green
� Blood-red � Brass-yellow � Olive-Green � Yellowish-brown � Sulphur-yellow � Asparagus-green
� Copper-red � Lemon-yellow � Pistachio-green � Tombac-brown � Brass-yellow � Olive-green
� Carmine-red � Gold-yellow � Asparagus-green � Liver-brown � Lemon-yellow � Canary-green
� Crimson-red � Honey-yellow � Blackish-green � Blackish-brown � Gold-yellow � Sparrow-grass-green
� Peach-blossom-red � Wax-yellow � Celadon-green � Hair-brown � Honey-yellow � Sulphur-yellow
� Flesh-red � Bronze-yellow � Canary-green � Wood-brown � Wax-yellow � Brass-yellow
� Golden-red � Straw-yellow � Smoke-green � Cabbage-brown � Bell-metal-yellow � Lemon-yellow
� Emmerling, 1799. � Jameson, 1805. � Syme, 1814. � Cleaveland, 1816. � Syme, 1821.
78 colours. 84 colours. 108 colours. 80 colours. 110 colours.
� Snow-white [Bright] � Carmine-red � Snow-white [Bright] � Aurora- / � Snow White [Bright] � Olive Green � Snow-white [Bright] � Carmine-red � Snow White [Bright] � Asparagus Green
� Reddish-white � Cochineal-red � Reddish-white Morning-red � Reddish White � Oil Green � Reddish-white � Cochineal-red � Reddish White � Olive Green
� Yellowish-white � Rose-red � Yellowish-white � Hyacinth-red � Purplish White � Siskin Green � Yellowish-white � Crimson-red � Purplish White � Oil Green
� Silver-white � Crimson-red � Silver-white � Tile-red � Yellowish White � Sulphur Yellow � Silver-white � Columbine-red � Yellowish White � Siskin Green
� Greyish-white � Columbine-red � Greyish-white � Scarlet-red � Orange-coloured � Primrose Yellow � Greyish-white � Rose-red � Orange-coloured � Sulphur Yellow
� Greenish-white � Cherry-red � Greenish-white � Blood-red White � Wax Yellow � Greenish-white � Peach-blossom-red White � Primrose Yellow
� Milk-white � Peach-blossom-red � Milk-white � Flesh-red � Greenish White � Lemon Yellow � Milk-white � Cherry-red � Greenish White � Wax Yellow
� Tin-white � Brownish-red � Tin-white � Copper-red � Skimmed-milk White � Gamboge Yellow � Tin-white � Brownish-red � Skimmed-milk White � Lemon Yellow
� Lead-grey � Reddish-brown � Lead-grey � Carmine-red [Milk] � King’s Yellow � Lead-grey � Reddish-brown [Milk] � Gamboge Yellow
� Bluish-grey � Clove-brown � Common lead-grey � Cochineal-red � Greyish White � Saffron Yellow � Bluish-grey � Clove-brown � Greyish White � King’s Yellow
� Pearl-grey � Hair-brown � Fresh lead-grey � Crimson-red � Ash Grey � Gallstone Yellow � Smoke-grey � Hair-brown � Ash Grey � Saffron Yellow
� Reddish-grey � Yellowish-brown � Blackish lead-grey � Columbine-red � Smoke Grey � Honey Yellow � Pearl-grey � Broccoli-brown � Smoke Grey � Gallstone Yellow
� Smoke-grey � Tombac-brown � Whitish lead-grey � Rose-red � French Grey � Straw Yellow � Greenish-grey � Chesnut-brown [sic] � French Grey � Honey Yellow
� Greenish-grey � Wood-brown � Bluish-grey � Peach-blossom-red � Pearl Grey � Wine Yellow � Yellowish-grey � Yellowish-brown � Pearl Grey � Straw Yellow
� Yellowish-grey � Liver-brown � Smoke-grey � Cherry-red � Yellowish Grey � Sienna Yellow � Ash-grey � Pinchbeck-brown � Yellowish Grey � Wine Yellow
� Steel-grey � Blackish-brown � Pearl-grey � Brownish-red � Bluish Grey � Ochre Yellow � Steel-grey [Tombac] � Bluish Grey � Sienna Yellow
� Ash-grey � Greenish-grey � Reddish-brown � Greenish Grey � Cream Yellow � Greyish-black � Wood-brown � Greenish Grey � Ochre Yellow
� Blackish-Grey � Yellowish-grey � Clove-brown � Blackish Grey [Isabella] � Iron-black � Liver-brown � Blackish Grey � Cream Yellow
� Greyish-black � Ash-grey � Hair-brown � Greyish Black � Dutch Orange � Velvet-black � Blackish-brown � Greyish Black [Isabella]
� Dark-black � Steel-grey � Broccoli-brown � Bluish Black [Orange-yellow] � Pitch-black � Bluish Black � Dutch Orange
� Iron-black � Greyish-black � Chesnut-brown [sic] � Greenish Black � Buff Orange � Raven-black � Greenish Black [Orange-yellow]
� Brownish-black � Iron-black � Yellowish-brown � Pitch, or Brownish � Orpiment Orange � Bluish-black � Pitch, or Brownish � Buff Orange
� Greenish-black � Velvet-black � Pinchbeck-brown Black � Brownish Orange � Indigo-blue Black � Orpiment Orange
3 5.
� Bluish-black � Pitch-black, or [Tombac] � Reddish Black � Reddish Orange � Berlin-blue � Reddish Black � Brownish Orange
� Indigo-blue brownish-black � Wood-brown � Raven Black � Deep Reddish Orange � Azure-blue � Ink Black � Reddish Orange
� Berlin-blue � Greenish-black, � Liver-brown � Velvet Black � Tile Red � Violet-blue � Velvet Black � Deep Reddish Orange
� Azure-blue or raven-black � Blackish-brown � Indigo Blue � Hyacinth Red � Plum-blue � Scotch Blue � Tile Red
� Violet-blue � Bluish-black � Prussian Blue � Scarlet Red � Lavender-blue � Prussian Blue � Hyacinth Red
� Lavender-blue � Indigo-blue � China Blue � Vermilion Red � Smalt-blue � Indigo Blue � Scarlet Red
� Smalt-blue � Berlin-blue � Azure Blue � Aurora Red � Sky-blue � China Blue � Vermilion Red
� Sky-blue � Azure-blue � Ultramarine Blue � Arterial Blood Red � Verdigris-green � Azure Blue � Aurora Red
34.
� Verdigris-green � Violet-blue � Flax-flower Blue � Flesh Red � Sea-green � Ultramarine Blue � Arterial Blood Red
� Celadon-green � Plum-blue � Berlin Blue � Rose Red � Mountain-green � Flax-flower Blue � Flesh Red
� Mountain-green � Lavender-blue � Verditter [sic] Blue � Peach Blossom Red � Emerald-green � Berlin Blue � Rose Red
� Emerald-green � Smalt-blue � Greenish Blue [Sky] � Carmine Red � Apple-green � Verditter [sic] Blue � Peach Blossom Red
� Grass-green � Sky-blue � Greyish Blue [Smalt] � Lake Red � Grass-green � Greenish Blue [Sky] � Carmine Red
� Apple-green � Verdigris-green � Bluish Lilac Purple � Crimson Red � Blackish-green � Greyish Blue [Smalt] � Lake Red
� Leek-green � Celadon-green � Bluish Purple � Cochineal Red � Leek-green � Bluish Lilac Purple � Crimson Red
� Blackish-green � Mountain-green � Violet Purple [Blue] � Veinous Blood Red � Pistachio-green � Bluish Purple � Purplish Red
� Pistachio-green � Leek-green � Pansy Purple [Blood] � Asparagus-green � Violet Purple [Blue] [Columbine]
� Olive-green � Emerald-green � Campanula Purple � Brownish Purple Red � Olive-green � Pansy Purple � Cochineal Red
� Asparagus-green � Apple-green � Imperial Purple [Cherry] � Oil-green � Campanula Purple � Veinous Blood Red
� Canary-green � Grass-green � Auricula Purple � Chocolate Red � Siskin-green � Imperial Purple [Blood]
� Sulphur-yellow � Blackish-green � Plum Purple [Blue] � Brownish Red � Sulphur-yellow � Auricula Purple � Brownish Purple Red
� Brass-yellow � Pistachio-green � Red Lilac Purple � Deep Orange- � Brass-yellow � Plum Purple [Blue] [Cherry]
� Straw-yellow � Asparagus-green � Lavender Purple coloured Brown � Straw-yellow � Red Lilac Purple � Chocolate Red
� Honey-yellow � Olive-green [Blue] � Deep Reddish Brown � Bronze-yellow � Lavender Purple � Brownish Red
� Wax-yellow � Oil-green � Pale Blackish Purple � Umber Brown � Wax-yellow [Blue] � Deep Orange-
� Bell-metal-yellow � Siskin-green � Celandine Green � Chesnut [sic] brown � Honey-yellow � Pale Blackish Purple coloured Brown
� Lemon-yellow � Sulphur-yellow [Celadon] � Yellowish Brown � Lemon-yellow � Celandine Green � Deep Reddish Brown
� Gold-yellow � Brass-yellow � Mountain Green � Wood Brown � Gold-yellow [Celadon] � Umber Brown
� Wine-yellow � Straw-yellow � Leek Green � Liver Brown � Ochre-yellow � Mountain Green � Chesnut [sic] brown
� Ochre-yellow � Bronze-yellow � Blackish Green � Hair Brown � Wine-yellow � Leek Green � Yellowish Brown
� Isabella-yellow � Wax-yellow � Verdigris Green � Broccoli Brown � Isabella-yellow � Blackish Green � Wood Brown
� Orange-yellow � Honey-yellow � Bluish Green � Olive / Clove Brown � Orange-yellow � Verdigris Green � Liver Brown
� Morning- / Aurora-red � Lemon-yellow � Apple Green � Blackish Brown � Aurora-red � Bluish Green � Hair Brown
� Hyacinth-red � Gold-yellow � Emerald Green � Hyacinth-red � Apple Green � Broccoli Brown
� Brick-red � Ochre-yellow � Grass Green � Brick-red � Emerald Green � Olive / Clove Brown
� Flesh-red � Wine-yellow � Duck Green � Scarlet-red � Grass Green � Blackish Brown
� Scarlet-red � Cream-yellow, or � Sap Green � Blood-red � Duck Green
� Copper-red Isabella-yellow � Pistachio Green � Flesh-red � Sap Green
� Blood-red � Orange-yellow � Asparagus Green � Copper-red � Pistachio Green
� Emmerling, 1799. � Jameson, 1805. � Syme, 1814. � Cleaveland, 1816. � Syme, 1821.
78 colours. 84 colours. 108 colours. 80 colours. 110 colours.
� Snow-white [Bright] � Carmine-red � Snow-white [Bright] � Aurora- / � Snow White [Bright] � Olive Green � Snow-white [Bright] � Carmine-red � Snow White [Bright] � Asparagus Green
� Reddish-white � Cochineal-red � Reddish-white Morning-red � Reddish White � Oil Green � Reddish-white � Cochineal-red � Reddish White � Olive Green
� Yellowish-white � Rose-red � Yellowish-white � Hyacinth-red � Purplish White � Siskin Green � Yellowish-white � Crimson-red � Purplish White � Oil Green
� Silver-white � Crimson-red � Silver-white � Tile-red � Yellowish White � Sulphur Yellow � Silver-white � Columbine-red � Yellowish White � Siskin Green
� Greyish-white � Columbine-red � Greyish-white � Scarlet-red � Orange-coloured � Primrose Yellow � Greyish-white � Rose-red � Orange-coloured � Sulphur Yellow
� Greenish-white � Cherry-red � Greenish-white � Blood-red White � Wax Yellow � Greenish-white � Peach-blossom-red White � Primrose Yellow
� Milk-white � Peach-blossom-red � Milk-white � Flesh-red � Greenish White � Lemon Yellow � Milk-white � Cherry-red � Greenish White � Wax Yellow
� Tin-white � Brownish-red � Tin-white � Copper-red � Skimmed-milk White � Gamboge Yellow � Tin-white � Brownish-red � Skimmed-milk White � Lemon Yellow
� Lead-grey � Reddish-brown � Lead-grey � Carmine-red [Milk] � King’s Yellow � Lead-grey � Reddish-brown [Milk] � Gamboge Yellow
� Bluish-grey � Clove-brown � Common lead-grey � Cochineal-red � Greyish White � Saffron Yellow � Bluish-grey � Clove-brown � Greyish White � King’s Yellow
� Pearl-grey � Hair-brown � Fresh lead-grey � Crimson-red � Ash Grey � Gallstone Yellow � Smoke-grey � Hair-brown � Ash Grey � Saffron Yellow
� Reddish-grey � Yellowish-brown � Blackish lead-grey � Columbine-red � Smoke Grey � Honey Yellow � Pearl-grey � Broccoli-brown � Smoke Grey � Gallstone Yellow
� Smoke-grey � Tombac-brown � Whitish lead-grey � Rose-red � French Grey � Straw Yellow � Greenish-grey � Chesnut-brown [sic] � French Grey � Honey Yellow
� Greenish-grey � Wood-brown � Bluish-grey � Peach-blossom-red � Pearl Grey � Wine Yellow � Yellowish-grey � Yellowish-brown � Pearl Grey � Straw Yellow
� Yellowish-grey � Liver-brown � Smoke-grey � Cherry-red � Yellowish Grey � Sienna Yellow � Ash-grey � Pinchbeck-brown � Yellowish Grey � Wine Yellow
� Steel-grey � Blackish-brown � Pearl-grey � Brownish-red � Bluish Grey � Ochre Yellow � Steel-grey [Tombac] � Bluish Grey � Sienna Yellow
� Ash-grey � Greenish-grey � Reddish-brown � Greenish Grey � Cream Yellow � Greyish-black � Wood-brown � Greenish Grey � Ochre Yellow
� Blackish-Grey � Yellowish-grey � Clove-brown � Blackish Grey [Isabella] � Iron-black � Liver-brown � Blackish Grey � Cream Yellow
� Greyish-black � Ash-grey � Hair-brown � Greyish Black � Dutch Orange � Velvet-black � Blackish-brown � Greyish Black [Isabella]
� Dark-black � Steel-grey � Broccoli-brown � Bluish Black [Orange-yellow] � Pitch-black � Bluish Black � Dutch Orange
� Iron-black � Greyish-black � Chesnut-brown [sic] � Greenish Black � Buff Orange � Raven-black � Greenish Black [Orange-yellow]
� Brownish-black � Iron-black � Yellowish-brown � Pitch, or Brownish � Orpiment Orange � Bluish-black � Pitch, or Brownish � Buff Orange
� Greenish-black � Velvet-black � Pinchbeck-brown Black � Brownish Orange � Indigo-blue Black � Orpiment Orange
3 5.
� Bluish-black � Pitch-black, or [Tombac] � Reddish Black � Reddish Orange � Berlin-blue � Reddish Black � Brownish Orange
� Indigo-blue brownish-black � Wood-brown � Raven Black � Deep Reddish Orange � Azure-blue � Ink Black � Reddish Orange
� Berlin-blue � Greenish-black, � Liver-brown � Velvet Black � Tile Red � Violet-blue � Velvet Black � Deep Reddish Orange
� Azure-blue or raven-black � Blackish-brown � Indigo Blue � Hyacinth Red � Plum-blue � Scotch Blue � Tile Red
� Violet-blue � Bluish-black � Prussian Blue � Scarlet Red � Lavender-blue � Prussian Blue � Hyacinth Red
� Lavender-blue � Indigo-blue � China Blue � Vermilion Red � Smalt-blue � Indigo Blue � Scarlet Red
� Smalt-blue � Berlin-blue � Azure Blue � Aurora Red � Sky-blue � China Blue � Vermilion Red
� Sky-blue � Azure-blue � Ultramarine Blue � Arterial Blood Red � Verdigris-green � Azure Blue � Aurora Red
34.
� Verdigris-green � Violet-blue � Flax-flower Blue � Flesh Red � Sea-green � Ultramarine Blue � Arterial Blood Red
� Celadon-green � Plum-blue � Berlin Blue � Rose Red � Mountain-green � Flax-flower Blue � Flesh Red
� Mountain-green � Lavender-blue � Verditter [sic] Blue � Peach Blossom Red � Emerald-green � Berlin Blue � Rose Red
� Emerald-green � Smalt-blue � Greenish Blue [Sky] � Carmine Red � Apple-green � Verditter [sic] Blue � Peach Blossom Red
� Grass-green � Sky-blue � Greyish Blue [Smalt] � Lake Red � Grass-green � Greenish Blue [Sky] � Carmine Red
� Apple-green � Verdigris-green � Bluish Lilac Purple � Crimson Red � Blackish-green � Greyish Blue [Smalt] � Lake Red
� Leek-green � Celadon-green � Bluish Purple � Cochineal Red � Leek-green � Bluish Lilac Purple � Crimson Red
� Blackish-green � Mountain-green � Violet Purple [Blue] � Veinous Blood Red � Pistachio-green � Bluish Purple � Purplish Red
� Pistachio-green � Leek-green � Pansy Purple [Blood] � Asparagus-green � Violet Purple [Blue] [Columbine]
� Olive-green � Emerald-green � Campanula Purple � Brownish Purple Red � Olive-green � Pansy Purple � Cochineal Red
� Asparagus-green � Apple-green � Imperial Purple [Cherry] � Oil-green � Campanula Purple � Veinous Blood Red
� Canary-green � Grass-green � Auricula Purple � Chocolate Red � Siskin-green � Imperial Purple [Blood]
� Sulphur-yellow � Blackish-green � Plum Purple [Blue] � Brownish Red � Sulphur-yellow � Auricula Purple � Brownish Purple Red
� Brass-yellow � Pistachio-green � Red Lilac Purple � Deep Orange- � Brass-yellow � Plum Purple [Blue] [Cherry]
� Straw-yellow � Asparagus-green � Lavender Purple coloured Brown � Straw-yellow � Red Lilac Purple � Chocolate Red
� Honey-yellow � Olive-green [Blue] � Deep Reddish Brown � Bronze-yellow � Lavender Purple � Brownish Red
� Wax-yellow � Oil-green � Pale Blackish Purple � Umber Brown � Wax-yellow [Blue] � Deep Orange-
� Bell-metal-yellow � Siskin-green � Celandine Green � Chesnut [sic] brown � Honey-yellow � Pale Blackish Purple coloured Brown
� Lemon-yellow � Sulphur-yellow [Celadon] � Yellowish Brown � Lemon-yellow � Celandine Green � Deep Reddish Brown
� Gold-yellow � Brass-yellow � Mountain Green � Wood Brown � Gold-yellow [Celadon] � Umber Brown
� Wine-yellow � Straw-yellow � Leek Green � Liver Brown � Ochre-yellow � Mountain Green � Chesnut [sic] brown
� Ochre-yellow � Bronze-yellow � Blackish Green � Hair Brown � Wine-yellow � Leek Green � Yellowish Brown
� Isabella-yellow � Wax-yellow � Verdigris Green � Broccoli Brown � Isabella-yellow � Blackish Green � Wood Brown
� Orange-yellow � Honey-yellow � Bluish Green � Olive / Clove Brown � Orange-yellow � Verdigris Green � Liver Brown
� Morning- / Aurora-red � Lemon-yellow � Apple Green � Blackish Brown � Aurora-red � Bluish Green � Hair Brown
� Hyacinth-red � Gold-yellow � Emerald Green � Hyacinth-red � Apple Green � Broccoli Brown
� Brick-red � Ochre-yellow � Grass Green � Brick-red � Emerald Green � Olive / Clove Brown
� Flesh-red � Wine-yellow � Duck Green � Scarlet-red � Grass Green � Blackish Brown
� Scarlet-red � Cream-yellow, or � Sap Green � Blood-red � Duck Green
� Copper-red Isabella-yellow � Pistachio Green � Flesh-red � Sap Green
� Blood-red � Orange-yellow � Asparagus Green � Copper-red � Pistachio Green
i.
Whites,
Greys
and
Blacks.
i.
Whites,
Greys
and
Blacks.
3 8. I . W H I T E S, G R EYS A N D B L AC K S.
whites.
greys.
blacks.
I . W H I T E S, G R EYS A N D B L AC K S. 40.
whites.
greys.
blacks.
whites.
greys.
blacks.
Whites. Whites.
No. Names. Colours. A N IMAL . v e g e ta b l e . mineral.
Snow Breast of the black Carara Marble

1 Snow-Drop.
White. headed Gull. and Calc Sinter.
Reddish Egg of Grey Back of the Porcelain

2
White. Linnet. Christmas Rose. Earth.
Junction of the Neck

Purplish White Geranium
3 and Back of the Arragonite.
White. or Stork’s Bill.
Kittiwake Gull.
I . W H I T E S, G R EYS A N D B L AC K S.
4 3.
Yellowish Hawthorn Chalk and
4 Egret.
White. Blossom. Tripoli.
Orange- French
Breast of White Large Wild
5 coloured Porcelain
or Screech Owl. Convolvulus.
White. Clay.
42.
Vent Coverts
Greenish Polyanthus
6 of Golden Calc Sinter.
White. Narcissus.
crested Wren.
Skimmed- Back of the

Syme’s 1821 edition White of the Common
included five of 7 milk Petals of Blue
Human Eyeballs. Opal.
Werner’s original White. Hepatica.
whites (numbers 1, 2, 4,
6 and 7), though he
has renamed Bright
White ‘Snow White’
and Milk White
‘Skimmed-milk White’. White
Greyish Inside Quill-feathers Granular
One white is from the 8 Hamburgh
Lenz system (number 8) White. of the Kittiwake. Limestone.
Grapes.
and two whites from
his own 1814 edition
(numbers 3 and 5).
Whites. Whites.
Snow Breast of the black Carara Marble

1 Snow-Drop.
White. headed Gull. and Calc Sinter.
Reddish Egg of Grey Back of the Porcelain

2
White. Linnet. Christmas Rose. Earth.
Junction of the Neck

Purplish White Geranium
3 and Back of the Arragonite.
White. or Stork’s Bill.
Kittiwake Gull.
4 3.
Yellowish Hawthorn Chalk and
4 Egret.
White. Blossom. Tripoli.
Orange- French
Breast of White Large Wild
5 coloured Porcelain
or Screech Owl. Convolvulus.
White. Clay.
42.
Vent Coverts
Greenish Polyanthus
6 of Golden Calc Sinter.
White. Narcissus.
crested Wren.
Skimmed- Back of the

Syme’s 1821 edition White of the Common
included five of 7 milk Petals of Blue
Human Eyeballs. Opal.
Werner’s original White. Hepatica.
whites (numbers 1, 2, 4,
6 and 7), though he
has renamed Bright
White ‘Snow White’
and Milk White
‘Skimmed-milk White’. White
Greyish Inside Quill-feathers Granular
One white is from the 8 Hamburgh
Lenz system (number 8) White. of the Kittiwake. Limestone.
Grapes.
and two whites from
(numbers 3 and 5).
1. s now Wh ite . Snow White, is the 2. R eddish W hi t e . Reddish White, is
(i). Breast of the black headed Gull. characteristic colour of the (i). Egg of Grey Linnet. [Common linnet; Linaria cannabina] composed of snow white,
[Chroicocephalus ridibundus] whites; it is the purest white (ii).
(iii).
Back of the Christmas Rose. [Helleborus niger]
Porcelain Earth. [Kaolinite; Clay mineral]
with a very minute
(ii). Snow-Drop. [Snowdrop, Galanthus]
(iii). Carara Marble. [Carrara marble; Metamorphic rock] colour; being free of all portion of crimson
Calc Sinter. [Calcite; Carbonate mineral]
intermixture, it resembles red and ash grey. [W]
new-fallen snow. [W] †
† Snow White is Syme’s name for Werner’s Bright White.
4 5.
animal.
animal.
44.
an ima l.
John Gould, Birds of An i m a l .
Europe, Vol. 5, 1832–37. William Chapman
Snow White is visible Hewitson, British
on the breast feathers Oology, Vol. 1, 1833.
of the black-headed gull. Reddish White
is visible on the egg
v e getabl e . of the common linnet
Cornelis Antoon (top row, left).
Jan Abraham
Oudemans, Neerland’s Vegeta b l e .
Plantentuin, 1865. John White,
Snow White is Helleborus niger,
visible on the petal watercolour, c. 1600.
of the snowdrop. Reddish White
is visible on the back
min e r al. of the petals of the
Reinhard Brauns, Christmas rose.
The Mineral
Kingdom, Vol. 2, 1912. M i n er a l .
v e g etabl e .
v e g etabl e .
Snow White is visible James Sowerby,

m in e ral.
m in e ral.
on the Carrara marble British Mineralogy,
(bottom row, centre left). Vol. 3, 1802–17.
A piece of quartz is Reddish White is
embedded within it. visible on the kaolinite.
1. s now Wh ite . Snow White, is the 2. R eddish W hi t e . Reddish White, is
(i). Breast of the black headed Gull. characteristic colour of the (i). Egg of Grey Linnet. [Common linnet; Linaria cannabina] composed of snow white,
[Chroicocephalus ridibundus] whites; it is the purest white (ii).
(iii).
Back of the Christmas Rose. [Helleborus niger]
Porcelain Earth. [Kaolinite; Clay mineral]
with a very minute
(ii). Snow-Drop. [Snowdrop, Galanthus]
(iii). Carara Marble. [Carrara marble; Metamorphic rock] colour; being free of all portion of crimson
Calc Sinter. [Calcite; Carbonate mineral]
intermixture, it resembles red and ash grey. [W]
new-fallen snow. [W] †
† Snow White is Syme’s name for Werner’s Bright White.
4 5.
animal.
animal.
44.
an ima l.
Europe, Vol. 5, 1832–37. William Chapman
Snow White is visible Hewitson, British
on the breast feathers Oology, Vol. 1, 1833.
of the black-headed gull. Reddish White
is visible on the egg
v e getabl e . of the common linnet
Cornelis Antoon (top row, left).
Jan Abraham
Oudemans, Neerland’s Vegeta b l e .
Plantentuin, 1865. John White,
Snow White is Helleborus niger,
visible on the petal watercolour, c. 1600.
of the snowdrop. Reddish White
is visible on the back
min e r al. of the petals of the
Reinhard Brauns, Christmas rose.
The Mineral
v e g etabl e .
v e g etabl e .
Snow White is visible James Sowerby,

m in e ral.
m in e ral.
on the Carrara marble British Mineralogy,
(bottom row, centre left). Vol. 3, 1802–17.
A piece of quartz is Reddish White is
embedded within it. visible on the kaolinite.
3. pur plis h Wh ite . Purplish White, is snow 4. yellowi sh W hit e . Yellowish White, is
(i). Junction of the Neck and Back of the Kittiwake Gull. [Rissa] white, with the slightest (i). Egret. [Ardeidae] composed of snow white,
(ii). White Geranium. [Geranium] tinge of crimson red (ii). Hawthorn Blossom. [Crataegus] with a very little lemon
Stork’s Bill. [Erodium cicutarium] (iii). Chalk. [Carbonate mineral]
(iii). Arragonite. [Aragonite; Carbonate mineral] and Berlin blue, with Tripoli. [Rottenstone; Siliceous rock] yellow and ash grey. [W]
a very minute portion
of ash grey.
47.
animal.
animal.
46.
a n ima l.
John Gould, Birds of
Europe, Vol. 5, 1832–37.
Purplish White is visible
where the neck meets An i m a l .
the back of the John Gould, Birds of
kittiwake gull (left). Europe, Vol. 4, 1832–37.
Yellowish White is
v e geta bl e . visible on the feathers
A. Mentz and C. H. of the egret.
Ostenfeld, Billeder
af Nordens Flora, Vegeta b l e .
Vol. 1, 1917. Crataegus oxycantha,
Purplish White watercolour, date
is visible on the petal unknown.
of the stork’s-bill. Yellowish White is
visible on the petals of
min e r a l. the hawthorn blossom.
Gotthilf Heinrich
von Schubert, M i n er a l .
Naturgeschichte des Johann Gottlob
v e g etabl e .
v e g etabl e .
Tier-, Pflanzen- und Kurr, The Mineral

m in e ral.
m in e ral.
Mineralreichs, 1886. Kingdom, 1859.
Purplish White is Yellowish White
visible on the aragonite is visible on the chalk
(top row, centre left). (bottom row, centre).
3. pur plis h Wh ite . Purplish White, is snow 4. yellowi sh W hit e . Yellowish White, is
(i). Junction of the Neck and Back of the Kittiwake Gull. [Rissa] white, with the slightest (i). Egret. [Ardeidae] composed of snow white,
(ii). White Geranium. [Geranium] tinge of crimson red (ii). Hawthorn Blossom. [Crataegus] with a very little lemon
Stork’s Bill. [Erodium cicutarium] (iii). Chalk. [Carbonate mineral]
(iii). Arragonite. [Aragonite; Carbonate mineral] and Berlin blue, with Tripoli. [Rottenstone; Siliceous rock] yellow and ash grey. [W]
a very minute portion
of ash grey.
47.
animal.
animal.
46.
a n ima l.
Europe, Vol. 5, 1832–37.
Purplish White is visible
where the neck meets An i m a l .
the back of the John Gould, Birds of
kittiwake gull (left). Europe, Vol. 4, 1832–37.
Yellowish White is
v e geta bl e . visible on the feathers
A. Mentz and C. H. of the egret.
Ostenfeld, Billeder
Vol. 1, 1917. Crataegus oxycantha,
Purplish White watercolour, date
is visible on the petal unknown.
of the stork’s-bill. Yellowish White is
visible on the petals of
min e r a l. the hawthorn blossom.
Gotthilf Heinrich
von Schubert, M i n er a l .
Naturgeschichte des Johann Gottlob
v e g etabl e .
v e g etabl e .
Tier-, Pflanzen- und Kurr, The Mineral

m in e ral.
m in e ral.
Mineralreichs, 1886. Kingdom, 1859.
Purplish White is Yellowish White
visible on the aragonite is visible on the chalk
(top row, centre left). (bottom row, centre).
5. or ang e - coloured White . Orange-coloured White, 6. G reen ish W hi t e . Greenish White, is
is snow white, with a very snow white, mixed with
(i). Breast of a White Owl [Snowy owl; Bubo scandiacus] (i). Vent Coverts of Golden crested Wren. [Goldcrest;
or Screech Owl. [Megascops] small portion of tile red Regulus regulus] a very little emerald
(ii).
(iii).
Large Wild Convolvulus. [Bindweed; Convolvulus]
French Porcelain Clay. [Kaolinite; pâte dure; Clay mineral]
and king’s yellow, and a (ii).
(iii).
Polyanthus Narcissus. [Daffodil; Narcissus tazetta]
Calc Sinter [Calcite; Carbonate mineral]
green and ash grey. [W]
minute portion of ash grey.
4 9.
animal.
animal.
4 8.
animal.
a n ima l. John Gould, Birds
John Gould, of Great Britain,
Birds of America, Vol. 2, 1862–73.
1827–38. Greenish White is
Orange-coloured visible on the vent
White is visible on coverts, i.e. the feathers
the breast feathers around the cloaca,
of the screech owl. of the goldcrest.
v e geta bl e . v egeta b l e .
A. Mentz and C. H. Narcissus tazetta;
Ostenfeld, Billeder Narcissus orientalis;
af Nordens Flora, Corbularia
Vol. 1, 1917. bulbocodium,
Orange-coloured White watercolour,
is visible on the petals date unknown.
of the bindweed. Greenish White
is visible on the
min e r a l. outer petals of the
Alexandre Brongniart, daffodil (left).
Premier mémoire sur
les kaolins ou argiles m i n er a l .
à porcelaine, 1839. Leonard Spencer,
v e g etabl e .
v e g etabl e .
Orange-coloured The World’s

m in e ral.
m in e ral.
White is visible Minerals, 1916.
on the kaolinite. A Greenish White is
piece of feldspar is visible on the calcite
embedded within it. (top and bottom, right).
5. or ang e - coloured White . Orange-coloured White, 6. G reen ish W hi t e . Greenish White, is
is snow white, with a very snow white, mixed with
(i). Breast of a White Owl [Snowy owl; Bubo scandiacus] (i). Vent Coverts of Golden crested Wren. [Goldcrest;
or Screech Owl. [Megascops] small portion of tile red Regulus regulus] a very little emerald
(ii).
(iii).
Large Wild Convolvulus. [Bindweed; Convolvulus]
French Porcelain Clay. [Kaolinite; pâte dure; Clay mineral]
and king’s yellow, and a (ii).
(iii).
Polyanthus Narcissus. [Daffodil; Narcissus tazetta]
Calc Sinter [Calcite; Carbonate mineral]
green and ash grey. [W]
minute portion of ash grey.
4 9.
animal.
animal.
4 8.
animal.
John Gould, of Great Britain,
Birds of America, Vol. 2, 1862–73.
1827–38. Greenish White is
Orange-coloured visible on the vent
White is visible on coverts, i.e. the feathers
the breast feathers around the cloaca,
of the screech owl. of the goldcrest.
v e geta bl e . v egeta b l e .
A. Mentz and C. H. Narcissus tazetta;
Ostenfeld, Billeder Narcissus orientalis;
af Nordens Flora, Corbularia
Vol. 1, 1917. bulbocodium,
Orange-coloured White watercolour,
is visible on the petals date unknown.
of the bindweed. Greenish White
is visible on the
min e r a l. outer petals of the
Alexandre Brongniart, daffodil (left).
Premier mémoire sur
les kaolins ou argiles m i n er a l .
à porcelaine, 1839. Leonard Spencer,
v e g etabl e .
v e g etabl e .
Orange-coloured The World’s

m in e ral.
m in e ral.
White is visible Minerals, 1916.
on the kaolinite. A Greenish White is
piece of feldspar is visible on the calcite
embedded within it. (top and bottom, right).
7. S kim m e d - m il k White . Skimmed-milk White, 8. g reyi sh W hit e . Greyish White, is snow
is snow white, mixed with white, mixed with a little
(i). White of the Human Eyeballs. [Sclera] (i). Inside Quill-feathers of the Kittiwake. [Rissa]
(ii). Back of the Petals of Blue Hepatica. a little Berlin blue and (ii). White Hamburgh Grapes. [Vitis] ash grey. [W]
(iii).
[Liverwort; Anemone hepatica]
Common Opal. [Silica]
ash grey. [W] † (iii). Granular Limestone. [Carbonate sedimentary rock]
† Skimmed-milk White is Syme’s name for

Werner’s Milk White.
51.
animal.
animal.
5 0.
An ima l.
Claude Bernard
and Charles Huette,
Précis iconographique
de médecine opératoire
et d’anatomie An i m a l .
chirurgicale, 1848. John Gould, Birds
Skimmed-milk White of Great Britain,
is visible on the white Vol. 5, 1862–73.
of the human eyeball. Greyish White is
visible on the feathers
V e geta bl e . of the kittiwake gull.
A. Mentz and C. H.
Ostenfeld, Billeder Vegeta b l e .
af Nordens Flora, George Brookshaw,
Vol. 1, 1917. Grapes – White
Skimmed-milk Hamburg,
White is visible on watercolour, 1812.
the reverse side of Greyish White is
the liverwort petal. visible on the White
Hamburg grapes.
M in e r a l.
Reinhard Brauns, M i n er a l .
v e g etabl e .
v eg eta ble .
The Mineral Reinhard Brauns,

min er al .
min er al .
Kingdom, Vol. 2, 1912. The Mineral
Skimmed-milk Kingdom, Vol. 2, 1912.
White is visible on Greyish White is
the common opal. visible on the limestone.
7. S kim m e d - m il k White . Skimmed-milk White, 8. g reyi sh W hit e . Greyish White, is snow
is snow white, mixed with white, mixed with a little
(i). White of the Human Eyeballs. [Sclera] (i). Inside Quill-feathers of the Kittiwake. [Rissa]
(ii). Back of the Petals of Blue Hepatica. a little Berlin blue and (ii). White Hamburgh Grapes. [Vitis] ash grey. [W]
(iii).
Common Opal. [Silica]
ash grey. [W] † (iii). Granular Limestone. [Carbonate sedimentary rock]
† Skimmed-milk White is Syme’s name for

Werner’s Milk White.
51.
animal.
animal.
5 0.
An ima l.
Claude Bernard
and Charles Huette,
Précis iconographique
de médecine opératoire
et d’anatomie An i m a l .
chirurgicale, 1848. John Gould, Birds
Skimmed-milk White of Great Britain,
is visible on the white Vol. 5, 1862–73.
of the human eyeball. Greyish White is
V e geta bl e . of the kittiwake gull.
A. Mentz and C. H.
Ostenfeld, Billeder Vegeta b l e .
af Nordens Flora, George Brookshaw,
Vol. 1, 1917. Grapes – White
Skimmed-milk Hamburg,
White is visible on watercolour, 1812.
the reverse side of Greyish White is
the liverwort petal. visible on the White
Hamburg grapes.
M in e r a l.
v e g etabl e .
v eg eta ble .
The Mineral Reinhard Brauns,

min er al .
min er al .
Kingdom, Vol. 2, 1912. The Mineral
Skimmed-milk Kingdom, Vol. 2, 1912.
White is visible on Greyish White is
the common opal. visible on the limestone.
Greys. Greys.
Breast of long tailed

9 Ash Grey. Fresh Wood Ashes. Flint.
Hen Titmouse.
Smoke Breast of the Robin

10 Flint.
Grey. round the Red.
French Breast of
11
Grey. Pied Wag tail.
5 3.
Backs of black headed Back of Petals of Porcelain
12 Pearl Grey.
and Kittiwake Gulls. Purple Hepatica. Jasper.
Yellowish Vent coverts of Stems of the Common

13
Grey. White Rump. Barberry. Calcedony.
52 .
Bluish Back, and tail

14 Limestone.
Grey. Coverts Wood Pigeon.
Greenish Quill feathers Bark of Clay Slate,

15
Grey. of the Robin. Ash Tree. Wacke.
Syme’s 1821 edition
included four of Werner’s
original greys (numbers
10, 13, 14 and 16), two
greys from the Picardet
system (numbers 12 and
Blackish Back of Old Stems of
15) one grey from the 16 Flint.
Lenz system (number 9) Grey. Nut-hatch. Hawthorn.
and one grey from
(number 11).
9. as h Gr ey. Ash Grey, is the characteristic 1 0. smo k e G rey. Smoke Grey, is ash
colour of Werner’s greys; he gives grey mixed with a
(i). Breast of long tailed Hen Titmouse. (i). Breast of the Robin round the Red. [Erithacus rubecula]
[Long-tailed tit; Aegithalos caudatus] no description of its component (ii). little brown. [W]
(ii).
(iii).
Fresh Wood ashes. [Cinis]
Flint. [Quartz]
parts; it is composed of snow white, (iii). Flint. [Quartz]
with portions of smoke and French

grey, and a very little yellowish
grey and carmine red. [W]
5 5.
veg etable .
mineral.
animal.
animal.
54.
An i m a l .
John Gould, Birds
of Great Britain,
a n ima l. Vol. 2, 1862–73.
John Gould, Birds of Smoke Grey is visible
Europe, Vol. 3, 1832–37. on the breast feathers
Ash Grey is visible of the robin, at the
on the breast feathers edge of the red.
of the long-tailed tit.
Vegeta b l e .
v e geta bl e . William Baxter,
Burning log, British Phaenogamous
date unknown. Botany, 1832–43.
Ash Grey is visible Smoke Grey is visible
in the ashes of on the seed puff of
burning fresh wood. the common sowthistle.*
min e r a l. M i n er a l .
v e g etabl e .
Philip Rashleigh, Johann Gottlob

mi n era l.
Specimens of British Kurr, The Mineral

Minerals, 1797. Kingdom, 1859.
on the flint. on the flint (top row, left).
9. as h Gr ey. Ash Grey, is the characteristic 1 0. smo k e G rey. Smoke Grey, is ash
colour of Werner’s greys; he gives grey mixed with a
(i). Breast of long tailed Hen Titmouse. (i). Breast of the Robin round the Red. [Erithacus rubecula]
[Long-tailed tit; Aegithalos caudatus] no description of its component (ii). little brown. [W]
(ii).
(iii).
Fresh Wood ashes. [Cinis]
Flint. [Quartz]
parts; it is composed of snow white, (iii). Flint. [Quartz]
with portions of smoke and French

grey, and a very little yellowish
grey and carmine red. [W]
5 5.
veg etable .
mineral.
animal.
animal.
54.
An i m a l .
John Gould, Birds
of Great Britain,
a n ima l. Vol. 2, 1862–73.
John Gould, Birds of Smoke Grey is visible
Europe, Vol. 3, 1832–37. on the breast feathers
Ash Grey is visible of the robin, at the
on the breast feathers edge of the red.
of the long-tailed tit.
Vegeta b l e .
v e geta bl e . William Baxter,
Burning log, British Phaenogamous
date unknown. Botany, 1832–43.
in the ashes of on the seed puff of
burning fresh wood. the common sowthistle.*
v e g etabl e .
Philip Rashleigh, Johann Gottlob

mi n era l.
Specimens of British Kurr, The Mineral

Minerals, 1797. Kingdom, 1859.
on the flint. on the flint (top row, left).
11. fr e nc h Gr ey. French Grey, nearly 1 2. pea rl G rey. Pearl Grey, is ash grey
the steel grey of Werner, mixed with a little crimson
(i). Breast of Pied Wag tail. [Pied wagtail; Motacilla alba] (i). Backs of black headed [Chroicocephalus ridibundus]
(ii). without the lustre, is and Kittiwake Gulls. [Rissa] red and blue, or bluish
(iii).
greyish white, with (ii). Back of Petals of Purple Hepatica.
grey with a little red. [W]
a slight tinge of black (iii). Porcelain Jasper. [Silica]
and carmine red.

57.
animal.
animal.
5 6.
An i m a l .
a n ima l. John Gould,
John Gould, Birds of Birds of Europe,
Europe, Vol. 2, 1832–37. Vol. 5, 1832–37.
French Grey is visible Pearl Grey is visible
on the breast feathers on the back feathers of
of the pied wagtail. the black-headed gull.
v e geta bl e . Vegeta b l e .
Jacob Sturm, O. Reveil, A. Dupuis,
Deutschlands Flora Fr. Gerard and F. H.
in Abbildungen Herincq, Le Règne
nach der Natur mit végétal, 1864–71.
Beschreibungen, 1798. Pearl Grey is visible
French Grey is visible on the back of the
on the petals of liverwort petals.
the Ranunculus.*
M i n er a l .
min e r a l. James Sowerby,
v e g etabl e .
v e g etabl e .
John Mawe, A Treatise British Mineralogy,

m in e ral.
m in e ral.
on Diamonds, 1823. Vol. 2, 1802–17.
on the doublet gemstone on the upper part of
(fourth row, centre).* the porcelain jasper.
11. fr e nc h Gr ey. French Grey, nearly 1 2. pea rl G rey. Pearl Grey, is ash grey
the steel grey of Werner, mixed with a little crimson
(i). Breast of Pied Wag tail. [Pied wagtail; Motacilla alba] (i). Backs of black headed [Chroicocephalus ridibundus]
(ii). without the lustre, is and Kittiwake Gulls. [Rissa] red and blue, or bluish
(iii).
greyish white, with (ii). Back of Petals of Purple Hepatica.
grey with a little red. [W]
a slight tinge of black (iii). Porcelain Jasper. [Silica]
and carmine red.

57.
animal.
animal.
5 6.
An i m a l .
a n ima l. John Gould,
John Gould, Birds of Birds of Europe,
Europe, Vol. 2, 1832–37. Vol. 5, 1832–37.
on the breast feathers on the back feathers of
of the pied wagtail. the black-headed gull.
Jacob Sturm, O. Reveil, A. Dupuis,
Deutschlands Flora Fr. Gerard and F. H.
in Abbildungen Herincq, Le Règne
nach der Natur mit végétal, 1864–71.
Beschreibungen, 1798. Pearl Grey is visible
French Grey is visible on the back of the
on the petals of liverwort petals.
the Ranunculus.*
M i n er a l .
v e g etabl e .
v e g etabl e .
John Mawe, A Treatise British Mineralogy,

m in e ral.
m in e ral.
on Diamonds, 1823. Vol. 2, 1802–17.
on the doublet gemstone on the upper part of
(fourth row, centre).* the porcelain jasper.
13. Ye l lowis h Grey. Yellowish Grey, is ash 1 4. blui sh G rey. Bluish Grey, is ash
grey mixed with lemon grey mixed with
(i). Vent coverts of White Rump. [Hen harrier; Circus cyaneus] (i). Back, and tail Coverts Wood Pigeon. [Columba palumbus]
(ii). Stems of the Barberry. [Berberis vulgaris] yellow and a minute (ii). a little blue. [W]
(iii). Common Calcedony. [Chalcedony; Silicate mineral]
portion of brown. [W] (iii). Limestone. [Carbonate sedimentary rock]
59.
veg etable .
animal.
animal.
5 8.
An i m a l .
a n ima l. John Gould, Birds of
John Gould, Birds Europe, Vol. 4, 1832–37.
of Great Britain, Bluish Grey is visible on
Vol. 1, 1862–73. the back and tail coverts
Yellowish Grey is of the wood pigeon.
visible on the vent
coverts, i.e. the feathers Vegeta b l e .
around the cloaca, Jacob Sturm,
of the white rump. Deutschlands Flora
in Abbildungen
v e geta bl e . nach der Natur mit
Francesco Peyrolery, Beschreibungen, 1798.
Berberidaceae, Bluish Grey is visible
watercolour, 1765. on the leaves of the
Yellowish Grey is sea kale.*
visible on the stem
of the barberry. M i n er a l .
Reinhard Brauns,
min e r a l. The Mineral
Philip Rashleigh, Kingdom, Vol. 2, 1912.
v e g etabl e .
Specimens of British Bluish Grey is visible

m in e ral.
m in e ral.
Minerals, 1797. on the limestone (top

Yellowish Grey is visible row, centre right). Two
on the chalcedony pieces of vesuvianite
(all specimens). are embedded within it.
13. Ye l lowis h Grey. Yellowish Grey, is ash 1 4. blui sh G rey. Bluish Grey, is ash
grey mixed with lemon grey mixed with
(i). Vent coverts of White Rump. [Hen harrier; Circus cyaneus] (i). Back, and tail Coverts Wood Pigeon. [Columba palumbus]
(ii). Stems of the Barberry. [Berberis vulgaris] yellow and a minute (ii). a little blue. [W]
(iii). Common Calcedony. [Chalcedony; Silicate mineral]
portion of brown. [W] (iii). Limestone. [Carbonate sedimentary rock]
59.
veg etable .
animal.
animal.
5 8.
An i m a l .
a n ima l. John Gould, Birds of
John Gould, Birds Europe, Vol. 4, 1832–37.
of Great Britain, Bluish Grey is visible on
Vol. 1, 1862–73. the back and tail coverts
Yellowish Grey is of the wood pigeon.
visible on the vent
coverts, i.e. the feathers Vegeta b l e .
around the cloaca, Jacob Sturm,
of the white rump. Deutschlands Flora
in Abbildungen
v e geta bl e . nach der Natur mit
Francesco Peyrolery, Beschreibungen, 1798.
Berberidaceae, Bluish Grey is visible
watercolour, 1765. on the leaves of the
Yellowish Grey is sea kale.*
visible on the stem
of the barberry. M i n er a l .
Reinhard Brauns,
Philip Rashleigh, Kingdom, Vol. 2, 1912.
v e g etabl e .
Specimens of British Bluish Grey is visible

m in e ral.
m in e ral.
Minerals, 1797. on the limestone (top

Yellowish Grey is visible row, centre right). Two
on the chalcedony pieces of vesuvianite
(all specimens). are embedded within it.
15. Gr e e nis h Gr ey. Greenish Grey, is ash grey 1 6. blac k i sh G rey. Blackish Grey, blackish
mixed with a little emerald (i). Back of Nut-hatch. [Nuthatch; Sitta]
lead grey of Werner
(i). Quill Feathers of the Robin. [Erithacus rubecula]
(ii). Bark of Ash Tree. [Fraxinus excelsior] green, a small portion of (ii). Old Stems of Hawthorn. [Crataegus] without the lustre, is ash
(iii). Flint. [Quartz]
(iii). Clay Slate. [Metamorphic rock]
Wacke. [Greywacke; Sandstone]
black, and a little lemon grey, with a little blue
yellow. [W] and a portion of black.
61.
veg etable .
mineral.
animal.
animal.
6 0.
An ima l. An i m a l .
Patrick Syme, John Gould, Birds of
A Treatise on British Europe, Vol. 3, 1832–37.
Songbirds, 1823. Blackish Grey is visible
Greenish Grey is visible on the back feathers
on the wing and back of the nuthatch.
feathers of the robin.
Vegeta b l e .
V e geta bl e . Heinrich Moritz
O. Reveil, A. Dupuis, Willkomm,
Fr. Gerard and F. H. Illustrationes
Herincq, Le Règne florae Hispaniae
végétal, 1864–71. insularumque
Greenish Grey is Balearium, 1886–92.
visible on the bark Blackish Grey is
of the ash tree. visible on the stem
of the hawthorn.
M in e r a l.
The Mineral James Sowerby,
v eg etable .
Kingdom, Vol. 1, 1912. British Mineralogy,

mi n era l.
Greenish Grey is visible Vol. 3, 1802–17.

on the clay slate (bottom Blackish Grey is
row, left). Crystals are visible on the
embedded within it. bottom of the flint.
15. Gr e e nis h Gr ey. Greenish Grey, is ash grey 1 6. blac k i sh G rey. Blackish Grey, blackish
mixed with a little emerald (i). Back of Nut-hatch. [Nuthatch; Sitta]
lead grey of Werner
(i). Quill Feathers of the Robin. [Erithacus rubecula]
(ii). Bark of Ash Tree. [Fraxinus excelsior] green, a small portion of (ii). Old Stems of Hawthorn. [Crataegus] without the lustre, is ash
(iii). Flint. [Quartz]
(iii). Clay Slate. [Metamorphic rock]
Wacke. [Greywacke; Sandstone]
black, and a little lemon grey, with a little blue
yellow. [W] and a portion of black.
61.
veg etable .
mineral.
animal.
animal.
6 0.
Patrick Syme, John Gould, Birds of
A Treatise on British Europe, Vol. 3, 1832–37.
Songbirds, 1823. Blackish Grey is visible
Greenish Grey is visible on the back feathers
on the wing and back of the nuthatch.
feathers of the robin.
Vegeta b l e .
V e geta bl e . Heinrich Moritz
O. Reveil, A. Dupuis, Willkomm,
Fr. Gerard and F. H. Illustrationes
Herincq, Le Règne florae Hispaniae
végétal, 1864–71. insularumque
Greenish Grey is Balearium, 1886–92.
visible on the bark Blackish Grey is
of the ash tree. visible on the stem
of the hawthorn.
M in e r a l.
The Mineral James Sowerby,
v eg etable .
Kingdom, Vol. 1, 1912. British Mineralogy,

mi n era l.
Greenish Grey is visible Vol. 3, 1802–17.

on the clay slate (bottom Blackish Grey is
row, left). Crystals are visible on the
embedded within it. bottom of the flint.
blacks. blacks.
Water Ousel. Breast

Greyish
17 and upper part of Basalt.
Black.
Back of Water Hen.
Bluish
18 Largest Black Slug. Crowberry. Black Cobalt Ochre.
Black.
Greenish
19 Breast of Lapwing. Hornblende.
Black.
6 3.
Pitch, or
Guillemot. Wing Coverts
20 Brownish Yenite Mica.
of Black Cock.
Black.
Spots on Largs Wings

Reddish Berry of Fuchsia
21 of Tyger Moth. Breast Oliven Ore.
Black. Coccinea.
of Pochard Duck.
62 .
Berry of Deadly
22 Ink Black. Oliven Ore.
Night Shade.

included three of
Werner’s original blacks
(numbers 17, 18 and 20),
two blacks from the Lenz Black of Red and
Velvet Mole. Tail Feathers
system (numbers 19 and 23 Black West-Indian Obsidian.
23), one black from his Black. of Black Cock.
Peas.
own 1814 edition (number
21) and introduced one
new black (number 22).
17. g r ey is h b lack. Greyish Black, is
composed of velvet
(i). Water Ousel. [American dipper; Cinclus mexicanus]
Breast and upper Part of Back of Water Hen. [Waterhen; black, with a portion
(ii).
Amaurornis phoenicurus]
of ash grey. [W]
(iii). Basalt. [Igneous rock]
6 5.
animal.
64.
animal.
John Gould, Birds
of Great Britain,
Vol. 2, 1862–73.
Greyish Black is
visible on the back
feathers of the
American dipper.
v egeta b l e .
Cornelis Antoon
Jan Abraham
Oudemans, Neerland’s
Plantentuin, 1865.
Greyish Black is
visible on the centre
of the petals of the
Roella ciliata.*
m i n er a l .
Reinhard Brauns,
The Mineral
Kingdom, Vol. 1, 1912.
v eg etable .
Greyish Black is
mi n era l.
visible on the basalt

(bottom row, right).
It has chalybite
embedded within it.
17. g r ey is h b lack. Greyish Black, is
composed of velvet
(i). Water Ousel. [American dipper; Cinclus mexicanus]
Breast and upper Part of Back of Water Hen. [Waterhen; black, with a portion
(ii).
Amaurornis phoenicurus]
of ash grey. [W]
(iii). Basalt. [Igneous rock]
6 5.
animal.
64.
animal.
John Gould, Birds
of Great Britain,
Vol. 2, 1862–73.
Greyish Black is
visible on the back
feathers of the
American dipper.
v egeta b l e .
Cornelis Antoon
Jan Abraham
Plantentuin, 1865.
Greyish Black is
visible on the centre
of the petals of the
Roella ciliata.*
m i n er a l .
Reinhard Brauns,
The Mineral
v eg etable .
Greyish Black is
mi n era l.
visible on the basalt

It has chalybite
embedded within it.
18. Bluis h Blac k. Bluish Black, is velvet black, 1 9. G reen ish blac k. Greenish Black, is velvet
mixed with a little blue black, mixed with a little
(i). Largest Black Slug. [Arion ater] (i). Breast of Lapwing. [Vanellinae]
(ii). Crowberry. [Empetrum nigrum] and blackish grey. [W] (ii). brown, yellow and green. [W]
(iii). Black Cobalt Ochre. [Cobaltian Wad; (iii). Hornblende. [Silicate mineral]
Manganese oxide or hydroxide]
6 7.
animal.
animal.
6 6.
Anima l. animal.
George Shaw and John Gould, Birds of
Frederick P. Nodder, Europe, Vol. 4, 1832–37.
The Naturalist’s Greenish Black is
Miscellany, 1789–1813. visible on the upper
Bluish Black is visible breast feathers
on the black slug of the lapwing.
(above).
v egeta b l e .
V e geta bl e . Johann Wilhelm
Black crow-berry, Weinmann,
watercolour, Phytanthoza
date unknown. iconographia, 1737.
Bluish black is Greenish Black is
visible on the berries visible on the bracts
of the crowberry. of the artichoke.*
M in e r al. m i n er a l .
Reinhard Brauns, Leonard Spencer,
The Mineral The World’s
ve g etab le .
v eg etable .
Kingdom, Vol. 1, 1912. Minerals, 1916.

min e r al.
mi n era l.
Bluish Black is Greenish Black
visible on the cobalt is visible on the
ore (all specimens hornblende
on the top two rows). (top row, left).
18. Bluis h Blac k. Bluish Black, is velvet black, 1 9. G reen ish blac k. Greenish Black, is velvet
mixed with a little blue black, mixed with a little
(i). Largest Black Slug. [Arion ater] (i). Breast of Lapwing. [Vanellinae]
(ii). Crowberry. [Empetrum nigrum] and blackish grey. [W] (ii). brown, yellow and green. [W]
(iii). Black Cobalt Ochre. [Cobaltian Wad; (iii). Hornblende. [Silicate mineral]
Manganese oxide or hydroxide]
6 7.
animal.
animal.
6 6.
Anima l. animal.
George Shaw and John Gould, Birds of
Frederick P. Nodder, Europe, Vol. 4, 1832–37.
The Naturalist’s Greenish Black is
Miscellany, 1789–1813. visible on the upper
Bluish Black is visible breast feathers
on the black slug of the lapwing.
(above).
v egeta b l e .
V e geta bl e . Johann Wilhelm
Black crow-berry, Weinmann,
watercolour, Phytanthoza
date unknown. iconographia, 1737.
Bluish black is Greenish Black is
visible on the berries visible on the bracts
of the crowberry. of the artichoke.*
M in e r al. m i n er a l .
Reinhard Brauns, Leonard Spencer,
The Mineral The World’s
ve g etab le .
v eg etable .

min e r al.
mi n era l.
Bluish Black is Greenish Black
visible on the cobalt is visible on the
ore (all specimens hornblende
on the top two rows). (top row, left).
2 0. pitch , or brow nish black. Pitch, or Brownish Black,
is velvet black, mixed with a
(i). Guillemot. [Common guillemot; Uria aalge]
Wing Coverts of Black Cock. [Black grouse; Lyrurus tetrix] little brown and yellow. [W]
(ii).
(iii). Yenite Mica. [Ilvaite; Silicate mineral]
6 9.
veg etable .
6 8.
An i m a l .
Europe, Vol. 5, 1832–37.
Pitch, or Brownish
Black is visible on
the wing feathers of
the common guillemot.
Vegeta b l e .
Cornelis Antoon Jan
Abraham Oudemans,
Neerland’s Plantentuin,
1865.
Pitch, or Brownish Black
is visible on the petals
of the delphinium.*
M i n er a l .
Reinhard Brauns,
The Mineral
min e r al .

an im al.

is visible on the ilvaite
(second from right).
2 0. pitch , or brow nish black. Pitch, or Brownish Black,
is velvet black, mixed with a
(i). Guillemot. [Common guillemot; Uria aalge]
Wing Coverts of Black Cock. [Black grouse; Lyrurus tetrix] little brown and yellow. [W]
(ii).
(iii). Yenite Mica. [Ilvaite; Silicate mineral]
6 9.
veg etable .
6 8.
An i m a l .
Europe, Vol. 5, 1832–37.
Pitch, or Brownish
Black is visible on
the common guillemot.
Vegeta b l e .
Cornelis Antoon Jan
Abraham Oudemans,
Neerland’s Plantentuin,
1865.
of the delphinium.*
M i n er a l .
Reinhard Brauns,
The Mineral
min e r al .

an im al.

is visible on the ilvaite
(second from right).
2 1. r e d d is h b lack. Reddish Black, is velvet 22. in k blac k. Ink Black, is velvet
black, mixed with a black, with a little
(i). Spots on Large Wings of Tyger Moth. [Tiger moth; Arctia caja] (i).
Breast of Pochard Duck. [Common pochard; Aythya ferina] very little carmine red, (ii). Berry on Deadly Night Shade. [Deadly nightshade; indigo blue in it.
(ii).
(iii).
Berry of Fuchsia Coccinea. [Scarlet Fuchsia; Fuchsia coccinea]
Oliven Ore. [Olivenite; Copper arsenate mineral]
and a small portion (iii).
Belladonna; Atropa belladonna]
of chesnut brown.
71.
veg etable .
veg etable .
animal.
animal.
70.
An ima l.
Thomas Brown,
The Book of An i m a l .
Butterflies, Sphinxes James Duncan,
and Moths, 1832. British Butterflies,
Reddish Black 1840.
is visible on the Ink Black is visible
wings of the adult on the wings of
tiger moth (top row). the swallowtail
(above) and scarce
V e geta bl e . swallowtail (below).*
Pierre-Joseph
Redouté, Choix des Vegeta b l e .
plus belles fleurs, 1833. Belladonna,
Reddish Black is visible watercolour,
on the berries of the date unknown.
scarlet fuchsia. Ink Black is visible
on the berries of the
M in e r a l. deadly nightshade.
Philip Rashleigh,
Specimens of British M i n er a l .
Minerals, 1797. Johann Gottlob
Reddish Black is Kurr, The Mineral
m in e ral.
m in e ral.
visible on the olivenite Kingdom, 1859.

(top row, left and Ink Black is visible
right, and bottom on the olivenite
row, left and right). (bottom row, left).
2 1. r e d d is h b lack. Reddish Black, is velvet 22. in k blac k. Ink Black, is velvet
black, mixed with a black, with a little
(i). Spots on Large Wings of Tyger Moth. [Tiger moth; Arctia caja] (i).
Breast of Pochard Duck. [Common pochard; Aythya ferina] very little carmine red, (ii). Berry on Deadly Night Shade. [Deadly nightshade; indigo blue in it.
(ii).
(iii).
Berry of Fuchsia Coccinea. [Scarlet Fuchsia; Fuchsia coccinea]
and a small portion (iii).
of chesnut brown.
71.
veg etable .
veg etable .
animal.
animal.
70.
An ima l.
Thomas Brown,
The Book of An i m a l .
Butterflies, Sphinxes James Duncan,
and Moths, 1832. British Butterflies,
Reddish Black 1840.
is visible on the Ink Black is visible
wings of the adult on the wings of
tiger moth (top row). the swallowtail
(above) and scarce
V e geta bl e . swallowtail (below).*
Pierre-Joseph
Redouté, Choix des Vegeta b l e .
plus belles fleurs, 1833. Belladonna,
Reddish Black is visible watercolour,
on the berries of the date unknown.
scarlet fuchsia. Ink Black is visible
on the berries of the
M in e r a l. deadly nightshade.
Philip Rashleigh,
Specimens of British M i n er a l .
Minerals, 1797. Johann Gottlob
Reddish Black is Kurr, The Mineral
m in e ral.
m in e ral.
visible on the olivenite Kingdom, 1859.

(top row, left and Ink Black is visible
right, and bottom on the olivenite
row, left and right). (bottom row, left).
2 3. v e lvet blac k. Velvet Black, is the
characteristic colour of
(i). Mole. [Talpidae]
Tail Feathers of Black Cock. [Black grouse; Lyrurus tetrix] the blacks; it is the colour
(ii). Black of Red and Black West Indian Peas.
[Cowpea; Vigna unguiculata]
of black velvet. [W]
(iii). Obsidian. [Volcanic glass]
7 3.
animal.
72.
animal.
William MacGillivray,
British Quadrupeds,
1849.
Velvet black is visible
on the fur of the mole.
v egeta b l e .
Weddell after William
Herbert, ‘Cowpea’,
Curtis’s Botanical
Magazine, 1822.
Velvet Black is
visible on the peas
of the cowpea.
v eg etable .
m i n er a l .
mi n era l.
William Hamilton,
Campi phlegraei, 1776.
on the obsidian (right).
2 3. v e lvet blac k. Velvet Black, is the
characteristic colour of
(i). Mole. [Talpidae]
Tail Feathers of Black Cock. [Black grouse; Lyrurus tetrix] the blacks; it is the colour
(ii). Black of Red and Black West Indian Peas.
[Cowpea; Vigna unguiculata]
of black velvet. [W]
(iii). Obsidian. [Volcanic glass]
7 3.
animal.
72.
animal.
William MacGillivray,
British Quadrupeds,
1849.
on the fur of the mole.
v egeta b l e .
Weddell after William
Herbert, ‘Cowpea’,
Magazine, 1822.
Velvet Black is
visible on the peas
of the cowpea.
v eg etable .
m i n er a l .
mi n era l.
William Hamilton,
Campi phlegraei, 1776.
on the obsidian (right).
1. Werner’s mi n e r alo gi c al
system an d how hi s
nomenclat ur e o f co lour s
became Syme’s co lour stan dar d.
Colour suites of minerals and the Scottish Enlightenment.
b y P e t e r D av i d s o n , N a t i o n a l M u s e u m s s c o t l a n d .
In 1814 the Edinburgh artist Patrick Syme (1774– In 1808 Jameson founded the Werner-
1. W E R N E R’S M I N E R A LO G I C A L SYST E M .
1845) published the first edition of his book ian Natural History Society and Syme was
7 5.
entitled Werner’s Nomenclature of Colours. appointed its official artist of natural history
Already well known as a flower painter and objects in 1811. In the preparation of his book,
teacher, Syme had begun to make a name for Syme was assisted by Jameson, who laid out
himself in the city as a skilled and meticulous a ‘Colour-suite of Minerals’ based on the
practitioner in the field of natural history Wernerian system, using the collections of
drawing.1 He had also recognized the need the university museum. While acknowledging i. ii.
for a ‘general standard’ of colour description Werner’s nomenclature, as well as Jameson’s
and naming, which he set out to provide. help, Syme also expanded on it, especially as
As Syme acknowledged in his introduction he wanted his book to be of use to artists and
and the book’s title, the idea of a standardized other scientists beyond mineralogy, the field
system of colour reference and the style of in which Werner was such a pioneer.
colour terms were adapted and extended from
the work of the German mineralogist Abraham Werner’s interest in minerals
Gottlob Werner (1749–1817). In his seminal
publication of 1774, Von den äusserlichen Born in 1749 at Wehrau in Upper Lusatia
74 .
Kennzeichen der Fossilien (‘Of the External in what was then Prussian Silesia (now in
Characteristics of Fossils’, that is, minerals), Poland), Abraham Gottlob Werner showed an
Werner had set out a guide for the identification early interest in rocks and minerals. A bright,
of minerals by their external features, including energetic child, his favourite books were
colour, and had provided a table of colour terms the ‘New Mining Lexicon’3 by Minerophilus
that could be used as a standard reference. (or Minerophilo Freibergensis; Johann Caspar
Werner’s book was widely translated and Zeisig, fl. mid-1700s) and a reference work on
adopted around the world, along with his rocks and nature by Johann Hübner (1668–1731).4
system, which was disseminated by many of He would wander the countryside collecting
the pupils who had studied under him at the minerals, which he ground into powders to learn
famous Freiberg School of Mining.2 It was about their properties. His father, an inspector
probably through one of these pupils, Robert at the ironworks in Wehrau, would also bring
Jameson (1774–1854), who was appointed Regius him mineral samples from the ironworks.5
Professor of Natural History at the University At the age of 15 in 1764 Werner began work
of Edinburgh in 1804, that Syme became in the ironworks as a clerk (Hüttenschreiber). iii. iv.
familiar with Werner’s work. However, his health suffered, and he travelled
(i–iv). Illustrations from ‘Forges, or the art of making iron’, Encyclopédie, Vol. 4, 1765, edited by Denis
Diderot and Jean le Rond d’Alembert. Plate (i) shows the blasting furnace and casting the mould for
the pig iron, (ii) shows the process of surveying and weighing the iron, (iii) shows smelting apparatus
and (iv) shows loading the ore into the furnace, and the baskets used to carry the ore and charcoal.
1. Werner’s mi n e r alo gi c al
system an d how hi s
nomenclat ur e o f co lour s
became Syme’s co lour stan dar d.
Colour suites of minerals and the Scottish Enlightenment.
b y P e t e r D av i d s o n , N a t i o n a l M u s e u m s s c o t l a n d .
In 1814 the Edinburgh artist Patrick Syme (1774– In 1808 Jameson founded the Werner-
1845) published the first edition of his book ian Natural History Society and Syme was
7 5.
entitled Werner’s Nomenclature of Colours. appointed its official artist of natural history
Already well known as a flower painter and objects in 1811. In the preparation of his book,
teacher, Syme had begun to make a name for Syme was assisted by Jameson, who laid out
himself in the city as a skilled and meticulous a ‘Colour-suite of Minerals’ based on the
practitioner in the field of natural history Wernerian system, using the collections of
drawing.1 He had also recognized the need the university museum. While acknowledging i. ii.
for a ‘general standard’ of colour description Werner’s nomenclature, as well as Jameson’s
and naming, which he set out to provide. help, Syme also expanded on it, especially as
As Syme acknowledged in his introduction he wanted his book to be of use to artists and
and the book’s title, the idea of a standardized other scientists beyond mineralogy, the field
system of colour reference and the style of in which Werner was such a pioneer.
colour terms were adapted and extended from
the work of the German mineralogist Abraham Werner’s interest in minerals
Gottlob Werner (1749–1817). In his seminal
publication of 1774, Von den äusserlichen Born in 1749 at Wehrau in Upper Lusatia
74 .
Kennzeichen der Fossilien (‘Of the External in what was then Prussian Silesia (now in
Characteristics of Fossils’, that is, minerals), Poland), Abraham Gottlob Werner showed an
Werner had set out a guide for the identification early interest in rocks and minerals. A bright,
of minerals by their external features, including energetic child, his favourite books were
colour, and had provided a table of colour terms the ‘New Mining Lexicon’3 by Minerophilus
that could be used as a standard reference. (or Minerophilo Freibergensis; Johann Caspar
Werner’s book was widely translated and Zeisig, fl. mid-1700s) and a reference work on
adopted around the world, along with his rocks and nature by Johann Hübner (1668–1731).4
system, which was disseminated by many of He would wander the countryside collecting
the pupils who had studied under him at the minerals, which he ground into powders to learn
famous Freiberg School of Mining.2 It was about their properties. His father, an inspector
probably through one of these pupils, Robert at the ironworks in Wehrau, would also bring
Jameson (1774–1854), who was appointed Regius him mineral samples from the ironworks.5
Professor of Natural History at the University At the age of 15 in 1764 Werner began work
of Edinburgh in 1804, that Syme became in the ironworks as a clerk (Hüttenschreiber). iii. iv.
familiar with Werner’s work. However, his health suffered, and he travelled
(i–iv). Illustrations from ‘Forges, or the art of making iron’, Encyclopédie, Vol. 4, 1765, edited by Denis
Diderot and Jean le Rond d’Alembert. Plate (i) shows the blasting furnace and casting the mould for
the pig iron, (ii) shows the process of surveying and weighing the iron, (iii) shows smelting apparatus
and (iv) shows loading the ore into the furnace, and the baskets used to carry the ore and charcoal.
to Karlsbad in Bohemia to take the cure. Nature – Minerals. The chemistry of minerals
On the way he stopped in Freiberg, and was was also used as the basis of the classification
given a tour of the mines and mine workings system of Johann Heinrich Pott (1692–1777) in his
at the recently opened Bergakademie, the Chymische Untersuchungen … Lithogeognosia
School of Mining. Young Werner so impressed in 1757, the forerunner of many later systems.
the staff that he was invited to attend the school Another prominent researcher in mineralogy
and in 1769 enrolled as student number 52. was Johan Gottschalk Wallerius (1709–1785). He
Werner was a diligent student and was was a contemporary of Linnaeus and Professor
fortunate to come under the wing of Karl Eugen of Mineralogy at Uppsala University. In his 1747
Pabst von Ohain (1718–1784), chief mine inspector. Mineralogia and then in his 1772 Systematibus
Pabst was among the foremost mineralogists mineralogicum, Wallerius set out his own
of his day and possessed an extensive collection classification system based on chemistry, but
of minerals and a large library. Werner later combined this with external characteristics to
compiled a catalogue of the collection,6 and a greater degree than before. Wallerius’s system
noted in the introduction that Pabst believed defined his major classes (Earths, Stones and
the identification of minerals required a Minerals) as Linnaeus had done, then further
combination of observation of their external subdivided them into a number of orders, then
7 7.
characteristics and their chemical composition. genus and finally species. While the classes and
On completing his studies Werner was offered orders were set out according to compositional
a post at the School, but realized that to further criteria, at genus and species level external
his career he would need university training, characteristics were used. Colour was a major
specifically in law. He therefore enrolled at characteristic for differentiating species and
i. ii. the University of Leipzig in 1771.7 genus, though other factors also came into play,
such as crystal shape and hardness.
Works informing Werner’s ideas In addition to Agricola and Linnaeus,
Werner was also influenced by another Swede,
In the centuries before Werner studied at Axel Fredrik Cronstedt (1722–1765). Werner
Leipzig several important books on mineralogy later translated into German Cronstedt’s
had been published. These were now standard book on mineralogy of 1758,8 and he looked
works and he would undoubtedly have to Cronstedt in an early version of his own
encountered them, either at the mining school, system of mineralogy. For instance, he adopted
the university or in Pabst’s library. Among Cronstedt’s division of the mineral kingdom
76.
them were De re metallica and De natura into earths, salts, inflammables and metals
fossilium by the German mineralogist Georgius almost without significant change. Cronstedt’s
Agricola (Georg Bauer; 1491–1555). Often use of external characteristics to distinguish
regarded as the origin of modern mineralogy between minerals was similar to Wallerius’s
and geology, these books incorporated categories of colour, hardness, transparency,
a systematic arrangement of minerals, with etc, but he did not create a list of their external
notes on external characteristics. characteristics. In Cronstedt’s descriptions,
Then in 1669, the German physician and minerals had colours assigned to them, but he
alchemist Johann Joachim Becher (1635–1682) made no attempt to create a standard reference
set out an arrangement of minerals based system, and the descriptions themselves are
on chemistry in his Physica subterranea. quite vague.
A highly significant milestone came in 1735 It was a book published in 1756 that would
with the publication of Systema naturae by prove to be an influential source for Werner’s
Carl Linnaeus (1707–1778). While Linnaeus fundamental ideas. This was Versuch einer
iii. iv. is normally associated with biology and Geschichte von Flötz-Gebürgen by the German
zoology, he also included his Third Kingdom of mineralogist Johann Gottlob Lehmann
(i–ii). Illustrations of the process of mining, refining and smelting metals,

Georgius Agricola, De re metallica, 1621.
(iii). Allegorical frontispiece showing the creation of terrestrial and
subterranean life, Johann Joachim Becher, Physica subterranea, 1669.
(iv). Mineral illustrations, Carl Linnaeus, Systema naturae, 1735.
to Karlsbad in Bohemia to take the cure. Nature – Minerals. The chemistry of minerals
On the way he stopped in Freiberg, and was was also used as the basis of the classification
given a tour of the mines and mine workings system of Johann Heinrich Pott (1692–1777) in his
at the recently opened Bergakademie, the Chymische Untersuchungen … Lithogeognosia
School of Mining. Young Werner so impressed in 1757, the forerunner of many later systems.
the staff that he was invited to attend the school Another prominent researcher in mineralogy
and in 1769 enrolled as student number 52. was Johan Gottschalk Wallerius (1709–1785). He
Werner was a diligent student and was was a contemporary of Linnaeus and Professor
fortunate to come under the wing of Karl Eugen of Mineralogy at Uppsala University. In his 1747
Pabst von Ohain (1718–1784), chief mine inspector. Mineralogia and then in his 1772 Systematibus
Pabst was among the foremost mineralogists mineralogicum, Wallerius set out his own
of his day and possessed an extensive collection classification system based on chemistry, but
of minerals and a large library. Werner later combined this with external characteristics to
compiled a catalogue of the collection,6 and a greater degree than before. Wallerius’s system
noted in the introduction that Pabst believed defined his major classes (Earths, Stones and
the identification of minerals required a Minerals) as Linnaeus had done, then further
combination of observation of their external subdivided them into a number of orders, then
7 7.
characteristics and their chemical composition. genus and finally species. While the classes and
On completing his studies Werner was offered orders were set out according to compositional
a post at the School, but realized that to further criteria, at genus and species level external
his career he would need university training, characteristics were used. Colour was a major
specifically in law. He therefore enrolled at characteristic for differentiating species and
i. ii. the University of Leipzig in 1771.7 genus, though other factors also came into play,
such as crystal shape and hardness.
Works informing Werner’s ideas In addition to Agricola and Linnaeus,
Werner was also influenced by another Swede,
In the centuries before Werner studied at Axel Fredrik Cronstedt (1722–1765). Werner
Leipzig several important books on mineralogy later translated into German Cronstedt’s
had been published. These were now standard book on mineralogy of 1758,8 and he looked
works and he would undoubtedly have to Cronstedt in an early version of his own
encountered them, either at the mining school, system of mineralogy. For instance, he adopted
the university or in Pabst’s library. Among Cronstedt’s division of the mineral kingdom
76.
them were De re metallica and De natura into earths, salts, inflammables and metals
fossilium by the German mineralogist Georgius almost without significant change. Cronstedt’s
Agricola (Georg Bauer; 1491–1555). Often use of external characteristics to distinguish
regarded as the origin of modern mineralogy between minerals was similar to Wallerius’s
and geology, these books incorporated categories of colour, hardness, transparency,
a systematic arrangement of minerals, with etc, but he did not create a list of their external
notes on external characteristics. characteristics. In Cronstedt’s descriptions,
Then in 1669, the German physician and minerals had colours assigned to them, but he
alchemist Johann Joachim Becher (1635–1682) made no attempt to create a standard reference
set out an arrangement of minerals based system, and the descriptions themselves are
on chemistry in his Physica subterranea. quite vague.
A highly significant milestone came in 1735 It was a book published in 1756 that would
with the publication of Systema naturae by prove to be an influential source for Werner’s
Carl Linnaeus (1707–1778). While Linnaeus fundamental ideas. This was Versuch einer
iii. iv. is normally associated with biology and Geschichte von Flötz-Gebürgen by the German
zoology, he also included his Third Kingdom of mineralogist Johann Gottlob Lehmann
(i–ii). Illustrations of the process of mining, refining and smelting metals,

Georgius Agricola, De re metallica, 1621.
(iii). Allegorical frontispiece showing the creation of terrestrial and
subterranean life, Johann Joachim Becher, Physica subterranea, 1669.
(iv). Mineral illustrations, Carl Linnaeus, Systema naturae, 1735.
Vigani’s cabinet.
2 An explosion of interest in medicine and the natural

world during the Early Modern period in Europe
led to a vogue for natural collections. The quantity
and diversity of specimens assembled inside these
‘cabinets of curiosities’ became a symbol of status
for their owners. These drawers of minerals, shells,
fossils and fruits are taken from the cabinet of the
3 Italian chemist John Francis Vigani (c. 1650–1712).
They are part of his collection of nearly 700 samples
of materia medica (medical materials), assembled
in Cambridge, England, in 1703–04.
1
4 colour references.
Bezoar orientalis.
1
50. Verdigris Green.
7 9.
Red ochre.
2
90. Peach Blossom Red.
6 7
Orpiment.
3
67. King’s Yellow.
Deep Smalt.
4
31. Berlin Blue.
5 8
armenian bole.
5
82. Tile red.
9
red coral.
78.
6
85. Vermilion Red.
Minium.
7
84. Scarlet Red.
talcum venetum.
8
8. Greyish White.
roman vitriol.
12 9
28. Azure Blue.
hepatic aloe resin.

10
20. Pitch, or Brownish Black.
10 11
Cocculus Indicus berry.
11
14. Bluish Grey.
Turbinidae shell.
12
103. Chesnut Brown.
Vigani’s cabinet.
2 An explosion of interest in medicine and the natural

world during the Early Modern period in Europe
led to a vogue for natural collections. The quantity
and diversity of specimens assembled inside these
‘cabinets of curiosities’ became a symbol of status
for their owners. These drawers of minerals, shells,
fossils and fruits are taken from the cabinet of the
3 Italian chemist John Francis Vigani (c. 1650–1712).
They are part of his collection of nearly 700 samples
of materia medica (medical materials), assembled
in Cambridge, England, in 1703–04.
1
4 colour references.
Bezoar orientalis.
1
7 9.
Red ochre.
2
90. Peach Blossom Red.
6 7
Orpiment.
3
Deep Smalt.
4
31. Berlin Blue.
5 8
armenian bole.
5
82. Tile red.
9
red coral.
78.
6
85. Vermilion Red.
Minium.
7
84. Scarlet Red.
talcum venetum.
8
8. Greyish White.
roman vitriol.
12 9
28. Azure Blue.
hepatic aloe resin.

10
10 11
Cocculus Indicus berry.
11
14. Bluish Grey.
Turbinidae shell.
12
103. Chesnut Brown.
(1719–1767) in which he set out his theory of Werner based his colour scheme not on
the formation of the Earth. Lehmann proposed the spectrum of light but on a consideration
that rocks were deposited from a primeval of the colours found naturally in mineralogy,
ocean (either by precipitation or erosion) thus he included both white and black. He
to form the layers observed at the surface, also argued that the colour of a mineral could
with the oldest at the bottom. He also stated reveal something of its chemical composition.
that other rocks could appear at the surface For instance, copper minerals are largely green
through accidental causes such as floods, or blue, manganese minerals can be pink, iron
earthquakes and volcanic eruptions. can be indicated by red, and so on. In his system
Werner listed eight principal colours: white,
External characteristics and grey, black, blue, green, yellow, red and brown.
the identification of minerals These he then further subdivided and qualified
either by modifiers such as bluish black or
One of Werner’s lecturers at Leipzig was greenish yellow, or with descriptive names,
Dr Johann Karl Gehler (1732–1796). In 1757 such as milk white, canary green or sky blue.
Gehler had written and published a small These in turn could have what he called shades –
book entitled De characteribus fossilium pale, light, clear and dark. In this way Werner’s
81.
externis – on the external characteristics of list of 54 individual colours could become
fossils. Werner had begun a translation 216 when all the variants were included.
of Gehler’s book into German, but on the The publication of his book in 1774, the
advice of his friend, Christian Erhard Kapp year he left Leipzig, marked a turning point
(1739–1824), he added his own text to expand in Werner’s life. It came to the attention of his
the original idea into his most famous book, old mentor, Pabst, who immediately made i.
Von den äusserlichen Kennzeichen der representations to the School of Mining to
Fossilien (Of the External Characteristics offer Werner a post as a teacher and as curator
of Fossils), published in 1774. of its collections.
Werner’s book was not an explanation of his
mineralogical system – this was not published An influential teacher
until 1789 – it was instead a straightforward
guide to identifying minerals in the labor- Werner accepted the offer and at Easter 1775,
atory and classroom or in the field. It was also six years after he had enrolled as a student,
8 0.
an attempt to create a standardized vocabulary he became a teacher at the school, where he

so that anyone using his system when describing remained until his death in 1817. He began by
a mineral species would be understood by teaching only mineralogy, but as his exper-
others. Werner’s chief aim was to address a gap, ience grew, so did his dissatisfaction with
as he saw it, in using external characteristics the old curriculum and he began to make
as a tool to identify minerals. He itemized changes. When the academy was first establ-
these external characteristics as colour, ished, courses were offered in metallurgical
cohesion, external crystal form (if present), chemistry, mine assaying, mine surveying,
size, lustre, fracture and hardness as well as mathematics and physics, with an additional
taste and smell. Of these, however, he regarded course in mining using models in the academy
colour as the most important, describing it and mine visits. Mineralogy was available as
as ‘the first to strike the senses’, and listed an extra-curricular activity and was open
the colours that were relevant to minerals. to both students and the public. Werner
Werner did admit, however, that it was not introduced new teaching methods, improved
possible to distinguish minerals by colour the co-ordination between courses and
alone, but rather a combination of all the expanded the curriculum as well as the mineral ii. iii.
characteristics was needed. collections and library.9 His fame as a teacher
(i). Illustration of strata, Johann Gottlob Lehmann, Versuch einer Geschichte von Flötz-Gebürgen, 1756.
(ii). Title page, Abraham Gottlob Werner, Von den äusserlichen Kennzeichen der Fossilien, 1774.
(iii). List of 54 colours, white to brown, Abraham Gottlob Werner, Von den äusserlichen Kennzeichen
der Fossilien, 1774.
(1719–1767) in which he set out his theory of Werner based his colour scheme not on
the formation of the Earth. Lehmann proposed the spectrum of light but on a consideration
that rocks were deposited from a primeval of the colours found naturally in mineralogy,
ocean (either by precipitation or erosion) thus he included both white and black. He
to form the layers observed at the surface, also argued that the colour of a mineral could
with the oldest at the bottom. He also stated reveal something of its chemical composition.
that other rocks could appear at the surface For instance, copper minerals are largely green
through accidental causes such as floods, or blue, manganese minerals can be pink, iron
earthquakes and volcanic eruptions. can be indicated by red, and so on. In his system
Werner listed eight principal colours: white,
External characteristics and grey, black, blue, green, yellow, red and brown.
the identification of minerals These he then further subdivided and qualified
either by modifiers such as bluish black or
One of Werner’s lecturers at Leipzig was greenish yellow, or with descriptive names,
Dr Johann Karl Gehler (1732–1796). In 1757 such as milk white, canary green or sky blue.
Gehler had written and published a small These in turn could have what he called shades –
book entitled De characteribus fossilium pale, light, clear and dark. In this way Werner’s
81.
externis – on the external characteristics of list of 54 individual colours could become
fossils. Werner had begun a translation 216 when all the variants were included.
of Gehler’s book into German, but on the The publication of his book in 1774, the
advice of his friend, Christian Erhard Kapp year he left Leipzig, marked a turning point
(1739–1824), he added his own text to expand in Werner’s life. It came to the attention of his
the original idea into his most famous book, old mentor, Pabst, who immediately made i.
Von den äusserlichen Kennzeichen der representations to the School of Mining to
Fossilien (Of the External Characteristics offer Werner a post as a teacher and as curator
of Fossils), published in 1774. of its collections.
Werner’s book was not an explanation of his
mineralogical system – this was not published An influential teacher
until 1789 – it was instead a straightforward
guide to identifying minerals in the labor- Werner accepted the offer and at Easter 1775,
atory and classroom or in the field. It was also six years after he had enrolled as a student,
8 0.
an attempt to create a standardized vocabulary he became a teacher at the school, where he

so that anyone using his system when describing remained until his death in 1817. He began by
a mineral species would be understood by teaching only mineralogy, but as his exper-
others. Werner’s chief aim was to address a gap, ience grew, so did his dissatisfaction with
as he saw it, in using external characteristics the old curriculum and he began to make
as a tool to identify minerals. He itemized changes. When the academy was first establ-
these external characteristics as colour, ished, courses were offered in metallurgical
cohesion, external crystal form (if present), chemistry, mine assaying, mine surveying,
size, lustre, fracture and hardness as well as mathematics and physics, with an additional
taste and smell. Of these, however, he regarded course in mining using models in the academy
colour as the most important, describing it and mine visits. Mineralogy was available as
as ‘the first to strike the senses’, and listed an extra-curricular activity and was open
the colours that were relevant to minerals. to both students and the public. Werner
Werner did admit, however, that it was not introduced new teaching methods, improved
possible to distinguish minerals by colour the co-ordination between courses and
alone, but rather a combination of all the expanded the curriculum as well as the mineral ii. iii.
characteristics was needed. collections and library.9 His fame as a teacher
(i). Illustration of strata, Johann Gottlob Lehmann, Versuch einer Geschichte von Flötz-Gebürgen, 1756.
(ii). Title page, Abraham Gottlob Werner, Von den äusserlichen Kennzeichen der Fossilien, 1774.
(iii). List of 54 colours, white to brown, Abraham Gottlob Werner, Von den äusserlichen Kennzeichen
der Fossilien, 1774.
soon spread and his new curriculum began Robert Jameson and Werner’s
to attract students from around Germany and nomenclature of colours
much further afield, including Russia, Sweden,
Norway, Denmark, Brazil, Spain, France, Robert Jameson was destined for a career in
Mexico, Scotland and England. medicine and was apprenticed to a surgeon.12
Perhaps Werner’s most important change It was possibly through a fellow apprentice,
was a new course on mineralogy, which was Charles Anderson, that he first came into
divided into two parts. The first dealt with contact with the work of Werner. Anderson
the identification of minerals using his book had translated and published (in Encyclopedia
on external characteristics, the Kennzeichen. Britannica, 1809) one of Werner’s books. He
To illustrate his nomenclature of colour also translated the work of Leopold von Buch
Werner established a special collection, with (1774–1853), a pupil and staunch supporter
carefully chosen minerals to provide an of Werner. Anderson would later become
example for each colour. This was the principal a founder member of the Wernerian Natural
reason why colour samples were not included History Society. In pursuit of his training,
in his original publication, as the ‘Colour-suite Jameson also attended medical lectures at
of Minerals’ served this purpose. The second the University of Edinburgh, and it was here
8 3.
part of the course involved the systematic that he met the Reverend John Walker (1731–
arrangement of minerals based on the work 1803), Professor of Natural History. Walker
of Cronstedt, but increasingly using Werner’s had been a pupil of the great chemist William
own system. He also introduced lectures and Cullen (1710–1790), and much of his early
courses on what he called geognosy, which dealt mineralogical work was founded on Cullen’s
i. ii. with, at least in part, the history of the Earth’s teachings.13 He had also been developing
surface. This is where Werner introduced his own system of mineral classification
his students to the tenets of Neptunism, with influenced by Wallerius, the French
which he became inextricably linked.10 naturalist Jacques-Christoph Valmont de
Neptunism was a theory of the origin of the Bomare (1731–1837), whose mineral system was
Earth’s crust influenced by Lehmann’s notion heavily slanted towards external character
that all rocks were deposited from seawater istics,14 and, in particular, Axel Cronstedt.
or eroded from older rocks.11 It postulated By 1792/3, Jameson had already read several
that the Earth was originally covered by a papers on Natural Sciences to the Royal Medical
primeval ocean into which the oldest rocks Society of Edinburgh, in which he seemed
82 .
such as granite were deposited to considerable to embrace the Wernerian view. In 1797 he
depth. Later these rocks were uplifted, exposed visited Dublin to study the mineral collection
and eroded to form sedimentary rocks of Nathanael Gottfried Leske (1751–1786),15
which formed the layers found at the Earth’s a geologist and close friend of Werner. The
surface. Werner taught this in his geognosy collection had been rearranged according to
lessons and it became widely known as Werner’s system by Dietrich Ludwig Gustav
the Wernerian System. Through Werner’s Karsten (1768–1810), one of his pupils, who then
teaching or by way of his publications, and published a two-volume catalogue. Richard
through his students and their work, his Kirwan (1733–1812), the Irish geologist, was
influence extended worldwide and has been instrumental in the purchase of the collection
described as the ‘Wernerian Radiation’. One by the Royal Irish Academy and it was brought
such student, Robert Jameson, played a key to Dublin in 1792, where it was arranged by
role in the dissemination of Werner’s ideas, Dr George Mitchell (1752–1803), who also trans‑
in particular his nomenclature of colours. lated the catalogue. In the catalogue and display
iii. iv. It is said that Jameson produced more of the collection, the first section is given over
Wernerians than Werner himself. to external characteristics, particularly colour.
(i–iv). Mineral charts from Johann Georg Lenz’s Mustertafeln der bis Jetzt
Bekannten Einfachen Mineralien, 1794. Based on Werner’s principles,
Lenz supplied a watercolour illustration of each of the 400 minerals charted
in this field guide for mineral identification in order to show their colour.
soon spread and his new curriculum began Robert Jameson and Werner’s
to attract students from around Germany and nomenclature of colours
much further afield, including Russia, Sweden,
Norway, Denmark, Brazil, Spain, France, Robert Jameson was destined for a career in
Mexico, Scotland and England. medicine and was apprenticed to a surgeon.12
Perhaps Werner’s most important change It was possibly through a fellow apprentice,
was a new course on mineralogy, which was Charles Anderson, that he first came into
divided into two parts. The first dealt with contact with the work of Werner. Anderson
the identification of minerals using his book had translated and published (in Encyclopedia
on external characteristics, the Kennzeichen. Britannica, 1809) one of Werner’s books. He
To illustrate his nomenclature of colour also translated the work of Leopold von Buch
Werner established a special collection, with (1774–1853), a pupil and staunch supporter
carefully chosen minerals to provide an of Werner. Anderson would later become
example for each colour. This was the principal a founder member of the Wernerian Natural
reason why colour samples were not included History Society. In pursuit of his training,
in his original publication, as the ‘Colour-suite Jameson also attended medical lectures at
of Minerals’ served this purpose. The second the University of Edinburgh, and it was here
8 3.
part of the course involved the systematic that he met the Reverend John Walker (1731–
arrangement of minerals based on the work 1803), Professor of Natural History. Walker
of Cronstedt, but increasingly using Werner’s had been a pupil of the great chemist William
own system. He also introduced lectures and Cullen (1710–1790), and much of his early
courses on what he called geognosy, which dealt mineralogical work was founded on Cullen’s
i. ii. with, at least in part, the history of the Earth’s teachings.13 He had also been developing
surface. This is where Werner introduced his own system of mineral classification
his students to the tenets of Neptunism, with influenced by Wallerius, the French
which he became inextricably linked.10 naturalist Jacques-Christoph Valmont de
Neptunism was a theory of the origin of the Bomare (1731–1837), whose mineral system was
Earth’s crust influenced by Lehmann’s notion heavily slanted towards external character
that all rocks were deposited from seawater istics,14 and, in particular, Axel Cronstedt.
or eroded from older rocks.11 It postulated By 1792/3, Jameson had already read several
that the Earth was originally covered by a papers on Natural Sciences to the Royal Medical
primeval ocean into which the oldest rocks Society of Edinburgh, in which he seemed
82 .
such as granite were deposited to considerable to embrace the Wernerian view. In 1797 he
depth. Later these rocks were uplifted, exposed visited Dublin to study the mineral collection
and eroded to form sedimentary rocks of Nathanael Gottfried Leske (1751–1786),15
which formed the layers found at the Earth’s a geologist and close friend of Werner. The
surface. Werner taught this in his geognosy collection had been rearranged according to
lessons and it became widely known as Werner’s system by Dietrich Ludwig Gustav
the Wernerian System. Through Werner’s Karsten (1768–1810), one of his pupils, who then
teaching or by way of his publications, and published a two-volume catalogue. Richard
through his students and their work, his Kirwan (1733–1812), the Irish geologist, was
influence extended worldwide and has been instrumental in the purchase of the collection
described as the ‘Wernerian Radiation’. One by the Royal Irish Academy and it was brought
such student, Robert Jameson, played a key to Dublin in 1792, where it was arranged by
role in the dissemination of Werner’s ideas, Dr George Mitchell (1752–1803), who also trans‑
in particular his nomenclature of colours. lated the catalogue. In the catalogue and display
iii. iv. It is said that Jameson produced more of the collection, the first section is given over
Wernerians than Werner himself. to external characteristics, particularly colour.
(i–iv). Mineral charts from Johann Georg Lenz’s Mustertafeln der bis Jetzt
Bekannten Einfachen Mineralien, 1794. Based on Werner’s principles,
Lenz supplied a watercolour illustration of each of the 400 minerals charted
in this field guide for mineral identification in order to show their colour.
Inspired by what he read and saw in and other modifications (see p. 34). However,
Dublin, Jameson travelled to Freiberg in 1800, to a large degree he retained the names that
where he immersed himself for two years Werner used, and, like Werner, Jameson did not
in Werner’s teachings and methods. Among include colour samples or swatches. A second,
the many students studying under Werner updated and expanded edition of the Treatise
in Freiberg at that time was Karl Friedrich was published in 1816, and even though this
Mohs (1773–1839).16 After Werner’s death, Mohs appeared two years after the publication of
succeeded his former teacher. His own Patrick Syme’s Werner’s Nomenclature of
Treatise of Mineralogy17 proposed a system Colours in 1814, Jameson did not use the oppor‑
based on crystallography, but also contained a tunity to add colour samples and his colour
section on external characteristics, including nomenclature remains largely unchanged.
Werner’s colour scheme. While Syme probably based his system on
Jameson’s appointment in 1804 as Regius the work of Werner and Jameson, he took his
Professor of Natural History at the University own approach.20 He retained a high proportion
of Edinburgh placed him in an important of Werner’s names, but introduced some of his
position in the world of natural history. In own. Some of these are the result of his two new
1808, he formed the Wernerian Natural principal colours – purple and orange, which
8 5.
History Society, named in honour of his former meant that colours such as violet blue and plum
teacher, to provide a forum for the reading blue (as in Werner and Jameson) became violet
and discussion of natural history papers. purple and plum purple. Syme also used his
Edinburgh at that time was experiencing the background as an artist to introduce names
ferment that became known as the ‘Scottish’ or such as Sienna yellow, and his knowledge of
‘Edinburgh’ Enlightenment,18 part of the Age flowers showed in his pansy purple and auricula i. ii.
of Enlightenment that was sweeping through purple. In all Syme increased the number of
Europe. It was a period of intense philosophical, colour references to 108, and then 110 in the
intellectual, medical and scientific study and second edition of his book, published in 1821.
research – especially in Natural Sciences. Syme knew Jameson through his position
Jameson’s prominent academic role afforded as painter to the Wernerian Natural History
him the opportunity to promote the teachings Society and it is probable therefore that Syme
of Werner to a wider audience, but it was became familiar with the work of Werner
the dispersal of those ideas through the Scottish through him. Once the connection was estab‑
84.
diaspora which took Scottish Enlightenment lished, Syme visited the museum to examine
ideas around the world. the mineral collection Jameson had arranged
In the same year that Jameson began his according to Werner’s colour system. Syme
tenure as Professor he published his first major undoubtedly recognized the simplicity and
book, A System of Mineralogy (volume 1), which straightforwardness of Werner’s combination
was followed in 1805 with the publication of a principal colour, such as red, with a familiar
of A Treatise on the External Characters of or easily identifiable descriptor, such as
Minerals – both of which were based on the blood, to derive his own, similar system for his
work of Werner. While the System explicitly colour references and the examples he gives
defines the colours of the individual mineral of objects found in nature. Syme’s choice of
species according to the Wernerian system, it using hand-painted swatches as opposed to
is the Treatise that provides an explanation and printing the colours directly on to the page may
a table of Werner’s scheme of nomenclature.19 have given him a greater degree of control over
A comparison between Werner’s original the final colour, as it appears in the book. Colour
list and Jameson’s in his 1805 Treatise reveals printing was still very much in its infancy (see
that Jameson expanded Werner’s 54 colour p. 235) and despite the progress that had been iii. iv.
terms to 84, with the addition of some new greys made by the end of the 18th century, reliable,
(i). Varieties of tin ore, Georg Wolfgang Knorr, Deliciae naturae selectae, 1766.
(ii). Varieties of minerals, Georg Wolfgang Knorr, Deliciae naturae selectae, 1766.
(iii). Mineralogist at work, John Mawe, Familiar Lessons on Mineralogy and Geology, 1826.
(iv). Diamond cutter (above) and polisher (below), John Mawe, A Treatise on Diamonds, 1823.
Inspired by what he read and saw in and other modifications (see p. 34). However,
Dublin, Jameson travelled to Freiberg in 1800, to a large degree he retained the names that
where he immersed himself for two years Werner used, and, like Werner, Jameson did not
in Werner’s teachings and methods. Among include colour samples or swatches. A second,
the many students studying under Werner updated and expanded edition of the Treatise
in Freiberg at that time was Karl Friedrich was published in 1816, and even though this
Mohs (1773–1839).16 After Werner’s death, Mohs appeared two years after the publication of
succeeded his former teacher. His own Patrick Syme’s Werner’s Nomenclature of
Treatise of Mineralogy17 proposed a system Colours in 1814, Jameson did not use the oppor‑
based on crystallography, but also contained a tunity to add colour samples and his colour
section on external characteristics, including nomenclature remains largely unchanged.
Werner’s colour scheme. While Syme probably based his system on
Jameson’s appointment in 1804 as Regius the work of Werner and Jameson, he took his
Professor of Natural History at the University own approach.20 He retained a high proportion
of Edinburgh placed him in an important of Werner’s names, but introduced some of his
position in the world of natural history. In own. Some of these are the result of his two new
1808, he formed the Wernerian Natural principal colours – purple and orange, which
8 5.
History Society, named in honour of his former meant that colours such as violet blue and plum
teacher, to provide a forum for the reading blue (as in Werner and Jameson) became violet
and discussion of natural history papers. purple and plum purple. Syme also used his
Edinburgh at that time was experiencing the background as an artist to introduce names
ferment that became known as the ‘Scottish’ or such as Sienna yellow, and his knowledge of
‘Edinburgh’ Enlightenment,18 part of the Age flowers showed in his pansy purple and auricula i. ii.
of Enlightenment that was sweeping through purple. In all Syme increased the number of
Europe. It was a period of intense philosophical, colour references to 108, and then 110 in the
intellectual, medical and scientific study and second edition of his book, published in 1821.
research – especially in Natural Sciences. Syme knew Jameson through his position
Jameson’s prominent academic role afforded as painter to the Wernerian Natural History
him the opportunity to promote the teachings Society and it is probable therefore that Syme
of Werner to a wider audience, but it was became familiar with the work of Werner
the dispersal of those ideas through the Scottish through him. Once the connection was estab‑
84.
diaspora which took Scottish Enlightenment lished, Syme visited the museum to examine
ideas around the world. the mineral collection Jameson had arranged
In the same year that Jameson began his according to Werner’s colour system. Syme
tenure as Professor he published his first major undoubtedly recognized the simplicity and
book, A System of Mineralogy (volume 1), which straightforwardness of Werner’s combination
was followed in 1805 with the publication of a principal colour, such as red, with a familiar
of A Treatise on the External Characters of or easily identifiable descriptor, such as
Minerals – both of which were based on the blood, to derive his own, similar system for his
work of Werner. While the System explicitly colour references and the examples he gives
defines the colours of the individual mineral of objects found in nature. Syme’s choice of
species according to the Wernerian system, it using hand-painted swatches as opposed to
is the Treatise that provides an explanation and printing the colours directly on to the page may
a table of Werner’s scheme of nomenclature.19 have given him a greater degree of control over
A comparison between Werner’s original the final colour, as it appears in the book. Colour
list and Jameson’s in his 1805 Treatise reveals printing was still very much in its infancy (see
that Jameson expanded Werner’s 54 colour p. 235) and despite the progress that had been iii. iv.
terms to 84, with the addition of some new greys made by the end of the 18th century, reliable,
(i). Varieties of tin ore, Georg Wolfgang Knorr, Deliciae naturae selectae, 1766.
(ii). Varieties of minerals, Georg Wolfgang Knorr, Deliciae naturae selectae, 1766.
(iii). Mineralogist at work, John Mawe, Familiar Lessons on Mineralogy and Geology, 1826.
(iv). Diamond cutter (above) and polisher (below), John Mawe, A Treatise on Diamonds, 1823.
high-quality colour printing was still a few edition of Dana’s System of Mineralogy was
decades away. By creating a large sheet of colour, still using the original Werner nomenclature.
to the satisfaction of the artist, which could The Edinburgh mineralogist Robert Allan
then be cut up into smaller pieces, Syme could (1836–1863) published A Manual of Mineralogy
at least guarantee a degree of quality control. in 1834. He was not a pupil of Jameson, but was
strongly influenced by another Wernerian,
The influence of Werner’s Wilhelm Haidinger (1795–1871), who had visited
classification system Edinburgh in 1822. Allan, too, adopts the original
on mineralogy Werner colour scheme rather than the Syme
variation. In 1849, James Nicol (1810–1879), who
Syme’s book was generally favourably had attended Jameson’s lectures as a student,
received, but his specific nomenclature was though his main interests were art and divinity,
not used in the major textbooks on mineralogy published his Manual of Mineralogy using
published in the 19th century. One of the the Wernerian system of colour nomenclature.
first, and most important, publications on When Thomas Thomson (1773–1852), professor
systematic mineralogy after 1821 was A System of chemistry at Glasgow University, published
of Mineralogy: Including an Extended his Outlines of Mineralogy, Geology and
87.
Treatise on Crystallography by the American Mineral Analysis in 1836, he also adopted the
geologist and mineralogist James Dwight Dana Werner nomenclature.21
(1813–1845), published in 1837. The strength of his Syme’s book was used in many sciences
mineral classification system is shown by the other than mineralogy, but as a guide in the
fact that a version of it – though substantially field or laboratory rather than a systematic
i. ii. updated and modified – is still in use today. He nomenclature for minerals. As the science
includes a section on external characteristics of mineralogy progressed through the
using an unmodified version of the original 19th and early 20th centuries, the need for
Wernerian colour nomenclature of 1774, rather a nomenclature such as Werner’s or Syme’s
than either of Syme’s or Jameson’s systems, declined, and later textbooks incorporated
even though Jameson’s Treatise is cited in the external characteristics into the descriptions
bibliography. As late as the 1850s, the fourth of individual minerals.
8 6.
n ot e s — (1). Dixon 2014. (2). The first translation was into Hungarian, by Ferentz Benkö; see p. 20 in this book and Kazmer
2002. (3). In German Neues und wohleingerichtetes Mineral- und Bergwercks-Lexikon, 1730. (4). Curieuses und reales
Natur-, Kunst-, Berg-, Gewerck- und Handlungs-Lexicon, 1736. (5). The Werner family had been involved in the production
of iron for over a hundred years, initially in Thuringia (Weida) then later in Silesia. (6). The collection was taken to Brazil,
eventually becoming part of the collections of the National Museum of Brazil, and unfortunately was destroyed in the fire
there in 2018. (7). Although diligent in his law studies, his interest in science and mineralogy was not forgotten. Together
with some fellow students – Johann Samuel Traugott Gehler (1751–1795), Friedrich Gallisch (1754–1783) and Nathanael
Gottfried Leske (1751–1786) – Werner formed a small group to discuss psychology, astronomy and mineralogy. (8). Försök
til Mineralogie eller Mineral Rikets Upställning; Cronstedt 1770. (9). Students were also now required to keep a journal
or diary which they were to hand in regularly. (10). This theory was opposed by the Plutonist school led by the Scottish
geologists James Hutton (1726–1797) and others. It was the Neptunist view that was later taught by Robert Jameson in
Edinburgh. (11). Sweet 1976. (12). He had also had an interest in natural history and taxidermy, which continued into
later life as he built up a large collection of stuffed birds in the University Museum. He showed this Syme and the great
American ornithologist John James Audubon (1785–1851) when he visited Edinburgh. (13). Eddy 2002. (14). Bomare 1762.
(15). Usually referred to as the Leskean Cabinet.16). His eponymous scale of mineral hardness is still used today. (17). Mohs
1825, originally published in German in 1822 and 1824. (18). In 1800, Scotland had five universities to serve a population of
about 1.6 million, whereas England had only two with a population of 7.7 million. (19). Jameson had published the table
iii. iv. separately in 1804, as Tabular View of the External Characters of Minerals for the Use of Students of Oryctognosy
(20). Simonini, 2018. (21). For the development of geology from mineralogy, see Laudan 1987.
(i). Membership certificate to the Wernerian Natural History Society of Edinburgh, 1831.
(ii). Crystallizations of copper pyrites, Memoirs of the Wernerian Natural History Society, 1822.
(iii). Cabinet drawer of minerals, Utrecht, the Netherlands, c. 1670.
(iv). Mineral collection in a cardboard display box, Vienna, Austria, 1880.
high-quality colour printing was still a few edition of Dana’s System of Mineralogy was
decades away. By creating a large sheet of colour, still using the original Werner nomenclature.
to the satisfaction of the artist, which could The Edinburgh mineralogist Robert Allan
then be cut up into smaller pieces, Syme could (1836–1863) published A Manual of Mineralogy
at least guarantee a degree of quality control. in 1834. He was not a pupil of Jameson, but was
strongly influenced by another Wernerian,
The influence of Werner’s Wilhelm Haidinger (1795–1871), who had visited
classification system Edinburgh in 1822. Allan, too, adopts the original
on mineralogy Werner colour scheme rather than the Syme
variation. In 1849, James Nicol (1810–1879), who
Syme’s book was generally favourably had attended Jameson’s lectures as a student,
received, but his specific nomenclature was though his main interests were art and divinity,
not used in the major textbooks on mineralogy published his Manual of Mineralogy using
published in the 19th century. One of the the Wernerian system of colour nomenclature.
first, and most important, publications on When Thomas Thomson (1773–1852), professor
systematic mineralogy after 1821 was A System of chemistry at Glasgow University, published
of Mineralogy: Including an Extended his Outlines of Mineralogy, Geology and
87.
Treatise on Crystallography by the American Mineral Analysis in 1836, he also adopted the
geologist and mineralogist James Dwight Dana Werner nomenclature.21
(1813–1845), published in 1837. The strength of his Syme’s book was used in many sciences
mineral classification system is shown by the other than mineralogy, but as a guide in the
fact that a version of it – though substantially field or laboratory rather than a systematic
i. ii. updated and modified – is still in use today. He nomenclature for minerals. As the science
includes a section on external characteristics of mineralogy progressed through the
using an unmodified version of the original 19th and early 20th centuries, the need for
Wernerian colour nomenclature of 1774, rather a nomenclature such as Werner’s or Syme’s
than either of Syme’s or Jameson’s systems, declined, and later textbooks incorporated
even though Jameson’s Treatise is cited in the external characteristics into the descriptions
bibliography. As late as the 1850s, the fourth of individual minerals.
8 6.
n ot e s — (1). Dixon 2014. (2). The first translation was into Hungarian, by Ferentz Benkö; see p. 20 in this book and Kazmer
2002. (3). In German Neues und wohleingerichtetes Mineral- und Bergwercks-Lexikon, 1730. (4). Curieuses und reales
Natur-, Kunst-, Berg-, Gewerck- und Handlungs-Lexicon, 1736. (5). The Werner family had been involved in the production
of iron for over a hundred years, initially in Thuringia (Weida) then later in Silesia. (6). The collection was taken to Brazil,
eventually becoming part of the collections of the National Museum of Brazil, and unfortunately was destroyed in the fire
there in 2018. (7). Although diligent in his law studies, his interest in science and mineralogy was not forgotten. Together
with some fellow students – Johann Samuel Traugott Gehler (1751–1795), Friedrich Gallisch (1754–1783) and Nathanael
Gottfried Leske (1751–1786) – Werner formed a small group to discuss psychology, astronomy and mineralogy. (8). Försök
til Mineralogie eller Mineral Rikets Upställning; Cronstedt 1770. (9). Students were also now required to keep a journal
or diary which they were to hand in regularly. (10). This theory was opposed by the Plutonist school led by the Scottish
geologists James Hutton (1726–1797) and others. It was the Neptunist view that was later taught by Robert Jameson in
Edinburgh. (11). Sweet 1976. (12). He had also had an interest in natural history and taxidermy, which continued into
later life as he built up a large collection of stuffed birds in the University Museum. He showed this Syme and the great
American ornithologist John James Audubon (1785–1851) when he visited Edinburgh. (13). Eddy 2002. (14). Bomare 1762.
(15). Usually referred to as the Leskean Cabinet.16). His eponymous scale of mineral hardness is still used today. (17). Mohs
1825, originally published in German in 1822 and 1824. (18). In 1800, Scotland had five universities to serve a population of
about 1.6 million, whereas England had only two with a population of 7.7 million. (19). Jameson had published the table
iii. iv. separately in 1804, as Tabular View of the External Characters of Minerals for the Use of Students of Oryctognosy
(20). Simonini, 2018. (21). For the development of geology from mineralogy, see Laudan 1987.
(i). Membership certificate to the Wernerian Natural History Society of Edinburgh, 1831.
(ii). Crystallizations of copper pyrites, Memoirs of the Wernerian Natural History Society, 1822.
(iii). Cabinet drawer of minerals, Utrecht, the Netherlands, c. 1670.
(iv). Mineral collection in a cardboard display box, Vienna, Austria, 1880.
ii.
Blues
and
Purples.
ii.
Blues
and
Purples.
9 0. I I . B LU E S A N D P U R P L E S.
blues.
purples.
I I . B LU E S A N D P U R P L E S. 91.
9 0. I I . B LU E S A N D P U R P L E S.
blues.
purples.
I I . B LU E S A N D P U R P L E S. 91.
Blues. Blues.
Scotch Throat of Blue Stamina of Single Blue

24
Blue. Titmouse. Purple Anemone. Copper Ore.
Prussian Beauty Spot on Wing Stamina of Bluish Blue

25
Blue. of Mallard Drake. Purple Anemone. Copper Ore.
Indigo Blue
26
Blue. Copper Ore.
Blue
China Back Parts of
27 Rhynchites Nitens. Copper Ore
Blue. Gentian Flower.
from Chessy.
I I . B LU E S A N D P U R P L E S.
93.
Azure Breast of Emerald- Grape Hyacinth. Blue
28
Blue. crested Manakin. Gentian. Copper Ore.
Ultra Upper Side of the
Azure Stone or
29 marine Wings of small blue Borrage.
Lapis Lazuli.
Blue. Heath Butterfly.
Flax- Light Parts of the

Blue
30 flower Margin of the Wings Flax flower.
92 .
Copper Ore.
Blue. of Devil’s Butterfly.
Berlin Wing Feathers Blue

31 Hepatica.
Blue. of Jay. Sapphire.
Verditter Lenticular
32
Syme’s 1821 edition Blue. Ore.
included three of Werner’s
original blues (numbers
26, 28, and 31) and two
renamed from Werner’s
Greenish Great Fennel Turquois.
original blues – Sky Blue 33
renamed ‘Greenish Blue’ Blue. Flower. Flour Spar.
(number 33) and Smalt
Blue renamed ‘Greyish
Blue’ (number 34). In
addition, there were five
blues from his own 1814 Greyish Back of blue Small Fennel
34 Iron Earth.
system (numbers 25, 27, 29, Blue. Titmouse Flower.
30 and 32) and one newly
introduced blue (24).
2 4 . Scotc h b lue . Scotch Blue, is Berlin blue,
mixed with a considerable
(i). Throat of Blue Titmouse. [Eurasian blue tit; Cyanistes caeruleus]
(ii). Stamina of Single Purple Anemone. [Anemone] portion of velvet black, a
(iii). Blue Copper Ore. [Azurite; Copper mineral]
very little grey, and a slight
tinge of carmine red. [W]
9 5.
animal.
94 .
animal.
Europe, Vol. 3, 1832–37.
Scotch Blue is visible
on the throat feathers
of the Eurasian blue tit.
v egeta b l e .
Jane Loudon,
The Ladies’ Flower
Garden of Ornamental
Perennials, Vol. 1, 1849.
on the stamina of
the purple anemone
(below left).
m i n er a l .
v eg etab le .
Louis Simonin,
min e r al .
Underground
Life, 1869.
on the azurite (centre).
2 4 . Scotc h b lue . Scotch Blue, is Berlin blue,
mixed with a considerable
(i). Throat of Blue Titmouse. [Eurasian blue tit; Cyanistes caeruleus]
(ii). Stamina of Single Purple Anemone. [Anemone] portion of velvet black, a
very little grey, and a slight
tinge of carmine red. [W]
9 5.
animal.
94 .
animal.
Europe, Vol. 3, 1832–37.
v egeta b l e .
Jane Loudon,
The Ladies’ Flower
Garden of Ornamental
Perennials, Vol. 1, 1849.
on the stamina of
the purple anemone
(below left).
m i n er a l .
v eg etab le .
Louis Simonin,
min e r al .
Underground
Life, 1869.
on the azurite (centre).
2 5. pruss ian b lue . Prussian Blue, is Berlin blue,
with a considerable portion
(i). Beauty Spot on Wing of Mallard Drake.
[Anas platyrhynchos] of velvet black, and a small
(ii).
(iii).
Stamina of Bluish Purple Anemone. [Anemone]
Blue Copper Ore. [Azurite; Copper mineral]
quantity of indigo blue.
9 7.
animal.
9 6.
An i m a l .
Europe, Vol. 5, 1832–37.
Prussian Blue is visible
on the beauty spot on
the mallard drake.
Vegeta b l e .
F. Sansom, Anemone
coronaria, hand-
coloured copperplate
engraving, 1805.
on the stamina of the
blue anemone (left).
M i n er a l .
v eg etab le .
James Sowerby,
min e r al .
Exotic Mineralogy, 1811.

Prussian Blue is
visible on the azurite
(both specimens).
2 5. pruss ian b lue . Prussian Blue, is Berlin blue,
with a considerable portion
(i). Beauty Spot on Wing of Mallard Drake.
[Anas platyrhynchos] of velvet black, and a small
(ii).
(iii).
Stamina of Bluish Purple Anemone. [Anemone]
quantity of indigo blue.
9 7.
animal.
9 6.
An i m a l .
Europe, Vol. 5, 1832–37.
on the beauty spot on
the mallard drake.
Vegeta b l e .
F. Sansom, Anemone
coronaria, hand-
coloured copperplate
engraving, 1805.
on the stamina of the
blue anemone (left).
M i n er a l .
v eg etab le .
James Sowerby,
min e r al .

Prussian Blue is
visible on the azurite
(both specimens).
2 6. ind ig o blue . Indigo Blue, is composed of 2 7. c hina blue . China Blue, is azure
Berlin blue, a little black, and blue, with a little
(i). (i). Rhynchites Nitens. [Weevil; Rhynchites nitens]
(ii). a small portion of apple green. † (ii). Back Parts of Gentian Flower. [Gentiana] Prussian blue in it.
(iii). Blue Copper Ore. [Azurite; Copper mineral] (iii). Blue Copper Ore from Chessy. [Chessylite; Azurite;
† Syme should have applied a [W] notation in this Copper mineral]
instance, as Indigo Blue appears in Werner’s
original list of colours.
9 9.
veg etable .
veg etable .
animal.
animal.
9 8.
An i m a l .
an ima l. W. W. Fowler,
John Gould, Birds of The Coleoptera of
New Guinea and the the British Islands,
Adjacent Papuan Vol. 5, 1891.
Islands, 1875–88. China Blue is visible
Indigo Blue is visible on the back of weevils
on the feathers of the (fourth row, left).
blue cuckooshrike.*
Vegeta b l e .
v e getabl e . Pierre-Joseph Redouté,
Jacob Sturm, Choix des plus belles
Deutschlands Flora fleurs, 1833.
in abbildungen nach China Blue is visible
der Natur, 1798. on the petals of the
Indigo Blue is visible gentian.
on the petals of the
Bavarian gentian.* M i n er a l .
Philip Rashleigh,
min e r al. Specimens of British
m in e ral.
m in e ral.
James Sowerby, Minerals, 1797.

Exotic Mineralogy, 1811. China Blue is visible
Indigo Blue is visible on the azurite
on the azurite. (bottom row, left).
2 6. ind ig o blue . Indigo Blue, is composed of 2 7. c hina blue . China Blue, is azure
Berlin blue, a little black, and blue, with a little
(i). (i). Rhynchites Nitens. [Weevil; Rhynchites nitens]
(ii). a small portion of apple green. † (ii). Back Parts of Gentian Flower. [Gentiana] Prussian blue in it.
(iii). Blue Copper Ore. [Azurite; Copper mineral] (iii). Blue Copper Ore from Chessy. [Chessylite; Azurite;
† Syme should have applied a [W] notation in this Copper mineral]
instance, as Indigo Blue appears in Werner’s
9 9.
veg etable .
veg etable .
animal.
animal.
9 8.
An i m a l .
an ima l. W. W. Fowler,
John Gould, Birds of The Coleoptera of
New Guinea and the the British Islands,
Adjacent Papuan Vol. 5, 1891.
Islands, 1875–88. China Blue is visible
Indigo Blue is visible on the back of weevils
on the feathers of the (fourth row, left).
blue cuckooshrike.*
Vegeta b l e .
v e getabl e . Pierre-Joseph Redouté,
Jacob Sturm, Choix des plus belles
Deutschlands Flora fleurs, 1833.
in abbildungen nach China Blue is visible
der Natur, 1798. on the petals of the
Indigo Blue is visible gentian.
Bavarian gentian.* M i n er a l .
Philip Rashleigh,
min e r al. Specimens of British
m in e ral.
m in e ral.
James Sowerby, Minerals, 1797.

Exotic Mineralogy, 1811. China Blue is visible
Indigo Blue is visible on the azurite
on the azurite. (bottom row, left).
2 8. azur e b lue . Azure Blue, is Berlin 2 9. ult ra ma rin e blue . Ultramarine Blue, is a
blue, mixed with a little (i). Upper Side of the Wings of small blue Heath Butterfly.
mixture of equal parts
(i). Breast of Emerald-crested Manakin. [Blue manakin;
Chiroxiphia caudata] carmine red: it is a [Small heath; Coenonympha pamphilus] Berlin and azure blue.
(ii). Borrage. [Borage; Borago officinalis]
(ii).
(iii).
Grape Hyacinth. [Muscari] Gentian. [Gentiana]
burning colour. [W] (iii). Azure Stone or Lapis Lazuli. [Metamorphic rock]
101.
veg etable .
veg etable .
animal.
animal.
1 0 0.
a n ima l.
William Swainson, An i m a l .
A Selection of the James Duncan,
Birds of Brazil and British Butterflies, 1840.
Mexico, 1841. Ultramarine Blue is
Azure Blue is visible visible on the wings
on the breast feathers of the small heath
of the blue manakin butterfly.
(above).
Vegeta b l e .
v e geta bl e . Margaret Plues,
Mark Catesby, Borago officinalis,
The Natural History borage, watercolour,
of Carolina, Florida, 1858.
and the Bahama Ultramarine Blue is
Islands, Vol. 1, 1754. visible on the petals
Azure Blue is visible on of the borage.
the petals of the gentian.
M i n er a l .
min e r a l. Leonard Spencer,
James Sowerby, The World’s
mi n era l.
min e r al.
British Mineralogy, Minerals, 1916.

Vol. 1, 1802–17. Ultramarine Blue
Azure Blue is visible is visible on the lapis
on the azurite (left). lazuli (left).
2 8. azur e b lue . Azure Blue, is Berlin 2 9. ult ra ma rin e blue . Ultramarine Blue, is a
blue, mixed with a little (i). Upper Side of the Wings of small blue Heath Butterfly.
mixture of equal parts
(i). Breast of Emerald-crested Manakin. [Blue manakin;
Chiroxiphia caudata] carmine red: it is a [Small heath; Coenonympha pamphilus] Berlin and azure blue.
(ii). Borrage. [Borage; Borago officinalis]
(ii).
(iii).
Grape Hyacinth. [Muscari] Gentian. [Gentiana]
burning colour. [W] (iii). Azure Stone or Lapis Lazuli. [Metamorphic rock]
101.
veg etable .
veg etable .
animal.
animal.
1 0 0.
a n ima l.
William Swainson, An i m a l .
A Selection of the James Duncan,
Birds of Brazil and British Butterflies, 1840.
Mexico, 1841. Ultramarine Blue is
Azure Blue is visible visible on the wings
on the breast feathers of the small heath
of the blue manakin butterfly.
(above).
Vegeta b l e .
v e geta bl e . Margaret Plues,
Mark Catesby, Borago officinalis,
The Natural History borage, watercolour,
of Carolina, Florida, 1858.
and the Bahama Ultramarine Blue is
Islands, Vol. 1, 1754. visible on the petals
Azure Blue is visible on of the borage.
the petals of the gentian.
M i n er a l .
mi n era l.
min e r al.

Vol. 1, 1802–17. Ultramarine Blue
Azure Blue is visible is visible on the lapis
on the azurite (left). lazuli (left).
30. flax- flowe r blue . Faux-flower Blue, is 3 1 . berli n blue . Berlin Blue, is the pure,
Berlin blue, with a slight or the characteristic
(i). Light Parts of the Margin of the Wings of Devil’s Butterfly. (i). Wing Feathers of Jay. [Garrulus glandarius]
[Small tortoiseshell; Aglais urticae] tinge of ultramarine blue. (ii). Hepatica. [Liverwort; Anemone hepatica] colour of Werner. [W]
(ii). Flax flower. [Linum perenne] (iii). Blue Sapphire. [Corundum mineral]
1 0 3.
veg etable .
veg etable .
animal.
animal.
1 02 .
An i m a l .
John Gould, Birds
of Great Britain,
Vol. 3, 1862–73.
Berlin Blue is visible
a n ima l. on the wing feathers
Georg Wolfgang of the jay.
Knorr, Deliciae
naturae selectae, 1766. Vegeta b l e .
Flax-flower Blue is Edward Step, Favourite
visible on the edges of Flowers of Garden and
the wings of the small Greenhouse, Vol. 1, 1896.
tortoiseshell (bottom). Berlin Blue is visible
v e geta bl e . liverwort.
Linum perenne,
Perennial Flax, M i n er a l .
Watercolour, 1863. George Frederick
Flax-flower Blue is Kunz, Gems and
visible on the petals Precious Stones of
of the flax. North America, 1890.
min e r a l. on the sapphire
Gotthilf Heinrich (bottom left). The other
von Schubert, specimens, excepting
Naturgeschichte the diamond (top row,
des Tier-, Pflanzen- second from left) and
mi n era l.
min e r al.
und Mineralreichs, 1886. the ruby (centre right),

Flax-flower Blue is are also sapphires,
visible on the azurite but exhibit different
(bottom row, left). shades of blue.
30. flax- flowe r blue . Faux-flower Blue, is 3 1 . berli n blue . Berlin Blue, is the pure,
Berlin blue, with a slight or the characteristic
(i). Light Parts of the Margin of the Wings of Devil’s Butterfly. (i). Wing Feathers of Jay. [Garrulus glandarius]
[Small tortoiseshell; Aglais urticae] tinge of ultramarine blue. (ii). Hepatica. [Liverwort; Anemone hepatica] colour of Werner. [W]
(ii). Flax flower. [Linum perenne] (iii). Blue Sapphire. [Corundum mineral]
1 0 3.
veg etable .
veg etable .
animal.
animal.
1 02 .
An i m a l .
John Gould, Birds
of Great Britain,
Vol. 3, 1862–73.
a n ima l. on the wing feathers
Georg Wolfgang of the jay.
Knorr, Deliciae
naturae selectae, 1766. Vegeta b l e .
Flax-flower Blue is Edward Step, Favourite
visible on the edges of Flowers of Garden and
the wings of the small Greenhouse, Vol. 1, 1896.
tortoiseshell (bottom). Berlin Blue is visible
v e geta bl e . liverwort.
Linum perenne,
Perennial Flax, M i n er a l .
Watercolour, 1863. George Frederick
Flax-flower Blue is Kunz, Gems and
visible on the petals Precious Stones of
of the flax. North America, 1890.
min e r a l. on the sapphire
Gotthilf Heinrich (bottom left). The other
von Schubert, specimens, excepting
Naturgeschichte the diamond (top row,
des Tier-, Pflanzen- second from left) and
mi n era l.
min e r al.
und Mineralreichs, 1886. the ruby (centre right),

Flax-flower Blue is are also sapphires,
visible on the azurite but exhibit different
(bottom row, left). shades of blue.
32 . v e r d itte r blue . Verditter Blue, is Berlin 3 3. g reen ish blue . Greenish Blue, the
blue, with a small portion sky blue of Werner,
(i). (i).
(ii). of verdigris green. (ii). Great Fennel Flower. [Love-in-a-mist; Nigella] is composed of Berlin
(iii). Lenticular Ore. [Blue Copper Ore; Azurite; Copper mineral] (iii). Turquois. [Turquoise; Phosphate mineral]
Flour Spar. [Fluorite; Fluorspar; Calcium Fluoride]
blue, white, and a little
emerald green. [W]
1 0 5.
veg etable .
veg etable .
animal.
animal.
104.
An i m a l .
James Duncan,
a n ima l. British Butterflies, 1840.
George Edwards, Greenish Blue is visible
Gleanings of on the caterpillar of
Natural History, 1758. the pale yellow clouded
Verditter Blue is butterfly (bottom row,
visible on the breast right).*
feathers of the blue
manakin (below).* Vegeta b l e .
The Botanical
v e geta bl e . Magazine, 1787–89.
Johann Wilhelm Greenish Blue is visible
Weinmann, on the petals of the
Phytanthoza fennel flower.
iconographia, 1737.
Verditter Blue is visible M i n er a l .
on the petals of the George Frederick
cornflower (left).* Kunz, Gems and
Precious Stones of
min e r a l. North America, 1890.
Philip Rashleigh, Greenish Blue is
mi n era l.
min e r al.
Specimens of British visible on the turquoise

Minerals, 1797. (all specimens except
Verditter Blue is the kyanite embedded
visible on the azurite. in rock, centre right).
32 . v e r d itte r blue . Verditter Blue, is Berlin 3 3. g reen ish blue . Greenish Blue, the
blue, with a small portion sky blue of Werner,
(i). (i).
(ii). of verdigris green. (ii). Great Fennel Flower. [Love-in-a-mist; Nigella] is composed of Berlin
(iii). Lenticular Ore. [Blue Copper Ore; Azurite; Copper mineral] (iii). Turquois. [Turquoise; Phosphate mineral]
Flour Spar. [Fluorite; Fluorspar; Calcium Fluoride]
blue, white, and a little
emerald green. [W]
1 0 5.
veg etable .
veg etable .
animal.
animal.
104.
An i m a l .
James Duncan,
a n ima l. British Butterflies, 1840.
George Edwards, Greenish Blue is visible
Gleanings of on the caterpillar of
Natural History, 1758. the pale yellow clouded
Verditter Blue is butterfly (bottom row,
visible on the breast right).*
feathers of the blue
manakin (below).* Vegeta b l e .
The Botanical
v e geta bl e . Magazine, 1787–89.
Johann Wilhelm Greenish Blue is visible
Weinmann, on the petals of the
Phytanthoza fennel flower.
iconographia, 1737.
Verditter Blue is visible M i n er a l .
on the petals of the George Frederick
cornflower (left).* Kunz, Gems and
Precious Stones of
min e r a l. North America, 1890.
Philip Rashleigh, Greenish Blue is
mi n era l.
min e r al.
Specimens of British visible on the turquoise

Minerals, 1797. (all specimens except
Verditter Blue is the kyanite embedded
visible on the azurite. in rock, centre right).
3 4 . Gr ey is h b lue . Greyish Blue, the smalt
blue of Werner, is composed
(i). Back of blue Titmouse. [Eurasian blue tit; Cyanistes caeruleus]
(ii). Small Fennel Flower. [Love-in-a-mist; Nigella] of Berlin blue, with white,
(iii). Iron Earth. [Iron ore; ore]
a small quantity of grey,
and a hardly perceptible
portion of red. [W]
1 07.
veg etable .
1 0 6.
animal.
Europe, Vol. 3, 1832–37.
Greyish Blue is visible
on the back feathers
v egeta b l e .
J. Sibthorp and
J. E. Smith, Flora
graeca, Vol. 6, 1828.
Greyish Blue
of the fennel flower.
m i n er a l .
Johann Gottlob
Kurr, The Mineral
min e r al.
Kingdom, 1859.
an imal .

on the iron ore
3 4 . Gr ey is h b lue . Greyish Blue, the smalt
blue of Werner, is composed
(i). Back of blue Titmouse. [Eurasian blue tit; Cyanistes caeruleus]
(ii). Small Fennel Flower. [Love-in-a-mist; Nigella] of Berlin blue, with white,
(iii). Iron Earth. [Iron ore; ore]
a small quantity of grey,
and a hardly perceptible
portion of red. [W]
1 07.
veg etable .
1 0 6.
animal.
Europe, Vol. 3, 1832–37.
on the back feathers
v egeta b l e .
J. Sibthorp and
J. E. Smith, Flora
graeca, Vol. 6, 1828.
Greyish Blue
of the fennel flower.
m i n er a l .
Johann Gottlob
Kurr, The Mineral
min e r al.
Kingdom, 1859.
an imal .

on the iron ore
purples. purples.
Bluish
Male of the Lebellula
35 Lilac Blue Lilac. Lepidolite.
Depressa.
Purple.
Bluish Papilio Argeolus. Parts of White and

36
Purple. Azure Blue Butterfly. Purple Crocus.
Violet
37 Purple Aster. Amethyst.
Purple.
Pansy Chrysomela
38 Sweet-scented Violet. Derbyshire Spar.
Purple. Goettingensis.
Canterbury Bell.
1 09.
Campanula
39 Campanula Fluor Spar.
Purple.
Persicifolia.
Imperial Deep Parts of Flower
40 Fluor Spar.
Purple. of Saffron Crocus.
Egg of largest
Auricula Largest Purple
1 0 8.
41 Blue-Bottle, or Fluor Spar.

Purple. Auricula.
Flesh Fly.
Plum
42 Plum. Fluor Spar.
Purple.
Light Spots of the

Red Lilac Red Lilac. Pale
43 upper Wings of Lepidolite.
Purple. Purple Primrose.
Peacock Butterfly.
included one purple
from the Kirwan system Light Parts of Spots on
Lavender Dried Lavender
(number 36) and seven 44 the under Wings of Porcelain Jasper.
purples from his own Purple. Flowers.
1814 edition (numbers
Peacock Butterfly.
35, 38, 39, 40, 41, 43, 45).
Number 37 is likely
derived from Werner’s Pale
Violet Blue, number 42 45 Porcelain Jasper.
Blackish
from Jameson’s Plum
Blue and number 44 from Purple.
Picardet’s Lavender Blue.
3 5. B luis h l ilac purple . Bluish Lilac Purple, is 3 6. B lui sh purple . Bluish Purple, is
bluish purple and white. composed of about
(i). Male of the Lebellula Depressa. [Broad-bodied chaser (i). Papilio Argeolus. Azure Blue Butterfly. [Holly blue;
dragonfly; Libellula depressa] Celastrina argeolus] equal parts of Berlin
(ii).
(iii).
Blue Lilac. [Syringa]
Lepidolite. [Silicate mineral]
(ii).
(iii).
Parts of White and Purple Crocus. [Crocus]
blue and carmine red.
111.
veg etable .
animal.
animal.
1 1 0.
a n ima l.
George Shaw and An i m a l .
Frederick P. Nodder, Pieter Cramer
The Naturalist’s and Caspar Stoll,
Miscellany, 1789–1813. De Uitlandsche
Bluish Lilac Purple Kapellen, Vol. 3, 1782.
is visible on the body Bluish Purple is visible
of the broad-bodied on the wings of the
chaser dragonfly. holly blue (top row, left).
Pierre Bulliard, John Lindley,
Flora Parisiensis, Edwards’s Botanical
1776–83. Register, 1829–47.
Bluish Lilac Purple Bluish Purple is
is visible on the visible on the petals
petals of the lilac. of the crocus.
Reinhard Brauns, Reinhard Brauns,
The Mineral The Mineral
ve g etab le .
Kingdom, Vol. 2, 1912. Kingdom, Vol. 2, 1912.

mi n era l.
min e r al.
is visible on the visible on the amethyst
lepidolite (top row, (all specimens except
centre). centre, which is citrine).*
3 5. B luis h l ilac purple . Bluish Lilac Purple, is 3 6. B lui sh purple . Bluish Purple, is
bluish purple and white. composed of about
(i). Male of the Lebellula Depressa. [Broad-bodied chaser (i). Papilio Argeolus. Azure Blue Butterfly. [Holly blue;
dragonfly; Libellula depressa] Celastrina argeolus] equal parts of Berlin
(ii).
(iii).
Blue Lilac. [Syringa]
Lepidolite. [Silicate mineral]
(ii).
(iii).
Parts of White and Purple Crocus. [Crocus]
blue and carmine red.
111.
veg etable .
animal.
animal.
1 1 0.
a n ima l.
Frederick P. Nodder, Pieter Cramer
The Naturalist’s and Caspar Stoll,
Miscellany, 1789–1813. De Uitlandsche
Bluish Lilac Purple Kapellen, Vol. 3, 1782.
is visible on the body Bluish Purple is visible
of the broad-bodied on the wings of the
chaser dragonfly. holly blue (top row, left).
Pierre Bulliard, John Lindley,
Flora Parisiensis, Edwards’s Botanical
1776–83. Register, 1829–47.
is visible on the visible on the petals
petals of the lilac. of the crocus.
Reinhard Brauns, Reinhard Brauns,
The Mineral The Mineral
ve g etab le .
Kingdom, Vol. 2, 1912. Kingdom, Vol. 2, 1912.

mi n era l.
min e r al.
is visible on the visible on the amethyst
lepidolite (top row, (all specimens except
centre). centre, which is citrine).*
37. v iolet pur ple . Violet Purple, violet blue 3 8. pa n sy purple . Pansy Purple, is indigo
of Werner, is Berlin blue blue, with carmine red,
(i). (i). Chrysomela Goettingensis.
(ii). Purple Aster. [Aster] mixed with red, and [Small bloody-nosed beetle; Timarcha goettingensis] and a slight tinge of
(iii). Amethyst. [Quartz]
a little brown. [W] (ii). Sweet-scented Violet.
[Sweet violet; wood violet; Viola odorata]
raven black.
(iii). Derbyshire Spar. [Blue John; Fluorite; Calcium Fluoride]
1 1 3.
veg etable .
animal.
animal.
112.
a n ima l.
New Guinea and the W. W. Fowler,
Adjacent Papuan The Coleoptera
Islands, 1875–88. of the British Islands,
Violet Purple is visible Vol. 4, 1891.
on the wing feathers Pansy Purple is visible
of the male steel-backed on the back of the small
flycatcher (above).* bloody-nosed beetle
(bottom row, centre).
v e geta bl e .
Pierre-Joseph Redouté, Vegeta b l e .
Choix des plus belles William Woodville,
fleurs, 1833. Medical Botany, 1832.
Violet Purple is visible Pansy Purple is visible
on the petals of the aster. on the petals of the
sweet violet.
min e r a l.
George Frederick M i n er a l .
Kunz, Gems and Johann Gottlob
ve g etab le .
Precious Stones of Kurr, The Mineral

mi n era l.
min e r al.
North America, 1890. Kingdom, 1859.
on the amethyst on the fluorite (bottom
(all specimens). row, centre right).
37. v iolet pur ple . Violet Purple, violet blue 3 8. pa n sy purple . Pansy Purple, is indigo
of Werner, is Berlin blue blue, with carmine red,
(i). (i). Chrysomela Goettingensis.
(ii). Purple Aster. [Aster] mixed with red, and [Small bloody-nosed beetle; Timarcha goettingensis] and a slight tinge of
(iii). Amethyst. [Quartz]
a little brown. [W] (ii). Sweet-scented Violet.
[Sweet violet; wood violet; Viola odorata]
raven black.
(iii). Derbyshire Spar. [Blue John; Fluorite; Calcium Fluoride]
1 1 3.
veg etable .
animal.
animal.
112.
a n ima l.
New Guinea and the W. W. Fowler,
Adjacent Papuan The Coleoptera
Islands, 1875–88. of the British Islands,
Violet Purple is visible Vol. 4, 1891.
on the wing feathers Pansy Purple is visible
of the male steel-backed on the back of the small
flycatcher (above).* bloody-nosed beetle
v e geta bl e .
Pierre-Joseph Redouté, Vegeta b l e .
Choix des plus belles William Woodville,
fleurs, 1833. Medical Botany, 1832.
on the petals of the aster. on the petals of the
sweet violet.
min e r a l.
George Frederick M i n er a l .
Kunz, Gems and Johann Gottlob
ve g etab le .
Precious Stones of Kurr, The Mineral

mi n era l.
min e r al.
North America, 1890. Kingdom, 1859.
on the amethyst on the fluorite (bottom
(all specimens). row, centre right).
39. cam panula purple . Campanula Purple, is 40. imperi a l purple . Imperial Purple, is azure
ultramarine blue and and indigo blue, with
(i). (i).
(ii). Canterbury Bell. Campanula Persicifolia. carmine red, about equal (ii). Deep Parts of Flower of Saffron Crocus. [Autumn crocus; carmine red, about
(iii).
[Peach-leaved bellflower; Campanula persicifolia]
Fluor Spar. [Fluorite; Fluorspar; Calcium Fluoride]
parts of each: it is the (iii).
Crocus sativus]
equal parts of each.
characteristic colour.
1 1 5.
veg etable .
veg etable .
animal.
animal.
114.
a n ima l. An i m a l .
James Duncan, John Gould, The Birds
British Butterflies, 1840. of New Guinea and
Campanula Purple the Adjacent Papuan
is visible on the wings Islands, 1875–88.
of the Camberwell Imperial Purple is
Beauty (below).* visible on the feathers
of the metallic starling.*
v e geta bl e .
Jane Loudon, Vegeta b l e .
The Ladies’ Flower- Robert Bentley
Garden of Ornamental and Henry Trimen,
Perennials, Vol. 1, 1849. Medicinal Plants, 1880.
Campanula Purple is Imperial Purple is
visible on the petals visible on the petals
of the peach-leaved of the saffron crocus.
bellflower (centre).
M i n er a l .
Johann Gottlob British Mineralogy,
Kurr, The Mineral Vol. 1, 1802–17.
mi n era l.
min e r al.
Kingdom, 1859. Imperial Purple is

Campanula visible on the fluorite
Purple is visible on (right). It is embedded
the fluorite (left). within a lump of chalk.
39. cam panula purple . Campanula Purple, is 40. imperi a l purple . Imperial Purple, is azure
ultramarine blue and and indigo blue, with
(i). (i).
(ii). Canterbury Bell. Campanula Persicifolia. carmine red, about equal (ii). Deep Parts of Flower of Saffron Crocus. [Autumn crocus; carmine red, about
(iii).
[Peach-leaved bellflower; Campanula persicifolia]
parts of each: it is the (iii).
Crocus sativus]
characteristic colour.
1 1 5.
veg etable .
veg etable .
animal.
animal.
114.
James Duncan, John Gould, The Birds
British Butterflies, 1840. of New Guinea and
Campanula Purple the Adjacent Papuan
is visible on the wings Islands, 1875–88.
of the Camberwell Imperial Purple is
Beauty (below).* visible on the feathers
of the metallic starling.*
v e geta bl e .
Jane Loudon, Vegeta b l e .
The Ladies’ Flower- Robert Bentley
Garden of Ornamental and Henry Trimen,
Perennials, Vol. 1, 1849. Medicinal Plants, 1880.
Campanula Purple is Imperial Purple is
visible on the petals visible on the petals
of the peach-leaved of the saffron crocus.
bellflower (centre).
M i n er a l .
Johann Gottlob British Mineralogy,
Kurr, The Mineral Vol. 1, 1802–17.
mi n era l.
min e r al.
Kingdom, 1859. Imperial Purple is

Campanula visible on the fluorite
Purple is visible on (right). It is embedded
the fluorite (left). within a lump of chalk.
4 1. aur icul a purple . Auricula Purple, is plum 42. plum purple . Plum Purple, the plum blue of
purple, with indigo blue Werner, is composed of Berlin
(i). Egg of largest Blue-bottle, or Flesh Fly (i).
[Calliphora vomitoria]. and much carmine red. (ii). Plum. [Prunus subg. Prunus] blue, with much carmine red,
(ii).
(iii).
Largest Purple Auricula. [Bear’s ear; Primula auricula]
(iii). Fluor Spar. [Fluorite; Fluorspar; Calcium Fluoride]
a very little brown, and an
almost imperceptible portion
of black. [W]
1 1 7.
veg etable .
veg etable .
animal.
animal.
1 16.
An i m a l .
a n ima l. Richard Brinsley Hinds,
Common flesh fly, The Zoology of the
ink, date unknown. Voyage of HMS
Auricula Purple is Sulphur, 1843.
visible on the back Plum Purple is visible on
of the flesh fly. the wing feathers of the
spectacled cormorant.*
v e geta bl e .
Pierre-Joseph Vegeta b l e .
Redouté, Choix des Charles Morren,
plus belles fleurs, 1833. La Belgique horticole,
Auricula Purple is journal des jardins,
visible on the petals Vol. 6, 1856.
of the bear’s ear. Plum purple is visible
on the skin of the plum.
min e r a l.
The Mineral Philip Rashleigh,
Kingdom, Vol. 1, 1912. Specimens of British
mi n era l.
min e r al.
Auricula Purple is Minerals, 1797.

visible on the fluorite Plum Purple is visible
(centre row, second on the fluorite (bottom
from right). row, centre).
4 1. aur icul a purple . Auricula Purple, is plum 42. plum purple . Plum Purple, the plum blue of
purple, with indigo blue Werner, is composed of Berlin
(i). Egg of largest Blue-bottle, or Flesh Fly (i).
[Calliphora vomitoria]. and much carmine red. (ii). Plum. [Prunus subg. Prunus] blue, with much carmine red,
(ii).
(iii).
Largest Purple Auricula. [Bear’s ear; Primula auricula]
(iii). Fluor Spar. [Fluorite; Fluorspar; Calcium Fluoride]
a very little brown, and an
almost imperceptible portion
of black. [W]
1 1 7.
veg etable .
veg etable .
animal.
animal.
1 16.
An i m a l .
a n ima l. Richard Brinsley Hinds,
Common flesh fly, The Zoology of the
ink, date unknown. Voyage of HMS
Auricula Purple is Sulphur, 1843.
visible on the back Plum Purple is visible on
of the flesh fly. the wing feathers of the
spectacled cormorant.*
v e geta bl e .
Pierre-Joseph Vegeta b l e .
Redouté, Choix des Charles Morren,
plus belles fleurs, 1833. La Belgique horticole,
Auricula Purple is journal des jardins,
visible on the petals Vol. 6, 1856.
of the bear’s ear. Plum purple is visible
on the skin of the plum.
min e r a l.
The Mineral Philip Rashleigh,
Kingdom, Vol. 1, 1912. Specimens of British
mi n era l.
min e r al.
Auricula Purple is Minerals, 1797.

visible on the fluorite Plum Purple is visible
(centre row, second on the fluorite (bottom
from right). row, centre).
4 3. r e d l ilac purple . Red Lilac Purple, is 44. lav en der purple . Lavender Purple, the
campanula purple, with lavender blue of Werner,
(i). Light Spots of the upper Wings of Peacock Butterfly. (i). Light Parts of Spots on the under Wings of Peacock
[Aglais io] a considerable portion Butterfly. [Aglais io] is composed of blue, red,
(ii). Red Lilac. [Syringa]
Pale Purple Primrose. [Primula vulgaris]
of snow white, and a (ii).
(iii).
Dried Lavender Flowers. [Lavandula]
Porcelain Jasper. [Silica]
and a little brown and
(iii). Lepidolite. [Silicate mineral] very little carmine red. grey. [W]
1 19.
veg etable .
veg etable .
animal.
animal.
1 1 8.
An i m a l .
John O. Westwood,
The Aurelian;
a Natural History
a n ima l. of English Moths
George Shaw and and Butterflies, 1840.
Frederick P. Nodder, Lavender Purple is
The Naturalist’s visible on the light
Miscellany, 1789–1801. parts of the spots on
Red Lilac Purple is the underwings of
visible on the light the peacock butterfly
spots on the wings of (above left).
the peacock butterfly.
Vegeta b l e .
v e geta bl e . Johannes Zom,
Pierre-Joseph Icones plantarum
Redouté, Choix des medicinalium, 1779.
plus belles fleurs, 1833. Lavender Purple is
Red Lilac Purple is visible on the petals
visible on the petals of the lavender.
of the primrose.
M i n er a l .
min e r a l. John Mawe, Familiar
Leonard Spencer, Lessons on Mineralogy
The World’s and Geology, 1826.
mi n era l.
min e r al.
Minerals, 1916. Lavender Purple is

Red Lilac Purple is visible on the jasper
visible on the lepidolite (bottom row, second
(bottom row, right). from left).
4 3. r e d l ilac purple . Red Lilac Purple, is 44. lav en der purple . Lavender Purple, the
campanula purple, with lavender blue of Werner,
(i). Light Spots of the upper Wings of Peacock Butterfly. (i). Light Parts of Spots on the under Wings of Peacock
[Aglais io] a considerable portion Butterfly. [Aglais io] is composed of blue, red,
(ii). Red Lilac. [Syringa]
Pale Purple Primrose. [Primula vulgaris]
of snow white, and a (ii).
(iii).
Dried Lavender Flowers. [Lavandula]
Porcelain Jasper. [Silica]
and a little brown and
(iii). Lepidolite. [Silicate mineral] very little carmine red. grey. [W]
1 19.
veg etable .
veg etable .
animal.
animal.
1 1 8.
An i m a l .
John O. Westwood,
The Aurelian;
a Natural History
a n ima l. of English Moths
George Shaw and and Butterflies, 1840.
Frederick P. Nodder, Lavender Purple is
The Naturalist’s visible on the light
Miscellany, 1789–1801. parts of the spots on
Red Lilac Purple is the underwings of
visible on the light the peacock butterfly
spots on the wings of (above left).
the peacock butterfly.
Vegeta b l e .
v e geta bl e . Johannes Zom,
Pierre-Joseph Icones plantarum
Redouté, Choix des medicinalium, 1779.
plus belles fleurs, 1833. Lavender Purple is
Red Lilac Purple is visible on the petals
visible on the petals of the lavender.
of the primrose.
M i n er a l .
min e r a l. John Mawe, Familiar
Leonard Spencer, Lessons on Mineralogy
The World’s and Geology, 1826.
mi n era l.
min e r al.
Minerals, 1916. Lavender Purple is

Red Lilac Purple is visible on the jasper
visible on the lepidolite (bottom row, second
(bottom row, right). from left).
4 5. pale b lac kis h purple . Pale Blackish Purple, is
lavender purple mixed
(i).
(ii). with a little red and black.
(iii). Porcelain Jasper. [Silica]
121.
veg etable .
1 2 0.
animal.
James Duncan,
British Butterflies, 1840.
Pale Blackish Purple
is visible on the wings
of the purple hairstreak
(bottom row, right).*
v egeta b l e .
Cornelis Antoon
Jan Abraham
Plantentuin, 1865.
is visible on the inner
petals of the iris.*
m i n er a l .
Lewis Feuchtwanger,
A Popular Treatise
on Gems, in Reference
to their Scientific
min e r al.
Value, 1859.
an imal .

is visible on the jasper
4 5. pale b lac kis h purple . Pale Blackish Purple, is
lavender purple mixed
(i).
(ii). with a little red and black.
121.
veg etable .
1 2 0.
animal.
James Duncan,
is visible on the wings
of the purple hairstreak
(bottom row, right).*
v egeta b l e .
Cornelis Antoon
Jan Abraham
Plantentuin, 1865.
is visible on the inner
petals of the iris.*
m i n er a l .
Lewis Feuchtwanger,
A Popular Treatise
on Gems, in Reference
to their Scientific
min e r al.
Value, 1859.
an imal .

is visible on the jasper
2. Colou r s i n zo o lo gy:
su bjectiv e o r syst e mat i c ?
Exploration and a field guide to colour for the great naturalists.
b y e l a i n e c h a r wa t .
For Carl Linnaeus (1707–1778), one of the pion- essential’ features, should be used instead.1
2 . C O LOU R S I N Z O O LO GY: SU B J E C T I V E O R SYST E M AT I C ?
1 2 3.
eers of modern taxonomy, colour as a means of In ornithology, especially, colours were the
classifying animals was acceptable only if firmly most important, and often the only, means

linked to structure and form, as he sought to of identifying and classifying birds. It is no
distance himself from naïve and confusing pre- coincidence that common (and scientific) bird
Enlightenment schemes of classification. While names in many languages make extensive use
he used colours for descriptions of particular of colour descriptors. For instance the wonder
species or individuals, especially birds, the fully bicolour English name ‘black redstart’
fundamental criteria remained anatomical. (Phoenicurus ochruros), or ‘Hausrotschwanz’
Interestingly, one of Linnaeus’s uses of colour in German and ‘Rougequeue noir’ in French.
as an important distinguishing attribute in the But even as Buffon advocated the use of colours i. ii.
animal kingdom refers to humans. In the tenth in this way, he also acknowledged that there
edition of Systema naturae (1758–59), which was no ‘language’ available to correctly express
marked the beginning of the scientific naming them in all their different manifestations.2 They
of animals in (Western) zoology, the first term were fugitive, emotive, constantly changing
Linnaeus uses to characterize American, with the movements of the birds.3 He therefore
European, Asian and African people is their advocated adding coloured plates for birds,
‘colour’: red, white, (pale) yellow and black. partly to make up for this lack of a ‘language’.
Using ‘skin colour’ to identify people as different In order to ‘tame’ colours and to make them
varieties of Homo sapiens produced a legacy of practical use in a scientific context increas-
that would cast a shadow over anthropology ingly dominated by large-scale explorations
and biology that stretches into the present and the collecting of animals, colours needed
day. It is also encountered in a later standard to be standardized. This was by no means a new
122.
colour scheme, when Patrick Syme (1774–1845) endeavour; in the 17th and 18th centuries (but
in his Werner’s Nomenclature of Colours used extending back to the ancient Greeks), natural
‘human skin’ as the example from the animal philosophy looked closely at colours in nature,
kingdom of the colour ‘flesh red’ (i.e. pinkish). how they came into being and were perceived.
Linnaeus’s almost exact contemporary and However, it remained for 18th- and 19th-century
critic, Georges-Louis Leclerc, Comte de Buffon naturalists, practitioners and artists to
(1707–1788), in his Histoire naturelle des oiseaux successfully turn colour into a standard trait
(1770–85), highlighted the dilemma of using that could be reliably identified and named
colours as reliable criteria in serious scientific when describing an animal. Colour shifted
endeavour. He was opposed to Linnaeus’s from volatile to stable, from subjective to
use of minute anatomical details or internal standardized, from intuitive to scientific, but,
organs for identification and classification, and crucially, became a characteristic that could iii. iv.
suggested that colour, as one of the ‘main and be pinned down and widely communicated.
(i). Yellow wagtail, Edward Donovan, The Natural History of British Birds, 1794.
(ii). Redstart, Edward Donovan, The Natural History of British Birds, 1794.
(iii). Two species of grosbeak, Comte de Buffon, Histoire naturelle des oiseaux, 1749–1804.
(iv). Two species of flycatcher, Comte de Buffon, Histoire naturelle des oiseaux, 1749–1804.
2. Colou r s i n zo o lo gy:
su bjectiv e o r syst e mat i c ?
Exploration and a field guide to colour for the great naturalists.
b y e l a i n e c h a r wa t .
For Carl Linnaeus (1707–1778), one of the pion- essential’ features, should be used instead.1
1 2 3.
eers of modern taxonomy, colour as a means of In ornithology, especially, colours were the
classifying animals was acceptable only if firmly most important, and often the only, means

linked to structure and form, as he sought to of identifying and classifying birds. It is no
distance himself from naïve and confusing pre- coincidence that common (and scientific) bird
Enlightenment schemes of classification. While names in many languages make extensive use
he used colours for descriptions of particular of colour descriptors. For instance the wonder
species or individuals, especially birds, the fully bicolour English name ‘black redstart’
fundamental criteria remained anatomical. (Phoenicurus ochruros), or ‘Hausrotschwanz’
Interestingly, one of Linnaeus’s uses of colour in German and ‘Rougequeue noir’ in French.
as an important distinguishing attribute in the But even as Buffon advocated the use of colours i. ii.
animal kingdom refers to humans. In the tenth in this way, he also acknowledged that there
edition of Systema naturae (1758–59), which was no ‘language’ available to correctly express
marked the beginning of the scientific naming them in all their different manifestations.2 They
of animals in (Western) zoology, the first term were fugitive, emotive, constantly changing
Linnaeus uses to characterize American, with the movements of the birds.3 He therefore
European, Asian and African people is their advocated adding coloured plates for birds,
‘colour’: red, white, (pale) yellow and black. partly to make up for this lack of a ‘language’.
Using ‘skin colour’ to identify people as different In order to ‘tame’ colours and to make them
varieties of Homo sapiens produced a legacy of practical use in a scientific context increas-
that would cast a shadow over anthropology ingly dominated by large-scale explorations
and biology that stretches into the present and the collecting of animals, colours needed
day. It is also encountered in a later standard to be standardized. This was by no means a new
122.
colour scheme, when Patrick Syme (1774–1845) endeavour; in the 17th and 18th centuries (but
in his Werner’s Nomenclature of Colours used extending back to the ancient Greeks), natural
‘human skin’ as the example from the animal philosophy looked closely at colours in nature,
kingdom of the colour ‘flesh red’ (i.e. pinkish). how they came into being and were perceived.
Linnaeus’s almost exact contemporary and However, it remained for 18th- and 19th-century
critic, Georges-Louis Leclerc, Comte de Buffon naturalists, practitioners and artists to
(1707–1788), in his Histoire naturelle des oiseaux successfully turn colour into a standard trait
(1770–85), highlighted the dilemma of using that could be reliably identified and named
colours as reliable criteria in serious scientific when describing an animal. Colour shifted
endeavour. He was opposed to Linnaeus’s from volatile to stable, from subjective to
use of minute anatomical details or internal standardized, from intuitive to scientific, but,
organs for identification and classification, and crucially, became a characteristic that could iii. iv.
suggested that colour, as one of the ‘main and be pinned down and widely communicated.
(i). Yellow wagtail, Edward Donovan, The Natural History of British Birds, 1794.
(ii). Redstart, Edward Donovan, The Natural History of British Birds, 1794.
(iii). Two species of grosbeak, Comte de Buffon, Histoire naturelle des oiseaux, 1749–1804.
(iv). Two species of flycatcher, Comte de Buffon, Histoire naturelle des oiseaux, 1749–1804.
Ornitho logy. O rn i t ho lo gy.
Four Ruffs, Fourteen South
c. 1800. In the American birds,
West the practice c. 1870.Taxidermy
of ornithology birds mounted
as a scientific under glass domes
discipline began were a popular
in the 17th century. part of 19th-century
Taxidermy birds interior decor.
were made to aid
study or for display,
particularly in
the 19th century.
1 2 5.
1
2

1
5 3 4
2
6
5
6
124.
thigh feather. head feather. breast feather. blue dacnis. EUPHONIA. Euphonia.
1 2 3 1 2 3
1. Snow White. 79. Brownish Orange. 81. Deep Reddish Orange. 32. Verditter Blue. 78. Orpiment Orange. 68. Saffron Yellow.
breast feather. mantle feather. breast feather. Yellow-backed Oriole. scarlet tanager. amazon parrot.
4 5 6 4 5 6
98. Chocolate Red. 102. Umber Brown. 4. Yellowish White. 33. Greenish Blue. 84. Scarlet Red. 57. Pistachio Green.
Ornitho logy. O rn i t ho lo gy.
Four Ruffs, Fourteen South
c. 1800. In the American birds,
West the practice c. 1870.Taxidermy
of ornithology birds mounted
as a scientific under glass domes
discipline began were a popular
in the 17th century. part of 19th-century
Taxidermy birds interior decor.
were made to aid
study or for display,
particularly in
the 19th century.
1 2 5.
1
2

1
5 3 4
2
6
5
6
124.
thigh feather. head feather. breast feather. blue dacnis. EUPHONIA. Euphonia.
1 2 3 1 2 3
1. Snow White. 79. Brownish Orange. 81. Deep Reddish Orange. 32. Verditter Blue. 78. Orpiment Orange. 68. Saffron Yellow.
breast feather. mantle feather. breast feather. Yellow-backed Oriole. scarlet tanager. amazon parrot.
4 5 6 4 5 6
98. Chocolate Red. 102. Umber Brown. 4. Yellowish White. 33. Greenish Blue. 84. Scarlet Red. 57. Pistachio Green.
In addition to describing and identifying In his Beagle Zoology Notes, he recorded his
birds, colours could be applied to insects first encounter with ‘an octopus’ on 28 January
and marine creatures. However, one great 1832 at the Cape Verde Islands. This seems to
disadvantage was that organisms living in be the moment when Darwin, almost with
water often immediately lost their colours a jolt, recollected the importance of recording
when brought to the surface or killed. On board colours scientifically on his expedition, having
a rolling ship, this often resulted in a hectic come face to face with the great colour- and
juggling of struggling creatures, reference shape-shifter of the sea, the cuttlefish. It had
books and notebooks in order to record the ‘true’
colours of these animals before they faded. the Chamælion like power of changing
In the first half of the 19th century, the ref the colour of its body.— The general
erence book that was being thus juggled and colour of animal was French grey with
consulted would most likely have been Patrick numerous spots of bright yellow. — the
1 2 7.
Syme’s. His was one of the earliest of such colour former of these colours varied in
schemes encompassing all three kingdoms of intensity.— the other entirely disap-

nature: animal, vegetable and mineral. And one peared & then again returned.— Over the
of the naturalists using it was Charles Darwin. whole body there were continually
passing clouds, varying in colour from
Charles Darwin and the a ‘hyacinth red’ to a ‘Chesnut brown’.5
Nomenclature of Colours
Apart from the yellow, which remains
In August 1832, Charles Darwin (1809–1882) unqualified except for being ‘bright’, all the
was only a few heady months into his five-year colour terms in this extraordinarily vivid pas‑
voyage (1831–36) on HMS Beagle and still finding sage are taken straight from Syme’s Werner’s
his feet as a naturalist, collector and explorer. Nomenclature of Colours. A copy of the second
Describing some of the ‘marvellous’ South edition of 1821 was included in the Beagle’s
American animals to be collected, listed and library for Darwin’s use, and from this point
shipped to Britain, he expressed his thoughts in in time, he consulted it throughout his journey.
a letter to J. S. Henslow (1796–1861), his mentor Syme’s colour nomenclature had been on
and the person instrumental in securing Darwin’s mind even when preparing for the
his position as a gentleman naturalist on voyage. In the autumn of 1831, he exchanged
board. Darwin emphasized the importance of a flurry of excited letters with Henslow in
meticulously recording the animals’ colours Cambridge, asking him for advice and help
even if it slowed down the process of collecting: regarding his expedition. Before an impending
1 2 6.
visit, Darwin wrote to Henslow on 9 September

But I have come to the conclusion, that 1831, discussing books and equipment for his
two animals with their original colour journey, and asking him for references to
and shape noted down, will be more scientific papers. Across the top of the first
valuable to Naturalists than six with only page of this letter, almost as an afterthought,
dates and place.4 Darwin had written: ‘I will write again before
I come to Cambridge. Keep Syme on colours
This was more than just a casual comment. in your mind.’6
The use of colours in the identification and A copy of the second edition of Syme’s
classification of animals was an important Werner’s Nomenclature of Colours (1821) can
element of Darwin’s voyage. In his later work, still be found in Darwin’s library at his home,
he would use this data to look beyond mere Down House, just outside London. However,
i. descriptions, and discern how colours could be the condition of this copy is ‘spotless’, so is
indicative of different processes of selection. unlikely to have been the one Darwin used
(i). Hand-coloured geological map of the southern tip of South America and
the islands off its coast, created by Charles Darwin during his voyage on HMS
Beagle, between 1831 and 1836. The key concern of Darwin’s geological work here
was to understand the changing relation between the levels of the land and sea.
In addition to describing and identifying In his Beagle Zoology Notes, he recorded his
birds, colours could be applied to insects first encounter with ‘an octopus’ on 28 January
and marine creatures. However, one great 1832 at the Cape Verde Islands. This seems to
disadvantage was that organisms living in be the moment when Darwin, almost with
water often immediately lost their colours a jolt, recollected the importance of recording
when brought to the surface or killed. On board colours scientifically on his expedition, having
a rolling ship, this often resulted in a hectic come face to face with the great colour- and
juggling of struggling creatures, reference shape-shifter of the sea, the cuttlefish. It had
books and notebooks in order to record the ‘true’
colours of these animals before they faded. the Chamælion like power of changing
In the first half of the 19th century, the ref the colour of its body.— The general
erence book that was being thus juggled and colour of animal was French grey with
consulted would most likely have been Patrick numerous spots of bright yellow. — the
1 2 7.
Syme’s. His was one of the earliest of such colour former of these colours varied in
schemes encompassing all three kingdoms of intensity.— the other entirely disap-

nature: animal, vegetable and mineral. And one peared & then again returned.— Over the
of the naturalists using it was Charles Darwin. whole body there were continually
passing clouds, varying in colour from
Charles Darwin and the a ‘hyacinth red’ to a ‘Chesnut brown’.5
Nomenclature of Colours
Apart from the yellow, which remains
In August 1832, Charles Darwin (1809–1882) unqualified except for being ‘bright’, all the
was only a few heady months into his five-year colour terms in this extraordinarily vivid pas‑
voyage (1831–36) on HMS Beagle and still finding sage are taken straight from Syme’s Werner’s
his feet as a naturalist, collector and explorer. Nomenclature of Colours. A copy of the second
Describing some of the ‘marvellous’ South edition of 1821 was included in the Beagle’s
American animals to be collected, listed and library for Darwin’s use, and from this point
shipped to Britain, he expressed his thoughts in in time, he consulted it throughout his journey.
a letter to J. S. Henslow (1796–1861), his mentor Syme’s colour nomenclature had been on
and the person instrumental in securing Darwin’s mind even when preparing for the
his position as a gentleman naturalist on voyage. In the autumn of 1831, he exchanged
board. Darwin emphasized the importance of a flurry of excited letters with Henslow in
meticulously recording the animals’ colours Cambridge, asking him for advice and help
even if it slowed down the process of collecting: regarding his expedition. Before an impending
1 2 6.
visit, Darwin wrote to Henslow on 9 September

But I have come to the conclusion, that 1831, discussing books and equipment for his
two animals with their original colour journey, and asking him for references to
and shape noted down, will be more scientific papers. Across the top of the first
valuable to Naturalists than six with only page of this letter, almost as an afterthought,
dates and place.4 Darwin had written: ‘I will write again before
I come to Cambridge. Keep Syme on colours
This was more than just a casual comment. in your mind.’6
The use of colours in the identification and A copy of the second edition of Syme’s
classification of animals was an important Werner’s Nomenclature of Colours (1821) can
element of Darwin’s voyage. In his later work, still be found in Darwin’s library at his home,
he would use this data to look beyond mere Down House, just outside London. However,
i. descriptions, and discern how colours could be the condition of this copy is ‘spotless’, so is
indicative of different processes of selection. unlikely to have been the one Darwin used
(i). Hand-coloured geological map of the southern tip of South America and
the islands off its coast, created by Charles Darwin during his voyage on HMS
Beagle, between 1831 and 1836. The key concern of Darwin’s geological work here
was to understand the changing relation between the levels of the land and sea.
Entomology.
Entomology is the branch of zoology

concerned with the study of insects.
Introduction to Entomology by William
Kirby (1759–1850) and William Spence
(1783–1860), published between 1815 and
1826, is considered the study’s foundational
2 3
text, and the science developed rapidly in
the 18th and 19th centuries. This display
case of Asian beetles comes from the
collection of Alfred Russel Wallace
(1823–1913), an eminent British naturalist
1 and a prolific collector.
colour references.
1 2 9.
4 Hexarthrius rhinoceros.
1

Prosopocoilus lafertei.
2
81. Deep Reddish Orange.
7 Odontolabis brookeana.
3
76. Dutch Orange.
5 6 Ischiopsopha sp.
4
56. Sap Green.
Eupholus chevrolati.
5
32. Verditter Blue.
Eupholus linnei.
6
29. Ultramarine Blue.
Ischiopsopha sp.
1 2 8.
7
60. Oil Green.
11
10
Sternocera aequisignata.
8
55. Duck Green.
Belionota sp.
9
78. Orpiment Orange.
8
Temognatha mitchellii.
10
95. Cochineal Red.
9
12
Chalcosoma atlas.
11
19. Greenish Black.
Tricondyla sp.
12
24. Scotch Blue.
so extensively on the voyage.7 According to could already be regarded as an ‘old hand’
Darwin’s son Francis, a copy of Syme’s 1821 at a particular type of voyage of discovery –
edition was given to Cambridge’s ‘Botany Arctic exploration – when he wrote the Appendix
School’, and is identified in its 1911 catalogue as to Captain Parry’s Journal of a Second
being ‘a record of the [Beagle] voyage’. The Voyage for the Discovery of a North-west
entry adds that Darwin had ‘recorded some Passage (1825). Although he had not been part of
observations in the volume itself: on a blank the expedition of 1821–23 under William Parry
page at the beginning is written: “Beak of (1790–1855), Richardson had accompanied
female ash grey, male nearly black, legs &c. John Franklin (1786–1847) on his ill-fated 1819–22
exact dutch yellow”.’8 This annotation might Coppermine Expedition, also in search of the
be matched with Darwin’s description in his Northwest Passage. His energy apparently
Beagle Zoology Notes of the striated caracara undiminished by the starvation and hardship
(Darwin’s ‘Caracara novae-zelandae’, now he had experienced, Richardson not only
131.
Phalcoboenus australis), a bird of prey of the worked on the official natural history account
Falkland Islands: ‘legs & skin about beak bright of Franklin’s expedition, but also summarized

“dutch orange”, beak “ash-grey”, in the male and edited the zoological notes for Parry’s
it is nearly black’.9 It is interesting how Syme’s voyage, as well as examining specimens
‘dutch orange’ becomes ‘dutch yellow’ in the collected – all in the short interval before he
note – a reminder that no system of colours can returned to Canada with Franklin in 1825. In his
fully eliminate a subjective impression. introduction (dated 1824) to the Appendix to
Later, in a letter written in 1860, Darwin Captain Parry’s Journal Richardson notes that:
would remark how a peacock’s tail feather
made him ‘sick’ – it seemed to contradict his The colours used in the descriptions are i.
theory of natural selection, its colours being to be found in an excellent little work
so flamboyant and obvious to predators. The entitled, Werner’s Nomenclature of
exuberant beauty of colours in nature triggered Colours by Patrick Syme, Edinburgh,
the idea of a different kind of selection at work 1821, now frequently referred to by several
– sexual selection. In the same letter, Darwin eminent naturalists and comparative
also mentioned ‘Black Pigs in the Everglades’ in anatomists of this country.11
the context of an ongoing speculation whether
there might be a correlation between an animal’s It might be expected that animal colours
colour and its immunity to poison.10 Darwin also in the Arctic would be much less varied and
looked closely at cultivated plants and animals, vivid than those Darwin would later observe
noting that there were much greater differences in the equatorial regions, but Richardson’s
1 3 0.
between individuals than in the same species in descriptions are crammed with colour labels
nature, the result of the Victorians deliberately taken from Syme. Shades of white are a notable
breeding animals and plants for unusual feature, as well as changes from winter to
colours and patterns. summer fur or plumage, which Richardson
One thing is certain – Syme’s Werner’s meticulously records, for example, for the
Nomenclature of Colours sharpened Darwin’s ermine, Arctic fox and ‘polar hare’. He also
eye for the beauty and the science of animal col‑ notes the importance of fur colour for the fur
ours, just as Syme postulated in his introduction: trade. As might be expected, Richardson seems
‘the eye, by practice will become … correct’. to find Syme’s shades of white almost lacking to
describe the manifold, richly textured whites he
New colours in the far North encounters. Syme’s ‘snow-white’ is a favourite
in this environment of course (for instance for
In contrast to Darwin, John Richardson the ermine’s ‘winter habit’12), indicating the ii. iii.
(1787–1865), a naval surgeon and naturalist, colour’s role in animal camouflage. Sometimes,
(i). Finches collected from the Galapagos Islands during the second voyage of HMS Beagle, 1831–36.
(ii–iii). Pages from the catalogue of collected specimens made by Charles Darwin and his assistant
Syms Covington during their voyage on the HMS Beagle, entitled Catalogue for Specimens
in Spirit of Wine. Werner’s colour standards are used to describe specimens, including
Chesnut Brown (ii) and Dutch Orange (iii).
so extensively on the voyage.7 According to could already be regarded as an ‘old hand’
Darwin’s son Francis, a copy of Syme’s 1821 at a particular type of voyage of discovery –
edition was given to Cambridge’s ‘Botany Arctic exploration – when he wrote the Appendix
School’, and is identified in its 1911 catalogue as to Captain Parry’s Journal of a Second
being ‘a record of the [Beagle] voyage’. The Voyage for the Discovery of a North-west
entry adds that Darwin had ‘recorded some Passage (1825). Although he had not been part of
observations in the volume itself: on a blank the expedition of 1821–23 under William Parry
page at the beginning is written: “Beak of (1790–1855), Richardson had accompanied
female ash grey, male nearly black, legs &c. John Franklin (1786–1847) on his ill-fated 1819–22
exact dutch yellow”.’8 This annotation might Coppermine Expedition, also in search of the
be matched with Darwin’s description in his Northwest Passage. His energy apparently
Beagle Zoology Notes of the striated caracara undiminished by the starvation and hardship
(Darwin’s ‘Caracara novae-zelandae’, now he had experienced, Richardson not only
131.
Phalcoboenus australis), a bird of prey of the worked on the official natural history account
Falkland Islands: ‘legs & skin about beak bright of Franklin’s expedition, but also summarized

“dutch orange”, beak “ash-grey”, in the male and edited the zoological notes for Parry’s
it is nearly black’.9 It is interesting how Syme’s voyage, as well as examining specimens
‘dutch orange’ becomes ‘dutch yellow’ in the collected – all in the short interval before he
note – a reminder that no system of colours can returned to Canada with Franklin in 1825. In his
fully eliminate a subjective impression. introduction (dated 1824) to the Appendix to
Later, in a letter written in 1860, Darwin Captain Parry’s Journal Richardson notes that:
would remark how a peacock’s tail feather
made him ‘sick’ – it seemed to contradict his The colours used in the descriptions are i.
theory of natural selection, its colours being to be found in an excellent little work
so flamboyant and obvious to predators. The entitled, Werner’s Nomenclature of
exuberant beauty of colours in nature triggered Colours by Patrick Syme, Edinburgh,
the idea of a different kind of selection at work 1821, now frequently referred to by several
– sexual selection. In the same letter, Darwin eminent naturalists and comparative
also mentioned ‘Black Pigs in the Everglades’ in anatomists of this country.11
the context of an ongoing speculation whether
there might be a correlation between an animal’s It might be expected that animal colours
colour and its immunity to poison.10 Darwin also in the Arctic would be much less varied and
looked closely at cultivated plants and animals, vivid than those Darwin would later observe
noting that there were much greater differences in the equatorial regions, but Richardson’s
1 3 0.
between individuals than in the same species in descriptions are crammed with colour labels
nature, the result of the Victorians deliberately taken from Syme. Shades of white are a notable
breeding animals and plants for unusual feature, as well as changes from winter to
colours and patterns. summer fur or plumage, which Richardson
One thing is certain – Syme’s Werner’s meticulously records, for example, for the
Nomenclature of Colours sharpened Darwin’s ermine, Arctic fox and ‘polar hare’. He also
eye for the beauty and the science of animal col‑ notes the importance of fur colour for the fur
ours, just as Syme postulated in his introduction: trade. As might be expected, Richardson seems
‘the eye, by practice will become … correct’. to find Syme’s shades of white almost lacking to
describe the manifold, richly textured whites he
New colours in the far North encounters. Syme’s ‘snow-white’ is a favourite
in this environment of course (for instance for
In contrast to Darwin, John Richardson the ermine’s ‘winter habit’12), indicating the ii. iii.
(1787–1865), a naval surgeon and naturalist, colour’s role in animal camouflage. Sometimes,
(i). Finches collected from the Galapagos Islands during the second voyage of HMS Beagle, 1831–36.
(ii–iii). Pages from the catalogue of collected specimens made by Charles Darwin and his assistant
Syms Covington during their voyage on the HMS Beagle, entitled Catalogue for Specimens
in Spirit of Wine. Werner’s colour standards are used to describe specimens, including
Chesnut Brown (ii) and Dutch Orange (iii).
Lepidopterology.
Lepidopterology, the study of moths

and butterflies, grew in stature through
an increased interest in science and
nature following the Renaissance in
Europe, and was developed further by
explorers, scientists and naturalists in
1
the 19th century. This board is from the
collection of the ‘father of biogeography’
Alfred Russel Wallace (1823–1913). His
butterfly collection aided him in the
development of his theories of
3 speciation and natural selection.
colour references.
1 3 3.
Cricula trifenestrata.
1
4 76. Dutch Orange.

7 Danis Danis.
2
Hypochrysops sp.
3
29. Ultramarine Blue.
Celerena sp.
4
5
6 Eumelea sp.
8 5
78. Orpiment Orange.
9 Arhopala sp.
6
31. Berlin Blue.
Attacus atlas.
1 32 .
7
69. Gallstone Yellow.
Hypochrysops sp.
8
82. Tile Red.
11
Hypochrysops sp.
9
41. Auricula Purple.
10 Comella laetifica.
10
77. Buff Orange.
Arhopala sp.
11
42. Plum Purple.
12
Alcides orontes.
12
57. Pistachio Green.
however, he adds personal colour examples or While Sowerby’s work focused on botany
impressions, as in the case of the ‘foetal’ young (see pp. 172–75), he also created the plates for
of the rough seal: ‘… a yellowish white colour Zoology of New Holland, by George Shaw
like raw silk’13. For the ‘Lapland finch’, he uses (1751–1813), published in 1794, drawing on the
a feast of browns, including Syme’s blackish- earliest expeditions to Australia, and presenting
brown, yellowish-brown and clove-brown, all to some of its animals to the public for the very
describe the same female individual. He even first time. In the description accompanying
employs an alternative shade of white for her, Sowerby’s plate of the aptly named ‘Nonpareil
which leans towards the brown: rusty-white.14 parrot’, Shaw notes: ‘It may indeed be doubted
In his account of his second expedition whether any bird can exhibit a plumage more
with Franklin (1825–27), published in 1829 elegant, or colours of a nobler hue. These are
and entitled Fauna boreali-americana, so accurately expressed on the plate … that it
Richardson again explicitly mentions his use becomes unnecessary to particularize them
1 3 5.
of Syme’s colour system.15 His new approach here.’17 Just as Syme postulated, the colours
in incorporating Syme’s Nomenclature was on the plate were as good as the ‘object itself’.

clearly considered useful by later naturalists: Like other natural history illustrators,
Fauna boreali-americana was available in the Sowerby experimented with developing and
Beagle library, and Darwin noted it in one of using colour schemes. In 1809, he published
his 1838 journals under ‘Books to be read’.16 To his A New Elucidation of Colours. Instead
Richardson, Syme’s book was a field guide of providing colour swatches like Syme’s, he
of colours, allowing exact identification of developed a ‘chromatometer’, essentially
little-known animals while on the voyage, as well a template to use together with a standard
i. as when writing accurate and vivid descriptions prism, which allowed the spectral colours
for a popular and scientific audience. It is no to be exactly defined by their position on the
surprise that Charles Darwin, as a novice at template. This had the advantage of using ‘true’
voyages of discovery, would find it equally useful. colours for determination, instead of colours
represented by pigments – which could vary
Chromatometers and butterflies: according to the mix, type of paper, fading etc.
animal colours in art and science However, using the chromatometer and prism
was unwieldy and difficult to master – definitely
As Syme noted in the foreword to the first edition not practical on expeditions or in the field.
of his Werner’s Nomenclature of Colours (1814), Therefore, Sowerby also provided a ‘chromatic
reliable colour standards were a necessity for scale’ which reproduced and defined 63 colours
taxonomy. Colours were of no use if there was obtained from mixing three primary colours
134.
confusion about their individual perception (yellow, red, blue) in a grid-like structure (and
and names. Once this was resolved, ‘description, in his list also added five whites).
figure, and colour combined form the most When considering the colour references for
perfect representation, and are next to seeing the animal kingdom in Syme’s Nomenclature,
the object itself’. Considering the emphasis on it is interesting to note that around two thirds
representation – art – as a taxonomic tool for are to birds, with insects making up much of the
science, it is not surprising that many of the remaining third. Mammals are largely ignored,
leading attempts to produce a working colour as are fish. Mammals were still mainly classified
scheme (either for personal or general use) according to their anatomical morphology
came from natural history artists like Syme, a (especially bone structure). As for fish, it was
‘flower-painter’ in Edinburgh. There was a long not possible for most people to observe live
tradition of artists who had grappled with this fish at this time, so references to them would
ii. iii. issue, mainly in the field of botany, such as not have been very helpful. Birds and insects,
James Sowerby (1757–1822). however, had always been particularly noted
(i). ‘Head of a White Bear’, William Edward Parry, Appendix to Captain Parry’s
Journal of a Second Voyage for the Discovery of a North-west Passage, 1825.
(ii–iii). Pages from William Edward Parry’s Journal of a Second Voyage for the
Discovery of a North-west Passage, entitled ‘Entrance to Duke of York Bay’ (ii)
and ‘Eskimaux Instruments, Weapons &c’ (iii).
however, he adds personal colour examples or While Sowerby’s work focused on botany
impressions, as in the case of the ‘foetal’ young (see pp. 172–75), he also created the plates for
of the rough seal: ‘… a yellowish white colour Zoology of New Holland, by George Shaw
like raw silk’13. For the ‘Lapland finch’, he uses (1751–1813), published in 1794, drawing on the
a feast of browns, including Syme’s blackish- earliest expeditions to Australia, and presenting
brown, yellowish-brown and clove-brown, all to some of its animals to the public for the very
describe the same female individual. He even first time. In the description accompanying
employs an alternative shade of white for her, Sowerby’s plate of the aptly named ‘Nonpareil
which leans towards the brown: rusty-white.14 parrot’, Shaw notes: ‘It may indeed be doubted
In his account of his second expedition whether any bird can exhibit a plumage more
with Franklin (1825–27), published in 1829 elegant, or colours of a nobler hue. These are
and entitled Fauna boreali-americana, so accurately expressed on the plate … that it
Richardson again explicitly mentions his use becomes unnecessary to particularize them
1 3 5.
of Syme’s colour system.15 His new approach here.’17 Just as Syme postulated, the colours
in incorporating Syme’s Nomenclature was on the plate were as good as the ‘object itself’.

clearly considered useful by later naturalists: Like other natural history illustrators,
Fauna boreali-americana was available in the Sowerby experimented with developing and
Beagle library, and Darwin noted it in one of using colour schemes. In 1809, he published
his 1838 journals under ‘Books to be read’.16 To his A New Elucidation of Colours. Instead
Richardson, Syme’s book was a field guide of providing colour swatches like Syme’s, he
of colours, allowing exact identification of developed a ‘chromatometer’, essentially
little-known animals while on the voyage, as well a template to use together with a standard
i. as when writing accurate and vivid descriptions prism, which allowed the spectral colours
for a popular and scientific audience. It is no to be exactly defined by their position on the
surprise that Charles Darwin, as a novice at template. This had the advantage of using ‘true’
voyages of discovery, would find it equally useful. colours for determination, instead of colours
represented by pigments – which could vary
Chromatometers and butterflies: according to the mix, type of paper, fading etc.
animal colours in art and science However, using the chromatometer and prism
was unwieldy and difficult to master – definitely
As Syme noted in the foreword to the first edition not practical on expeditions or in the field.
of his Werner’s Nomenclature of Colours (1814), Therefore, Sowerby also provided a ‘chromatic
reliable colour standards were a necessity for scale’ which reproduced and defined 63 colours
taxonomy. Colours were of no use if there was obtained from mixing three primary colours
134.
confusion about their individual perception (yellow, red, blue) in a grid-like structure (and
and names. Once this was resolved, ‘description, in his list also added five whites).
figure, and colour combined form the most When considering the colour references for
perfect representation, and are next to seeing the animal kingdom in Syme’s Nomenclature,
the object itself’. Considering the emphasis on it is interesting to note that around two thirds
representation – art – as a taxonomic tool for are to birds, with insects making up much of the
science, it is not surprising that many of the remaining third. Mammals are largely ignored,
leading attempts to produce a working colour as are fish. Mammals were still mainly classified
scheme (either for personal or general use) according to their anatomical morphology
came from natural history artists like Syme, a (especially bone structure). As for fish, it was
‘flower-painter’ in Edinburgh. There was a long not possible for most people to observe live
tradition of artists who had grappled with this fish at this time, so references to them would
ii. iii. issue, mainly in the field of botany, such as not have been very helpful. Birds and insects,
James Sowerby (1757–1822). however, had always been particularly noted
(i). ‘Head of a White Bear’, William Edward Parry, Appendix to Captain Parry’s
Journal of a Second Voyage for the Discovery of a North-west Passage, 1825.
(ii–iii). Pages from William Edward Parry’s Journal of a Second Voyage for the
Discovery of a North-west Passage, entitled ‘Entrance to Duke of York Bay’ (ii)
and ‘Eskimaux Instruments, Weapons &c’ (iii).
Oology.
Oology often involves the collecting of eggs, an activity 1833, by William Chapman Hewitson (1806–1878).
that became popular in the 19th century as a scientific In the book’s introduction Hewitson describes his
pursuit, but by the 20th century was increasingly love for nature and the pleasure he derives from egg
regarded as a hobby rather than a scientific discipline. collecting, before going on to describe the eggs,
It is now illegal in the UK and restricted in the US. breeding habits, nest construction and clutch size
The pages shown below are taken from British Oology, of over 200 species of birds that bred in Britain.
magpie. hooded crow. rook. skylark. reed warbler. whitethroat.
54. Grass Green. 55. Duck Green. 56. Sap Green. 60. Oil Green. 60. Oil Green. 68. Saffron Yellow.
1 3 7.
barn owl. little owl. House martin. Hawk owl. sea eagle. eagle owl. nightingale. garden great shrike. red-backed kestrel. hobby hawk.
1. Snow White. 1. Snow White. 1. Snow White. 2. Reddish White. 2. Reddish White. 3. Purplish White. 69. Gallstone warbler. 74. Ochre Yellow. shrike. 79. Brownish 81. Deep Reddish
Yellow. 70. Honey Yellow. 78. Orpiment Orange. Orange.
Orange.
woodpecker. kingfisher. hen harrier. marsh harrier. goshawk. stone-chat. crested merlin. greater willow wren. peregrine green linnet.
4. Yellowish 5. Orange- 7. Skimmed-milk 8. Greyish White. 8. Greyish White. 9. Ash Grey. titmouse. 85. Vermilion Red. titmouse. 86. Aurora Red. falcon. 88. Flesh Red.
White. coloured White. White. 82. Tile Red. 86. Aurora Red. 87. Arterial
Blood Red.
1 3 6.
hedge redstart. hoopoe. dartford pied thrush. blue titmouse. tree pipit. sparrowhawk. honey buzzard. kite. common
accentor. 12. Pearl Grey. 13. Yellowish Grey. warbler. flycatcher. 32. Verditter Blue. 89. Rose Red. 93. Crimson Red. 99. Brownish Red. 100. Deep Orange- 101. Deep Reddish buzzard.
11. French Grey. 15. Greenish Grey. 32. Verditter Blue. coloured Brown. Brown. 101. Deep Reddish
Brown.
fieldfare. jackdaw. american grosbeak. carrion crow. raven. osprey. yellow ortolan red-legged rock lark. cuckoo.
33. Greenish Blue. 33. Greenish Blue. cuckoo. 34. Greyish Blue. 34. Greyish Blue. 52. Apple Green. 103. Chesnut wagtail. bunting. crow. 109. Olive Brown. 110. Blackish
34. Greyish Blue. Brown. 104. Yellowish 105. Wood Brown. 107. Hair Brown. Brown.
Brown.
Oology.
Oology often involves the collecting of eggs, an activity 1833, by William Chapman Hewitson (1806–1878).
that became popular in the 19th century as a scientific In the book’s introduction Hewitson describes his
pursuit, but by the 20th century was increasingly love for nature and the pleasure he derives from egg
regarded as a hobby rather than a scientific discipline. collecting, before going on to describe the eggs,
It is now illegal in the UK and restricted in the US. breeding habits, nest construction and clutch size
The pages shown below are taken from British Oology, of over 200 species of birds that bred in Britain.
magpie. hooded crow. rook. skylark. reed warbler. whitethroat.
54. Grass Green. 55. Duck Green. 56. Sap Green. 60. Oil Green. 60. Oil Green. 68. Saffron Yellow.
1 3 7.
barn owl. little owl. House martin. Hawk owl. sea eagle. eagle owl. nightingale. garden great shrike. red-backed kestrel. hobby hawk.
1. Snow White. 1. Snow White. 1. Snow White. 2. Reddish White. 2. Reddish White. 3. Purplish White. 69. Gallstone warbler. 74. Ochre Yellow. shrike. 79. Brownish 81. Deep Reddish
Yellow. 70. Honey Yellow. 78. Orpiment Orange. Orange.
Orange.
woodpecker. kingfisher. hen harrier. marsh harrier. goshawk. stone-chat. crested merlin. greater willow wren. peregrine green linnet.
4. Yellowish 5. Orange- 7. Skimmed-milk 8. Greyish White. 8. Greyish White. 9. Ash Grey. titmouse. 85. Vermilion Red. titmouse. 86. Aurora Red. falcon. 88. Flesh Red.
White. coloured White. White. 82. Tile Red. 86. Aurora Red. 87. Arterial
Blood Red.
1 3 6.
hedge redstart. hoopoe. dartford pied thrush. blue titmouse. tree pipit. sparrowhawk. honey buzzard. kite. common
accentor. 12. Pearl Grey. 13. Yellowish Grey. warbler. flycatcher. 32. Verditter Blue. 89. Rose Red. 93. Crimson Red. 99. Brownish Red. 100. Deep Orange- 101. Deep Reddish buzzard.
11. French Grey. 15. Greenish Grey. 32. Verditter Blue. coloured Brown. Brown. 101. Deep Reddish
Brown.
fieldfare. jackdaw. american grosbeak. carrion crow. raven. osprey. yellow ortolan red-legged rock lark. cuckoo.
33. Greenish Blue. 33. Greenish Blue. cuckoo. 34. Greyish Blue. 34. Greyish Blue. 52. Apple Green. 103. Chesnut wagtail. bunting. crow. 109. Olive Brown. 110. Blackish
34. Greyish Blue. Brown. 104. Yellowish 105. Wood Brown. 107. Hair Brown. Brown.
Brown.
for their colours, which were extensively colours – became increasingly sophisticated.
used in their identification and description. In the first half of the century schemes like
This, in turn, obliged the artists to determine Syme’s had facilitated a multitude of new
colours as accurately and systematically as discoveries and their classification, but by the
the taxonomists who classified the animal. It is end of the century and in the early 20th century,
hardly surprising, therefore, that taxonomists an updated approach was needed.
of birds or insects in particular might also These developments took shape in the work
become colour taxonomists – and vice versa. of the American ornithologist Robert Ridgway
Moses Harris (1730–c. 1788) was a pioneer in (1850–1929), whose career spanned this period.
that respect. Both an entomologist and artist He published two major works on using colour
specializing in engravings, he attempted to systematics for the classification of birds. In his
identify and classify colours as much as he 1886 A Nomenclature of Colors for Naturalists
focused on describing and classifying insects. In and Compendium of Useful Knowledge for
1 39.
his An Exposition of English Insects (published Ornithologists he proposed a new colour system
in London in 1776), he proposed a ‘Scheme of (comprising 186 samples of named colours)

colours’, treating colours almost like his living and a colour dictionary (with colour terms in
subjects. Acknowledging that the terms he used English, Latin, German, French, Spanish, Italian,
for colours and ‘teints’ were ‘little known but to Norwegian/Danish), which were integrated into
painters’, he therefore provided a colour wheel. a simple overall system for bird identification.
Its practical use was to clarify the terms he used Just like Syme, he saw the necessity of defining
to an audience unfamiliar with painting, and, standards for colour terminology, and just like
just as Syme would later emphasize, to ‘enable Syme’s nomenclature, his system was prompted
the reader to judge of the variety of teints that by a ‘want’ felt by ornithologists working in the i. ii.
adorn the several parts of the insect’.18 Here, field. As Ridgway realized:
already, ways of seeing had become ways of
knowing, of being able to identify. Undoubtedly one of the chief desiderata
In another book, The English Lepidoptera of naturalists, both professional and
(1775), Harris added an illustration showing amateur, is a means of identifying
a system for colour-coding the anatomical the various shades of colors named
parts of a butterfly on a schematic drawing, in descriptions, and of being able to
particularly the many complicated wing ‘mem- determine exactly what name to apply
branes’ and ‘tendons’, which he regarded as to a particular tint which is desired to
essential for the identification of different designate in an original description.19
species. Colour-coding anatomical parts for
1 3 8.
identification and, especially, teaching, was He deplored the lack of modern publications
a method used to great effect in the later part of this kind, and mentioned Syme’s 1821 edition
of the 19th century and first half of the 20th as being the most recent he had been able to
century in zoological publications, wall-charts consult. While acknowledging its usefulness,
and models, and is still widely used in scientific he also summarized some of its major
illustrations and digital 3D models today. shortcomings: ‘the colors have become so
modified by time, that in very few cases do they
Colour systematics correspond with the tints they were intended
to represent’.20 It had occurred to Ridgway,
As the natural sciences became increasingly however, to use the commercially produced
‘professionalized’ through the course of the ‘artists’ colors’ of his time (among them aniline
19th century, and with technical innov dyes and pigments), with their much improved
ations and the flood of new species being ‘fixity’. He also tackled the ‘arbitrariness’ of tints iii. iv.
discovered, taxonomy – of both animals and and shades named after a familiar object, like
(i). Eastern rosella parrot, George Shaw, Zoology of New Holland, Vol. 1, 1794.
(ii). Plate 1, James Sowerby, A New Elucidation of Colours, Original Prismatic, and Material, 1809.
(iii). Varieties of moth, Moses Harris, An Exposition of English Insects, 1776.
(iv). Scheme of colours, Moses Harris, An Exposition of English Insects, 1776.
for their colours, which were extensively colours – became increasingly sophisticated.
used in their identification and description. In the first half of the century schemes like
This, in turn, obliged the artists to determine Syme’s had facilitated a multitude of new
colours as accurately and systematically as discoveries and their classification, but by the
the taxonomists who classified the animal. It is end of the century and in the early 20th century,
hardly surprising, therefore, that taxonomists an updated approach was needed.
of birds or insects in particular might also These developments took shape in the work
become colour taxonomists – and vice versa. of the American ornithologist Robert Ridgway
Moses Harris (1730–c. 1788) was a pioneer in (1850–1929), whose career spanned this period.
that respect. Both an entomologist and artist He published two major works on using colour
specializing in engravings, he attempted to systematics for the classification of birds. In his
identify and classify colours as much as he 1886 A Nomenclature of Colors for Naturalists
focused on describing and classifying insects. In and Compendium of Useful Knowledge for
1 39.
his An Exposition of English Insects (published Ornithologists he proposed a new colour system
in London in 1776), he proposed a ‘Scheme of (comprising 186 samples of named colours)

colours’, treating colours almost like his living and a colour dictionary (with colour terms in
subjects. Acknowledging that the terms he used English, Latin, German, French, Spanish, Italian,
for colours and ‘teints’ were ‘little known but to Norwegian/Danish), which were integrated into
painters’, he therefore provided a colour wheel. a simple overall system for bird identification.
Its practical use was to clarify the terms he used Just like Syme, he saw the necessity of defining
to an audience unfamiliar with painting, and, standards for colour terminology, and just like
just as Syme would later emphasize, to ‘enable Syme’s nomenclature, his system was prompted
the reader to judge of the variety of teints that by a ‘want’ felt by ornithologists working in the i. ii.
adorn the several parts of the insect’.18 Here, field. As Ridgway realized:
already, ways of seeing had become ways of
knowing, of being able to identify. Undoubtedly one of the chief desiderata
In another book, The English Lepidoptera of naturalists, both professional and
(1775), Harris added an illustration showing amateur, is a means of identifying
a system for colour-coding the anatomical the various shades of colors named
parts of a butterfly on a schematic drawing, in descriptions, and of being able to
particularly the many complicated wing ‘mem- determine exactly what name to apply
branes’ and ‘tendons’, which he regarded as to a particular tint which is desired to
essential for the identification of different designate in an original description.19
species. Colour-coding anatomical parts for
1 3 8.
identification and, especially, teaching, was He deplored the lack of modern publications
a method used to great effect in the later part of this kind, and mentioned Syme’s 1821 edition
of the 19th century and first half of the 20th as being the most recent he had been able to
century in zoological publications, wall-charts consult. While acknowledging its usefulness,
and models, and is still widely used in scientific he also summarized some of its major
illustrations and digital 3D models today. shortcomings: ‘the colors have become so
modified by time, that in very few cases do they
Colour systematics correspond with the tints they were intended
to represent’.20 It had occurred to Ridgway,
As the natural sciences became increasingly however, to use the commercially produced
‘professionalized’ through the course of the ‘artists’ colors’ of his time (among them aniline
19th century, and with technical innov dyes and pigments), with their much improved
ations and the flood of new species being ‘fixity’. He also tackled the ‘arbitrariness’ of tints iii. iv.
discovered, taxonomy – of both animals and and shades named after a familiar object, like
(i). Eastern rosella parrot, George Shaw, Zoology of New Holland, Vol. 1, 1794.
(ii). Plate 1, James Sowerby, A New Elucidation of Colours, Original Prismatic, and Material, 1809.
(iii). Varieties of moth, Moses Harris, An Exposition of English Insects, 1776.
(iv). Scheme of colours, Moses Harris, An Exposition of English Insects, 1776.
Jos eph banks’s shells. c ha rle s Da rwi n ’s shells.
Shells collected Shells collected
on HMS Endeavour, on HMS Beagle,
1768–71. The shells 1831–36. The shells
featured in this tray
1
in this drawer were
were collected from collected by Charles
the beaches of 1 2 Darwin from
Brazil, Tahiti, various localities
New Zealand and during the voyage
Australia during of HMS Beagle
Captain Cook’s around South
first expedition America. The
around the world. expedition provided
Sir Joseph Banks Darwin with his
was the voyage’s first real training
official botanist. in natural history.
4
3
2
141.
6
5
3
6
1 40.
Ficus ficus. Conus ermineus. Conus striatus. Saccostrea cucullata. Mytilus sp. Eucallista purpurata.
1 2 3 1 2 3
93. Crimson Red. 82. Tile Red. 43. Red Lilac Purple. 40. Imperial Purple. 24. Scotch Blue. 80. Reddish Orange.
Conus marmoreus. Conus granulatus. Conus tessulatus. Mytilus sp. Mesodesma donacium. Pecten sp.
4 5 6 4 5 6
104. Yellowish Brown. 86. Aurora Red. 5. Orange-coloured White. 36. Bluish Purple. 7. Skimmed-milk White. 83. Hyacinth Red.
Jos eph banks’s shells. c ha rle s Da rwi n ’s shells.
Shells collected Shells collected
on HMS Endeavour, on HMS Beagle,
1768–71. The shells 1831–36. The shells
featured in this tray
1
in this drawer were
were collected from collected by Charles
the beaches of 1 2 Darwin from
Brazil, Tahiti, various localities
New Zealand and during the voyage
Australia during of HMS Beagle
Captain Cook’s around South
first expedition America. The
around the world. expedition provided
Sir Joseph Banks Darwin with his
was the voyage’s first real training
official botanist. in natural history.
4
3
2
141.
6
5
3
6
1 40.
Ficus ficus. Conus ermineus. Conus striatus. Saccostrea cucullata. Mytilus sp. Eucallista purpurata.
1 2 3 1 2 3
93. Crimson Red. 82. Tile Red. 43. Red Lilac Purple. 40. Imperial Purple. 24. Scotch Blue. 80. Reddish Orange.
Conus marmoreus. Conus granulatus. Conus tessulatus. Mytilus sp. Mesodesma donacium. Pecten sp.
4 5 6 4 5 6
104. Yellowish Brown. 86. Aurora Red. 5. Orange-coloured White. 36. Bluish Purple. 7. Skimmed-milk White. 83. Hyacinth Red.
the ones used by Syme (such as ‘hair-brown, the famed destination of the voyage of
ash-color, lilac, etc.’), noting that this ‘varies the Beagle, and in particular to ‘Darwin’s
so much in color that the name without … fixed finches’. From specimens collected by an
standard would be practically valueless’. expedition of the US Fish Commission
Ridgway’s work on colour systematics led Steamer Albatross in 1888, Ridgway became
him to pioneer the modern field-guide concept the first to describe the Española cactus finch
in his A History of North American Birds (Geospiza conirostris). With a precision similar
(1905). The visual effectiveness of a precise to Richardson’s description of the far north
use of colours can be seen especially in the Lapland finch, Ridgway deftly characterizes
striking plates, in which the heads of easily the female finch, which a more casual observer
confused species of birds are depicted almost might consider particularly hard to identify
like comparative colour swatches, making and distinguish:
a first-glance comparison and identification
1 4 3.
quick and easy, especially for amateur Above dull sooty; anterior lower parts
bird-watchers in the field. similar, but indistinctly streaked

The importance Ridgway placed on colour with pale grayish buffy, this gradually
systematics is demonstrated by his return increasing posteriorly until it becomes
to it towards the end of his career with his the prevailing colour and the sooty
Color Standards and Color Nomenclature reduced to broad streaks.22
in 1912. Here, he developed his earlier system,
criticizing his own shortcomings as much as This was a ‘serious’ colour description
he had once criticized Syme’s – those in his for the first official zoological record of an
i. ii. case being an inadequate number of colours individual from one of the most noted groups
and their ‘unscientific’ arrangement. Through of animals in science – still considered ‘living
its scope and enhanced ‘objectivity’, his new proofs’ of Darwin’s theories of natural selection
work could not only be applied in ornithology, and adaptation today.
but, like Syme’s Nomenclature, would also From Darwin’s use of colours and Syme’s
be ‘for the use of the zoologist, the botanist, Nomenclature, throughout the 19th and early
the pathologist, or the mineralogist’.21 It is still 20th centuries, zoologists and zoological artists
regarded as a standard reference across the continued to draw on earlier sources, constantly
arts and sciences. Ridgway’s colour analysis applying and perfecting them in line with their
utilizes the actual solar spectrum, precisely needs for identification and description in the
determining colour, hue, tint, shade, tone, field, and for classification and taxonomy. Such
scale, and providing well over a thousand colour schemes evolved as zoology, systematics
142.
colour swatches on 53 plates, foreshadowing and the sciences in general changed, but also in
the Pantone charts of today. tandem with artistic, technological and societal
Ridgway also turned his considerable developments (such as an increasing number
taxonomic faculties to the results of a return of amateur ornithologists), and therefore also
to that most emblematic of locations of a reflect much wider changes in the natural
voyage of discovery – the Galapagos Islands, sciences, as well as in art and in society.
n ot e s — (1). Lyon 1976, p. 140. (2). Buffon 1770, pp. viii–ix. (3). Jones 2013, pp. 88–89. (4). Darwin Correspondence Project, Letter
no. 178. (5). Keynes 2000, p. 9. (6). Barlow 1967, p. 41. (7). Keynes 2000, p. 10. (8). Rutherford 1908, p. X. (9). Keynes 2000, p. 211.
(10). Darwin Correspondence Project, ‘Letter no. 2743’. (11). Parry 1825, p. 287. (12). Parry 1825, p. 294. (13). Parry 1825, p. 333.
(14). Parry 1825, p. 346. (15). Richardson 1829–37, Vol. 1, p. xxxv. (16). Darwin, C. R. ‘Books to be read’ and ‘Books Read’ notebook
iii. iv. (1838–51), CUL-DAR119. Transcribed by Kees Rookmaaker. Darwin Online. P. 1v [2r]. (17). Shaw 1794, Vol. 1, p. 3. (18). Harris
1776, p. iv. (19). Ridgway 1886, p. 9. (20). Ridgway 1886, p. 10. (21). Ridgway 1912, Preface, p. i. (22). Ridgway 1890, p. 106.
(i). Varieties of finch, Spencer Fullerton Baird, Thomas Mayo Brewer and Robert Ridgway,
A History of North American Birds, Vol. 1, 1905.
(ii). Varieties of lark, Spencer Fullerton Baird, Thomas Mayo Brewer and Robert Ridgway,
(iii– iv). Colour charts, Robert Ridgway, Color Standards and Color Nomenclature, 1912.
the ones used by Syme (such as ‘hair-brown, the famed destination of the voyage of
ash-color, lilac, etc.’), noting that this ‘varies the Beagle, and in particular to ‘Darwin’s
so much in color that the name without … fixed finches’. From specimens collected by an
standard would be practically valueless’. expedition of the US Fish Commission
Ridgway’s work on colour systematics led Steamer Albatross in 1888, Ridgway became
him to pioneer the modern field-guide concept the first to describe the Española cactus finch
in his A History of North American Birds (Geospiza conirostris). With a precision similar
(1905). The visual effectiveness of a precise to Richardson’s description of the far north
use of colours can be seen especially in the Lapland finch, Ridgway deftly characterizes
striking plates, in which the heads of easily the female finch, which a more casual observer
confused species of birds are depicted almost might consider particularly hard to identify
like comparative colour swatches, making and distinguish:
a first-glance comparison and identification
1 4 3.
quick and easy, especially for amateur Above dull sooty; anterior lower parts
bird-watchers in the field. similar, but indistinctly streaked

The importance Ridgway placed on colour with pale grayish buffy, this gradually
systematics is demonstrated by his return increasing posteriorly until it becomes
to it towards the end of his career with his the prevailing colour and the sooty
Color Standards and Color Nomenclature reduced to broad streaks.22
in 1912. Here, he developed his earlier system,
criticizing his own shortcomings as much as This was a ‘serious’ colour description
he had once criticized Syme’s – those in his for the first official zoological record of an
i. ii. case being an inadequate number of colours individual from one of the most noted groups
and their ‘unscientific’ arrangement. Through of animals in science – still considered ‘living
its scope and enhanced ‘objectivity’, his new proofs’ of Darwin’s theories of natural selection
work could not only be applied in ornithology, and adaptation today.
but, like Syme’s Nomenclature, would also From Darwin’s use of colours and Syme’s
be ‘for the use of the zoologist, the botanist, Nomenclature, throughout the 19th and early
the pathologist, or the mineralogist’.21 It is still 20th centuries, zoologists and zoological artists
regarded as a standard reference across the continued to draw on earlier sources, constantly
arts and sciences. Ridgway’s colour analysis applying and perfecting them in line with their
utilizes the actual solar spectrum, precisely needs for identification and description in the
determining colour, hue, tint, shade, tone, field, and for classification and taxonomy. Such
scale, and providing well over a thousand colour schemes evolved as zoology, systematics
142.
colour swatches on 53 plates, foreshadowing and the sciences in general changed, but also in
the Pantone charts of today. tandem with artistic, technological and societal
Ridgway also turned his considerable developments (such as an increasing number
taxonomic faculties to the results of a return of amateur ornithologists), and therefore also
to that most emblematic of locations of a reflect much wider changes in the natural
voyage of discovery – the Galapagos Islands, sciences, as well as in art and in society.
n ot e s — (1). Lyon 1976, p. 140. (2). Buffon 1770, pp. viii–ix. (3). Jones 2013, pp. 88–89. (4). Darwin Correspondence Project, Letter
no. 178. (5). Keynes 2000, p. 9. (6). Barlow 1967, p. 41. (7). Keynes 2000, p. 10. (8). Rutherford 1908, p. X. (9). Keynes 2000, p. 211.
(10). Darwin Correspondence Project, ‘Letter no. 2743’. (11). Parry 1825, p. 287. (12). Parry 1825, p. 294. (13). Parry 1825, p. 333.
(14). Parry 1825, p. 346. (15). Richardson 1829–37, Vol. 1, p. xxxv. (16). Darwin, C. R. ‘Books to be read’ and ‘Books Read’ notebook
iii. iv. (1838–51), CUL-DAR119. Transcribed by Kees Rookmaaker. Darwin Online. P. 1v [2r]. (17). Shaw 1794, Vol. 1, p. 3. (18). Harris
1776, p. iv. (19). Ridgway 1886, p. 9. (20). Ridgway 1886, p. 10. (21). Ridgway 1912, Preface, p. i. (22). Ridgway 1890, p. 106.
(i). Varieties of finch, Spencer Fullerton Baird, Thomas Mayo Brewer and Robert Ridgway,
(ii). Varieties of lark, Spencer Fullerton Baird, Thomas Mayo Brewer and Robert Ridgway,
(iii– iv). Colour charts, Robert Ridgway, Color Standards and Color Nomenclature, 1912.
iii.
greens.
iii.
greens.
g r e e n s (i). g r e e n s (ii).
I I I . G R E E N S.
1 47.
1 46.
g r e e n s (i). g r e e n s (ii).
1 47.
1 46.
g r e e n s (i). g r e e n s (i).
Celandine Phalaena Back of Tussilago

46 Beryl.
Green. Margaritaria. Leaves.
Thick leaved
Mountain Cudweed,
47 Phalaena Viridaria. Actynolite Beryl.
Green. Silver-leaved
Almond.
Leek Sea Kale, Leaves

48 Actynolite Prase.
Green. of Leeks in Winter.
Dark Streaks
Blackish Elytra of Meloe
49 on Leaves of Serpentine.
1 4 9.
Green. Violaceus.
Cayenne Pepper.
1 4 8.
Tail of small
Verdigris
50 Long-tailed Copper Green.
Green.
Green Parrot.
Bluish Under Disk of

51 Egg of Thrush. Beryl.
Green. Wild Rose Leaves.
Apple Under Side of Wings

52 Crysoprase.
Green. of Green Broom Moth.
The first chart of greens

in Syme’s 1821 edition
included four of Werner’s
original greens (numbers
Emerald Beauty Spot on
47, 48, 50, 52), three greens 53 Emerald.
from the Picardet system Green. Wing of Teal Drake.
(numbers 46, 49 and 53)
and one green from the
Lenz system (number 51).
46. Ce l and ine Green. Celandine Green, is 47. M oun ta in G reen. Mountain Green, is
composed of verdigris composed of emerald
(i). Phalaena Margaritaria. [Glyphodes margaritaria] (i). Phalaena Viridaria. [Phalaena viridaria]
(ii). Back of Tussilago Leaves. [Coltsfoot; Tussilago farfara] green and ash grey. [W] (ii). Thick-leaved Cudweed. [Gnaphalium] green, with much blue
(iii). Beryl. [Silicate mineral]
(iii).
Silver-leaved Almond. [Prunus dulcis]
Actynolite. [Actinolite; Silicate mineral]
and a little yellowish
Beryl. [Silicate mineral] grey. [W]
151.
veg etable .
1 5 0.
animal.
animal.
an ima l.
Eugenius Johann
Christoph Esper,
Die Schmetterlinge An i m a l .
in Abbildungen Pieter Cramer
nach der Natur, 1786. and Caspar Stoll,
Celandine Green is De Uitlandsche
visible on the wings Kapellen, Vol. 4, 1782.
of the Glyphodes Mountain Green is
margaritaria (top row). visible on the wings of
the Phalaena viridaria
v e getabl e . (bottom row, right).
Tussilago farfara,
watercolour, date Vegeta b l e .
unknown. E. F. Vallentin-Bertrand
Celandine Green and E. M. Cotton,
is visible on the Illustrations of the
reverse of the leaves Flowering Plants
of the coltsfoot. and Ferns of the
Falklands Islands, 1921.
min e r al. Mountain Green is
Precious stones visible on the leaves
selection, of the cudweed.
illustration, 1898.
Celandine Green is M i n er a l .
ve g etab le .
visible on the beryl James Sowerby,

mi n era l.
min e r al.
(second row, second British Mineralogy,
from left). It is Vol. 3, 1802–17.
embedded within Mountain Green is
white topaz. visible on the actinolite.
46. Ce l and ine Green. Celandine Green, is 47. M oun ta in G reen. Mountain Green, is
composed of verdigris composed of emerald
(i). Phalaena Margaritaria. [Glyphodes margaritaria] (i). Phalaena Viridaria. [Phalaena viridaria]
(ii). Back of Tussilago Leaves. [Coltsfoot; Tussilago farfara] green and ash grey. [W] (ii). Thick-leaved Cudweed. [Gnaphalium] green, with much blue
(iii).
Silver-leaved Almond. [Prunus dulcis]
Actynolite. [Actinolite; Silicate mineral]
and a little yellowish
Beryl. [Silicate mineral] grey. [W]
151.
veg etable .
1 5 0.
animal.
animal.
an ima l.
Eugenius Johann
Christoph Esper,
Die Schmetterlinge An i m a l .
in Abbildungen Pieter Cramer
nach der Natur, 1786. and Caspar Stoll,
Celandine Green is De Uitlandsche
visible on the wings Kapellen, Vol. 4, 1782.
of the Glyphodes Mountain Green is
margaritaria (top row). visible on the wings of
the Phalaena viridaria
v e getabl e . (bottom row, right).
Tussilago farfara,
watercolour, date Vegeta b l e .
unknown. E. F. Vallentin-Bertrand
Celandine Green and E. M. Cotton,
is visible on the Illustrations of the
reverse of the leaves Flowering Plants
of the coltsfoot. and Ferns of the
Falklands Islands, 1921.
min e r al. Mountain Green is
Precious stones visible on the leaves
selection, of the cudweed.
illustration, 1898.
Celandine Green is M i n er a l .
ve g etab le .
visible on the beryl James Sowerby,

mi n era l.
min e r al.
(second row, second British Mineralogy,
from left). It is Vol. 3, 1802–17.
embedded within Mountain Green is
white topaz. visible on the actinolite.
4 8. Le e k Gr e e n. Leek Green, is composed 49. Blac k ish G reen. Blackish Green, is grass
of emerald green, with green mixed with a
(i). (i). Elytra of Meloe Violaceus. [Violet oil beetle; Meloe violaceus]
(ii). Sea Kale. [Crambe maritima] a little brown and (ii). Dark Streaks on Leaves of Cayenne Pepper. [Capsicum considerable portion
(iii).
Leaves of Leeks in Winter. [Allium porrum]
Actynolite. [Actinolite; Silicate mineral] Prase. [Silica]
bluish grey. [W] (iii).
annuum]
Serpentine. [Silicate mineral]
of black. [W]
1 5 3.
veg etable .
veg etable .
1 52 .
animal.
animal.
An i m a l .
W. W. Fowler,
The Coleoptera of
the British Islands,
Vol. 5, 1891.
an ima l. Blackish Green is
James Duncan, visible on the back
British Butterflies, 1840. of the violet oil beetle
Leek Green is visible (third row, centre).
on the underwings of
the green-veined white Vegeta b l e .
butterfly (centre).* Edward Hamilton,
The Flora
v e getabl e . Homoeopathica, 1852.
Pierre-Joseph Redouté, Blackish Green is
Les Liliacées, 1805. visible on the dark
Leek Green is visible streaks on the leaves
on the leaves of the leek. of the cayenne pepper.
min e r al. M i n er a l .
Natural chyroprase, Leonard Spencer,
mi n era l.
min e r al.
illustration, date The World’s

unknown. Minerals, 1916.
Leek Green is Blackish Green is visible
visible on the prase. on the serpentine (left).
4 8. Le e k Gr e e n. Leek Green, is composed 49. Blac k ish G reen. Blackish Green, is grass
of emerald green, with green mixed with a
(i). (i). Elytra of Meloe Violaceus. [Violet oil beetle; Meloe violaceus]
(ii). Sea Kale. [Crambe maritima] a little brown and (ii). Dark Streaks on Leaves of Cayenne Pepper. [Capsicum considerable portion
(iii).
Leaves of Leeks in Winter. [Allium porrum]
Actynolite. [Actinolite; Silicate mineral] Prase. [Silica]
bluish grey. [W] (iii).
annuum]
Serpentine. [Silicate mineral]
of black. [W]
1 5 3.
veg etable .
veg etable .
1 52 .
animal.
animal.
An i m a l .
W. W. Fowler,
The Coleoptera of
the British Islands,
Vol. 5, 1891.
an ima l. Blackish Green is
James Duncan, visible on the back
British Butterflies, 1840. of the violet oil beetle
Leek Green is visible (third row, centre).
on the underwings of
the green-veined white Vegeta b l e .
butterfly (centre).* Edward Hamilton,
The Flora
v e getabl e . Homoeopathica, 1852.
Pierre-Joseph Redouté, Blackish Green is
Les Liliacées, 1805. visible on the dark
Leek Green is visible streaks on the leaves
on the leaves of the leek. of the cayenne pepper.
min e r al. M i n er a l .
Natural chyroprase, Leonard Spencer,
mi n era l.
min e r al.
illustration, date The World’s

unknown. Minerals, 1916.
Leek Green is Blackish Green is visible
visible on the prase. on the serpentine (left).
5 0. V e r d ig r is Green. Verdigris Green, is
composed of emerald
(i). Tail of small Long-tailed Green Parrot.
[Long-tailed parakeeet; Psittacula longicauda] green, much Berlin blue,
(ii).
(iii). Copper Green. [Metal]
and a little white. [W]
1 5 5.
veg etable .
154.
an ima l.
John Gould,
Birds of Asia,
Vol. 6, 1850.
Verdigris Green
is visible on the tail
of the long-tailed
parakeet.
v e getabl e .
Magazine, 1832.
Verdigris Green is
visible on the stem
of the Pilosocereus
lanuginosus cactus.*
min e r al.
Louis Simonin,
Underground
Life, 1869.
min e r al .
Verdigris Green
an im al.
is visible on the
green copper
carbonate (centre).
5 0. V e r d ig r is Green. Verdigris Green, is
composed of emerald
(i). Tail of small Long-tailed Green Parrot.
[Long-tailed parakeeet; Psittacula longicauda] green, much Berlin blue,
(ii).
(iii). Copper Green. [Metal]
and a little white. [W]
1 5 5.
veg etable .
154.
an ima l.
John Gould,
Birds of Asia,
Vol. 6, 1850.
Verdigris Green
is visible on the tail
of the long-tailed
parakeet.
v e getabl e .
Magazine, 1832.
Verdigris Green is
visible on the stem
of the Pilosocereus
lanuginosus cactus.*
min e r al.
Louis Simonin,
Underground
Life, 1869.
min e r al .
Verdigris Green
an im al.
is visible on the
green copper
carbonate (centre).
5 1. B luis h Gr e e n. Bluish Green, is 52. Apple G reen. Apple Green, is emerald
composed of Berlin blue, green mixed with a little
(i). Egg of Thrush. [Turdidae] (i). Under Side of Wings of Green Broom Moth.
(ii). Under Disk of Wild Rose Leaves. [Dog rose; Rosa canina] and a little lemon yellow [Ceramica pisi] greyish white. [W]
and greyish white. (ii).
(iii). Crysoprase. [Chrysoprase; Silica]
1 57.
veg etable .
veg etable .
1 5 6.
animal.
animal.
Anima l.
John James animal.
Audubon, Birds of Richard South,
America, 1827–38. The Moths of the
Bluish Green is British Isles, 1920.
visible on the shell Apple Green is visible
of the thrush’s egg. on the under side of
the wing of the broom
V e getabl e . moth (top row).
William Woodville,
Medical Botany, 1832. v egeta b l e .
Bluish Green is visible Pierre-Joseph Redouté,
on the underside of Choix des plus belles
the dog rose leaves. fleurs, 1833.
Apple Green is visible
M in e r al. on the skin of the apple.*
Johann Gottlob
Kurr, The Mineral m i n er a l .
Kingdom, 1859. Meyers Konversations-
min e r al.
min e r al.
Bluish Green is visible Lexikon, 1895–97.

on the beryl (bottom Apple Green is visible
row, far left and left on the chrysoprase
of centre). (bottom row, centre).
5 1. B luis h Gr e e n. Bluish Green, is 52. Apple G reen. Apple Green, is emerald
composed of Berlin blue, green mixed with a little
(i). Egg of Thrush. [Turdidae] (i). Under Side of Wings of Green Broom Moth.
(ii). Under Disk of Wild Rose Leaves. [Dog rose; Rosa canina] and a little lemon yellow [Ceramica pisi] greyish white. [W]
and greyish white. (ii).
(iii). Crysoprase. [Chrysoprase; Silica]
1 57.
veg etable .
veg etable .
1 5 6.
animal.
animal.
Anima l.
John James animal.
Audubon, Birds of Richard South,
America, 1827–38. The Moths of the
Bluish Green is British Isles, 1920.
visible on the shell Apple Green is visible
of the thrush’s egg. on the under side of
the wing of the broom
V e getabl e . moth (top row).
William Woodville,
Medical Botany, 1832. v egeta b l e .
Bluish Green is visible Pierre-Joseph Redouté,
on the underside of Choix des plus belles
the dog rose leaves. fleurs, 1833.
Apple Green is visible
M in e r al. on the skin of the apple.*
Johann Gottlob
Kurr, The Mineral m i n er a l .
Kingdom, 1859. Meyers Konversations-
min e r al.
min e r al.
Bluish Green is visible Lexikon, 1895–97.

on the beryl (bottom Apple Green is visible
row, far left and left on the chrysoprase
of centre). (bottom row, centre).
5 3. Em e r al d Gr e en. Emerald Green, is the
characteristic colour
(i). Beauty Spot on Wing of Teal Drake.
[Eurasian teal; Anas crecca] of Werner; he gives
(ii).
(iii). Emerald. [Beryl; Silicate mineral]
no description of the
component parts of any
of the characteristic
colours; it is composed of
about equal parts of Berlin
blue and gamboge yellow.
1 59.
1 5 8.
animal.
An ima l.
Europe, Vol. 5, 1832–37.
Emerald Green is
visible on the beauty
spot on the wing of
the Eurasian teal.
Ve geta bl e .
Cornelis Antoon
Jan Abraham
Plantentuin, 1865.
Emerald Green is
visible on the leaves
of the Ficus.*
M in e r al.
George Frederick
Kunz, Gems and
ve g etab le .
Precious Stones of
min e r al.
North America, 1890.

Emerald Green is
visible on the emerald
(top row, right).
5 3. Em e r al d Gr e en. Emerald Green, is the
characteristic colour
(i). Beauty Spot on Wing of Teal Drake.
[Eurasian teal; Anas crecca] of Werner; he gives
(ii).
(iii). Emerald. [Beryl; Silicate mineral]
no description of the
component parts of any
of the characteristic
colours; it is composed of
about equal parts of Berlin
blue and gamboge yellow.
1 59.
1 5 8.
animal.
An ima l.
Europe, Vol. 5, 1832–37.
Emerald Green is
visible on the beauty
spot on the wing of
the Eurasian teal.
Ve geta bl e .
Cornelis Antoon
Jan Abraham
Plantentuin, 1865.
Emerald Green is
visible on the leaves
of the Ficus.*
M in e r al.
George Frederick
Kunz, Gems and
ve g etab le .
Precious Stones of
min e r al.
North America, 1890.

Emerald Green is
visible on the emerald
(top row, right).
g r e e n s (ii). g r e e n s (ii).
General Appearance
Grass
54 Scarabaeus Nobilis. of Grass Fields. Uran Mica.
Green.
Sweet Sugar Pear.
Duck Upper disk

55 Neck of Mallard. Ceylonite.
Green. of Yew Leaves.
Under Side of lower Upper Disk of

56 Sap Green. Wings of Orange Leaves of woody
tip Butterfly. Night Shade.
Ripe Pound Pear.

Pistachio
57 Neck of Eider Drake. Hypnum like Crysolite.
16 1 .
Green.
Saxifrage.
16 0.
Variegated
Asparagus
58 Brimstone Butterfly. Horse-Shoe Beryl.
Green.
Geranium.
Olive Foiliage of
59 Epidote Olvene Ore.
Green. Lignum vitae.
The second chart of Animal and Shell of Nonpareil Apple

greens in Syme’s 1821 60 Oil Green. Beryl.
common Water Snail. from the Wall.
edition included one
of Werner’s original
greens (number 54), three
greens from the Picardet
system (numbers 57, 58
and 59), one green from
the Lenz system (number
Siskin Ripe Coalmar Pear.
60), one green from the 61 Siskin. Uran Mica.
Jameson system (number Green. Irish Pitcher Apple.
61) and two greens from
(numbers 55 and 56).
5 4 . g r ass Gr e e n. Grass Green, is emerald 55. duc k G reen. Duck Green, a new
green mixed with a little colour of Werner’s, added
(i). Scarabaeus Nobilis. [Noble chafer; Gnorimus nobilis] (i). Neck of Mallard. [Anas platyrhynchos]
(ii). General Appearance of Grass Fields. [Poaceae] lemon yellow. [W] (ii). Upper Disk of Yew Leaves. [Taxus baccata] since the publication of
(iii).
Sweet Sugar Pear. [Pyrus communis]
Uran Mica. [Torbernite; Phosphate mineral]
(iii). Ceylonite. [Spinel mineral]
his nomenclature; it is
composed of emerald
green, with a little indigo
blue, much gamboge
yellow, and a very little
carmine red. [W]
16 3.
veg etable .
162 .
animal.
animal.
an ima l.
Georgiy Jacobson, An i m a l .
Beetles of Russia and John Gould, Birds of
Western Europe, 1905. Europe, Vol. 5, 1832–37.
Grass Green is visible Duck Green is visible
on the back of the noble on the neck feathers
chafter (second row, of the drake mallard.
left of centre).
Vegeta b l e .
v e getabl e . Willibald Artus,
A. Mentz and C. H. Sämmtlicher
Ostenfeld, Billeder Medicinisch-
af Nordens Flora, pharmaceutischer
Vol. 2, 1917. Gewächse, 1876.
on the stems of the on the leaves of the yew.
multiple varieties
of grass. M i n er a l .
Reinhard Brauns,
ve g etab le .
min e r al. The Mineral

mi n era l.
min e r al.
Torbernite mineral, Kingdom, Vol. 2, 1912.
lithograph, 1967. Duck Green is visible
Grass Green is visible on the ceylonite
on the torbernite. (second row, right).
5 4 . g r ass Gr e e n. Grass Green, is emerald 55. duc k G reen. Duck Green, a new
green mixed with a little colour of Werner’s, added
(i). Scarabaeus Nobilis. [Noble chafer; Gnorimus nobilis] (i). Neck of Mallard. [Anas platyrhynchos]
(ii). General Appearance of Grass Fields. [Poaceae] lemon yellow. [W] (ii). Upper Disk of Yew Leaves. [Taxus baccata] since the publication of
(iii).
Sweet Sugar Pear. [Pyrus communis]
(iii). Ceylonite. [Spinel mineral]
his nomenclature; it is
composed of emerald
green, with a little indigo
blue, much gamboge
yellow, and a very little
carmine red. [W]
16 3.
veg etable .
162 .
animal.
animal.
an ima l.
Georgiy Jacobson, An i m a l .
Beetles of Russia and John Gould, Birds of
Western Europe, 1905. Europe, Vol. 5, 1832–37.
on the back of the noble on the neck feathers
chafter (second row, of the drake mallard.
left of centre).
Vegeta b l e .
v e getabl e . Willibald Artus,
A. Mentz and C. H. Sämmtlicher
Ostenfeld, Billeder Medicinisch-
af Nordens Flora, pharmaceutischer
Vol. 2, 1917. Gewächse, 1876.
on the stems of the on the leaves of the yew.
multiple varieties
of grass. M i n er a l .
Reinhard Brauns,
ve g etab le .
min e r al. The Mineral

mi n era l.
min e r al.
Torbernite mineral, Kingdom, Vol. 2, 1912.
lithograph, 1967. Duck Green is visible
Grass Green is visible on the ceylonite
on the torbernite. (second row, right).
56. sap g r e e n. Sap Green, is emerald 57. pistac hi o g reen. Pistachio Green, is
green, with much emerald green mixed
(i). Under Side or lower Wings of Orange tip Butterfly. (i). Neck of Eider Drake. [St Cuthbert’s Duck;
[Anthocharis cardamines] saffron yellow, and Somateria mollissima] with a little lemon yellow,
(ii). Upper Disk of Leaves of woody Night Shade.
[Bittersweet nightshade; Solanum dulcamara]
a little chesnut brown. (ii). Ripe Pound Pear. [Pyrus]
Hypnum like Saxifrage. [Rockfoils; Saxifraga]
and a small quantity of
(iii). (iii). Crysolite. [Chrysolite; Silicate mineral] brown. [W]
16 5.
veg etable .
16 4 .
animal.
animal.
an ima l. An i m a l .
James Duncan, John Gould, Birds
British Butterflies, 1840. of Great Britain,
Sap Green is visible Vol. 5, 1862–73.
on the underside of Pistachio Green is
the wing of the orange visible on the neck
tip butterfly (bottom of the eider drake.
row, left).
Vegeta b l e .
v e getabl e . Carl Lindman, Bilder
Jacob Bigelow, ur Nordens Flora, 1905.
American Medical Pistachio Green is
Botany, Vol. 1, 1817. visible on the leaves
Sap Green is visible of the rockfoil.
on the leaves of the
bittersweet nightshade. M i n er a l .
Johann Gottlob
min e r al. Kurr, The Mineral
ve g etab le .
James Sowerby, Kingdom, 1859.

mi n era l.
min e r al.
Exotic Mineralogy, 1811. Pistachio Green
Sap Green is is visible on the
visible on the augite chrysolite (sixth
(all specimens).* from the top, right).
56. sap g r e e n. Sap Green, is emerald 57. pistac hi o g reen. Pistachio Green, is
green, with much emerald green mixed
(i). Under Side or lower Wings of Orange tip Butterfly. (i). Neck of Eider Drake. [St Cuthbert’s Duck;
[Anthocharis cardamines] saffron yellow, and Somateria mollissima] with a little lemon yellow,
(ii). Upper Disk of Leaves of woody Night Shade.
[Bittersweet nightshade; Solanum dulcamara]
a little chesnut brown. (ii). Ripe Pound Pear. [Pyrus]
Hypnum like Saxifrage. [Rockfoils; Saxifraga]
and a small quantity of
(iii). (iii). Crysolite. [Chrysolite; Silicate mineral] brown. [W]
16 5.
veg etable .
16 4 .
animal.
animal.
an ima l. An i m a l .
James Duncan, John Gould, Birds
British Butterflies, 1840. of Great Britain,
Sap Green is visible Vol. 5, 1862–73.
on the underside of Pistachio Green is
the wing of the orange visible on the neck
tip butterfly (bottom of the eider drake.
row, left).
Vegeta b l e .
v e getabl e . Carl Lindman, Bilder
Jacob Bigelow, ur Nordens Flora, 1905.
American Medical Pistachio Green is
Botany, Vol. 1, 1817. visible on the leaves
Sap Green is visible of the rockfoil.
on the leaves of the
bittersweet nightshade. M i n er a l .
Johann Gottlob
min e r al. Kurr, The Mineral
ve g etab le .
James Sowerby, Kingdom, 1859.

mi n era l.
min e r al.
Exotic Mineralogy, 1811. Pistachio Green
Sap Green is is visible on the
visible on the augite chrysolite (sixth
(all specimens).* from the top, right).
5 8. as par agus g reen. Asparagus Green, is 59. o liv e g reen. Olive Green, is grass
pistachio green, mixed green mixed with
(i). Brimstone Butterfly. [Gonepteryx rhamni] (i).
(ii). Variegated Horse-Shoe Geranium. [Pelargonium zonale] with much greyish (ii). Foilage on Lignum vitae. [Guayacan; Lignum vitæ] much brown. [W]
white. [W] (iii). Epidote. [Silicate mineral]
Olvene Ore. [Olivine ore; Silicate mineral]
16 7.
16 6.
animal.
animal.
an ima l.
Pieter Cramer
and Caspar Stoll,
De Uitlandsche
Kapellen, Vol. 2, 1782. An i m a l .
Asparagus Green is Richard Brinsley
visible on the wings of Hinds, The Zoology
the brimstone butterfly of the Voyage of
(centre row, right). HMS Sulphur, 1843.
Olive Green is visible
v e getabl e . on the quilted melania
Louis van Houtte shell (top row, right).*
and Charles Lemaire,
Flowers of the Vegeta b l e .
Gardens and Hothouses John Lindley,
of Europe, 1857. Edwards’s Botanical
Asparagus Green is Register, 1829–47.
visible on the leaves of Olive Green is
the horseshoe geranium. visible on the leaves
of the guayacan.
min e r al.
Leonard Spencer, M i n er a l .
ve g etab le .
ve g etab le .
The World’s Leonard Spencer,

min e r al.
min e r al.
Minerals, 1916. The World’s
Asparagus Green is Minerals, 1916.
visible on the beryl Olive Green is visible
(bottom row). on the epidote (top row).
5 8. as par agus g reen. Asparagus Green, is 59. o liv e g reen. Olive Green, is grass
pistachio green, mixed green mixed with
(i). Brimstone Butterfly. [Gonepteryx rhamni] (i).
(ii). Variegated Horse-Shoe Geranium. [Pelargonium zonale] with much greyish (ii). Foilage on Lignum vitae. [Guayacan; Lignum vitæ] much brown. [W]
white. [W] (iii). Epidote. [Silicate mineral]
Olvene Ore. [Olivine ore; Silicate mineral]
16 7.
16 6.
animal.
animal.
an ima l.
Pieter Cramer
and Caspar Stoll,
De Uitlandsche
Kapellen, Vol. 2, 1782. An i m a l .
Asparagus Green is Richard Brinsley
visible on the wings of Hinds, The Zoology
the brimstone butterfly of the Voyage of
(centre row, right). HMS Sulphur, 1843.
Olive Green is visible
v e getabl e . on the quilted melania
Louis van Houtte shell (top row, right).*
and Charles Lemaire,
Flowers of the Vegeta b l e .
Gardens and Hothouses John Lindley,
of Europe, 1857. Edwards’s Botanical
Asparagus Green is Register, 1829–47.
visible on the leaves of Olive Green is
the horseshoe geranium. visible on the leaves
of the guayacan.
min e r al.
ve g etab le .
ve g etab le .
The World’s Leonard Spencer,

min e r al.
min e r al.
Minerals, 1916. The World’s
Asparagus Green is Minerals, 1916.
visible on the beryl Olive Green is visible
(bottom row). on the epidote (top row).
6 0. oil g r e e n. Oil Green, is emerald
(i). Animal and Shell of common Water Snail. [Freshwater
green mixed with lemon
snail; Gastropod mollusc] yellow, chesnut brown,
(ii).
(iii).
Nonpareil Apple from the Wall. [Malus domestica]
Beryl. [Silicate mineral]
and yellowish grey. [W]
16 9.
veg etable .
16 8.
animal.
George Brettingham
Sowerby II,
Illustrated Index
of British Shells, 1859.
Oil Green is visible
on the shell of the
water snail (second
row, centre left).
v egeta b l e .
Johann Wilhelm
Weinmann,
Phytanthoza
iconographia, 1737.
Oil Green is visible on
the skin of the apple.
m i n er a l .
min e r al .
Noble Beryl from

an im al.
Ural, illustration, 1800s.

on the beryl.
6 0. oil g r e e n. Oil Green, is emerald
(i). Animal and Shell of common Water Snail. [Freshwater
green mixed with lemon
snail; Gastropod mollusc] yellow, chesnut brown,
(ii).
(iii).
Nonpareil Apple from the Wall. [Malus domestica]
Beryl. [Silicate mineral]
and yellowish grey. [W]
16 9.
veg etable .
16 8.
animal.
George Brettingham
Sowerby II,
Illustrated Index
of British Shells, 1859.
on the shell of the
water snail (second
row, centre left).
v egeta b l e .
Johann Wilhelm
Weinmann,
Phytanthoza
iconographia, 1737.
Oil Green is visible on
the skin of the apple.
m i n er a l .
min e r al .
Noble Beryl from

an im al.
Ural, illustration, 1800s.

on the beryl.
6 1. S is kin g r e e n. Siskin Green, is emerald
green mixed with much
(i). Siskin. [Eurasian siskin; Spinus spinus]
(ii). Ripe Coalmar Pear. [Pyrus communis] lemon yellow, and a little
(iii).
Irish Pitcher Apple. [Malus domestica]
yellowish white. [W]
171.
veg etable .
1 70.
An i m a l .
John Gould, Birds
of Great Britain,
Vol. 3, 1862–73.
Siskin Green is visible
on the breast feathers
of the Eurasian siskin.
Vegeta b l e .
Robert Hogg,
The Florist and
Pomologist, 1878–84.
on the skin of the apple.
M i n er a l .
Reinhard Brauns,
The Mineral
min e r al .

an im al.

on the torbernite
6 1. S is kin g r e e n. Siskin Green, is emerald
green mixed with much
(i). Siskin. [Eurasian siskin; Spinus spinus]
(ii). Ripe Coalmar Pear. [Pyrus communis] lemon yellow, and a little
(iii).
Irish Pitcher Apple. [Malus domestica]
yellowish white. [W]
171.
veg etable .
1 70.
An i m a l .
John Gould, Birds
of Great Britain,
Vol. 3, 1862–73.
of the Eurasian siskin.
Vegeta b l e .
Robert Hogg,
The Florist and
Pomologist, 1878–84.
on the skin of the apple.
M i n er a l .
Reinhard Brauns,
The Mineral
min e r al .

an im al.

on the torbernite
3. Syme’s Co lour
Chart i n B otan y:
Origin an d I mpact.
Flower-painting manuals and a colour standard for botanists.
by Giulia Simonini.
3. SY M E’S C O LOU R C H A RT I N B O TA N Y: O R I G I N A N D I M PAC T.
1 7 3.
Patrick Syme (1774–1845) was the most chart had been printed in Great Britain: an

renowned Scottish flower painter of his day, English edition of Carl Ludwig Willdenow’s
but he also painted other subjects.1 An undated Grundriss der Kräuterkunde (1805) and James
album in the National Galleries of Scotland, Sowerby’s A New Elucidation of Colours,
for instance, contains 67 watercolours by him, Original Prismatic, and Material (1809), both
including several studies of flowers, fruits, discussed below. Nevertheless, Syme’s colour
insects, birds and bats.2 One, in which Syme’s chart was perhaps the only one used by English-
painterly skills are particularly evident, is speaking botanists until 1886, and numerous
a magnificent watercolour depicting peas 19th-century English-speaking naturalists also
and broad beans.3 At the age of 29, in 1803, referenced it in their works, making Syme’s
he took over the art teaching practice of his colour terminology highly influential.
brother,4 and in 1810 he published his first book,
Practical Directions for Learning Flower- Colours in English i. ii.
Drawing. This was addressed to his clientele – Flower-Painting Manuals
‘ladies in the country’, who could not afford to
pay a ‘master’. It was one of a host of manuals Colour samples and colour names had
published at the beginning of the 19th century appeared in how-to books on botanical
which provided colour-mixing instructions for illustration – a genre which became very
painting progressively coloured flower studies. popular towards the end of the 18th century –
From 1811, two Edinburgh-based learned but in a less structured way. Many artists,
societies, the Caledonian Horticultural Society Syme included, authored these manuals,
172.
and the Wernerian Natural History Society, perhaps to supplement their income.6 One
employed Syme as draughtsman. For the latter, such was the naturalist and scientific
he was ‘designated painter of objects in natural illustrator James Sowerby (1757–1822). His book
history’.5 The society’s founder, Professor of An Easy Introduction to Drawing Flowers
Natural History at the University of Edinburgh, According to Nature (1788) was addressed to
Robert Jameson (1774–1854), encouraged and ‘Young Beginners, who are fond of delineating
assisted Syme in compiling his renowned flowers ... to facilitate Botanical Studies and
book, Werner’s Nomenclature of Colours blend Amusement with Improvement.’
(1814; second edition 1821). Syme provided a Whereas Syme’s manual contains recipes for
colour nomenclature explicitly designed for mixing different colours, Sowerby’s work
naturalists and referenced with actual colour included instructions on a few schematic
swatches. Between 1801 and 1814, only two mixtures of the three primaries, yellow, red iii. iv.
other publications supplying a similar colour and blue (Sowerby 1788, notes to plate X). In
(i). Patrick Syme, Peas and Beans, watercolour, date unknown.

(ii). Patrick Syme, Sweet Peas, watercolour, date unknown.
(iii). Demonstration of opaque colours, James Sowerby, A Botanical Drawing-book, 1788.
(iv). Petals, James Sowerby, A Botanical Drawing-book, 1788.
3. Syme’s Co lour
Chart i n B otan y:
Origin an d I mpact.
Flower-painting manuals and a colour standard for botanists.
by Giulia Simonini.
1 7 3.
Patrick Syme (1774–1845) was the most chart had been printed in Great Britain: an

renowned Scottish flower painter of his day, English edition of Carl Ludwig Willdenow’s
but he also painted other subjects.1 An undated Grundriss der Kräuterkunde (1805) and James
album in the National Galleries of Scotland, Sowerby’s A New Elucidation of Colours,
for instance, contains 67 watercolours by him, Original Prismatic, and Material (1809), both
including several studies of flowers, fruits, discussed below. Nevertheless, Syme’s colour
insects, birds and bats.2 One, in which Syme’s chart was perhaps the only one used by English-
painterly skills are particularly evident, is speaking botanists until 1886, and numerous
a magnificent watercolour depicting peas 19th-century English-speaking naturalists also
and broad beans.3 At the age of 29, in 1803, referenced it in their works, making Syme’s
he took over the art teaching practice of his colour terminology highly influential.
brother,4 and in 1810 he published his first book,
Practical Directions for Learning Flower- Colours in English i. ii.
Drawing. This was addressed to his clientele – Flower-Painting Manuals
‘ladies in the country’, who could not afford to
pay a ‘master’. It was one of a host of manuals Colour samples and colour names had
published at the beginning of the 19th century appeared in how-to books on botanical
which provided colour-mixing instructions for illustration – a genre which became very
painting progressively coloured flower studies. popular towards the end of the 18th century –
From 1811, two Edinburgh-based learned but in a less structured way. Many artists,
societies, the Caledonian Horticultural Society Syme included, authored these manuals,
172.
and the Wernerian Natural History Society, perhaps to supplement their income.6 One
employed Syme as draughtsman. For the latter, such was the naturalist and scientific
he was ‘designated painter of objects in natural illustrator James Sowerby (1757–1822). His book
history’.5 The society’s founder, Professor of An Easy Introduction to Drawing Flowers
Natural History at the University of Edinburgh, According to Nature (1788) was addressed to
Robert Jameson (1774–1854), encouraged and ‘Young Beginners, who are fond of delineating
assisted Syme in compiling his renowned flowers ... to facilitate Botanical Studies and
book, Werner’s Nomenclature of Colours blend Amusement with Improvement.’
(1814; second edition 1821). Syme provided a Whereas Syme’s manual contains recipes for
colour nomenclature explicitly designed for mixing different colours, Sowerby’s work
naturalists and referenced with actual colour included instructions on a few schematic
swatches. Between 1801 and 1814, only two mixtures of the three primaries, yellow, red iii. iv.
other publications supplying a similar colour and blue (Sowerby 1788, notes to plate X). In
(i). Patrick Syme, Peas and Beans, watercolour, date unknown.

(ii). Patrick Syme, Sweet Peas, watercolour, date unknown.
(iii). Demonstration of opaque colours, James Sowerby, A Botanical Drawing-book, 1788.
(iv). Petals, James Sowerby, A Botanical Drawing-book, 1788.
A Practical Essay on Flower Painting in Water a naturalist and a talented draughtsman,
Colours (1810), the drawing master Edward attempted a standardization of colour
Pretty (1792–1865) likewise recommended appearances and colour names. At the
the use of just three ‘primitive colours’, but end of the second edition of his flower-
he did include a ‘Tablet of Colours’ displaying painting manual, Sowerby referred to a list
a grey tonal scale washed with Indian ink of colour terms that would appear in a
and a further 24 colour samples,7 only 11 of forthcoming publication by him, promising
which were supplied with colour terms. ‘an Essay for a new and universal Chromatic
The number of colour terms increased in Scale, or List of Colours. It being a great
the colour chart printed in A New Treatise desideratum in the present state of our
on Flower Painting (1797), which was first knowledge in natural researches.’
published anonymously but whose author was The list and the chromatic scale duly
most probably the cabinetmaker and flower appeared in A New Elucidation of Colours,
1 7 5.
painter George Brookshaw (1751–1823). Here Original Prismatic, and Material (1809).
59 colour swatches were arranged over Sowerby identified 68 English and Latin

numerous pages to show many of the paints colour terms (including five variants of white),
and mixtures necessary for painting flowers.8 which he named using compound terms such
Among the pigment and colour names, 20 were as yellowish green and bluish grey.10 However,
later used by Syme, including sap green, apple his system seems not to have appealed to
green and grass green. Brookshaw’s manual naturalists, perhaps because they considered
was, however, an exception, as usually such the colour terminology too abstract (see
colour charts were labelled with pigment and also p. 135). Moreover, it involved the use of
i. ii. dye names, not colour terms or mixes. This is a prism and his colour chart depicted small
evident in both A Series of Progressive Lessons, colour samples combined in a single diagram,
Intended to Elucidate the Art of Flower making it difficult when comparing flower
Painting in Water Colours (1815) by the artist specimens and less practical in the field.
François Louis Thomas Francia (1772–1839) and In spite of Sowerby’s attempt, in 1813 the
Lessons in Flower Painting: A Series of Easy naturalist Thomas Forster (1789–1860) was still
and Progressive Studies, Drawn and Coloured calling for the compilation of ‘a systematic
After Nature (1835) by the flower painter James arrangement of colours’ with reference to ‘the
Andrews (1801–1876). Apart from the colour proportions of the various mixtures’.11
samples included for the purposes of teaching, When in 1814 Syme released his colour
it seems developers of these colour charts had nomenclature, the scientific community,
virtually no interest in providing colour instead botanists included, therefore greeted it
of pigment names. Indeed, they often favoured with enthusiasm. Syme, indeed, explicitly
1 74 .
the use of numbers rather than colour terms, encouraged botanists, along with others, to
perhaps following the so-called painting by use his work. Yet in addition to Sowerby’s
numbers technique used throughout his life version, Syme’s colour chart had been
by the great botanical artist Ferdinand Bauer preceded by one other using English colour
(1760–1826).9 terms, also specifically designed for botanists.
The scarcity of standard English colour This was the English edition of Carl Ludwig
terms in flower-painting manuals is evidence Willdenow’s Grundriss der Kräuterkunde,
of the lack of interest of these artists in the translated with the title The Principles
subject, and this left it to botanists to select of Botany, and of Vegetable Physiology in
appropriate colour names to describe the 1805 (see p. 178). Its origin, like Syme’s book,
specimens they studied. Colour terminology can be traced to the teachings of the father
iii. iv. was therefore the naturalists’ realm rather of modern mineralogy, Abraham Gottlob
than that of painters. Sowerby, who was both Werner (1749–1817).
(i). Chart of greens, George Brookshaw, A New Treatise on Flower Painting, 1818.
(ii). Pigments, François Louis Thomas Francia, A Series of Progressive Lessons, Intended to Elucidate the Art
of Flower Painting in Water Colours, 1824.
(iii). Colours 1–12, James Andrews, Lessons in Flower Painting, 1836.
(iv). Chromatic scale, James Sowerby, A New Elucidation of Colours, Original, Prismatic, and Material, 1809.
A Practical Essay on Flower Painting in Water a naturalist and a talented draughtsman,
Colours (1810), the drawing master Edward attempted a standardization of colour
Pretty (1792–1865) likewise recommended appearances and colour names. At the
the use of just three ‘primitive colours’, but end of the second edition of his flower-
he did include a ‘Tablet of Colours’ displaying painting manual, Sowerby referred to a list
a grey tonal scale washed with Indian ink of colour terms that would appear in a
and a further 24 colour samples,7 only 11 of forthcoming publication by him, promising
which were supplied with colour terms. ‘an Essay for a new and universal Chromatic
The number of colour terms increased in Scale, or List of Colours. It being a great
the colour chart printed in A New Treatise desideratum in the present state of our
on Flower Painting (1797), which was first knowledge in natural researches.’
published anonymously but whose author was The list and the chromatic scale duly
most probably the cabinetmaker and flower appeared in A New Elucidation of Colours,
1 7 5.
painter George Brookshaw (1751–1823). Here Original Prismatic, and Material (1809).
59 colour swatches were arranged over Sowerby identified 68 English and Latin

numerous pages to show many of the paints colour terms (including five variants of white),
and mixtures necessary for painting flowers.8 which he named using compound terms such
Among the pigment and colour names, 20 were as yellowish green and bluish grey.10 However,
later used by Syme, including sap green, apple his system seems not to have appealed to
green and grass green. Brookshaw’s manual naturalists, perhaps because they considered
was, however, an exception, as usually such the colour terminology too abstract (see
colour charts were labelled with pigment and also p. 135). Moreover, it involved the use of
i. ii. dye names, not colour terms or mixes. This is a prism and his colour chart depicted small
evident in both A Series of Progressive Lessons, colour samples combined in a single diagram,
Intended to Elucidate the Art of Flower making it difficult when comparing flower
Painting in Water Colours (1815) by the artist specimens and less practical in the field.
François Louis Thomas Francia (1772–1839) and In spite of Sowerby’s attempt, in 1813 the
Lessons in Flower Painting: A Series of Easy naturalist Thomas Forster (1789–1860) was still
and Progressive Studies, Drawn and Coloured calling for the compilation of ‘a systematic
After Nature (1835) by the flower painter James arrangement of colours’ with reference to ‘the
Andrews (1801–1876). Apart from the colour proportions of the various mixtures’.11
samples included for the purposes of teaching, When in 1814 Syme released his colour
it seems developers of these colour charts had nomenclature, the scientific community,
virtually no interest in providing colour instead botanists included, therefore greeted it
of pigment names. Indeed, they often favoured with enthusiasm. Syme, indeed, explicitly
1 74 .
the use of numbers rather than colour terms, encouraged botanists, along with others, to
perhaps following the so-called painting by use his work. Yet in addition to Sowerby’s
numbers technique used throughout his life version, Syme’s colour chart had been
by the great botanical artist Ferdinand Bauer preceded by one other using English colour
(1760–1826).9 terms, also specifically designed for botanists.
The scarcity of standard English colour This was the English edition of Carl Ludwig
terms in flower-painting manuals is evidence Willdenow’s Grundriss der Kräuterkunde,
of the lack of interest of these artists in the translated with the title The Principles
subject, and this left it to botanists to select of Botany, and of Vegetable Physiology in
appropriate colour names to describe the 1805 (see p. 178). Its origin, like Syme’s book,
specimens they studied. Colour terminology can be traced to the teachings of the father
iii. iv. was therefore the naturalists’ realm rather of modern mineralogy, Abraham Gottlob
than that of painters. Sowerby, who was both Werner (1749–1817).
(i). Chart of greens, George Brookshaw, A New Treatise on Flower Painting, 1818.
(ii). Pigments, François Louis Thomas Francia, A Series of Progressive Lessons, Intended to Elucidate the Art
of Flower Painting in Water Colours, 1824.
(iii). Colours 1–12, James Andrews, Lessons in Flower Painting, 1836.
(iv). Chromatic scale, James Sowerby, A New Elucidation of Colours, Original, Prismatic, and Material, 1809.
Emily Dickinson’s
3 Herbarium.
As a young girl the poet Emily Dickinson (1830–1886)

1 had an avid interest in botany, studying the subject
from the age of nine, and completing her Herbarium
by the time she was fourteen. The album contains
424 pressed plants and flowers, many with labels,
collected from the Amherst, Massachusetts, region
where she lived. Dickinson was well known as a
gardener in Amherst, and her poems and letters
are full of references to the natural world.
4
colour references.
1 7 7.
5
cactus.
1

70. Honey Yellow.
2 Eschscholzia.
2
72. Wine Yellow.
common garden tulip.

3
99. Brownish Red.
Lysimachia quadriflora.
4
55. Duck Green.
11 carolina rose.
5
6
68. Saffron Yellow.
sweet chestnut.
6
9
59. Olive Green.
cranberry.
1 76.
7
49. Blackish Green.
cypress vine.
8
84. Scarlet Red.
8
10 violet wood-sorrel, petal.
9
violet wood-sorrel, leaf.

10
51. Bluish Green.
guelder rose.
11
sweet briar.
12
48. Leek Green.
Emily Dickinson’s
3 Herbarium.
As a young girl the poet Emily Dickinson (1830–1886)

1 had an avid interest in botany, studying the subject
from the age of nine, and completing her Herbarium
by the time she was fourteen. The album contains
424 pressed plants and flowers, many with labels,
collected from the Amherst, Massachusetts, region
where she lived. Dickinson was well known as a
gardener in Amherst, and her poems and letters
are full of references to the natural world.
4
colour references.
1 7 7.
5
cactus.
1

70. Honey Yellow.
2 Eschscholzia.
2
72. Wine Yellow.
common garden tulip.

3
99. Brownish Red.
Lysimachia quadriflora.
4
55. Duck Green.
11 carolina rose.
5
6
68. Saffron Yellow.
sweet chestnut.
6
9
59. Olive Green.
cranberry.
1 76.
7
49. Blackish Green.
cypress vine.
8
84. Scarlet Red.
8
10 violet wood-sorrel, petal.
9
violet wood-sorrel, leaf.

10
51. Bluish Green.
guelder rose.
11
sweet briar.
12
48. Leek Green.
Minerals and Botany: new colour lists for his colour nomenclature
Scientific Colour Terminology and colour chart in his successful botanical
textbook Grundriss der Kräuterkunde (1792),
Although colour terms were essential for later translated into English.18 However,
scientists when describing the appearance of mindful of Linnaeus’s teaching, Willdenow
a specimen, no common universal terminology maintained that his colours should be used only
existed in the 18th century. Carl Linnaeus (1707– ‘in describing the Lichens and Fungi: being not
1778), in his Philosophia botanica (1751), even so variable in these plants as in others’.19 His
cautioned botanists to ‘not put too much trust colour chart has 36 colour samples with Latin
in colour’, deeming it an unnecessary accident names, and is linked to a colour nomenclature
for the identification and classification of of 40 terms in Latin and German. The four
plants.12 Nonetheless, he did produce a restricted colours not illustrated in the colour chart
colour nomenclature comprising 38 colour are hyalinus (transparent), lacteus (milky
1 7 9.
terms for plants and an even more limited one white), albus (white) and albidus (whitish).20
for minerals.13 For the former his main colour Of the Latin terms used by Willdenow, 23 can

categories were hyalinus (transparent), albus be found in Werner’s handwritten colour
(white), cinereus (ash grey), niger (black), luteus nomenclatures. These are cyaneus, coeruleus,
(yellow), ruber (red), purpureus (purple), caesius, prasinus, luteus, aureus, ochraceus,
caeruleus (blue) and viridis (green). His colour sulphureus, ferrugineus, badius/hepaticus,
terminology for minerals, set out in Systema lateritius, coccineus, carneus, sanguineus,
naturae, consisted of opacum (dark), diaphanum roseus, violaceus, ater, niger, cinereus, griseus,
(semi-transparent), pellucidum (pellucid), lividus, lacteus and albus. Others, such as
hyalinum (transparent), tinctum (coloured), azuleus (azure), aerogineus (copper green), i. ii.
reflexio (reflecting) and refractio (refracting). aurantius (orange) and brunus (brown), are
Contrary to Linnaeus, Werner considered reminiscent of Werner’s Latin terms.21 Given
colour as the most obviously distinguishable the enthusiastic reception of Werner’s method,
and reliable property of minerals.14 He there‑ it was perhaps Willdenow’s friend Alexander
fore developed an extensive mineral colour von Humboldt, (1769–1859) who recommended
terminology consisting of 54 terms subdivided that he include a colour chart in his publication.
into eight main colours,15 which he published Willdenow had met Humboldt in 1788 at one of
in his book Von den äusserlichen Kennzeichen his private botany lessons,22 before Humboldt
der Fossilien in 1774. Werner’s colour nomen‑ studied under Werner at Freiberg between 1791
clature was quickly adopted by his students and 1792.23 It is possible that while there he sent
and followers, though his book did not include Willdenow a copy of Werner’s new colour list.
a colour chart. In 1805, Robert Jameson, a Evidence for the circulation of Werner’s col‑
1 78.
former student, stated in his own book that our terminology can be found in other books, too.
Werner had hoped to publish colour charts, ‘but In the preface to his Versuch einer Mineralogie
never had leisure to get them executed’.16 In (1794), Franz Joseph Anton Estner (1739–1801)
preparation for this unrealized project, after revealed that in 1790 Werner’s student Johann
1774 Werner compiled hundreds of handwritten Friedrich Wilhelm Widenmann (1764–1798)
sheets with an expanded colour terminology had given him an old chart (‘eine alte Tabelle’),
featuring equivalent names in numerous probably a copy of Werner’s new colour nomen‑
languages, English and Latin included.17 These clature.24 Likewise, in 1805, in his ‘Advertisement’
were later used by his students and followers to in A Treatise on the External Characters of
develop colour charts for their own textbooks Minerals, Jameson stated that he had received
based on Werner’s method, Syme included. the ‘Tabular View’ with the expanded colour
The Berlin botanist Carl Ludwig Willdenow terminology directly from Werner, which he iii. iv.
(1765–1812) probably relied on one of Werner’s had already published separately in 1804.
(i). Illustration of the sexual system of plants, Carl Linnaeus, Systema naturae, 1736.
(ii). Description of the sexual system of plants, Carl Linnaeus, Systema naturae, 1758.
(iii). Colour chart, Carl Ludwig Willdenow, Grundriss der Kräuterkunde zu
Vorlesungen entworfen, 1792.
(iv). Colour chart, Carl Ludwig Willdenow, The Principles of Botany, 1805.
Minerals and Botany: new colour lists for his colour nomenclature
Scientific Colour Terminology and colour chart in his successful botanical
textbook Grundriss der Kräuterkunde (1792),
Although colour terms were essential for later translated into English.18 However,
scientists when describing the appearance of mindful of Linnaeus’s teaching, Willdenow
a specimen, no common universal terminology maintained that his colours should be used only
existed in the 18th century. Carl Linnaeus (1707– ‘in describing the Lichens and Fungi: being not
1778), in his Philosophia botanica (1751), even so variable in these plants as in others’.19 His
cautioned botanists to ‘not put too much trust colour chart has 36 colour samples with Latin
in colour’, deeming it an unnecessary accident names, and is linked to a colour nomenclature
for the identification and classification of of 40 terms in Latin and German. The four
plants.12 Nonetheless, he did produce a restricted colours not illustrated in the colour chart
colour nomenclature comprising 38 colour are hyalinus (transparent), lacteus (milky
1 7 9.
terms for plants and an even more limited one white), albus (white) and albidus (whitish).20
for minerals.13 For the former his main colour Of the Latin terms used by Willdenow, 23 can

categories were hyalinus (transparent), albus be found in Werner’s handwritten colour
(white), cinereus (ash grey), niger (black), luteus nomenclatures. These are cyaneus, coeruleus,
(yellow), ruber (red), purpureus (purple), caesius, prasinus, luteus, aureus, ochraceus,
caeruleus (blue) and viridis (green). His colour sulphureus, ferrugineus, badius/hepaticus,
terminology for minerals, set out in Systema lateritius, coccineus, carneus, sanguineus,
naturae, consisted of opacum (dark), diaphanum roseus, violaceus, ater, niger, cinereus, griseus,
(semi-transparent), pellucidum (pellucid), lividus, lacteus and albus. Others, such as
hyalinum (transparent), tinctum (coloured), azuleus (azure), aerogineus (copper green), i. ii.
reflexio (reflecting) and refractio (refracting). aurantius (orange) and brunus (brown), are
Contrary to Linnaeus, Werner considered reminiscent of Werner’s Latin terms.21 Given
colour as the most obviously distinguishable the enthusiastic reception of Werner’s method,
and reliable property of minerals.14 He there‑ it was perhaps Willdenow’s friend Alexander
fore developed an extensive mineral colour von Humboldt, (1769–1859) who recommended
terminology consisting of 54 terms subdivided that he include a colour chart in his publication.
into eight main colours,15 which he published Willdenow had met Humboldt in 1788 at one of
in his book Von den äusserlichen Kennzeichen his private botany lessons,22 before Humboldt
der Fossilien in 1774. Werner’s colour nomen‑ studied under Werner at Freiberg between 1791
clature was quickly adopted by his students and 1792.23 It is possible that while there he sent
and followers, though his book did not include Willdenow a copy of Werner’s new colour list.
a colour chart. In 1805, Robert Jameson, a Evidence for the circulation of Werner’s col‑
1 78.
former student, stated in his own book that our terminology can be found in other books, too.
Werner had hoped to publish colour charts, ‘but In the preface to his Versuch einer Mineralogie
never had leisure to get them executed’.16 In (1794), Franz Joseph Anton Estner (1739–1801)
preparation for this unrealized project, after revealed that in 1790 Werner’s student Johann
1774 Werner compiled hundreds of handwritten Friedrich Wilhelm Widenmann (1764–1798)
sheets with an expanded colour terminology had given him an old chart (‘eine alte Tabelle’),
featuring equivalent names in numerous probably a copy of Werner’s new colour nomen‑
languages, English and Latin included.17 These clature.24 Likewise, in 1805, in his ‘Advertisement’
were later used by his students and followers to in A Treatise on the External Characters of
develop colour charts for their own textbooks Minerals, Jameson stated that he had received
based on Werner’s method, Syme included. the ‘Tabular View’ with the expanded colour
The Berlin botanist Carl Ludwig Willdenow terminology directly from Werner, which he iii. iv.
(1765–1812) probably relied on one of Werner’s had already published separately in 1804.
(i). Illustration of the sexual system of plants, Carl Linnaeus, Systema naturae, 1736.
(ii). Description of the sexual system of plants, Carl Linnaeus, Systema naturae, 1758.
(iii). Colour chart, Carl Ludwig Willdenow, Grundriss der Kräuterkunde zu
Vorlesungen entworfen, 1792.
(iv). Colour chart, Carl Ludwig Willdenow, The Principles of Botany, 1805.
the botanical register.
The Botanical Register, subsequently known as others. Following Edwards’s death in 1819 it was
Edwards’s Botanical Register, was an illustrated edited by James Ridgway (dates unknown) and
horticultural magazine, published between 1815 then by John Lindley (1799–1865) from 1829. The
and 1847. It was founded by Sydenham Edwards plates shown here are taken from Volume 5, 1819.
(1768–1819), who edited the first five volumes, as The Register pairs illustrations of plant species with
well as providing the paintings to be engraved by short descriptions of their characteristics.
Siberian spartium. large-leaved swamp Erysimum winged
corydalis. 68. Saffron Yellow. sida. hibiscus. diffusum. wattle.
66. Gamboge 70. Honey Yellow. 71. Straw Yellow. 73. Sienna Yellow. 74. Ochre Yellow.
Yellow.
181.
begonia. orange vaccinium. Pancratium. white paint- camellia. scotch rose. Cullumia. heart-leaved common tulip. protea. Phyllanthus
1. Snow White. jasmine. 2. Reddish White. 4. Yellowish brush lily. 4. Yellowish 75. Cream Yellow. 76. Dutch Orange. poison. 83. Hyacinth Red. 84. Scarlet Red. angustifolius.
2. Reddish White. White. 4. Yellowish White. 77. Buff Orange. 84. Scarlet Red.
White.
Lady Banks’s spanish cape american diosma. rubber vine. coral bush. scarlet comb. bottlebrush. coral tree. eastern italian orchid.
rose. bluebell. leadwort. hepatica. 39. Campanula 41. Auricula 84. Scarlet Red. 84. Scarlet Red. 85. Vermilion Red. 86. Aurora Red. sweetshrub. 89. Rose Red.
6. Greenish White. 26. Indigo Blue. 36. Bluish Purple. 37. Violet Purple. Purple. Purple. 87. Arterial Blood
Red.
1 8 0.
summer modecca rattlesnake- Paliavana Satyrium Evolvulus Rosa multi- alpine rose. swamp Australian Cerbera. beach rose.
snapdragon. lobata. master. prasinata. coriifolium. latifolius. flora Carnea. 90. Peach Blossom honeysuckle. indigo. 91. Carmine Red. 91. Carmine Red.
43. Red Lilac 47. Mountain 48. Leek Green. 52. Apple Green. 53. Emerald 54. Grass Green. 90. Peach Blossom Red. 90. Peach Blossom 91. Carmine Red.
Purple. Green. Green. Red. Red.
night- glandular Artabotrys pyramid laurustine. West Coast orchid Diosma ciliata. small purple fig marigold. false grey honey-
flowering globe-thistle. odoratissimus. magnolia. 59. Olive Green. creeper. rockrose. 93. Crimson Red. fringed orchid. 94. Purplish Red. indigo-bush. myrtle.
jasmine. 55. Duck Green. 56. Sap Green. 58. Asparagus 61. Siskin Green. 92. Lake Red. 93. Crimson Red. 94. Purplish Red. 95. Cochineal Red.
54. Grass Green. Green.
the botanical register.
The Botanical Register, subsequently known as others. Following Edwards’s death in 1819 it was
Edwards’s Botanical Register, was an illustrated edited by James Ridgway (dates unknown) and
horticultural magazine, published between 1815 then by John Lindley (1799–1865) from 1829. The
and 1847. It was founded by Sydenham Edwards plates shown here are taken from Volume 5, 1819.
(1768–1819), who edited the first five volumes, as The Register pairs illustrations of plant species with
well as providing the paintings to be engraved by short descriptions of their characteristics.
Siberian spartium. large-leaved swamp Erysimum winged
corydalis. 68. Saffron Yellow. sida. hibiscus. diffusum. wattle.
66. Gamboge 70. Honey Yellow. 71. Straw Yellow. 73. Sienna Yellow. 74. Ochre Yellow.
Yellow.
181.
begonia. orange vaccinium. Pancratium. white paint- camellia. scotch rose. Cullumia. heart-leaved common tulip. protea. Phyllanthus
1. Snow White. jasmine. 2. Reddish White. 4. Yellowish brush lily. 4. Yellowish 75. Cream Yellow. 76. Dutch Orange. poison. 83. Hyacinth Red. 84. Scarlet Red. angustifolius.
2. Reddish White. White. 4. Yellowish White. 77. Buff Orange. 84. Scarlet Red.
White.
Lady Banks’s spanish cape american diosma. rubber vine. coral bush. scarlet comb. bottlebrush. coral tree. eastern italian orchid.
rose. bluebell. leadwort. hepatica. 39. Campanula 41. Auricula 84. Scarlet Red. 84. Scarlet Red. 85. Vermilion Red. 86. Aurora Red. sweetshrub. 89. Rose Red.
6. Greenish White. 26. Indigo Blue. 36. Bluish Purple. 37. Violet Purple. Purple. Purple. 87. Arterial Blood
Red.
1 8 0.
summer modecca rattlesnake- Paliavana Satyrium Evolvulus Rosa multi- alpine rose. swamp Australian Cerbera. beach rose.
snapdragon. lobata. master. prasinata. coriifolium. latifolius. flora Carnea. 90. Peach Blossom honeysuckle. indigo. 91. Carmine Red. 91. Carmine Red.
43. Red Lilac 47. Mountain 48. Leek Green. 52. Apple Green. 53. Emerald 54. Grass Green. 90. Peach Blossom Red. 90. Peach Blossom 91. Carmine Red.
Purple. Green. Green. Red. Red.
night- glandular Artabotrys pyramid laurustine. West Coast orchid Diosma ciliata. small purple fig marigold. false grey honey-
flowering globe-thistle. odoratissimus. magnolia. 59. Olive Green. creeper. rockrose. 93. Crimson Red. fringed orchid. 94. Purplish Red. indigo-bush. myrtle.
jasmine. 55. Duck Green. 56. Sap Green. 58. Asparagus 61. Siskin Green. 92. Lake Red. 93. Crimson Red. 94. Purplish Red. 95. Cochineal Red.
54. Grass Green. Green.
Willdenow’s colour chart and nomen- inspiration: reddish orange, brownish orange,
clature appeared in all the later reprints and deep orange-coloured brown, bluish purple
translations of his textbook. In 1799 the Berlin and pale blackish purple. Other colour terms
pharmacist Friedrich Gottlob Hayne (1763– indicate the scientific advances being made
1832) included his own re-worked version of at the time, for instance he divided blood red
Willdenow’s colour chart with colour samples at into two different hues, ‘arterial’ and ‘veinous’,
the sides and several roots at the centre of the no doubt as a result of the research on blood
plate. Plate X of the English edition is instead circulation by the Scottish surgeon John Hunter
an almost identical colour chart to the original (1728–1793). Finally, Syme adopted four colour
one; the colour terms are in Latin, with their terms from the English edition of Willdenow’s
English equivalents supplied in the main text. textbook, namely bluish green, saffron yellow,
The Scottish engraver and map maker Daniel lilac and blackish grey. Syme used lilac for
Lizars Sr (1760–1812), who signed all other creating two colour varieties: bluish lilac purple
1 8 3.
nine plates ‘D Lizars Sculpt’, made this plate and red lilac purple. Some of the remaining
too. This edition was printed by the Edinburgh terms were coined by Syme, while others

University Press for William Blackwood (1776– already commonly used in English, such as
1834), also the publisher of Syme’s Werner’s French grey, were popularized by Syme and
Nomenclature of Colours. Syme knew of it and adopted into the scientific colour terminology.26
relied on it for some new colour terms. What sets Syme’s book apart was that it
combined an extensive chart presenting
Syme’s Colour Terminology simple colours and colour mixtures with a
nomenclature and references to the natural
i. The colour terminology used by Syme in world – animal, vegetable and mineral – for
Werner’s Nomenclature of Colours was colour comparison. It was ‘a nomenclature
probably derived from Jameson’s Tabular View of colours with proper coloured examples of
of the External Characters of Minerals (1804), the different tints, as a general standard to
which rested in turn on Werner’s new colour refer to in the description of any object’. Thus
nomenclature. Jameson provided 80 colour it provided a colour terminology that scientists
terms (or 84 if we count the four lead-grey sub- could use to pick the most suitable colour
varieties as independent colours, see p. 34), term to describe an object from the natural
the majority of which are also found in Syme’s world in a standardized way. For the mineral
book. However, Syme extended the colour examples Syme drew on Jameson’s work but
nomenclature to 108 terms in the first edition of selected the animal and vegetable examples
his book in 1814, and to 110 terms in the second himself, perhaps feeling qualified to do so
edition in 1821, resulting from the creation of two having trained as a botanist and entomologist.
1 82 .
new main colour groups, orange and purple, His botanical references range from the
along with further hues identified by him.25 straightforward – ‘Chesnuts’ [sic] for ‘Chesnut
Some of Syme’s new colour terms can be Brown’ or ‘Hawthorn Blossom’ for ‘Yellowish
traced to other books mentioned above, and White’ – to the very specific – that for ‘Cochineal
many are obviously loans from painters’ Red’ is ‘Under Disk of decayed leaves of None-
pigments and dyes, which Syme likely used so-pretty’ and for ‘Velvet Black’ it is ‘Black of Red
to manufacture his colour swatches. Among and Black West-Indian Peas’. And even with
Syme’s terms are gamboge yellow, Sienna all his botanical knowledge he was not able
yellow, sap green, lake red and umber brown, always to come up with a suitable reference,
some of which also featured in Brookshaw’s and as is also the case for minerals and animals.
Francia’s flower-painting manuals. For five of Syme’s most significant contribution to
ii. his new colour terms Syme drew on Sowerby’s colour systems was not only to have selected 110
A New Elucidation of Colours (1809) for colour names from different sources, but also
(i). Watercolour blocks of the artist suppliers Henry Boch Binko, c. 1800s
(bottom row, left three blocks), Giovanni Arzone, c. 1830 (top row),
and Waring & Dimes, c. 1840–42 (bottom row, right two blocks).
(ii). Patrick Syme, Spider, Beetles and Insects, watercolour, date unknown.
Willdenow’s colour chart and nomen- inspiration: reddish orange, brownish orange,
clature appeared in all the later reprints and deep orange-coloured brown, bluish purple
translations of his textbook. In 1799 the Berlin and pale blackish purple. Other colour terms
pharmacist Friedrich Gottlob Hayne (1763– indicate the scientific advances being made
1832) included his own re-worked version of at the time, for instance he divided blood red
Willdenow’s colour chart with colour samples at into two different hues, ‘arterial’ and ‘veinous’,
the sides and several roots at the centre of the no doubt as a result of the research on blood
plate. Plate X of the English edition is instead circulation by the Scottish surgeon John Hunter
an almost identical colour chart to the original (1728–1793). Finally, Syme adopted four colour
one; the colour terms are in Latin, with their terms from the English edition of Willdenow’s
English equivalents supplied in the main text. textbook, namely bluish green, saffron yellow,
The Scottish engraver and map maker Daniel lilac and blackish grey. Syme used lilac for
Lizars Sr (1760–1812), who signed all other creating two colour varieties: bluish lilac purple
1 8 3.
nine plates ‘D Lizars Sculpt’, made this plate and red lilac purple. Some of the remaining
too. This edition was printed by the Edinburgh terms were coined by Syme, while others

University Press for William Blackwood (1776– already commonly used in English, such as
1834), also the publisher of Syme’s Werner’s French grey, were popularized by Syme and
Nomenclature of Colours. Syme knew of it and adopted into the scientific colour terminology.26
relied on it for some new colour terms. What sets Syme’s book apart was that it
combined an extensive chart presenting
Syme’s Colour Terminology simple colours and colour mixtures with a
nomenclature and references to the natural
i. The colour terminology used by Syme in world – animal, vegetable and mineral – for
Werner’s Nomenclature of Colours was colour comparison. It was ‘a nomenclature
probably derived from Jameson’s Tabular View of colours with proper coloured examples of
of the External Characters of Minerals (1804), the different tints, as a general standard to
which rested in turn on Werner’s new colour refer to in the description of any object’. Thus
nomenclature. Jameson provided 80 colour it provided a colour terminology that scientists
terms (or 84 if we count the four lead-grey sub- could use to pick the most suitable colour
varieties as independent colours, see p. 34), term to describe an object from the natural
the majority of which are also found in Syme’s world in a standardized way. For the mineral
book. However, Syme extended the colour examples Syme drew on Jameson’s work but
nomenclature to 108 terms in the first edition of selected the animal and vegetable examples
his book in 1814, and to 110 terms in the second himself, perhaps feeling qualified to do so
edition in 1821, resulting from the creation of two having trained as a botanist and entomologist.
1 82 .
new main colour groups, orange and purple, His botanical references range from the
along with further hues identified by him.25 straightforward – ‘Chesnuts’ [sic] for ‘Chesnut
Some of Syme’s new colour terms can be Brown’ or ‘Hawthorn Blossom’ for ‘Yellowish
traced to other books mentioned above, and White’ – to the very specific – that for ‘Cochineal
many are obviously loans from painters’ Red’ is ‘Under Disk of decayed leaves of None-
pigments and dyes, which Syme likely used so-pretty’ and for ‘Velvet Black’ it is ‘Black of Red
to manufacture his colour swatches. Among and Black West-Indian Peas’. And even with
Syme’s terms are gamboge yellow, Sienna all his botanical knowledge he was not able
yellow, sap green, lake red and umber brown, always to come up with a suitable reference,
some of which also featured in Brookshaw’s and as is also the case for minerals and animals.
Francia’s flower-painting manuals. For five of Syme’s most significant contribution to
ii. his new colour terms Syme drew on Sowerby’s colour systems was not only to have selected 110
A New Elucidation of Colours (1809) for colour names from different sources, but also
(i). Watercolour blocks of the artist suppliers Henry Boch Binko, c. 1800s
(bottom row, left three blocks), Giovanni Arzone, c. 1830 (top row),
and Waring & Dimes, c. 1840–42 (bottom row, right two blocks).
(ii). Patrick Syme, Spider, Beetles and Insects, watercolour, date unknown.
1
the Natural History
Museum Herbarium.
A herbarium is a collection of preserved

2
plant specimens, stored with their
3 5
associated data for scientific study. The
herbarium at the Natural History Museum,
London, contains over 2 million specimens
from all over the world, collected from the
17th century onwards. It includes species
4 obtained on famed voyages, including
that of HMS Endeavour and HMS Beagle,
and by prominent naturalists, including
Sir Joseph Banks (1743–1820) and James
Sowerby (1757–1822).
colour references.
1 8 5.
Hydrangea preziosa.
1

42.. Plum Purple.
yellow fern.
7 2
66. Gamboge Yellow.
8
Hydrangea macrophylla.
3
32. Verditter Blue.
coral peony.
4
68. Saffron Yellow.
Matonia pectinata fern.

5
102. Umber Brown.
corn poppy.
6
6
43. Red Lilac Purple.
arctic poppy.
184.
7
9 10 77. Buff Orange.
red Riding hood tulip.

12
8
11 84. Scarlet Red.
sunflower.
9
76. Dutch Orange.
dwarf peony.
10
91. Carmine Red.
Turkish Hollyhock.
11
40. Imperial Purple.
Veitch’s peony.
12
93. Crimson Red.
1
the Natural History
Museum Herbarium.
A herbarium is a collection of preserved

2
plant specimens, stored with their
3 5
associated data for scientific study. The
herbarium at the Natural History Museum,
London, contains over 2 million specimens
from all over the world, collected from the
17th century onwards. It includes species
4 obtained on famed voyages, including
that of HMS Endeavour and HMS Beagle,
and by prominent naturalists, including
Sir Joseph Banks (1743–1820) and James
Sowerby (1757–1822).
colour references.
1 8 5.
Hydrangea preziosa.
1

42.. Plum Purple.
yellow fern.
7 2
66. Gamboge Yellow.
8
Hydrangea macrophylla.
3
32. Verditter Blue.
coral peony.
4
68. Saffron Yellow.
Matonia pectinata fern.

5
102. Umber Brown.
corn poppy.
6
6
43. Red Lilac Purple.
arctic poppy.
184.
7
9 10 77. Buff Orange.
red Riding hood tulip.

12
8
11 84. Scarlet Red.
sunflower.
9
76. Dutch Orange.
dwarf peony.
10
91. Carmine Red.
Turkish Hollyhock.
11
40. Imperial Purple.
Veitch’s peony.
12
93. Crimson Red.
to have radically transformed the colour chart to add the tints, which he intended to do
from an educational tool for painters and some under the idea that they were reproduced
naturalists into a practical working instrument by the common colour in use.
for all naturalists. Moreover, with Syme’s
publication and his explicit encouragement of It seems that Barton had not grasped the
botanists to use it, the Linnaean reservations intended function of Syme’s book to provide
about colour were finally overcome. standard colour terms, believing that it was
also a guide for mixing pigments and dyes.29
Colour Terms and Charts for Colour charts specifically for botanists were
Botanists in Europe after Syme published occasionally after the appearance
of Syme’s in 1814, though general attempts at
An example of the reception of Syme’s colour classifying colours for naturalists were more
terms by English-speaking botanists can be frequent. In 1815, for instance, the French painter
1 87.
seen in the use of French grey in the prestigious and chemist Léonor Mérimée (1757–1836) wrote
series The Botanical Register edited by an essay on colours for naturalists and included

Sydenham Edwards (1768–1819) and John three circular colour charts with 83 nuances,
Lindley (1799–1865).27 Even though the great or shades, and 96 corresponding terms in
botanist Sir William Jackson Hooker (1785–1865) French and Latin.30 Later, in 1825, the Scottish
made use of Werner’s Nomenclature of Colours horticulturist George Sinclair (1787–1834)
for describing plants in Appendix to Captain included a ‘Diagram of Colours’ in his Hortus
Parry’s Journal… (1825), as John Richardson ericæus woburnensis, consisting of a colour
(1787–1865) did for animals, he relied on Syme’s circle subdivided into 270 hues and two colour
standard colours for his Supplement to the scales (for grey and brown) created by George i.
English Botany (1834), at least to render the Hayter (1792–1871), later Principal Painter in
colours of a lichenized fungus.28 That Syme’s Ordinary to Queen Victoria.31 The general
type of colour chart was a radical novelty for tendency after this in English-language
botanical science is demonstrated by the botanical textbooks was for colour nomen-
botanist William P. C. Barton (1786–1856), who clatures without samples of colour. This
in the advertisement for the third volume of A is not to say that English naturalists and
Flora of North America (1823) lamented that scientists were not interested in colour
he had been unable to reproduce Syme’s colour standardization. On the contrary, James David
samples as he had anticipated in the first volume, Forbes (1809–1868) and Francis Galton
where he had provided a black-and-white copy (1822–1911) proposed two different ways of
of Syme’s Werner’s Nomenclature of Colours: producing colour standards using mosaic
tesserae instead of colour charts painted on
1 8 6.
It was the intention of the Author … to paper,32 a solution aimed at overcoming the
add the tints of Werner’s Nomenclature of problem of fading and colour light-fastness.
Colours to Vol. II. Upon repeated experi‑ Further attempts appeared in Germany,
ments with the tints, it was found that the France, the United States and Italy. In 1834,
best watercolours produced in their the playwright Wilhelm Gerhard (1780–1858)
combinations, fading and evanescent included a colour chart in his history of the
tints – and the Author was acquainted cultivation and classification of dahlias,
with no other mode of colouring them. illustrating 48 predominantly red, yellow and
He believes the tints of Werner’s Book purple hues for the identification of these
to be dyed by mineral solutions, and plants, as well as a colour nomenclature
afterwards they are evidently pasted in with terms in German, Latin, French, Italian
squares, opposite to the columns of and English.33 Among his textual sources he ii. iii.
names. Hence it was impossible for him includes Mérimée’s essay, but strangely not
(i). Tableaux chromatique, Léonor Mérimée, Mémoire sur les lois générales
de la coloration appliquées à la formation d’une échelle chromatique,
à l’usage des naturalistes, 1815.
(ii). Plate 1, Friedrich Gottlob Hayne, Termini botanici iconibus illustrati, 1799.
(iii). Diagram of Colours, George Hayter, Hortus ericæus woburnensis, 1825.
to have radically transformed the colour chart to add the tints, which he intended to do
from an educational tool for painters and some under the idea that they were reproduced
naturalists into a practical working instrument by the common colour in use.
for all naturalists. Moreover, with Syme’s
publication and his explicit encouragement of It seems that Barton had not grasped the
botanists to use it, the Linnaean reservations intended function of Syme’s book to provide
about colour were finally overcome. standard colour terms, believing that it was
also a guide for mixing pigments and dyes.29
Colour Terms and Charts for Colour charts specifically for botanists were
Botanists in Europe after Syme published occasionally after the appearance
of Syme’s in 1814, though general attempts at
An example of the reception of Syme’s colour classifying colours for naturalists were more
terms by English-speaking botanists can be frequent. In 1815, for instance, the French painter
1 87.
seen in the use of French grey in the prestigious and chemist Léonor Mérimée (1757–1836) wrote
series The Botanical Register edited by an essay on colours for naturalists and included

Sydenham Edwards (1768–1819) and John three circular colour charts with 83 nuances,
Lindley (1799–1865).27 Even though the great or shades, and 96 corresponding terms in
botanist Sir William Jackson Hooker (1785–1865) French and Latin.30 Later, in 1825, the Scottish
made use of Werner’s Nomenclature of Colours horticulturist George Sinclair (1787–1834)
for describing plants in Appendix to Captain included a ‘Diagram of Colours’ in his Hortus
Parry’s Journal… (1825), as John Richardson ericæus woburnensis, consisting of a colour
(1787–1865) did for animals, he relied on Syme’s circle subdivided into 270 hues and two colour
standard colours for his Supplement to the scales (for grey and brown) created by George i.
English Botany (1834), at least to render the Hayter (1792–1871), later Principal Painter in
colours of a lichenized fungus.28 That Syme’s Ordinary to Queen Victoria.31 The general
type of colour chart was a radical novelty for tendency after this in English-language
botanical science is demonstrated by the botanical textbooks was for colour nomen-
botanist William P. C. Barton (1786–1856), who clatures without samples of colour. This
in the advertisement for the third volume of A is not to say that English naturalists and
Flora of North America (1823) lamented that scientists were not interested in colour
he had been unable to reproduce Syme’s colour standardization. On the contrary, James David
samples as he had anticipated in the first volume, Forbes (1809–1868) and Francis Galton
where he had provided a black-and-white copy (1822–1911) proposed two different ways of
of Syme’s Werner’s Nomenclature of Colours: producing colour standards using mosaic
tesserae instead of colour charts painted on
1 8 6.
It was the intention of the Author … to paper,32 a solution aimed at overcoming the
add the tints of Werner’s Nomenclature of problem of fading and colour light-fastness.
Colours to Vol. II. Upon repeated experi‑ Further attempts appeared in Germany,
ments with the tints, it was found that the France, the United States and Italy. In 1834,
best watercolours produced in their the playwright Wilhelm Gerhard (1780–1858)
combinations, fading and evanescent included a colour chart in his history of the
tints – and the Author was acquainted cultivation and classification of dahlias,
with no other mode of colouring them. illustrating 48 predominantly red, yellow and
He believes the tints of Werner’s Book purple hues for the identification of these
to be dyed by mineral solutions, and plants, as well as a colour nomenclature
afterwards they are evidently pasted in with terms in German, Latin, French, Italian
squares, opposite to the columns of and English.33 Among his textual sources he ii. iii.
names. Hence it was impossible for him includes Mérimée’s essay, but strangely not
(i). Tableaux chromatique, Léonor Mérimée, Mémoire sur les lois générales
de la coloration appliquées à la formation d’une échelle chromatique,
à l’usage des naturalistes, 1815.
(ii). Plate 1, Friedrich Gottlob Hayne, Termini botanici iconibus illustrati, 1799.
(iii). Diagram of Colours, George Hayter, Hortus ericæus woburnensis, 1825.
Syme’s publication. Another type of flower of Gerhard’s colour chart for dahlias as it is
inspired a certain Monsieur Ragonot-Godefroy, primarily for botanists and horticulturists and
perhaps a pseudonym for the botanist Pierre lacks many relevant nuances.
Boitard (1789–1859), to publish his treatise on the This gap was finally filled in 1905, when
cultivation of carnations in 1842, entitled Traité the first standard colour catalogue for botanists
sur la culture des œillets. In this, he provided a appeared. Répertoire de couleurs pour aider à
colour circle subdivided into 48 hues – which he la determination des couleurs des fleurs,
called a ‘Gamme chromatique des Couleurs’. des feuillages et des fruits was the result of
It was clearly inspired by Mérimée’s attempt,34 an international co-operation supported by
though Ragonot-Godefroy used numbers the Société Française des Chrysanthémistes.
instead of words to indicate the colours. It comprises 365 hues arranged in a total of
Then, in 1886, the American ornithologist 1,403 colour samples. For this feat, the authors,
Robert Ridgway (1850–1929) published the secretary to the Roseraie de L’Haÿ, Henri
1 89.
A Nomenclature of Colors for Naturalists, Dauthenay (1857–1910), and the entomologist
which included 186 colour samples using and printer René Oberthür (1852–1944),

names drawn from Syme’s work (see also compiled an extensive colour nomenclature
pp. 30–31) and translated, where possible, into in six languages, including Latin, with the
six other languages. The design of Ridgway’s help of experts from England, Germany, Italy
colour chart is similar to Syme’s, rather than and Spain. The production of the catalogue
the previous circular diagrams. A similar relied on the famous colour system (1861)
colour chart was published in 1891 by the of Michel Eugène Chevreul (1786–1889) and
botanist and mycologist Pier Andrea Saccardo on the use of high-quality inks provided by
i. ii. (1845–1920), entitled Chromotaxia. Saccardo Charles Lorilleux’s (1827–1893) company.36 Even
provided 50 colour samples accompanied by though Syme’s work does not appear among
a polyglot colour nomenclature, including the sources consulted by Dauthenay and
English colour names taken from Ridgway and Oberthür, some of their colour terms do seem
thus indirectly from Syme. Like Syme’s colour to derive from it. ‘Violet purple’, ‘primrose
nomenclature, Ridgway’s and Saccardo’s yellow’, ‘China blue’ and ‘gallstone yellow’ had
systems were not addressed exclusively to all been introduced to naturalists by Syme
botanists but to all naturalists. A colour chart in 1814.37 Syme’s colour nomenclature had
that was explicitly made ‘for the use of Florists’ evidently permeated botanical terminology
was developed by Ferdinand Schuyler Mathews so deeply that, less than a century after its
(1854–1938) in 1895. Mathews’s chart contains 36 publication, the authors of the first standard
numbered and named samples, although the colour nomenclature for botanists drew on its
majority are shades of red,35 and is reminiscent colour terms without realizing.
1 8 8.
n ot e s — (1). McEwan 1994, p. 566; Halsby and Harris 2001, p. 217. (2). Dixon 2014. (3). Edinburgh, The National Galleries of
Scotland, Peas and Beans, date of creation unknown, watercolour over pen, ink and pencil, laid down onto album leaf with
a pen and wash border, 32 × 20.9 cm, accession number D 3870.32. (4). Bénézit 2011; Dixon 2014. (5). Dictionary of National
Biography. (6). Blunt and Stearn 1995, pp. 254–56. (7). Pretty 1810, plate 3. (8). Wood 1991, p. 303. (9). Lack and Ibáñez 1997;
Lack 2015, pp. 35–41; Mabberley 2017, pp. 3–18. (10). Sowerby 1809, pp. 34–35. (11). Forster 1813, pp. 119, 121. (12). Linnaeus and
Freer 2005, p. 229. (13). Linnaeus 1751, pp. 243–44. (14). Werner 1774, pp. 58–62. (15). Werner 1774, pp. 99–127. (16). Jameson
1805, p. 22. (17). Freiberg, TU Bergakademie, Universitätsbibliothek, Werner Nachlass, Handschriftlicher Nachlass, Bd. 13,
pp. 84r–263v. (18). Between 1798 and 1829–1833, the Berlin publishing house Haude und Spener reprinted Grundriss der
Kräuterkunde with amendments and additions a further six times. The book was also re-issued by other publishing houses,
in particular in 1799 and 1805 by Ghelen, in 1808 by Bauer and in 1818 by Doll, all three based in Vienna. Already in 1794, the
textbook had been translated into Danish by Henrik Steffens (1773–1845), into English in 1805, possibly by Maria Elizabetha
Jacson (1755–1829), and, finally, into Dutch by Gerard Wttewaal (1776–1839) in 1819. (19). Willdenow 1805, pp. 197–99.
iii. iv.
(20). Willdenow 1792, pp. 236–39. (21). Compare Willdenow 1792, pp. 236–39, and Werner’s manuscripts at Freiberg.
(22). Wagenitz and Lack 2012, p. 3; Tkach et al. 2016, p. 13. (23). Wagenbreth 1967, p. 165. (24). Estner 1794:1, pp. 11–12. (25). Simonini
2018, §47. (26). Simonini 2018, §46. (27). The Botanical Register, Vol. V, 1819, pl. 417. (28). On Richardson and the colours of
(i). Colour chart for dahlias, Wilhelm Gerhard, Zur Geschichte, Cultur und Classification animals see p. 130; Hooker 1834, p. 2768. (29). Barton 1823, [p. ix] Advertisement. (30). Mérimée 1815. (31). Sinclair 1825, pp. 39–42;
der Georginen oder Dahlien, 1836. Wachsmuth 2014, p. 73. (32). Forbes 1849; Galton 1887. (33). Gerhard 1834, pp. 41–43; Wachsmuth 2014, p. 73. (34). Wachsmuth 2014,
(ii). Gamme chromatique des couleurs, Ragonot-Godefroy, Traité sur la culture des œillets, 1842. pp. 73–74. (35). Mathews 1895. The problem of light-fast pigment is stressed by Syme and by Mathews as well. (36). Dauthenay
(iii). Chromotaxy scale, Plate II, Pier Andrea Saccardo, Chromotaxia seu nomenclator colorum, 1894. and Oberthür 1905, pp. 36–37. (37). The works consulted are listed in the section ‘Principaux ouvrages consultés’ at the
(iv). Chart of purples, René Oberthür and Henri Dauthenay, Répertoire de couleurs, 1905. beginning of the book. These colour terms correspond to the colours numbered 191, 19, 210, and 51 in Répertoire de couleurs.
Syme’s publication. Another type of flower of Gerhard’s colour chart for dahlias as it is
inspired a certain Monsieur Ragonot-Godefroy, primarily for botanists and horticulturists and
perhaps a pseudonym for the botanist Pierre lacks many relevant nuances.
Boitard (1789–1859), to publish his treatise on the This gap was finally filled in 1905, when
cultivation of carnations in 1842, entitled Traité the first standard colour catalogue for botanists
sur la culture des œillets. In this, he provided a appeared. Répertoire de couleurs pour aider à
colour circle subdivided into 48 hues – which he la determination des couleurs des fleurs,
called a ‘Gamme chromatique des Couleurs’. des feuillages et des fruits was the result of
It was clearly inspired by Mérimée’s attempt,34 an international co-operation supported by
though Ragonot-Godefroy used numbers the Société Française des Chrysanthémistes.
instead of words to indicate the colours. It comprises 365 hues arranged in a total of
Then, in 1886, the American ornithologist 1,403 colour samples. For this feat, the authors,
Robert Ridgway (1850–1929) published the secretary to the Roseraie de L’Haÿ, Henri
1 89.
A Nomenclature of Colors for Naturalists, Dauthenay (1857–1910), and the entomologist
which included 186 colour samples using and printer René Oberthür (1852–1944),

names drawn from Syme’s work (see also compiled an extensive colour nomenclature
pp. 30–31) and translated, where possible, into in six languages, including Latin, with the
six other languages. The design of Ridgway’s help of experts from England, Germany, Italy
colour chart is similar to Syme’s, rather than and Spain. The production of the catalogue
the previous circular diagrams. A similar relied on the famous colour system (1861)
colour chart was published in 1891 by the of Michel Eugène Chevreul (1786–1889) and
botanist and mycologist Pier Andrea Saccardo on the use of high-quality inks provided by
i. ii. (1845–1920), entitled Chromotaxia. Saccardo Charles Lorilleux’s (1827–1893) company.36 Even
provided 50 colour samples accompanied by though Syme’s work does not appear among
a polyglot colour nomenclature, including the sources consulted by Dauthenay and
English colour names taken from Ridgway and Oberthür, some of their colour terms do seem
thus indirectly from Syme. Like Syme’s colour to derive from it. ‘Violet purple’, ‘primrose
nomenclature, Ridgway’s and Saccardo’s yellow’, ‘China blue’ and ‘gallstone yellow’ had
systems were not addressed exclusively to all been introduced to naturalists by Syme
botanists but to all naturalists. A colour chart in 1814.37 Syme’s colour nomenclature had
that was explicitly made ‘for the use of Florists’ evidently permeated botanical terminology
was developed by Ferdinand Schuyler Mathews so deeply that, less than a century after its
(1854–1938) in 1895. Mathews’s chart contains 36 publication, the authors of the first standard
numbered and named samples, although the colour nomenclature for botanists drew on its
majority are shades of red,35 and is reminiscent colour terms without realizing.
1 8 8.
n ot e s — (1). McEwan 1994, p. 566; Halsby and Harris 2001, p. 217. (2). Dixon 2014. (3). Edinburgh, The National Galleries of
Scotland, Peas and Beans, date of creation unknown, watercolour over pen, ink and pencil, laid down onto album leaf with
a pen and wash border, 32 × 20.9 cm, accession number D 3870.32. (4). Bénézit 2011; Dixon 2014. (5). Dictionary of National
Biography. (6). Blunt and Stearn 1995, pp. 254–56. (7). Pretty 1810, plate 3. (8). Wood 1991, p. 303. (9). Lack and Ibáñez 1997;
Lack 2015, pp. 35–41; Mabberley 2017, pp. 3–18. (10). Sowerby 1809, pp. 34–35. (11). Forster 1813, pp. 119, 121. (12). Linnaeus and
Freer 2005, p. 229. (13). Linnaeus 1751, pp. 243–44. (14). Werner 1774, pp. 58–62. (15). Werner 1774, pp. 99–127. (16). Jameson
1805, p. 22. (17). Freiberg, TU Bergakademie, Universitätsbibliothek, Werner Nachlass, Handschriftlicher Nachlass, Bd. 13,
pp. 84r–263v. (18). Between 1798 and 1829–1833, the Berlin publishing house Haude und Spener reprinted Grundriss der
Kräuterkunde with amendments and additions a further six times. The book was also re-issued by other publishing houses,
in particular in 1799 and 1805 by Ghelen, in 1808 by Bauer and in 1818 by Doll, all three based in Vienna. Already in 1794, the
textbook had been translated into Danish by Henrik Steffens (1773–1845), into English in 1805, possibly by Maria Elizabetha
Jacson (1755–1829), and, finally, into Dutch by Gerard Wttewaal (1776–1839) in 1819. (19). Willdenow 1805, pp. 197–99.
iii. iv.
(20). Willdenow 1792, pp. 236–39. (21). Compare Willdenow 1792, pp. 236–39, and Werner’s manuscripts at Freiberg.
(22). Wagenitz and Lack 2012, p. 3; Tkach et al. 2016, p. 13. (23). Wagenbreth 1967, p. 165. (24). Estner 1794:1, pp. 11–12. (25). Simonini
2018, §47. (26). Simonini 2018, §46. (27). The Botanical Register, Vol. V, 1819, pl. 417. (28). On Richardson and the colours of
(i). Colour chart for dahlias, Wilhelm Gerhard, Zur Geschichte, Cultur und Classification animals see p. 130; Hooker 1834, p. 2768. (29). Barton 1823, [p. ix] Advertisement. (30). Mérimée 1815. (31). Sinclair 1825, pp. 39–42;
der Georginen oder Dahlien, 1836. Wachsmuth 2014, p. 73. (32). Forbes 1849; Galton 1887. (33). Gerhard 1834, pp. 41–43; Wachsmuth 2014, p. 73. (34). Wachsmuth 2014,
(ii). Gamme chromatique des couleurs, Ragonot-Godefroy, Traité sur la culture des œillets, 1842. pp. 73–74. (35). Mathews 1895. The problem of light-fast pigment is stressed by Syme and by Mathews as well. (36). Dauthenay
(iii). Chromotaxy scale, Plate II, Pier Andrea Saccardo, Chromotaxia seu nomenclator colorum, 1894. and Oberthür 1905, pp. 36–37. (37). The works consulted are listed in the section ‘Principaux ouvrages consultés’ at the
(iv). Chart of purples, René Oberthür and Henri Dauthenay, Répertoire de couleurs, 1905. beginning of the book. These colour terms correspond to the colours numbered 191, 19, 210, and 51 in Répertoire de couleurs.
iv.
Yellows
and
Oranges.
iv.
Yellows
and
Oranges.
y e l l o w s (i). y e l l o w s (ii). oranges.
I V. Y E L LOWS A N D O R A N G E S.
194 .
192 .
194 .
192 .
194 .
192 .
Y e l l o w s (i). Y e l l o w s (i).
Sulphur Yellow Parts of Various Coloured

62 Sulphur.
Yellow. Large Dragon Fly. Snap dragon.
Primrose Pale coloured

63 Pale Canary Bird. Wild Primrose.
Yellow. Sulphur.
Wax Larva of large Greenish Parts of

64 Semi Opal.
Yellow. Water Beetle. Nonpareil Apple.
19 7.
Lemon Large Wasp
65 Shrubby Goldylocks. Yellow Orpiment.
Yellow. or Hornet.
Gamboge Wings of Goldfinch, High coloured

66 Yellow Jasmine.
Yellow. Canary Bird. Sulphur.
19 6.
King’s Head of Yellow Tulip.
67
Yellow. Golden Pheasant. Cinque foil.
The first chart
of yellows in Syme’s
1821 edition included
two of Werner’s original
yellows (numbers 62
and 65), one yellow
Saffron Tail Coverts of Anthers of
from the Picardet system 68
(number 64) and four Yellow. Golden Pheasant. Saffron Crocus.
yellows from his own
63, 66, 67 and 68).
Y e l l o w s (i). Y e l l o w s (i).
Sulphur Yellow Parts of Various Coloured

62 Sulphur.
Yellow. Large Dragon Fly. Snap dragon.
Primrose Pale coloured

63 Pale Canary Bird. Wild Primrose.
Yellow. Sulphur.
Wax Larva of large Greenish Parts of

64 Semi Opal.
Yellow. Water Beetle. Nonpareil Apple.
19 7.
Lemon Large Wasp
65 Shrubby Goldylocks. Yellow Orpiment.
Yellow. or Hornet.
Gamboge Wings of Goldfinch, High coloured

66 Yellow Jasmine.
Yellow. Canary Bird. Sulphur.
19 6.
King’s Head of Yellow Tulip.
67
Yellow. Golden Pheasant. Cinque foil.
The first chart
of yellows in Syme’s
1821 edition included
two of Werner’s original
yellows (numbers 62
and 65), one yellow
Saffron Tail Coverts of Anthers of
from the Picardet system 68
(number 64) and four Yellow. Golden Pheasant. Saffron Crocus.
yellows from his own
63, 66, 67 and 68).
62 . Sulph ur y e l low. Sulphur Yellow, is 63. Primro se Y ellow. Primrose Yellow, is
lemon yellow mixed gamboge yellow mixed
(i). Yellow Parts of large Dragon Fly. [Dragonfly; Anisoptera] (i). Pale Canary Bird. [Serinus canaria domestica]
(ii). Various Coloured Snap dragon. [Wild Snapdragon; with emerald green (ii). Wild Primrose. [Primula vulgaris] with a little sulphur
(iii).
Yellow toadflax; Linaria vulgaris]
Sulphur. [Chemical element]
and white. [W] (iii). Pale coloured Sulphur. [Chemical element]
yellow, and much
snow white.
19 9.
veg etable .
veg etable .
animal.
animal.
19 8.
a n ima l.
Frederick P. Nodder, Patrick Syme,
The Naturalist’s A Treatise on British
Miscellany, 1789–1801. Song-birds, 1823.
Sulphur Yellow is Primrose Yellow
visible on the body is visible on the
of the brown hawker feathers of the canary.
dragonfly (right).
Vegeta b l e .
v e geta bl e . A. Mentz and
William Curtis, C. H. Ostenfeld,
Lectures on Botany, Billeder af Nordens
as delivered in the Flora, Vol. 1, 1917.
Botanic Garden Primrose Yellow is
at Lambeth, 1805. visible on the petals
Sulphur Yellow is of the primrose.
visible on the petals
of the wild snapdragon. M i n er a l .
Philip Rashleigh,
min e r a l. Specimens of British
Leonard Spencer, Minerals, 1797.
min e r al.
min e r al.
The World’s Primrose Yellow

Minerals, 1916. is visible on the
Sulphur Yellow is sulphurated pyrite
visible on the sulphur. (all specimens).
62 . Sulph ur y e l low. Sulphur Yellow, is 63. Primro se Y ellow. Primrose Yellow, is
lemon yellow mixed gamboge yellow mixed
(i). Yellow Parts of large Dragon Fly. [Dragonfly; Anisoptera] (i). Pale Canary Bird. [Serinus canaria domestica]
(ii). Various Coloured Snap dragon. [Wild Snapdragon; with emerald green (ii). Wild Primrose. [Primula vulgaris] with a little sulphur
(iii).
Yellow toadflax; Linaria vulgaris]
Sulphur. [Chemical element]
and white. [W] (iii). Pale coloured Sulphur. [Chemical element]
yellow, and much
snow white.
19 9.
veg etable .
veg etable .
animal.
animal.
19 8.
a n ima l.
Frederick P. Nodder, Patrick Syme,
The Naturalist’s A Treatise on British
Miscellany, 1789–1801. Song-birds, 1823.
Sulphur Yellow is Primrose Yellow
visible on the body is visible on the
of the brown hawker feathers of the canary.
dragonfly (right).
Vegeta b l e .
v e geta bl e . A. Mentz and
William Curtis, C. H. Ostenfeld,
Lectures on Botany, Billeder af Nordens
as delivered in the Flora, Vol. 1, 1917.
Botanic Garden Primrose Yellow is
at Lambeth, 1805. visible on the petals
Sulphur Yellow is of the primrose.
visible on the petals
of the wild snapdragon. M i n er a l .
Philip Rashleigh,
min e r a l. Specimens of British
Leonard Spencer, Minerals, 1797.
min e r al.
min e r al.
The World’s Primrose Yellow

Minerals, 1916. is visible on the
Sulphur Yellow is sulphurated pyrite
visible on the sulphur. (all specimens).
6 4 . wax y e l low. Wax Yellow, is composed 6 5. lemo n Y ellow. Lemon Yellow, the
of lemon yellow, reddish characteristic colour of the
(i). Larva of large Water Beetle. [Dytiscidae] (i). Large Wasp. [Vespula vulgaris] Hornet. [Vespa]
(ii). Greenish Parts of Nonpareil Apple. [Malus domestica] brown, and a little ash (ii). Shrubby Goldylocks. [Goldilocks aster; yellow series of Werner, the
(iii). Semi Opal. [Silica]
grey. [W] (iii).
Galatella linosyris]
Yellow Orpiment. [Sulphide mineral]
colour of ripe lemons; it is
found to be a mixture of
gamboge yellow and a little
ash grey: being a mixed colour,
it cannot be adopted as the
characteristic colour…. [W]
201.
animal.
animal.
2 0 0.
a n ima l.
George Shaw and
Frederick P. Nodder, An i m a l .
The Naturalist’s Dru Drury,
Miscellany, 1789–1801. Illustrations of Exotic
Wax Yellow is visible Entomology, 1837.
on the larvae of the Lemon Yellow is
water beetle (left). visible on the wasp
(top row, left).
v e geta bl e .
Deborah Griscom Vegeta b l e .
Passmore, Nonpareil, John Curtis, British
watercolour, 1902. Entomology, 1840.
Wax Yellow is Lemon Yellow is
visible on the skin visible on the petals
of the apple. of the Goldilocks aster.
m in e r al. M i n er a l .
Leonard Spencer, Louis Simonin,
v eg etable .
v eg etable .
The World’s Underground Life,

mi n era l.
mi n era l.
Minerals, 1916. 1869.
Wax Yellow is visible Lemon Yellow is
on the opal (bottom visible on the orpiment
row, left and right). (top row, right).
6 4 . wax y e l low. Wax Yellow, is composed 6 5. lemo n Y ellow. Lemon Yellow, the
of lemon yellow, reddish characteristic colour of the
(i). Larva of large Water Beetle. [Dytiscidae] (i). Large Wasp. [Vespula vulgaris] Hornet. [Vespa]
(ii). Greenish Parts of Nonpareil Apple. [Malus domestica] brown, and a little ash (ii). Shrubby Goldylocks. [Goldilocks aster; yellow series of Werner, the
(iii). Semi Opal. [Silica]
grey. [W] (iii).
Galatella linosyris]
Yellow Orpiment. [Sulphide mineral]
colour of ripe lemons; it is
found to be a mixture of
gamboge yellow and a little
ash grey: being a mixed colour,
it cannot be adopted as the
characteristic colour…. [W]
201.
animal.
animal.
2 0 0.
a n ima l.
George Shaw and
Frederick P. Nodder, An i m a l .
The Naturalist’s Dru Drury,
Miscellany, 1789–1801. Illustrations of Exotic
Wax Yellow is visible Entomology, 1837.
on the larvae of the Lemon Yellow is
water beetle (left). visible on the wasp
(top row, left).
v e geta bl e .
Deborah Griscom Vegeta b l e .
Passmore, Nonpareil, John Curtis, British
watercolour, 1902. Entomology, 1840.
Wax Yellow is Lemon Yellow is
visible on the skin visible on the petals
of the apple. of the Goldilocks aster.
m in e r al. M i n er a l .
Leonard Spencer, Louis Simonin,
v eg etable .
v eg etable .
The World’s Underground Life,

mi n era l.
mi n era l.
Minerals, 1916. 1869.
Wax Yellow is visible Lemon Yellow is
on the opal (bottom visible on the orpiment
row, left and right). (top row, right).
6 6. gam bog e y e llow. Gamboge Yellow, is the 67. k in g’s Y ellow. King’s Yellow, is gamboge
characteristic colour. yellow, with a small
(i). Wings of Goldfinch. [Carduelis carduelis] (i). Head of Golden Pheasant. [Chrysolophus pictus]
Canary Bird. [Serinus canaria domestica] (ii). Yellow Tulip. [Tulipa] Cinque foil. [Cinquefoil; Potentilla] portion of saffron yellow.
(ii). Yellow Jasmine. [Gelsemium sempervirens] (iii).
(iii). High coloured Sulphur. [Chemical element]
2 0 3.
veg etable .
animal.
animal.
2 02 .
a n ima l.
John Gould, Birds An i m a l .
of Great Britain, John Gould,
Vol. 3, 1862–73. Birds of Australia,
Gamboge Yellow Vol. 7, 1840–48.
is visible on the King’s Yellow is visible
wing feathers of on the head feathers
the goldfinch. of the golden pheasant.
Robert Bentley John Lindley,
and Henry Trimen, Edwards’s Botanical
Medicinal Plants, 1880 Register, 1829–47.
Gamboge Yellow is King’s Yellow is visible
visible on the petals on the petals of the
of the yellow jasmine. yellow tulip.
Reinhard Brauns, James Sowerby,
ve g etab le .
The Mineral British Mineralogy,

min e r al.
min e r al.
Kingdom, Vol. 1, 1912. Vol. 2, 1802–17.
Gamboge Yellow is King’s Yellow
visible on the sulphur is visible on the
(all specimens). carbonate of lime.*
6 6. gam bog e y e llow. Gamboge Yellow, is the 67. k in g’s Y ellow. King’s Yellow, is gamboge
characteristic colour. yellow, with a small
(i). Wings of Goldfinch. [Carduelis carduelis] (i). Head of Golden Pheasant. [Chrysolophus pictus]
Canary Bird. [Serinus canaria domestica] (ii). Yellow Tulip. [Tulipa] Cinque foil. [Cinquefoil; Potentilla] portion of saffron yellow.
(ii). Yellow Jasmine. [Gelsemium sempervirens] (iii).
(iii). High coloured Sulphur. [Chemical element]
2 0 3.
veg etable .
animal.
animal.
2 02 .
a n ima l.
John Gould, Birds An i m a l .
of Great Britain, John Gould,
Vol. 3, 1862–73. Birds of Australia,
Gamboge Yellow Vol. 7, 1840–48.
is visible on the King’s Yellow is visible
wing feathers of on the head feathers
the goldfinch. of the golden pheasant.
Robert Bentley John Lindley,
and Henry Trimen, Edwards’s Botanical
Medicinal Plants, 1880 Register, 1829–47.
Gamboge Yellow is King’s Yellow is visible
visible on the petals on the petals of the
of the yellow jasmine. yellow tulip.
Reinhard Brauns, James Sowerby,
ve g etab le .
The Mineral British Mineralogy,

min e r al.
min e r al.
Kingdom, Vol. 1, 1912. Vol. 2, 1802–17.
Gamboge Yellow is King’s Yellow
visible on the sulphur is visible on the
(all specimens). carbonate of lime.*
6 8. saffron y e llow. Saffron Yellow, is
gamboge yellow, with
(i). Tail Coverts of Golden Pheasant. [Chrysolophus pictus]
(ii). Anthers of Saffron Crocus. [Autumn crocus; Crocus sativus] gallstone yellow, about
(iii).
2 0 5.
veg etable .
204.
animal.
Carl Hoffmann,
Book of the World, 1849.
Saffron Yellow is visible
on the tail feathers of
the golden pheasant
(centre).
v egeta b l e .
Pierre-Joseph
Redouté, Choix des
plus belles fleurs, 1833.
Saffron Yellow is
visible on the anthers
of the saffron crocus.
m i n er a l .
James Sowerby,
min e r al .

an im al.
Saffron Yellow is
visible on the sulphate
of magnesia.*
6 8. saffron y e llow. Saffron Yellow, is
gamboge yellow, with
(i). Tail Coverts of Golden Pheasant. [Chrysolophus pictus]
(ii). Anthers of Saffron Crocus. [Autumn crocus; Crocus sativus] gallstone yellow, about
(iii).
2 0 5.
veg etable .
204.
animal.
Carl Hoffmann,
Book of the World, 1849.
Saffron Yellow is visible
on the tail feathers of
the golden pheasant
(centre).
v egeta b l e .
Pierre-Joseph
Redouté, Choix des
plus belles fleurs, 1833.
Saffron Yellow is
visible on the anthers
of the saffron crocus.
m i n er a l .
James Sowerby,
min e r al .

an im al.
Saffron Yellow is
visible on the sulphate
of magnesia.*
Y e l l o w s (ii). Y e l l o w s (ii).
Gallstone
69 Gallstones. Marigold Apple.
Yellow.
Honey Lower Parts of Neck

70 Fluor Spar.
Yellow. of Bird of Paradise.
Straw Schorlite.
71 Polar Bear. Oat Straw.
Yellow. Calamine.
2 07.
Wine Saxon
72 Body of Silk Moth. White Currants.
Yellow. Topaz.
Pale
Sienna Vent Parts of Tail Stamina of
73 Brazilian
Yellow. of Bird of Paradise. Honey-suckle.
Topaz.
2 0 6.
The second chart

of yellows in Syme’s Ochre Vent Coverts Porcelain
1821 edition included 74
Yellow. of Red Start. Jasper.
four of Werner’s original
yellows (numbers 71, 72,
74 and 75), although
he renamed Werner’s
Isabella Yellow ‘Cream
Yellow’. There is also
one yellow from the
Cream Porcelain
Picardet system (number 75 Breast of Teal Drake.
70) and two yellows Yellow. Jasper.
from his own 1814
edition (numbers
69 and 73).
69. gallstone y ellow. Gallstone Yellow, is 70. ho n ey Y ellow. Honey Yellow, is sulphur
gamboge yellow, with a yellow mixed with
(i). Gallstones. [Calculi] (i). Lower Parts of Neck of Bird of Paradise. [Paradisaeidae]
(ii). Marigold Apple. [Malus domestica] small quantity of Dutch (ii). chesnut brown. [W]
(iii).
orange, and a minute (iii). Fluor Spar. [Fluorite; Fluorspar; Calcium Fluoride]
proportion of honey yellow.

2 09.
veg etable .
veg etable .
animal.
animal.
2 0 8.
An i m a l .
New Guinea and the
Adjacent Papuan
a n ima l. Islands, 1875–88.
Hamlet Frederick Honey Yellow is visible
Aitken, Gallbladder on the lower neck
and gallstones, feathers of the bird
medical illustration, of paradise.
date unknown.
Gallstone Yellow is Vegeta b l e .
visible on the gallstones Johann Wilhelm
(all specimens). Weinmann,
Phytanthoza
v e geta bl e . iconographia, 1737.
Hermann Adolph Honey Yellow is
Koehler, Medicinal visible on the fruit
Plants, 1887. of the ornamental
Gallstone Yellow ‘corona’ pineapple.*
is visible on the
skin of the apple. M i n er a l .
Reinhard Brauns,
James Sowerby, Kingdom, Vol. 2, 1912.
British Mineralogy, Honey Yellow is visible
min e r al.
min e r al.
Vol. 1, 1802–17. on the fluorite (top row,

Gallstone Yellow is second from left). It
visible on the native is embedded within
gold (all specimens).* a piece of orthoclase.
69. gallstone y ellow. Gallstone Yellow, is 70. ho n ey Y ellow. Honey Yellow, is sulphur
gamboge yellow, with a yellow mixed with
(i). Gallstones. [Calculi] (i). Lower Parts of Neck of Bird of Paradise. [Paradisaeidae]
(ii). Marigold Apple. [Malus domestica] small quantity of Dutch (ii). chesnut brown. [W]
(iii).
orange, and a minute (iii). Fluor Spar. [Fluorite; Fluorspar; Calcium Fluoride]
proportion of honey yellow.

2 09.
veg etable .
veg etable .
animal.
animal.
2 0 8.
An i m a l .
New Guinea and the
Adjacent Papuan
a n ima l. Islands, 1875–88.
Hamlet Frederick Honey Yellow is visible
Aitken, Gallbladder on the lower neck
and gallstones, feathers of the bird
medical illustration, of paradise.
date unknown.
Gallstone Yellow is Vegeta b l e .
visible on the gallstones Johann Wilhelm
(all specimens). Weinmann,
Phytanthoza
v e geta bl e . iconographia, 1737.
Hermann Adolph Honey Yellow is
Koehler, Medicinal visible on the fruit
Plants, 1887. of the ornamental
Gallstone Yellow ‘corona’ pineapple.*
is visible on the
skin of the apple. M i n er a l .
Reinhard Brauns,
James Sowerby, Kingdom, Vol. 2, 1912.
British Mineralogy, Honey Yellow is visible
min e r al.
min e r al.
Vol. 1, 1802–17. on the fluorite (top row,

Gallstone Yellow is second from left). It
visible on the native is embedded within
gold (all specimens).* a piece of orthoclase.
71. Str aw Ye l low. Straw Yellow, is sulphur 7 2. win e Y ellow. Wine Yellow, is sulphur
yellow mixed with much yellow mixed with
(i). Polar Bear. [Ursus maritimus] (i). Body of Silk Moth. [Bombyx mori]
(ii). Oat Straw. [Avena sativa] greyish white and a little (ii). White Currants. [Ribes rubrum] reddish brown and
(iii). Schorlite. [Scheelite; Tungstate mineral]
Calamine. [Smithsonite; Zinc cabonate]
ochre yellow. [W] (iii). Saxon Topaz. [Silicate mineral]
grey, with much snow
white. [W]
211.
veg etable .
animal.
animal.
2 1 0.
John James Audubon, Thomas Brown,
The Quadrupeds The Book of
of North America, Butterflies, Sphinxes
Vol. 3, 1849. and Moths, 1832.
Straw Yellow is Wine Yellow is visible
visible on the fur on the body of the silk
of the polar bear. moth (both specimens).
E. Blackwell, A. Mentz and C. H.
Herbarium Ostenfeld, Billeder
Blackwellianum, af Nordens Flora,
Vol. 2, 1754. Vol. 2, 1917.
visible on the ear on the berries of the
of the oat straw. white currant (right).
Philip Rashleigh, James Sowerby,
ve g etab le .
Specimens of British British Mineralogy,

min e r al.
min e r al.
Minerals, 1797. Vol. 4, 1802–17.

Straw Yellow is visible Wine Yellow is
on the calamine visible on the topaz
(all specimens). (both specimens).
71. Str aw Ye l low. Straw Yellow, is sulphur 7 2. win e Y ellow. Wine Yellow, is sulphur
yellow mixed with much yellow mixed with
(i). Polar Bear. [Ursus maritimus] (i). Body of Silk Moth. [Bombyx mori]
(ii). Oat Straw. [Avena sativa] greyish white and a little (ii). White Currants. [Ribes rubrum] reddish brown and
(iii). Schorlite. [Scheelite; Tungstate mineral]
Calamine. [Smithsonite; Zinc cabonate]
ochre yellow. [W] (iii). Saxon Topaz. [Silicate mineral]
grey, with much snow
white. [W]
211.
veg etable .
animal.
animal.
2 1 0.
John James Audubon, Thomas Brown,
The Quadrupeds The Book of
of North America, Butterflies, Sphinxes
Vol. 3, 1849. and Moths, 1832.
visible on the fur on the body of the silk
of the polar bear. moth (both specimens).
E. Blackwell, A. Mentz and C. H.
Herbarium Ostenfeld, Billeder
Blackwellianum, af Nordens Flora,
Vol. 2, 1754. Vol. 2, 1917.
visible on the ear on the berries of the
of the oat straw. white currant (right).
Philip Rashleigh, James Sowerby,
ve g etab le .
Specimens of British British Mineralogy,

min e r al.
min e r al.
Minerals, 1797. Vol. 4, 1802–17.

Straw Yellow is visible Wine Yellow is
on the calamine visible on the topaz
(all specimens). (both specimens).
7 3. S ie nna Ye llow. Sienna Yellow, is 74. o c hre Y ellow. Ochre Yellow, is Sienna
primrose yellow, with yellow, with a little light
(i). Vent Parts of Tail of Bird of Paradise. [Paradisaeidae] (i). Vent Coverts of Red Start. [Redstart;
(ii). Stamina of Honey-suckle. [Lonicera periclymenum] a little ochre yellow. Phoenicurus phoenicurus] chesnut brown. [W]
(iii). Pale Brazilian Topaz. [Silicate mineral] (ii).
2 1 3.
veg etable .
animal.
animal.
212.
John Gould, Birds of John Gould, Birds
New Guinea and the of Great Britain,
Adjacent Papuan Vol. 2, 1862–73.
Islands, 1875–88. Ochre Yellow is visible
Sienna Yellow is visible on the vent coverts, i.e.
on the tail feathers of the feathers around the
the bird of paradise. cloaca, of the red start.
V e geta bl e . Vegeta b l e .
François-Pierre Johann Wilhelm
Chaumeton, Flore Weinmann,
médicale, Vol. 2, 1833. Phytanthoza
Sienna Yellow is visible iconographia, 1737.
on stamina of the Ochre Yellow is visible
honeysuckle. on the petals of the
king’s spear, or yellow
M in e r a l. asphodel (right).*
Reinhard Brauns,
ve g etab le .
The Mineral M i n er a l .
min e r al.
min e r al.
Kingdom, Vol. 2, 1912. Johann Carl Weber,
Sienna Yellow is Die Mineralien, 1871.
visible on the topaz Ochre Yellow is
(top row, left). visible on the jasper.
7 3. S ie nna Ye llow. Sienna Yellow, is 74. o c hre Y ellow. Ochre Yellow, is Sienna
primrose yellow, with yellow, with a little light
(i). Vent Parts of Tail of Bird of Paradise. [Paradisaeidae] (i). Vent Coverts of Red Start. [Redstart;
(ii). Stamina of Honey-suckle. [Lonicera periclymenum] a little ochre yellow. Phoenicurus phoenicurus] chesnut brown. [W]
(iii). Pale Brazilian Topaz. [Silicate mineral] (ii).
2 1 3.
veg etable .
animal.
animal.
212.
John Gould, Birds of John Gould, Birds
New Guinea and the of Great Britain,
Adjacent Papuan Vol. 2, 1862–73.
Islands, 1875–88. Ochre Yellow is visible
Sienna Yellow is visible on the vent coverts, i.e.
on the tail feathers of the feathers around the
the bird of paradise. cloaca, of the red start.
V e geta bl e . Vegeta b l e .
François-Pierre Johann Wilhelm
Chaumeton, Flore Weinmann,
médicale, Vol. 2, 1833. Phytanthoza
Sienna Yellow is visible iconographia, 1737.
on stamina of the Ochre Yellow is visible
honeysuckle. on the petals of the
king’s spear, or yellow
M in e r a l. asphodel (right).*
Reinhard Brauns,
ve g etab le .
The Mineral M i n er a l .
min e r al.
min e r al.
Kingdom, Vol. 2, 1912. Johann Carl Weber,
Sienna Yellow is Die Mineralien, 1871.
visible on the topaz Ochre Yellow is
(top row, left). visible on the jasper.
7 5. cr e am Ye l low. Cream Yellow, is ochre yellow † Cream Yellow is Syme’s name for Werner’s Isabella
Yellow.
mixed with a little white,
(i). Breast of Teal Drake. [Eurasian teal; Anas crecca]
(ii). and a very small quantity
of Dutch orange. [W] †
2 1 5.
animal.
214.
animal.
Europe, Vol. 5, 1832–37.
Cream Yellow is visible
of the Eurasian teal.
v egeta b l e .
Magazine, 1823.
yellow butterfly ginger.*
m i n er a l .
Philip Rashleigh,
v eg etab le .
Specimens of British
min e r al .
Minerals, 1797.
on the jasper (bottom
row, centre).
7 5. cr e am Ye l low. Cream Yellow, is ochre yellow † Cream Yellow is Syme’s name for Werner’s Isabella
Yellow.
mixed with a little white,
(i). Breast of Teal Drake. [Eurasian teal; Anas crecca]
(ii). and a very small quantity
of Dutch orange. [W] †
2 1 5.
animal.
214.
animal.
Europe, Vol. 5, 1832–37.
of the Eurasian teal.
v egeta b l e .
Magazine, 1823.
yellow butterfly ginger.*
m i n er a l .
Philip Rashleigh,
v eg etab le .
Specimens of British
min e r al .
Minerals, 1797.
on the jasper (bottom
row, centre).
oranges. oranges.
Common Marigold,
Dutch Crest of Golden Streak of
76 Seedpod of
Orange. crested Wren. Red Orpiment.
Spindle-tree.
Streak from
Buff Stamina of the
77 the Eye of the Natrolite.
Orange. large White Cistus.
King Fisher.
The Neck Ruff of the

Orpiment
78 Golden Pheasant, Belly Indian Cress.
Orange.
of the Warty Newt.
2 1 7.
Brownish Eyes of the Style of the Dark Brazilian
79
Orange. largest Flesh Fly. Orange Lily. Topaz.
Reddish Lower Wings Hemimeris,

80
Orange. of Tyger Moth. Buff Hibiscus.
2 16.
In his chart of oranges,

Syme included one of
Werner’s original colours,
Orange Yellow, which
he renamed ‘Dutch Deep
Gold Fish Scarlet Leadington
Orange’ (number 76). 81 Reddish
All the remaining lustre abstracted. Apple.
Orange.
oranges in Syme’s 1821
edition were taken
from his 1814 edition.
76. dutc h or ange . Dutch Orange, the 7 7. buff o ra n g e . Buff Orange, is Sienna
orange yellow of Werner, yellow, with a little
(i). Crest of Golden crested Wren. (i). Streak from the Eye of the King Fisher.
[Goldcrest; Regulus regulus] is gamboge yellow, [Kingfisher; Alcedo atthis] Dutch orange.
(ii). Common Marigold. [Calendula] Seedpod of Spindle tree.
[European spindle; Euonymus europaeus]
with carmine red. [W] (ii).
(iii).
Stamina of the large White Cistus. [Cistus]
Natrolite. [Silicate mineral]
(iii). Streak of Red Orpiment. [Sulphide mineral]
2 19.
veg etable .
veg etable .
animal.
animal.
2 1 8.
a n ima l.
Europe, Vol. 2, 1832–37. John Gould, Birds
Dutch Orange is visible of Great Britain,
on the crest feathers Vol. 2, 1862–73.
of the goldcrest. Buff Orange is
visible on the
v e geta bl e . feathers around the
A. Mentz and C. H. eye of the kingfisher.
Ostenfeld, Billeder
Vol. 1, 1917. Robert Sweet,
Dutch Orange is Cistineae, 1830.
visible on the Buff Orange is visible
seedpod of the on the stamina of
European spindle. the cistus.
Leonard Spencer, Leonard Spencer,
The World’s The World’s
min e r al.
min e r al.
Minerals, 1916. Minerals, 1916.

Dutch Orange is Buff Orange is visible
visible on the orpiment on the natrolite
(top row, right). (bottom row).
76. dutc h or ange . Dutch Orange, the 7 7. buff o ra n g e . Buff Orange, is Sienna
orange yellow of Werner, yellow, with a little
(i). Crest of Golden crested Wren. (i). Streak from the Eye of the King Fisher.
[Goldcrest; Regulus regulus] is gamboge yellow, [Kingfisher; Alcedo atthis] Dutch orange.
(ii). Common Marigold. [Calendula] Seedpod of Spindle tree.
[European spindle; Euonymus europaeus]
with carmine red. [W] (ii).
(iii).
Stamina of the large White Cistus. [Cistus]
Natrolite. [Silicate mineral]
(iii). Streak of Red Orpiment. [Sulphide mineral]
2 19.
veg etable .
veg etable .
animal.
animal.
2 1 8.
a n ima l.
Europe, Vol. 2, 1832–37. John Gould, Birds
Dutch Orange is visible of Great Britain,
on the crest feathers Vol. 2, 1862–73.
of the goldcrest. Buff Orange is
visible on the
v e geta bl e . feathers around the
A. Mentz and C. H. eye of the kingfisher.
Ostenfeld, Billeder
Vol. 1, 1917. Robert Sweet,
Dutch Orange is Cistineae, 1830.
visible on the Buff Orange is visible
seedpod of the on the stamina of
European spindle. the cistus.
Leonard Spencer, Leonard Spencer,
The World’s The World’s
min e r al.
min e r al.
Minerals, 1916. Minerals, 1916.

Dutch Orange is Buff Orange is visible
visible on the orpiment on the natrolite
(top row, right). (bottom row).
78. or pim e nt or a nge . Orpiment Orange, the 7 9. brown ish o ra n g e . Brownish Orange, is
characteristic colour, orpiment orange, with
(i). The Neck Ruff of the Golden Pheasant. (i). Eyes of the largest Flesh Fly. [Sarcophagidae]
[Chrysolophus pictus] Belly of the Warty Newt. is about equal parts of (ii). Style of the Orange Lily. [Lilium bulbiferum] a little hyacinth red, and
(ii).
[Great crested newt; Triturus cristatus]
Indian Cress. [Garden nasturtium; Tropaeolum majus]
gamboge yellow and (iii). Dark Brazilian Topaz. [Silicate mineral]
a small quantity of light
(iii). arterial blood red. chesnut brown.
221.
veg etable .
animal.
animal.
2 2 0.
a n ima l.
John Reeves, An i m a l .
Chrysolophus pictus, John Curtis, British
watercolour, c. 1812–31. Entomology, 1840.
Orpiment Orange is Brownish Orange
visible on the neck is visible on the
ruff feathers of the eyes of the flesh fly.
golden pheasant.
Vegeta b l e .
v e geta bl e . John Lindley,
Henriette Antoinette Edwards’s Botanical
Vincent, Études de Register, 1829–47.
fleurs et de fruits, 1820. Brownish Orange
Orpiment Orange is is visible on the
visible on the petals style of the lily.
of the garden
nasturtium. M i n er a l .
Louis Simonin,
min e r a l. Underground
James Sowerby, Life, 1869.
ve g etab le .
British Mineralogy, Brownish Orange is

min e r al.
min e r al.
Vol. 1, 1802–17. found on the topaz

Orpiment Orange (centre row). The
is visible on the topaz is embedded
carbonate of lime.* within rock crystal.
78. or pim e nt or a nge . Orpiment Orange, the 7 9. brown ish o ra n g e . Brownish Orange, is
characteristic colour, orpiment orange, with
(i). The Neck Ruff of the Golden Pheasant. (i). Eyes of the largest Flesh Fly. [Sarcophagidae]
[Chrysolophus pictus] Belly of the Warty Newt. is about equal parts of (ii). Style of the Orange Lily. [Lilium bulbiferum] a little hyacinth red, and
(ii).
[Great crested newt; Triturus cristatus]
Indian Cress. [Garden nasturtium; Tropaeolum majus]
gamboge yellow and (iii). Dark Brazilian Topaz. [Silicate mineral]
a small quantity of light
(iii). arterial blood red. chesnut brown.
221.
veg etable .
animal.
animal.
2 2 0.
a n ima l.
John Reeves, An i m a l .
Chrysolophus pictus, John Curtis, British
watercolour, c. 1812–31. Entomology, 1840.
Orpiment Orange is Brownish Orange
visible on the neck is visible on the
ruff feathers of the eyes of the flesh fly.
golden pheasant.
Vegeta b l e .
v e geta bl e . John Lindley,
Henriette Antoinette Edwards’s Botanical
Vincent, Études de Register, 1829–47.
fleurs et de fruits, 1820. Brownish Orange
Orpiment Orange is is visible on the
visible on the petals style of the lily.
of the garden
nasturtium. M i n er a l .
Louis Simonin,
min e r a l. Underground
James Sowerby, Life, 1869.
ve g etab le .
British Mineralogy, Brownish Orange is

min e r al.
min e r al.
Vol. 1, 1802–17. found on the topaz

Orpiment Orange (centre row). The
is visible on the topaz is embedded
carbonate of lime.* within rock crystal.
80. r e d d is h or ange . Reddish Orange, is buff 81 . deep reddi sh o ra n g e . Deep Reddish Orange,
orange mixed with a is Dutch orange mixed
(i). Lower Wings of Tyger Moth. [Tiger moth; Arctia caja] (i). Gold Fish lustre abstracted. [Goldfish; Carassius auratus]
(ii). Hemimeris. [Hemimeris] Buff Hibiscus. [Hibiscus] considerable portion (ii). Scarlet Leadington Apple. [Malus domestica] with much scarlet red.
(iii).
of tile red. (iii).
2 2 3.
animal.
animal.
222.
An i m a l .
a n ima l. Friedrich Johann
Friedrich Johann Bertuch, Bilderbuch
Bertuch, Bilderbuch für Kinder, 1802.
für Kinder, 1802. Deep Reddish Orange
Reddish Orange is is visible on the lustre
visible on the lower on the scales of the
wings of the tiger goldfish (bottom left).
moth (top row).
Vegeta b l e .
v e geta bl e . Charles McIntosh,
Lena Lowis, Familiar Flora and Pomona,
Indian Flowers, 1878. 1829.
Reddish Orange is Deep Reddish Orange
visible on the petals is visible on the skin
of the hibiscus. of the apple.
v eg etab le .
ve g etab le .
James Sowerby, James Sowerby,

mi n era l.
min e r al.
Exotic Mineralogy, 1811. Exotic Mineralogy, 1811.
visible on the is visible on the lead
polyhalite.* sulphide.*
80. r e d d is h or ange . Reddish Orange, is buff 81 . deep reddi sh o ra n g e . Deep Reddish Orange,
orange mixed with a is Dutch orange mixed
(i). Lower Wings of Tyger Moth. [Tiger moth; Arctia caja] (i). Gold Fish lustre abstracted. [Goldfish; Carassius auratus]
(ii). Hemimeris. [Hemimeris] Buff Hibiscus. [Hibiscus] considerable portion (ii). Scarlet Leadington Apple. [Malus domestica] with much scarlet red.
(iii).
of tile red. (iii).
2 2 3.
animal.
animal.
222.
An i m a l .
a n ima l. Friedrich Johann
Friedrich Johann Bertuch, Bilderbuch
Bertuch, Bilderbuch für Kinder, 1802.
für Kinder, 1802. Deep Reddish Orange
Reddish Orange is is visible on the lustre
visible on the lower on the scales of the
wings of the tiger goldfish (bottom left).
moth (top row).
Vegeta b l e .
v e geta bl e . Charles McIntosh,
Lena Lowis, Familiar Flora and Pomona,
Indian Flowers, 1878. 1829.
visible on the petals is visible on the skin
of the hibiscus. of the apple.
v eg etab le .
ve g etab le .
James Sowerby, James Sowerby,

mi n era l.
min e r al.
Exotic Mineralogy, 1811. Exotic Mineralogy, 1811.
visible on the is visible on the lead
polyhalite.* sulphide.*
4. On e f o r al l?
Werner’s N o me n c l at ur e o f
Colou rs as a ge n e r al stan dar d
of colou r a n d i t s part i c ul ar
use i n me di c i n e .
4 . O N E F O R A L L? W E R N E R’S N O M E N C L AT U R E O F C O LOU R S A S A G E N E R A L STA N DA R D.
2 2 5.
Morbid anatomy and colour tables for inflammation and skin diseases. 1
by André karlic zek.
2
3
4
Werner’s Nomenclature of Colours by Patrick overlooked by scientists, and Syme’s book too
Syme (1774–1845) was one of the most popular might have been barely noticed as a standard
and widely used systems of colour reference in work on colour and languished in obscurity if it
the 19th century and is still highly appreciated had appeared a century before, for the simple
today.1 Published in 1814, this small book, with reason that at that time there was no call for it.
its 108 colour swatches (110 in the second Patrick Syme referred to this himself in
edition of 1821), is neither the first nor the most his preface, writing that specifying a colour is
exhaustive of its kind, but in the development always useful if the colour of an object is to be
of the standardization of natural colours it described exactly, but only becomes necessary
marks a high point. Despite its meticulous ‘where colour forms a character’. Instead of
workmanship, however, the success of Werner’s the colour of a plant or animal being relevant 5
Nomenclature of Colours was not assured. per se, it was necessary for it to be recognized
It could be argued that if it had been published as an essential characteristic by scientists,
around 100 years earlier, in all probability it which in turn gave rise to a need for standards
6
would have shared the same fate as A Catalogue of colour reference. The requirement for a
of Simple and Mixt Colours 2 of 1686, by the scientific determination of colour first evolved
English naturalist Richard Waller (c. 1660–1715) in the second half of the 18th century. Colour
– the earliest known attempt to establish a gradually became a determining, rather
general standard of colour reference for the than a secondary character, as well as being
224.
scientific description of plants and animals. susceptible to analytical measurement. This aorta. heart. inferior vena cava.
Waller had learnt of the basic concept of colour in turn relied on two connected developments. 1 2 3
78. Orpiment Orange. 75. Cream Yellow. 30. Flax-flower Blue
nomenclature and samples from the Swedish The first was the classification of nature
miniature painter Elias Brenner (1647–1717), following the work of Carl Linnaeus (1707–1778). left kidney. sartorius. thigh skin.
and his own table, with text in both English In his Systema naturae of 1735 he divided all 4 5 6
86. Aurora Red. 80. Reddish Orange. 88. Flesh Red.
and Latin, provided instructions on how to natural things into three kingdoms – animal,
reproduce the colours by mixing blue, red and vegetable and mineral – and then, according i.
yellow. Waller’s treatise seems to have been to their common features and differences,
(i). Marc Jean Bourgery, Traité complet de l’anatomie

de l’homme, 1831–54. Anantomical drawing showing
the blood vessels and organs of the thorax and abdomen.
4. On e f o r al l?
Werner’s N o me n c l at ur e o f
Colou rs as a ge n e r al stan dar d
of colou r a n d i t s part i c ul ar
use i n me di c i n e .
2 2 5.
Morbid anatomy and colour tables for inflammation and skin diseases. 1
by André karlic zek.
2
3
4
Werner’s Nomenclature of Colours by Patrick overlooked by scientists, and Syme’s book too
Syme (1774–1845) was one of the most popular might have been barely noticed as a standard
and widely used systems of colour reference in work on colour and languished in obscurity if it
the 19th century and is still highly appreciated had appeared a century before, for the simple
today.1 Published in 1814, this small book, with reason that at that time there was no call for it.
its 108 colour swatches (110 in the second Patrick Syme referred to this himself in
edition of 1821), is neither the first nor the most his preface, writing that specifying a colour is
exhaustive of its kind, but in the development always useful if the colour of an object is to be
of the standardization of natural colours it described exactly, but only becomes necessary
marks a high point. Despite its meticulous ‘where colour forms a character’. Instead of
workmanship, however, the success of Werner’s the colour of a plant or animal being relevant 5
Nomenclature of Colours was not assured. per se, it was necessary for it to be recognized
It could be argued that if it had been published as an essential characteristic by scientists,
around 100 years earlier, in all probability it which in turn gave rise to a need for standards
6
would have shared the same fate as A Catalogue of colour reference. The requirement for a
of Simple and Mixt Colours 2 of 1686, by the scientific determination of colour first evolved
English naturalist Richard Waller (c. 1660–1715) in the second half of the 18th century. Colour
– the earliest known attempt to establish a gradually became a determining, rather
general standard of colour reference for the than a secondary character, as well as being
224.
scientific description of plants and animals. susceptible to analytical measurement. This aorta. heart. inferior vena cava.
Waller had learnt of the basic concept of colour in turn relied on two connected developments. 1 2 3
78. Orpiment Orange. 75. Cream Yellow. 30. Flax-flower Blue
nomenclature and samples from the Swedish The first was the classification of nature
miniature painter Elias Brenner (1647–1717), following the work of Carl Linnaeus (1707–1778). left kidney. sartorius. thigh skin.
and his own table, with text in both English In his Systema naturae of 1735 he divided all 4 5 6
86. Aurora Red. 80. Reddish Orange. 88. Flesh Red.
and Latin, provided instructions on how to natural things into three kingdoms – animal,
reproduce the colours by mixing blue, red and vegetable and mineral – and then, according i.
yellow. Waller’s treatise seems to have been to their common features and differences,
(i). Marc Jean Bourgery, Traité complet de l’anatomie

de l’homme, 1831–54. Anantomical drawing showing
the blood vessels and organs of the thorax and abdomen.
organized them into a system of classes, orders, system that addresses the needs of the natural
genera and species. In the tenth edition of his scientist in describing the different colours
work (1758–59), he introduced the system of found in the three kingdoms of nature must
binomial nomenclature, still in use today, by be much more complex if the demands of both
which living organisms are classified by genus specific scientific fields and the arts have to be
and species names.3 Second was the analytical accommodated. The more all-encompassing
quantification of nature through the use and subdivided a colour reference system is,
of instruments. the longer it takes to find and identify a distinct
2 2 7.
In the developing scientific thought of the colour tone. The potential for uncertainty is
18th century, different colour usage contexts increased when many hundreds of tones are

can be identified: general colour systems, distributed over numerous pages of a book,
colour reference systems, and colour scales making it impossible to gain an overview.
that elucidate particular colour reference A disadvantage of a standardization of colour
systems. Colour reference systems consist of a such as Werner’s Nomenclature of Colours that
combination of colour names and swatches to is directed not only towards natural scientists
provide a standard with reference to a visual but also to a wider audience is that it runs the
example of each colour. This ensures a reliable, risk of prioritizing a greater variety of colour
verifiable and comparative description of the tones over a subject-specific usefulness.7 In
colours of natural things. Such systems can be this Syme is not alone. In 1782, the artist and
directed towards the requirements of individual teacher Christian Friedrich Prange (1756–1836)
areas of science – the tones of colour called published a colour lexicon aimed at artists,
for when describing butterflies are different manufacturers and craftsmen, as well as
from those needed for plants and mushrooms, natural scientists, with 4,608 colour samples.
or minerals. Colour scales go beyond a pure This was followed in 1794 by the anonymous
description towards precise measurement. Viennese Farbenkabinet, which contained no
The different tones of colour that make up fewer than 5,000 colour swatches on coloured
a colour scale can determine the mass of a strips of paper pasted into the book, like Syme.
material or the course of certain processes and The question also arises of whether a swatch
their observable transformations. Examples on paper can really give a true impression
include the tables used in urinoscopy, the of colour as compared to objects in nature,
visual analysis of the colour of urine for medical where metallic colours, translucence, sheen
purposes,4 or the cyanometer,5 an instrument and iridescence can affect colour perception.
for measuring the tones of blue in the skies as For colour comparisons mineralogists could
well as determining the mass of opaque particles. use either a reference collection – a ‘Colour-
suite of Minerals’ (see p. 74) – or tiny porcelain
Colour reference systems plates. Comparable natural history collections,
in the natural sciences for example of butterflies, beetles or dried
plants (herbaria), are also well known.
Colour reference systems, of which Werner’s
Nomenclature of Colours is one example, first Colour and the
2 2 6.
appear after 1769 predominantly in German- development of anatomy

speaking areas and in different variants.6 In
addition to colour tables that include the most One factor relevant to the use of colour swatches
frequently occurring colour tones found in on paper in medicine is how the subject,
nature, there are also extensive colour atlases, and anatomy in particular, has been taught
sometimes with more than 5,400 colour historically. Anatomy, the knowledge of the
i. samples, which provide colour standards for human body and its illnesses through cutting
general use and not just for natural history. A open bodies (from the Greek: v /aná ‘open’
(i). Colour swatches applied to Meissen porcelain plates, from the
collection of Abraham Gottlob Werner, c. 1814–17. The plates are
described in the appendix to the 1823 catalogue of Werner’s ‘external
characteristics’ mineral collection, and it is likely he used them as
a tool for teaching his pupils about colour gradation. There are 249
tiles in total and they are approximately 5 × 3.9 cm (2 × 1 1/2 in.) in size.
organized them into a system of classes, orders, system that addresses the needs of the natural
genera and species. In the tenth edition of his scientist in describing the different colours
work (1758–59), he introduced the system of found in the three kingdoms of nature must
binomial nomenclature, still in use today, by be much more complex if the demands of both
which living organisms are classified by genus specific scientific fields and the arts have to be
and species names.3 Second was the analytical accommodated. The more all-encompassing
quantification of nature through the use and subdivided a colour reference system is,
of instruments. the longer it takes to find and identify a distinct
2 2 7.
In the developing scientific thought of the colour tone. The potential for uncertainty is
18th century, different colour usage contexts increased when many hundreds of tones are

can be identified: general colour systems, distributed over numerous pages of a book,
colour reference systems, and colour scales making it impossible to gain an overview.
that elucidate particular colour reference A disadvantage of a standardization of colour
systems. Colour reference systems consist of a such as Werner’s Nomenclature of Colours that
combination of colour names and swatches to is directed not only towards natural scientists
provide a standard with reference to a visual but also to a wider audience is that it runs the
example of each colour. This ensures a reliable, risk of prioritizing a greater variety of colour
verifiable and comparative description of the tones over a subject-specific usefulness.7 In
colours of natural things. Such systems can be this Syme is not alone. In 1782, the artist and
directed towards the requirements of individual teacher Christian Friedrich Prange (1756–1836)
areas of science – the tones of colour called published a colour lexicon aimed at artists,
for when describing butterflies are different manufacturers and craftsmen, as well as
from those needed for plants and mushrooms, natural scientists, with 4,608 colour samples.
or minerals. Colour scales go beyond a pure This was followed in 1794 by the anonymous
description towards precise measurement. Viennese Farbenkabinet, which contained no
The different tones of colour that make up fewer than 5,000 colour swatches on coloured
a colour scale can determine the mass of a strips of paper pasted into the book, like Syme.
material or the course of certain processes and The question also arises of whether a swatch
their observable transformations. Examples on paper can really give a true impression
include the tables used in urinoscopy, the of colour as compared to objects in nature,
visual analysis of the colour of urine for medical where metallic colours, translucence, sheen
purposes,4 or the cyanometer,5 an instrument and iridescence can affect colour perception.
for measuring the tones of blue in the skies as For colour comparisons mineralogists could
well as determining the mass of opaque particles. use either a reference collection – a ‘Colour-
suite of Minerals’ (see p. 74) – or tiny porcelain
Colour reference systems plates. Comparable natural history collections,
in the natural sciences for example of butterflies, beetles or dried
plants (herbaria), are also well known.
Colour reference systems, of which Werner’s
Nomenclature of Colours is one example, first Colour and the
2 2 6.
appear after 1769 predominantly in German- development of anatomy

speaking areas and in different variants.6 In
addition to colour tables that include the most One factor relevant to the use of colour swatches
frequently occurring colour tones found in on paper in medicine is how the subject,
nature, there are also extensive colour atlases, and anatomy in particular, has been taught
sometimes with more than 5,400 colour historically. Anatomy, the knowledge of the
i. samples, which provide colour standards for human body and its illnesses through cutting
general use and not just for natural history. A open bodies (from the Greek: v /aná ‘open’
(i). Colour swatches applied to Meissen porcelain plates, from the
collection of Abraham Gottlob Werner, c. 1814–17. The plates are
described in the appendix to the 1823 catalogue of Werner’s ‘external
characteristics’ mineral collection, and it is likely he used them as
a tool for teaching his pupils about colour gradation. There are 249
tiles in total and they are approximately 5 × 3.9 cm (2 × 1 1/2 in.) in size.
and /tomé ‘cut’), was forbidden, or at least recommends his book as an important aid in
strongly disapproved of, from the 3rd century ‘Morbid Anatomy’, that is pathological anatomy,
bc until the Renaissance in the West, especially pointing out that conditions from inflammation
under the influence of Christian moral beliefs. to gangrene are ‘strikingly marked’ by colours.11
Following renewed interest in the physical Morbid, or pathological, anatomy – concerned
structure of the body during the Renaissance, with disease – like the systematic classification
anatomy again became a focus of research of natural history, was a relatively new scientific
from the 16th century on.8 Public anatomical field at the time.12 Methods were essentially
2 2 9.
demonstrations gave the dissecting doctors based on a comparison of natural objects, in the
and their audiences direct experience and case of pathological anatomy the diseased and

knowledge of the actual appearance of human healthy body. For such comparisons, a colour
organs, building on the information from the standard was essential because visual aspects,
ancient physicians and medical authorities. in addition to changes in the physical form of
A new tradition of illustrated anatomical the organs, as well as consistency and smell (and
books also appeared at this time, including to some extent taste), are significant and can
De humani corporis fabrica (1543) by Andreas be observed and recorded. Nevertheless, such
Vesalius (1514–1564). They were very elaborate changes should not be looked at in isolation –
productions and therefore expensive. In colour is not by itself a representative aspect
addition, they did not simply depict what was and has to be considered in relation to the
seen on the dissection table, but constructed overall appearance of the body.
ideal bodies in accordance with the developing Around 1800, the ability to distinguish
concept of the human body as machine.9 Such normal from abnormal, that is between health
anatomical books were also always uncoloured. and sickness, was by no means established. As i. ii.
The physical structure of the organs was thought medicine was moving away from the ancient
to be the most essential aspect, and colour as theory of the four humours in the relatively
an independent characteristic was considered new direction of pathology based on physical
unreliable because of its great variability. anatomy, there were relatively few corpses
Colour was treated as a secondary feature, available for examination whose individual,
for example as part of general presentations and family, medical histories were known. The
before the advent of clinical pictures. Lectures normal condition of the organs themselves as
in anatomy were given on the basis of the a standard against which changes could be
great works of Vesalius or Justus Christian compared had not yet been definitively fixed,
Loder (1753–1832),10 but were supplemented by and neither the range of variation of healthy
sections, practical anatomical exercises and organ growth, nor the natural changes that
demonstrations of anatomical preparations, as occurred with age or as a result of the influence
well as the use of moulages – models and casts of the environment and life conditions, as
taken from human body parts – in order to give well as degenerative processes after death, had
students first-hand experience. been determined.13 Given this, in the first half
of the 19th century colour played no great
The role of Werner’s part in theoretical concepts of medicine.
2 2 8.
Nomenclature in medicine Moreover, any attempt at a precise analysis of

colour diagnostics using a paper-based colour
What role, then, did Werner’s Nomenclature standard during an autopsy, with corpses
of Colours have in medicine? Syme had been usually stored in cool vaults, would have been
appointed painter to the Wernerian Natural extremely difficult.
History Society, whose members included It is therefore not surprising to find that
many respected artists and scientists – surgeons in the area of pathological anatomy, at least, iii. iv.
and anatomists among them. He specifically Werner’s Nomenclature of Colours did not find
(i). Robert Bénard, A human skeleton, seen from the front, engraving, 1779.
(ii). Robert Bénard, A human skeleton, seen from the back, engraving, 1779.
(iii). Muscles 3, Andreas Vesalius Bruxellensis, De humani corporis fabrica libri septem, 1543.
(iv). Muscles 4, Andreas Vesalius Bruxellensis, De humani corporis fabrica libri septem, 1543.
and /tomé ‘cut’), was forbidden, or at least recommends his book as an important aid in
strongly disapproved of, from the 3rd century ‘Morbid Anatomy’, that is pathological anatomy,
bc until the Renaissance in the West, especially pointing out that conditions from inflammation
under the influence of Christian moral beliefs. to gangrene are ‘strikingly marked’ by colours.11
Following renewed interest in the physical Morbid, or pathological, anatomy – concerned
structure of the body during the Renaissance, with disease – like the systematic classification
anatomy again became a focus of research of natural history, was a relatively new scientific
from the 16th century on.8 Public anatomical field at the time.12 Methods were essentially
2 2 9.
demonstrations gave the dissecting doctors based on a comparison of natural objects, in the
and their audiences direct experience and case of pathological anatomy the diseased and

knowledge of the actual appearance of human healthy body. For such comparisons, a colour
organs, building on the information from the standard was essential because visual aspects,
ancient physicians and medical authorities. in addition to changes in the physical form of
A new tradition of illustrated anatomical the organs, as well as consistency and smell (and
books also appeared at this time, including to some extent taste), are significant and can
De humani corporis fabrica (1543) by Andreas be observed and recorded. Nevertheless, such
Vesalius (1514–1564). They were very elaborate changes should not be looked at in isolation –
productions and therefore expensive. In colour is not by itself a representative aspect
addition, they did not simply depict what was and has to be considered in relation to the
seen on the dissection table, but constructed overall appearance of the body.
ideal bodies in accordance with the developing Around 1800, the ability to distinguish
concept of the human body as machine.9 Such normal from abnormal, that is between health
anatomical books were also always uncoloured. and sickness, was by no means established. As i. ii.
The physical structure of the organs was thought medicine was moving away from the ancient
to be the most essential aspect, and colour as theory of the four humours in the relatively
an independent characteristic was considered new direction of pathology based on physical
unreliable because of its great variability. anatomy, there were relatively few corpses
Colour was treated as a secondary feature, available for examination whose individual,
for example as part of general presentations and family, medical histories were known. The
before the advent of clinical pictures. Lectures normal condition of the organs themselves as
in anatomy were given on the basis of the a standard against which changes could be
great works of Vesalius or Justus Christian compared had not yet been definitively fixed,
Loder (1753–1832),10 but were supplemented by and neither the range of variation of healthy
sections, practical anatomical exercises and organ growth, nor the natural changes that
demonstrations of anatomical preparations, as occurred with age or as a result of the influence
well as the use of moulages – models and casts of the environment and life conditions, as
taken from human body parts – in order to give well as degenerative processes after death, had
students first-hand experience. been determined.13 Given this, in the first half
of the 19th century colour played no great
The role of Werner’s part in theoretical concepts of medicine.
2 2 8.
Nomenclature in medicine Moreover, any attempt at a precise analysis of

colour diagnostics using a paper-based colour
What role, then, did Werner’s Nomenclature standard during an autopsy, with corpses
of Colours have in medicine? Syme had been usually stored in cool vaults, would have been
appointed painter to the Wernerian Natural extremely difficult.
History Society, whose members included It is therefore not surprising to find that
many respected artists and scientists – surgeons in the area of pathological anatomy, at least, iii. iv.
and anatomists among them. He specifically Werner’s Nomenclature of Colours did not find
(i). Robert Bénard, A human skeleton, seen from the front, engraving, 1779.
(ii). Robert Bénard, A human skeleton, seen from the back, engraving, 1779.
(iii). Muscles 3, Andreas Vesalius Bruxellensis, De humani corporis fabrica libri septem, 1543.
(iv). Muscles 4, Andreas Vesalius Bruxellensis, De humani corporis fabrica libri septem, 1543.
any great resonance or application, despite The reference to the specific colour sample
the fact that it would have been useful for the in Syme is thus used to give the reader a more
comparison of colours and colour descriptions, accurate impression of the brown colour of
and there was certainly demand for it. this substance in the brain, rather than grey
Occasional references to its use by physicians as implied by its name. Since Gordon had
should be seen in the context of the fact that at studied medicine in Edinburgh, and his book
that time natural scientists studied medicine was published by William Blackwood, who also
or philosophy, and there was as yet no specific published Syme, his familiarity with Werner’s
231.
specialist training for botanists and zoologists. Nomenclature of Colours is not surprising.
Such is the case of the Scottish physician John Another context in which Syme’s book

Richardson (1777–1865), who as a naval surgeon was certainly used in medicine is provided
went on numerous expeditions (including with by William Prout (1785–1850) in the field of
John Franklin to the Arctic Ocean) and used urogenital pathology. Prout, who also studied
Werner’s Nomenclature of Colours not in his medicine in Edinburgh, used the colour
work as a physician but for his descriptions of references in 1819 to characterize urinary stones
minerals, plants and animals (see also p. 130). by a specific colour or hue. His use of colours in
this way was markedly different from the colour
Specific uses of Werner’s references found in urinoscopy at the end of
Nomenclature in medicine the Middle Ages (see p. 227), as it was based on
chemical analysis of the constituents, with the
The first clear, concrete use of Werner’s colours providing an accurate reference. Prout
Nomenclature of Colours in medicine is by refers to Werner’s Nomenclature of Colours in
i. ii. the Scottish anatomist John Gordon (1786–1818) describing the colour and consisency of urinary
in 1817. Although he died at the age of only 32, stones, differentiating the exterior (‘wax-
Gordon served as President of the Royal yellow’) and inner (‘wood-brown’) colouring.15
Medical Society and is well known for his In 1821, Prout developed his own colour table
criticism of phrenology, popular in Europe at to characterize urinary sediments without
the time. Around 1800, Franz Joseph Gall (1758– direct reference to Syme. It seems Prout felt
1828), in association with Johann Spurzheim the need to clarify his descriptions with his
(1776–1832), had developed a theory, based on own colour swatches, perhaps because he was
his observations and experiments, that the aware that Werner’s Nomenclature of Colours
mental abilities and character of a person could was not well established or sufficiently familiar
be deduced from the impressions made on the in a specialized medical context for him to be
surface of the skull by the brain. Among other confident that his own readers would follow
objections, Gordon used his neuro-anatomical direct references to it.
knowledge to contradict assumptions about In addition, Prout limited his table to nine
different substances in the brain and refers colour tones which could be displayed on a
to Syme in connection with one in particular: single page, allowing for better ease of use.
Using Werner’s Nomenclature of Colours in such
The Grey Substance.–The term grey, or situations, with its far more extensive colour
2 3 0.
cineritious, which is generally applied to references, would entail having to consult

this substance, is calculated to convey an several different pages and scrolling backwards
inaccurate idea of its colour to those who and forwards, making it less practical. Even so,
have not seen it. Brown is every where its it might be wondered why Prout does not make
predominating hue; and in most parts recourse to Syme’s nomenclature when develop-
it is of that species of Brown, which is ing his own colour swatches, or name him.
iii. iv. called by Werner in his Nomenclature A third example of a usage in a medical
of Colours, Wood-Brown.14 context is illustrated by the Edinburgh-born
(i). W. J. Thomson’s watercolour portrait of anatomist John Gordon.

(ii). Parts of the brain, James Hope, Principles and Illustrations of Morbid Anatomy, 1834.
(iii). Uroscopy wheel, Johannes de Ketham, Fasciculus medicinae, 1491.
(iv). Colour chart for urine sediments, William Prout, An Inquiry into the Nature
and Treatment of Gravel, Calculus, and Other Diseases, 1821.
any great resonance or application, despite The reference to the specific colour sample
the fact that it would have been useful for the in Syme is thus used to give the reader a more
comparison of colours and colour descriptions, accurate impression of the brown colour of
and there was certainly demand for it. this substance in the brain, rather than grey
Occasional references to its use by physicians as implied by its name. Since Gordon had
should be seen in the context of the fact that at studied medicine in Edinburgh, and his book
that time natural scientists studied medicine was published by William Blackwood, who also
or philosophy, and there was as yet no specific published Syme, his familiarity with Werner’s
231.
specialist training for botanists and zoologists. Nomenclature of Colours is not surprising.
Such is the case of the Scottish physician John Another context in which Syme’s book

Richardson (1777–1865), who as a naval surgeon was certainly used in medicine is provided
went on numerous expeditions (including with by William Prout (1785–1850) in the field of
John Franklin to the Arctic Ocean) and used urogenital pathology. Prout, who also studied
Werner’s Nomenclature of Colours not in his medicine in Edinburgh, used the colour
work as a physician but for his descriptions of references in 1819 to characterize urinary stones
minerals, plants and animals (see also p. 130). by a specific colour or hue. His use of colours in
this way was markedly different from the colour
Specific uses of Werner’s references found in urinoscopy at the end of
Nomenclature in medicine the Middle Ages (see p. 227), as it was based on
chemical analysis of the constituents, with the
The first clear, concrete use of Werner’s colours providing an accurate reference. Prout
Nomenclature of Colours in medicine is by refers to Werner’s Nomenclature of Colours in
i. ii. the Scottish anatomist John Gordon (1786–1818) describing the colour and consisency of urinary
in 1817. Although he died at the age of only 32, stones, differentiating the exterior (‘wax-
Gordon served as President of the Royal yellow’) and inner (‘wood-brown’) colouring.15
Medical Society and is well known for his In 1821, Prout developed his own colour table
criticism of phrenology, popular in Europe at to characterize urinary sediments without
the time. Around 1800, Franz Joseph Gall (1758– direct reference to Syme. It seems Prout felt
1828), in association with Johann Spurzheim the need to clarify his descriptions with his
(1776–1832), had developed a theory, based on own colour swatches, perhaps because he was
his observations and experiments, that the aware that Werner’s Nomenclature of Colours
mental abilities and character of a person could was not well established or sufficiently familiar
be deduced from the impressions made on the in a specialized medical context for him to be
surface of the skull by the brain. Among other confident that his own readers would follow
objections, Gordon used his neuro-anatomical direct references to it.
knowledge to contradict assumptions about In addition, Prout limited his table to nine
different substances in the brain and refers colour tones which could be displayed on a
to Syme in connection with one in particular: single page, allowing for better ease of use.
Using Werner’s Nomenclature of Colours in such
The Grey Substance.–The term grey, or situations, with its far more extensive colour
2 3 0.
cineritious, which is generally applied to references, would entail having to consult

this substance, is calculated to convey an several different pages and scrolling backwards
inaccurate idea of its colour to those who and forwards, making it less practical. Even so,
have not seen it. Brown is every where its it might be wondered why Prout does not make
predominating hue; and in most parts recourse to Syme’s nomenclature when develop-
it is of that species of Brown, which is ing his own colour swatches, or name him.
iii. iv. called by Werner in his Nomenclature A third example of a usage in a medical
of Colours, Wood-Brown.14 context is illustrated by the Edinburgh-born
(i). W. J. Thomson’s watercolour portrait of anatomist John Gordon.

(ii). Parts of the brain, James Hope, Principles and Illustrations of Morbid Anatomy, 1834.
(iii). Uroscopy wheel, Johannes de Ketham, Fasciculus medicinae, 1491.
(iv). Colour chart for urine sediments, William Prout, An Inquiry into the Nature
and Treatment of Gravel, Calculus, and Other Diseases, 1821.
optician James Hunter. In 1841 he published a The place of Werner’s Natural Colour of the Iris, First Stage of Transition Stage—increased Third Stage, when lymph
chart of colour transformations to assist in the Nomenclature in the history or of the inflamed Inflammation, before vascularity, and commencing is effused: or in the Sequelæ
portion of it. lympha is effused. effusion of lymph. of the Disease.
diagnosis of inflammations of the iris. Starting of colour reference systems
with the natural colours of the iris, the chart
provides colour tones for various changes That there was an urgent need for standardized
resulting from disease, which also can provide references of colour within medicine was widely
clues to other illnesses such as syphilis. Hunter’s accepted in the first half of the 19th century.
remarks concerning Werner’s Nomenclature Internationally, many authors regretted the
2 3 3.
Purple of a campanula, Black, hornblende black, Dingy green, sap green,
Blue.
are particularly interesting: lack of specific standards that would allow imperial, or plum shade. or greenish black. or grass green.
them to differentiate transformations of

In originally framing the table, I com- colour resulting from illness. The Nuremberg
pared the colours of the inflamed iris dermatologist Heinrich Eichhorn wrote in 1827:
with the standard ones of Werner, and
adopted his nomenclature. I have been A colour table is of inestimable worth Bluish grey, with Basalt black, or
Apple bark green. Yellowish green.
induced, however, to change it partially, for determining skin illnesses, similar to yellow markings. greyish black.
in preparing this paper for the press; what is found in some branches of natural
because, without illustrations, many of history, e.g. botany. It is self-evident
Werner’s names are not easily recognized that such colour tables, if they should
or comprehended; such as ‘pistachio serve their purpose properly, need to be
green, siskin green, broccili brown,’ &c; constructed with considerable diligence
whilst others, such as ‘apple green,’ which and exactitude. It is well known that Basalt black. Brownish black. Chesnut.
resembles the bark, not the fruit; ‘cochineal every exanthema [inflammatory rash]
red,’ which is a reddish brown, and not appears unique in its colours upon the Hazel, wood brown,
light olive, or wax yellow,
an arterial or crimson red, &c. are by no skin; nevertheless, modifications of this according to the depth
means happy, and very apt to mislead. The colour by one and the same exanthema, of the original colour.
practical utility of a correct observation e.g. scarlet fever, occur according
of the changes produced in the iris by to its character: syncopal [fainting], Olive brown. Reddish black. Lighter chesnut, or hazel.
inflammation is considerable, both in the typhoidal, etc.; but it is precisely these
diagnosis, and in the treatment of iritis.16 modifications that are best compared
with a colour table; only in this manner,
Hunter here highlights two difficulties if it is possible, is the greatest perfection
that stand in the way of establishing a colour achieved. How far the novice is able to
Brownish red, Wood brown, or Tawny orange,
reference system that is useful for both general remark on the differences in the colour of Hazel.
or tile red. very light hazel. or amber yellow.
and specific purposes. The first relates to the things, because they spring immediately
names given to the colours that are taken from to his eyes, is well known, and even if he is
a natural object that the colour supposedly sufficiently practised in the differences of
matches (grass green, copper red, lead grey the usual characteristics of the external
etc). If a concept of colour is evoked without forms of skin ailments, the colour chart
a colour swatch, an impression of the colour can be of the greatest use.17 Citron, or more or less
Deep orange. Lighter orange. Light yellow.
of a yellow hue.
is conveyed only when the particular object is
2 32 .
familiar from personal experience. The second Standards of colour designed for universal
problem, especially in medicine, is that an use in every area of science might not meet the
exactly determined tone of colour diagnosis is specific needs of each discipline precisely, but
closely bound up with the correct therapy to be as the above examples demonstrate, Werner’s
applied. Hunter writes that it is unsatisfactory Nomenclature of Colours was clearly used Transparent and
Arterial red. Reddish orange.
Very light, or
nearly colourless. primrose yellow.
to have only an approximate impression of the in a medical context in the first half of the
colour, and that personal observations and 19th century. That Syme’s book circulated i.
experience are still indispensable. widely among scientific and medical circles is
(i). James Hunter’s ‘Table of the more common Changes in the Colour of the
Iris’, 1841, with added illustrations. Hunter’s table describes how different
iris colours may appear at each stage of inflammation. Here medical
illustrations of eyes have been matched to Hunter’s descriptions.
optician James Hunter. In 1841 he published a The place of Werner’s Natural Colour of the Iris, First Stage of Transition Stage—increased Third Stage, when lymph
chart of colour transformations to assist in the Nomenclature in the history or of the inflamed Inflammation, before vascularity, and commencing is effused: or in the Sequelæ
portion of it. lympha is effused. effusion of lymph. of the Disease.
diagnosis of inflammations of the iris. Starting of colour reference systems
with the natural colours of the iris, the chart
provides colour tones for various changes That there was an urgent need for standardized
resulting from disease, which also can provide references of colour within medicine was widely
clues to other illnesses such as syphilis. Hunter’s accepted in the first half of the 19th century.
remarks concerning Werner’s Nomenclature Internationally, many authors regretted the
2 3 3.
Purple of a campanula, Black, hornblende black, Dingy green, sap green,
Blue.
are particularly interesting: lack of specific standards that would allow imperial, or plum shade. or greenish black. or grass green.
them to differentiate transformations of

In originally framing the table, I com- colour resulting from illness. The Nuremberg
pared the colours of the inflamed iris dermatologist Heinrich Eichhorn wrote in 1827:
with the standard ones of Werner, and
adopted his nomenclature. I have been A colour table is of inestimable worth Bluish grey, with Basalt black, or
Apple bark green. Yellowish green.
induced, however, to change it partially, for determining skin illnesses, similar to yellow markings. greyish black.
in preparing this paper for the press; what is found in some branches of natural
because, without illustrations, many of history, e.g. botany. It is self-evident
Werner’s names are not easily recognized that such colour tables, if they should
or comprehended; such as ‘pistachio serve their purpose properly, need to be
green, siskin green, broccili brown,’ &c; constructed with considerable diligence
whilst others, such as ‘apple green,’ which and exactitude. It is well known that Basalt black. Brownish black. Chesnut.
resembles the bark, not the fruit; ‘cochineal every exanthema [inflammatory rash]
red,’ which is a reddish brown, and not appears unique in its colours upon the Hazel, wood brown,
light olive, or wax yellow,
an arterial or crimson red, &c. are by no skin; nevertheless, modifications of this according to the depth
means happy, and very apt to mislead. The colour by one and the same exanthema, of the original colour.
practical utility of a correct observation e.g. scarlet fever, occur according
of the changes produced in the iris by to its character: syncopal [fainting], Olive brown. Reddish black. Lighter chesnut, or hazel.
inflammation is considerable, both in the typhoidal, etc.; but it is precisely these
diagnosis, and in the treatment of iritis.16 modifications that are best compared
with a colour table; only in this manner,
Hunter here highlights two difficulties if it is possible, is the greatest perfection
that stand in the way of establishing a colour achieved. How far the novice is able to
Brownish red, Wood brown, or Tawny orange,
reference system that is useful for both general remark on the differences in the colour of Hazel.
or tile red. very light hazel. or amber yellow.
and specific purposes. The first relates to the things, because they spring immediately
names given to the colours that are taken from to his eyes, is well known, and even if he is
a natural object that the colour supposedly sufficiently practised in the differences of
matches (grass green, copper red, lead grey the usual characteristics of the external
etc). If a concept of colour is evoked without forms of skin ailments, the colour chart
a colour swatch, an impression of the colour can be of the greatest use.17 Citron, or more or less
Deep orange. Lighter orange. Light yellow.
of a yellow hue.
is conveyed only when the particular object is
2 32 .
familiar from personal experience. The second Standards of colour designed for universal
problem, especially in medicine, is that an use in every area of science might not meet the
exactly determined tone of colour diagnosis is specific needs of each discipline precisely, but
closely bound up with the correct therapy to be as the above examples demonstrate, Werner’s
applied. Hunter writes that it is unsatisfactory Nomenclature of Colours was clearly used Transparent and
Arterial red. Reddish orange.
Very light, or
nearly colourless. primrose yellow.
to have only an approximate impression of the in a medical context in the first half of the
colour, and that personal observations and 19th century. That Syme’s book circulated i.
experience are still indispensable. widely among scientific and medical circles is
(i). James Hunter’s ‘Table of the more common Changes in the Colour of the
Iris’, 1841, with added illustrations. Hunter’s table describes how different
iris colours may appear at each stage of inflammation. Here medical
illustrations of eyes have been matched to Hunter’s descriptions.
also certain. The particular role of scientific inks became available.20 As a result, not only
societies such as the Wernerian Natural History could colour swatch books be produced
Society, with which Syme was associated, was economically in very large quantities, but the
one reason for its successful reception, along chemical standardization of the new printing
with the pre-eminent position of Edinburgh inks also meant that the colour swatches were
in the field of medicine around 1800 and the identical and infinitely reproducible. It thus
skills of the publisher William Blackwood, who became much easier for a colour reference
facilitated the distribution of the book through system to become recognized and more widely
2 3 5.
donations to libraries. An entry in the library distributed, which in turn brought greater
catalogue of the Medical Society of Edinburgh international and interdisciplinary use.

shows that Blackwood had already presented a Changes to terminology also occurred.
copy there in 1814, the year of its publication.18 Later colour standards used mostly numerical
Certain technical limitations stood in references, as in the 1865 anthropological colour
the way of the creation and widespread use chart for the description of skin and eye colours21
of general standards of colour at the time. It by Paul Broca (1824–1880), or straightforward
was only in the second half of the 19th century colour names, as in the 1877 international
with the development of synthetic dyes and colour scale of Otto Radde (1835–1908).22
colours and improved printing methods that In its nature and scale, Patrick Syme’s
any increased distribution of identical colour Werner’s Nomenclature of Colours perfectly
swatches could be assured. The development corresponded with the needs of natural
of industrial colour printing (chromo science and the technical and productive
lithography) in 1837 by Godefroy Engelmann possibilities of the times. Its success,
(1788–1839) was one necessary advance, together despite the lack of modern colour inks
with the lithographic printing press (1871).19 and industrial printing, makes it even
And with the discovery of organic coal tar more remarkable, and ensures its place
colours a completely new range of affordable in the history of scientific colour standards.
n ot e s — (1). For detailed information see: Karliczek 2013b; Karliczek 2016; Karliczek 2018. An extensive list of colour
reference systems can be found in the catalogue section of Karliczek and Schwarz (eds) 2016. A good overview of colour
reference systems can be found in Kuehni and Schwarz 2008; Spillmann 2009. (2). Waller 1686. On Waller see also: Kusukawa
2015. (3). See Linnaeus 1735. (4). Urinoscopy is a tradition that reaches back into antiquity. Prior to the 19th century it was
closely connected with the Hippocratic notion of the four humours (black bile, yellow bile, phlegm and blood). The tones
of colour used since the Middle Ages and the urinoscopic colour tables are not actual measurements of values, but rather
indices for certain illnesses on the basis of an accepted but not quantitatively and analytically determined excess of fluids.
(5). See also: Breidbach and Karliczek 2011; Karliczek 2013b. (6). Jacob Christian Schäffer in 1769 with his Entwurf einer
allgemeinen Farbenverein set out the formal rules for a useful scientific reference system. In essence this consists of a
colour pattern that represents a consecutively numbered table with different tones of colour, together with an index of
names that refers to the coloured pattern with an ordinal number and thereby provides a concrete visual impression of
colour with its colour name. With recourse to Schäffer, the rules and major colours of Werner in his Kennzeichen of 1774
were taken up and circulated by his pupils. Schäffer 1769. Also relevant in this context is Giovanni Antonio Scopoli (1723–1788),
234.
who already in 1763 in his Entomologia carniolica had undertaken an attempt at the standardization of colour with the use
of rotating and different coloured discs; his attempt, however, has not been acknowledged. See Karliczek 2016, pp. 300–1.
(7). Prange 1782; Anonymous 1794. (8). For an overview of the history of anatomy see: Gerabek et al. 2007. (9). See Karliczek
2014. (10). Tabvlae anatomicae quas ad illvstrandam hvmani corporis fabricam, Weimar (1794–1803). (11). Syme 1814, p. 23.
Giulia Simonini has noted that Syme’s intended target audience was connected to the composition of the Wernerian
Natural History Society in Edinburgh: ‘This decision was certainly suggested by the desire to reach a greater audience,
and it might have been encouraged by the presence of many experts in different fields within the Wernerian Society itself.
The Society numbered among its members renowned geologists, physicists, engineers, botanists, zoologists, explorers,
surgeons, anatomists and also artists.’ Simonini 2018. (12). For anatomical pathology, particularly the transition from
i.
the theory of humours to a knowledge of anatomy deduced from actual bodily parts, Giovanni Battista Morgagni’s work
is considered fundamental: De sedibus et causis morborum per anatomen indagatis (1767). (13). See in particular Karliczek
2014. (14). Gordon 1817, pp. 28–29. (15). Prout 1819. (16). Hunter 1841. (17). Eichhorn 1827. (18). See: Medical Society of Edinburgh,
1823, Catalogue of the library of the Medical Society of Edinburgh, distributed in two parts ... : [with Appendices, 1823–
(i). Colour chart for the description of human colours in anthropology, Paul Broca, 26 and 1823–27.] : Edinburgh Medical Society. Hay & Gall, p. 213. (19). For a short history of colour printing before 1800,
Instructions générales pour les recherches et observations anthropologiques, see Grimm, Kleine-Tebbe and Stijnman 2011. (20). Engel 2009. (21). Broca 1865. For a general overview of the use of colour
1865. Broca was a French physician known for his research on the brain, standards for describing human colours, see Karliczek and Schwarz, ‘Mit Haut und Haar. Vom Merkmal zum Stigma –
as well as for contributing to the development of anthropometry. Farbbestimmungsmethoden am Menschen’ in Karliczek and Schwarz 2016, pp. 13–62. (22). Radde 1877.
also certain. The particular role of scientific inks became available.20 As a result, not only
societies such as the Wernerian Natural History could colour swatch books be produced
Society, with which Syme was associated, was economically in very large quantities, but the
one reason for its successful reception, along chemical standardization of the new printing
with the pre-eminent position of Edinburgh inks also meant that the colour swatches were
in the field of medicine around 1800 and the identical and infinitely reproducible. It thus
skills of the publisher William Blackwood, who became much easier for a colour reference
facilitated the distribution of the book through system to become recognized and more widely
2 3 5.
donations to libraries. An entry in the library distributed, which in turn brought greater
catalogue of the Medical Society of Edinburgh international and interdisciplinary use.

shows that Blackwood had already presented a Changes to terminology also occurred.
copy there in 1814, the year of its publication.18 Later colour standards used mostly numerical
Certain technical limitations stood in references, as in the 1865 anthropological colour
the way of the creation and widespread use chart for the description of skin and eye colours21
of general standards of colour at the time. It by Paul Broca (1824–1880), or straightforward
was only in the second half of the 19th century colour names, as in the 1877 international
with the development of synthetic dyes and colour scale of Otto Radde (1835–1908).22
colours and improved printing methods that In its nature and scale, Patrick Syme’s
any increased distribution of identical colour Werner’s Nomenclature of Colours perfectly
swatches could be assured. The development corresponded with the needs of natural
of industrial colour printing (chromo science and the technical and productive
lithography) in 1837 by Godefroy Engelmann possibilities of the times. Its success,
(1788–1839) was one necessary advance, together despite the lack of modern colour inks
with the lithographic printing press (1871).19 and industrial printing, makes it even
And with the discovery of organic coal tar more remarkable, and ensures its place
colours a completely new range of affordable in the history of scientific colour standards.
n ot e s — (1). For detailed information see: Karliczek 2013b; Karliczek 2016; Karliczek 2018. An extensive list of colour
reference systems can be found in the catalogue section of Karliczek and Schwarz (eds) 2016. A good overview of colour
reference systems can be found in Kuehni and Schwarz 2008; Spillmann 2009. (2). Waller 1686. On Waller see also: Kusukawa
2015. (3). See Linnaeus 1735. (4). Urinoscopy is a tradition that reaches back into antiquity. Prior to the 19th century it was
closely connected with the Hippocratic notion of the four humours (black bile, yellow bile, phlegm and blood). The tones
of colour used since the Middle Ages and the urinoscopic colour tables are not actual measurements of values, but rather
indices for certain illnesses on the basis of an accepted but not quantitatively and analytically determined excess of fluids.
(5). See also: Breidbach and Karliczek 2011; Karliczek 2013b. (6). Jacob Christian Schäffer in 1769 with his Entwurf einer
allgemeinen Farbenverein set out the formal rules for a useful scientific reference system. In essence this consists of a
colour pattern that represents a consecutively numbered table with different tones of colour, together with an index of
names that refers to the coloured pattern with an ordinal number and thereby provides a concrete visual impression of
colour with its colour name. With recourse to Schäffer, the rules and major colours of Werner in his Kennzeichen of 1774
were taken up and circulated by his pupils. Schäffer 1769. Also relevant in this context is Giovanni Antonio Scopoli (1723–1788),
234.
who already in 1763 in his Entomologia carniolica had undertaken an attempt at the standardization of colour with the use
of rotating and different coloured discs; his attempt, however, has not been acknowledged. See Karliczek 2016, pp. 300–1.
(7). Prange 1782; Anonymous 1794. (8). For an overview of the history of anatomy see: Gerabek et al. 2007. (9). See Karliczek
2014. (10). Tabvlae anatomicae quas ad illvstrandam hvmani corporis fabricam, Weimar (1794–1803). (11). Syme 1814, p. 23.
Giulia Simonini has noted that Syme’s intended target audience was connected to the composition of the Wernerian
Natural History Society in Edinburgh: ‘This decision was certainly suggested by the desire to reach a greater audience,
and it might have been encouraged by the presence of many experts in different fields within the Wernerian Society itself.
The Society numbered among its members renowned geologists, physicists, engineers, botanists, zoologists, explorers,
surgeons, anatomists and also artists.’ Simonini 2018. (12). For anatomical pathology, particularly the transition from
i.
the theory of humours to a knowledge of anatomy deduced from actual bodily parts, Giovanni Battista Morgagni’s work
is considered fundamental: De sedibus et causis morborum per anatomen indagatis (1767). (13). See in particular Karliczek
2014. (14). Gordon 1817, pp. 28–29. (15). Prout 1819. (16). Hunter 1841. (17). Eichhorn 1827. (18). See: Medical Society of Edinburgh,
1823, Catalogue of the library of the Medical Society of Edinburgh, distributed in two parts ... : [with Appendices, 1823–
(i). Colour chart for the description of human colours in anthropology, Paul Broca, 26 and 1823–27.] : Edinburgh Medical Society. Hay & Gall, p. 213. (19). For a short history of colour printing before 1800,
Instructions générales pour les recherches et observations anthropologiques, see Grimm, Kleine-Tebbe and Stijnman 2011. (20). Engel 2009. (21). Broca 1865. For a general overview of the use of colour
1865. Broca was a French physician known for his research on the brain, standards for describing human colours, see Karliczek and Schwarz, ‘Mit Haut und Haar. Vom Merkmal zum Stigma –
as well as for contributing to the development of anthropometry. Farbbestimmungsmethoden am Menschen’ in Karliczek and Schwarz 2016, pp. 13–62. (22). Radde 1877.
v.
Reds
and
Browns.
v.
Reds
and
Browns.
2 3 8. V. R E D S A N D B ROW N S.
R e d s (i).
R e d s (ii).
browns.
V. R E D S A N D B ROW N S. 2 40.
R e d s (i).
R e d s (ii).
browns.
R e d s (i).
R e d s (ii).
browns.
R e d s (i). R e d s (i).
Tile Breast of the Shrubby Porcelain

82
Red. Cock Bullfinch. Pimpernel. Jasper.
Hyacinth Red Spots of the Red on the golden

83 Hyacinth.
Red. Lygœus Apterus Fly. Rennette Apple.
Large red Oriental

Scarlet Ibis or Curlew,
Scarlet Poppy, Red Parts Light red
84 Mark on Head of
Red. of red and black Cinnaber.
Red Grouse.
Indian Peas.
Vermilion
85 Red Coral. Love Apple. Cinnaber.
Red.
V. R E D S A N D B ROW N S.
2 4 3.
Aurora Vent coverts of Red on the
86 Red Orpiment.
Red. Pied Wood-Pecker. Naked Apple.
242.
Arterial Head of the Cock Corn Poppy.
87
Blood Red. Gold-finch. Cherry.
Flesh Heavy Spar,

88 Human Skin. Larkspur.
Red. Limestone.
The first chart of reds Rose Common Figure

in Syme’s 1821 edition 89
included four of Red. Garden Rose. Stone.
Werner’s original reds
(numbers 84, 86, 88
and 90), two reds from
the Picardet system
(numbers 83 and 89), Peach
one red from the Red Cobalt
90 Blossom Peach Blossom.
Jameson system (number Ore.
82) and two reds from Red.
R e d s (i). R e d s (i).
Tile Breast of the Shrubby Porcelain

82
Red. Cock Bullfinch. Pimpernel. Jasper.
Hyacinth Red Spots of the Red on the golden

83 Hyacinth.
Red. Lygœus Apterus Fly. Rennette Apple.
Large red Oriental

Scarlet Ibis or Curlew,
Scarlet Poppy, Red Parts Light red
84 Mark on Head of
Red. of red and black Cinnaber.
Red Grouse.
Indian Peas.
Vermilion
85 Red Coral. Love Apple. Cinnaber.
Red.
2 4 3.
Aurora Vent coverts of Red on the
86 Red Orpiment.
Red. Pied Wood-Pecker. Naked Apple.
242.
Arterial Head of the Cock Corn Poppy.
87
Blood Red. Gold-finch. Cherry.
Flesh Heavy Spar,

88 Human Skin. Larkspur.
Red. Limestone.
The first chart of reds Rose Common Figure

in Syme’s 1821 edition 89
included four of Red. Garden Rose. Stone.
Werner’s original reds
(numbers 84, 86, 88
and 90), two reds from
the Picardet system
(numbers 83 and 89), Peach
one red from the Red Cobalt
90 Blossom Peach Blossom.
Jameson system (number Ore.
82) and two reds from Red.
82 . tile r e d. Tile Red, is hyacinth red 83. H yac in t h R ed. Hyacinth Red, is scarlet
mixed with much greyish red, with lemon yellow
(i). Breast of the Cock Bullfinch. [Pyrrhula pyrrhula] (i). Red Spots of the Lygoeus Apterus Fly.
(ii). Shrubby Pimpernel. [Anagallis] white, and a small [Black-and-Red-bug; Lygaeus equestris] and a minute proportion
portion of scarlet red. [W] (ii). Red on the golden Rennette Apple.
[Reinette; Malus domestica]
of brown.
(iii). Hyacinth. [Jacinth; Silicate mineral]
2 4 5.
animal.
animal.
244.
An i m a l .
Edward Saunders,
The Hemiptera
a n ima l. Heteroptera of the
John Gould, Birds of British Islands, 1892.
Europe, Vol. 3, 1832–37. Hyacinth Red is visible
Tile Red is visible on on the black-and-red-
the breast feathers of bug (above right).
the male bullfinch (left).
Vegeta b l e .
v e geta bl e . John Wright,
J. E. Smith, English The Fruit Growers
Botany, 1863–99. Guide, Vol. 1, 1891–94.
Tile Red is visible Hyacinth Red is visible
on the petals of on the skin of the apple.
the pimpernel.
M i n er a l .
min e r a l. Reinhard Brauns,
James Sowerby, The Mineral
v eg etab le .
v eg etab le .
British Mineralogy, Kingdom, Vol. 2, 1912.

mi n era l.
min e r al.
Vol. 3, 1802–17. Hyacinth Red is visible
Tile Red is visible on the jacinth (two
on the jasper specimens, second
(all specimens). row, top right).
82 . tile r e d. Tile Red, is hyacinth red 83. H yac in t h R ed. Hyacinth Red, is scarlet
mixed with much greyish red, with lemon yellow
(i). Breast of the Cock Bullfinch. [Pyrrhula pyrrhula] (i). Red Spots of the Lygoeus Apterus Fly.
(ii). Shrubby Pimpernel. [Anagallis] white, and a small [Black-and-Red-bug; Lygaeus equestris] and a minute proportion
portion of scarlet red. [W] (ii). Red on the golden Rennette Apple.
[Reinette; Malus domestica]
of brown.
(iii). Hyacinth. [Jacinth; Silicate mineral]
2 4 5.
animal.
animal.
244.
An i m a l .
Edward Saunders,
The Hemiptera
a n ima l. Heteroptera of the
John Gould, Birds of British Islands, 1892.
Europe, Vol. 3, 1832–37. Hyacinth Red is visible
Tile Red is visible on on the black-and-red-
the breast feathers of bug (above right).
the male bullfinch (left).
Vegeta b l e .
v e geta bl e . John Wright,
J. E. Smith, English The Fruit Growers
Botany, 1863–99. Guide, Vol. 1, 1891–94.
Tile Red is visible Hyacinth Red is visible
on the petals of on the skin of the apple.
the pimpernel.
M i n er a l .
min e r a l. Reinhard Brauns,
James Sowerby, The Mineral
v eg etab le .
v eg etab le .
British Mineralogy, Kingdom, Vol. 2, 1912.

mi n era l.
min e r al.
Vol. 3, 1802–17. Hyacinth Red is visible
Tile Red is visible on the jacinth (two
on the jasper specimens, second
(all specimens). row, top right).
8 4 . Scar let r e d. Scarlet Red, is arterial
blood red, with a little
(i). Scarlet Ibis. [Eudocimus ruber] Curlew. [Numenius]
Mark on Head of Red Grouse. [Lagopus lagopus scotica] gamboge yellow. †
(ii). Large red Oriental Poppy. [Papaver orientale]
Red Parts of red and black Indian Peas. [Cowpea; Vigna unguiculata] † Syme should have applied a [W] notation in
(iii). Light red Cinnaber. [Cinnabar; Mercury Sulphide] this instance, as Scarlet Red appears in Werner’s
2 47.
mineral.
2 46.
animal.
John James
Audubon, Birds
of America, 1827–38.
Scarlet Red is visible
on the feathers of
the young scarlet
ibis (right).
v egeta b l e .
J. Zorn and D. L.
Oskamp, Afbeeldingen
der Artseny-gewassen,
1796–1800.
oriental poppy.
m i n er a l .
Johann Gottlob
v eg etab le .
Kurr, The Mineral

Kingdom, 1859.
an im al.

on the cinnabar
(top row, centre).
8 4 . Scar let r e d. Scarlet Red, is arterial
blood red, with a little
(i). Scarlet Ibis. [Eudocimus ruber] Curlew. [Numenius]
Mark on Head of Red Grouse. [Lagopus lagopus scotica] gamboge yellow. †
(ii). Large red Oriental Poppy. [Papaver orientale]
Red Parts of red and black Indian Peas. [Cowpea; Vigna unguiculata] † Syme should have applied a [W] notation in
(iii). Light red Cinnaber. [Cinnabar; Mercury Sulphide] this instance, as Scarlet Red appears in Werner’s
2 47.
mineral.
2 46.
animal.
John James
Audubon, Birds
of America, 1827–38.
on the feathers of
the young scarlet
ibis (right).
v egeta b l e .
J. Zorn and D. L.
Oskamp, Afbeeldingen
der Artseny-gewassen,
1796–1800.
oriental poppy.
m i n er a l .
Johann Gottlob
v eg etab le .
Kurr, The Mineral

Kingdom, 1859.
an im al.

on the cinnabar
(top row, centre).
8 5. V e r m il ion Red. Vermilion Red,
is scarlet red, with
(i). Red Coral. [Corallium]
(ii). Love Apple. [Tomato; Solanum lycopersicum] a minute portion
(iii). Cinnaber. [Cinnabar; Mercury Sulphide]
of brownish red.
2 4 9.
veg etable .
2 4 8.
An i m a l .
Georg Wolfgang Knorr,
Deliciae naturae
selectae, 1766.
Vermilion Red
is visible on the
coral (centre).
Vegeta b l e .
E. Blackwell,
Herbarium
Blackwellianum,
Vol. 2, 1754.
Vermilion Red is
visible on the skin
of the tomato.
M i n er a l .
Leonard Spencer,
The World’s
min e r al.
Minerals, 1916.
an imal .
Vermilion Red is
visible on the cinnabar
(both specimens).
8 5. V e r m il ion Red. Vermilion Red,
is scarlet red, with
(i). Red Coral. [Corallium]
(ii). Love Apple. [Tomato; Solanum lycopersicum] a minute portion
(iii). Cinnaber. [Cinnabar; Mercury Sulphide]
of brownish red.
2 4 9.
veg etable .
2 4 8.
An i m a l .
Georg Wolfgang Knorr,
Deliciae naturae
selectae, 1766.
Vermilion Red
is visible on the
coral (centre).
Vegeta b l e .
E. Blackwell,
Herbarium
Blackwellianum,
Vol. 2, 1754.
Vermilion Red is
visible on the skin
of the tomato.
M i n er a l .
Leonard Spencer,
The World’s
min e r al.
Minerals, 1916.
an imal .
Vermilion Red is
visible on the cinnabar
(both specimens).
86. auror a r e d. Aurora Red, is tile red, 87. Art eria l blo o d R ed. Arterial Blood Red,
with a little arterial blood is the characteristic
(i). Vent coverts of Pied Wood-Pecker. (i). Head of the Cock Gold-finch. [Carduelis carduelis]
[Great spotted woodpecker; Dendrocopos major] red, and a slight tinge (ii). Corn Poppy. [Common poppy; Papaver rhoeas] colour of the red series.
(ii).
(iii).
Red on the Naked Apple. [Malus domestica]
Red Orpiment. [Sulphide mineral]
of carmine red. [W] (iii).
Cherry. [Prunus]
251.
veg etable .
mineral.
animal.
animal.
2 5 0.
An i m a l .
a n ima l. Europe, Vol. 3, 1832–37.
John Gould, Birds of Arterial Blood Red is
Europe, Vol. 3, 1832–37. visible on the head
Aurora Red is visible feathers of the male
on the vent coverts, goldfinch (above).
i.e. the feathers around
the cloaca, of the great Vegeta b l e .
spotted woodpecker. G. C. Oeder, Flora
Danica, 1761–1861.
v e geta bl e . Arterial Blood Red
A. Poiteau, Pomologie is visible on the petals
Française, 1846. of the common poppy.
Aurora Red is visible
on the skin of the apple. M i n er a l .
James Sowerby,
min e r a l. British Mineralogy,
Reinhard Brauns, Vol. 1, 1802–17.
v eg etab le .
The Mineral Arterial Blood Red is

min e r al.
Kingdom, Vol. 1, 1912. visible on the garnet.

Aurora Red is visible The garnet is shown
on the orpiment embedded within
(bottom row, left). granite and detached.*
86. auror a r e d. Aurora Red, is tile red, 87. Art eria l blo o d R ed. Arterial Blood Red,
with a little arterial blood is the characteristic
(i). Vent coverts of Pied Wood-Pecker. (i). Head of the Cock Gold-finch. [Carduelis carduelis]
[Great spotted woodpecker; Dendrocopos major] red, and a slight tinge (ii). Corn Poppy. [Common poppy; Papaver rhoeas] colour of the red series.
(ii).
(iii).
Red on the Naked Apple. [Malus domestica]
Red Orpiment. [Sulphide mineral]
of carmine red. [W] (iii).
Cherry. [Prunus]
251.
veg etable .
mineral.
animal.
animal.
2 5 0.
An i m a l .
a n ima l. Europe, Vol. 3, 1832–37.
John Gould, Birds of Arterial Blood Red is
Europe, Vol. 3, 1832–37. visible on the head
Aurora Red is visible feathers of the male
on the vent coverts, goldfinch (above).
i.e. the feathers around
the cloaca, of the great Vegeta b l e .
spotted woodpecker. G. C. Oeder, Flora
Danica, 1761–1861.
v e geta bl e . Arterial Blood Red
A. Poiteau, Pomologie is visible on the petals
Française, 1846. of the common poppy.
Aurora Red is visible
on the skin of the apple. M i n er a l .
James Sowerby,
min e r a l. British Mineralogy,
Reinhard Brauns, Vol. 1, 1802–17.
v eg etab le .
The Mineral Arterial Blood Red is

min e r al.
Kingdom, Vol. 1, 1912. visible on the garnet.

Aurora Red is visible The garnet is shown
on the orpiment embedded within
(bottom row, left). granite and detached.*
88. fl e s h r e d. Flesh Red, is rose red 89. ro se R ed. Rose Red, is carmine red,
mixed with tile red with a great quantity
(i). Human Skin. [Homo sapiens] (i).
(ii). Larkspur. [Consolida] and a little white. [W] (ii). Common Garden Rose. [Rosa] of snow white, and
(iii). Heavy Spar. [Baryte; Barite; Barium Sulphate mineral]
Limestone. [Carbonate sedimentary rock]
(iii). Figure Stone. [Pagodite; agalmatolite; Silicate mineral]
a very small portion
of cochineal red. [W]
2 5 3.
animal.
animal.
2 52 .
a n ima l.
Claude Bernard
and Charles Huette, An i m a l .
Précis iconographique Ramón de la Sagra,
de médecine opératoire Histoire physique,
et d’anatomie politique et naturelle
chirurgicale, 1856. de l’île de Cuba,
Flesh Red is visible 1798–1871.
on human skin. Rose Red is visible
on the feathers
v e geta bl e . of the flamingo.*
Johann Wilhelm
Weinmann, Vegeta b l e .
Phytanthoza Carl Gottlob Rössig,
iconographia, 1737. Rosen nach der
Flesh Red is visible Natur gezeichnet,
on the petals of Vol. 1, 1802–20.
the larkspur. Rose Red is visible on
the petals of the rose.
min e r a l.
James Sowerby, M i n er a l .
British Mineralogy, Nouveau Larousse
v eg etab le .
ve g etab le .
Vol. 1, 1802–17. illustré, 1897–1904.

mi n era l.
min e r al.
Flesh Red is visible Rose Red is visible
on the baryte. It is on the statuette made
embedded within of pagodite (fourth
iron ore. row, centre left).
88. fl e s h r e d. Flesh Red, is rose red 89. ro se R ed. Rose Red, is carmine red,
mixed with tile red with a great quantity
(i). Human Skin. [Homo sapiens] (i).
(ii). Larkspur. [Consolida] and a little white. [W] (ii). Common Garden Rose. [Rosa] of snow white, and
(iii). Heavy Spar. [Baryte; Barite; Barium Sulphate mineral]
Limestone. [Carbonate sedimentary rock]
(iii). Figure Stone. [Pagodite; agalmatolite; Silicate mineral]
a very small portion
of cochineal red. [W]
2 5 3.
animal.
animal.
2 52 .
a n ima l.
Claude Bernard
and Charles Huette, An i m a l .
Précis iconographique Ramón de la Sagra,
de médecine opératoire Histoire physique,
et d’anatomie politique et naturelle
chirurgicale, 1856. de l’île de Cuba,
Flesh Red is visible 1798–1871.
on human skin. Rose Red is visible
on the feathers
v e geta bl e . of the flamingo.*
Johann Wilhelm
Weinmann, Vegeta b l e .
Phytanthoza Carl Gottlob Rössig,
iconographia, 1737. Rosen nach der
Flesh Red is visible Natur gezeichnet,
on the petals of Vol. 1, 1802–20.
the larkspur. Rose Red is visible on
the petals of the rose.
min e r a l.
James Sowerby, M i n er a l .
British Mineralogy, Nouveau Larousse
v eg etab le .
ve g etab le .
Vol. 1, 1802–17. illustré, 1897–1904.

mi n era l.
min e r al.
Flesh Red is visible Rose Red is visible
on the baryte. It is on the statuette made
embedded within of pagodite (fourth
iron ore. row, centre left).
9 0. pe ac h b lossom red. Peach Blossom Red,
is lake red mixed with
(i).
(ii). Peach Blossom. [Prunus persica] much white. [W]
(iii). Red Cobalt Ore. [Ore]
2 5 5.
veg etable .
254.
animal.
James Duncan,
Peach Blossom Red is
visible on the spots on
the wings of the Apollo
butterfly (above).*
v egeta b l e .
Allgemeines teutsches
Garten-Magazin,
Vol. 6, 1804–11.
Peach Blossom Red
of the peach blossom.
m i n er a l .
Johann Gottlob
Kurr, The Mineral
Kingdom, 1859.
min e r al .
Peach Blossom Red

an im al.
is visible on the cobalt

ore (bottom row,
second from right).
9 0. pe ac h b lossom red. Peach Blossom Red,
is lake red mixed with
(i).
(ii). Peach Blossom. [Prunus persica] much white. [W]
(iii). Red Cobalt Ore. [Ore]
2 5 5.
veg etable .
254.
animal.
James Duncan,
Peach Blossom Red is
visible on the spots on
the wings of the Apollo
butterfly (above).*
v egeta b l e .
Allgemeines teutsches
Garten-Magazin,
Vol. 6, 1804–11.
Peach Blossom Red
of the peach blossom.
m i n er a l .
Johann Gottlob
Kurr, The Mineral
Kingdom, 1859.
min e r al .
Peach Blossom Red

an im al.
is visible on the cobalt

ore (bottom row,
second from right).
R e d s (ii). R e d s (ii).
Raspberry,
Carmine
91 Cocks Comb, Oriental Ruby.
Red.
Carnation Pink.
Red Tulip,
92 Lake Red. Spinel.
Rose Officinalus.
Crimson
93 Precious Garnet.
Red.
Purplish Outside of Dark Crimson

94 Precious Garnet.
Red. Quills of Terico. Officinal Garden Rose.
2 57.
Under Disk of
Cochineal
95 decayed Leaves Dark Cinnaber.
Red.
of None-so-pretty.
2 5 6.
Veinous Musk Flower, or dark

96 Veinous Blood. Pyrope.
Blood Red. Purple Scabious.
Brownish
Flower of deadly
97 Purple Red Antimony Ore.
Nightshade.
Red.
The second chart of

reds in Syme’s 1821 Chocolate Breast of Bird Brown Disk of
edition included four 98
of Werner’s original reds Red. of Paradise. common Marigold.
(numbers 91, 93, 96 and 99),
one red from the Picardet
system (number 95), two
reds from the Lenz system
(numbers 94 and 97),
although Syme renamed Brownish Mark on Throat of
99 Iron Flint.
Columbine Red Purplish Red. Red-throated Diver.
Red, and two reds from
9 1. Car m ine r e d. Carmine Red, the 92. la k e R ed. Lake Red, the crimson
characteristic colour red of Werner, is arterial
(i). (i).
(ii). Raspberry. [Rubus idaeus] Cocks Comb. [Cockscomb; of Werner, is lake red, (ii). Red Tulip. [Tulipa] Rose Officinalus. blood red, with a portion
(iii).
Celosia] Carnation Pink. [Dianthus caryophyllus]
Oriental Ruby. [Corundum mineral]
with a little arterial (iii).
[French Rose; Rosa gallica]
Spinel. [Spinel mineral]
of Berlin blue. [W] †
blood red. [W] † Syme erroneously applied a [W] notation in
this instance, as he also included Werner’s
crimson red in his nomenclature.
2 59.
animal.
animal.
2 5 8.
a n ima l.
New Guinea and the
Adjacent Papuan
Islands, 1875–88.
Carmine Red is visible An i m a l .
on the feathers of the Richard Brinsley
red myzomela.* Hinds, The Zoology
of the Voyage of
v e geta bl e . HMS Sulphur, 1843.
Johann Wilhelm Lake Red is visible on
Weinmann, the head feathers of the
Phytanthoza long-tailed manakin.*
iconographia, 1737.
Carmine Red is visible Vegeta b l e .
on the petals of the John Lindley,
cockscomb. Edwards’s Botanical
Register, 1829–47.
min e r a l. Lake Red is visible on
Reinhard Brauns, the petals of the tulip.
v eg etab le .
ve g etab le .
The Mineral
mi n era l.
min e r al.
Carmine Red is Spinel, lithograph, 1968.
visible on the ruby (five Lake Red is visible on
specimens, centre left). the spinel (right).
9 1. Car m ine r e d. Carmine Red, the 92. la k e R ed. Lake Red, the crimson
characteristic colour red of Werner, is arterial
(i). (i).
(ii). Raspberry. [Rubus idaeus] Cocks Comb. [Cockscomb; of Werner, is lake red, (ii). Red Tulip. [Tulipa] Rose Officinalus. blood red, with a portion
(iii).
Celosia] Carnation Pink. [Dianthus caryophyllus]
Oriental Ruby. [Corundum mineral]
with a little arterial (iii).
Spinel. [Spinel mineral]
of Berlin blue. [W] †
blood red. [W] † Syme erroneously applied a [W] notation in
this instance, as he also included Werner’s
crimson red in his nomenclature.
2 59.
animal.
animal.
2 5 8.
a n ima l.
New Guinea and the
Adjacent Papuan
Islands, 1875–88.
Carmine Red is visible An i m a l .
on the feathers of the Richard Brinsley
red myzomela.* Hinds, The Zoology
of the Voyage of
v e geta bl e . HMS Sulphur, 1843.
Johann Wilhelm Lake Red is visible on
Weinmann, the head feathers of the
Phytanthoza long-tailed manakin.*
iconographia, 1737.
Carmine Red is visible Vegeta b l e .
on the petals of the John Lindley,
cockscomb. Edwards’s Botanical
Register, 1829–47.
min e r a l. Lake Red is visible on
Reinhard Brauns, the petals of the tulip.
v eg etab le .
ve g etab le .
The Mineral
mi n era l.
min e r al.
Carmine Red is Spinel, lithograph, 1968.
visible on the ruby (five Lake Red is visible on
specimens, centre left). the spinel (right).
93. cr im son r e d. Crimson Red, is carmine 94. purplish R ed. Purplish Red, the columbine red
red, with a little indigo of Werner, is carmine red, with
(i). (i). Outside of Quills of Terico.
(ii). blue. [W] [Turaco; Musophagidae] a little Berlin blue, and a small
(iii). Precious Garnet. [Silicate mineral] (ii). Dark Crimson Officinal Garden Rose.
portion of indigo blue. [W]
(iii). Precious Garnet. [Silicate mineral]
261.
veg etable .
veg etable .
animal.
animal.
2 6 0.
a n ima l.
George Edwards,
Gleanings of Natural An i m a l .
History, 1758. Edward Lear,
Crimson Red is visible Tauraco persa,
on the breast feathers watercolour, c. 1835.
of the red-breasted Purplish Red is
meadowlark.* visible on the feathers
of the turaco.
v e geta bl e .
Johann Wilhelm Vegeta b l e .
Weinmann, Friedrich Johann
Phytanthoza Bertuch, Bilderbuch
iconographia, 1737. für Kinder, 1802.
Crimson Red is visible Purplish Red is visible
on the petals of the on the petals of the
anemones.* French rose.
Reinhard Brauns, George Frederick
The Mineral Kunz, Gems and
Kingdom, Vol. 2, 1912. Precious Stones
min e r al.
min e r al.
Crimson Red is visible of North America, 1890.

on the garnet (two Purplish Red is visible
specimens, third row, on the garnet (two
second from right). specimens, top left).
93. cr im son r e d. Crimson Red, is carmine 94. purplish R ed. Purplish Red, the columbine red
red, with a little indigo of Werner, is carmine red, with
(i). (i). Outside of Quills of Terico.
(ii). blue. [W] [Turaco; Musophagidae] a little Berlin blue, and a small
(iii). Precious Garnet. [Silicate mineral] (ii). Dark Crimson Officinal Garden Rose.
portion of indigo blue. [W]
(iii). Precious Garnet. [Silicate mineral]
261.
veg etable .
veg etable .
animal.
animal.
2 6 0.
a n ima l.
George Edwards,
Gleanings of Natural An i m a l .
History, 1758. Edward Lear,
Crimson Red is visible Tauraco persa,
on the breast feathers watercolour, c. 1835.
of the red-breasted Purplish Red is
meadowlark.* visible on the feathers
of the turaco.
v e geta bl e .
Weinmann, Friedrich Johann
Phytanthoza Bertuch, Bilderbuch
iconographia, 1737. für Kinder, 1802.
Crimson Red is visible Purplish Red is visible
on the petals of the on the petals of the
anemones.* French rose.
Reinhard Brauns, George Frederick
The Mineral Kunz, Gems and
Kingdom, Vol. 2, 1912. Precious Stones
min e r al.
min e r al.
Crimson Red is visible of North America, 1890.

on the garnet (two Purplish Red is visible
specimens, third row, on the garnet (two
second from right). specimens, top left).
9 5. coc h ine al r ed. Cochineal Red, is 96. v ei n ous blo o d R ed. Veinous Blood Red, is
lake red mixed with carmine red mixed with
(i). (i). Veinous Blood. [Sanguis]
(ii). Under Disk of decayed Leaves of None-so-pretty. bluish grey. [W] (ii). Musk Flower. [Erythranthe moschata; Mimulus moschatus] brownish black. [W] †
[Sweet William catchfly; Silene armeria] Dark Purple Scabious. [Pincushion flower; Scabiosa]
† Veinous Blood Red is Syme’s name for Werner’s
(iii). Dark Cinnaber. [Cinnabar; Mercury sulphide] (iii). Pyrope. [Silicate mineral] Blood Red.
2 6 3.
veg etable .
animal.
animal.
2 62 .
An i m a l .
a n ima l. Thomas Godart,
George Edwards, Blood from a case
Gleanings of of leukaemia,
Natural History, 1758. watercolour, c. 1852–61.
Cochineal Red is visible Veinous Blood Red is
on the head feathers visible on the veinous
of the Eurasian tree blood.
sparrow.*
Vegeta b l e .
v e geta bl e . Sydenham Edwards,
William Baxter, The New Botanic
British Phaenogamous Garden, 1812.
Botany, 1834–43. Veinous Blood Red
Cochineal Red is visible is visible on the petals
on the leaves of the of the scabious (left).
Sweet William catchfly.
M i n er a l .
min e r a l. Johann Gottlob
Louis Simonin, Kurr, The Mineral
v eg etab le .
Underground Life, Kingdom, 1859.

mi n era l.
min e r al.
1869. Veinous Blood Red is

Cochineal Red is visible on the pyrope
visible on the cinnabar (third row, fourth
(bottom row). specimen from right).
9 5. coc h ine al r ed. Cochineal Red, is 96. v ei n ous blo o d R ed. Veinous Blood Red, is
lake red mixed with carmine red mixed with
(i). (i). Veinous Blood. [Sanguis]
(ii). Under Disk of decayed Leaves of None-so-pretty. bluish grey. [W] (ii). Musk Flower. [Erythranthe moschata; Mimulus moschatus] brownish black. [W] †
[Sweet William catchfly; Silene armeria] Dark Purple Scabious. [Pincushion flower; Scabiosa]
† Veinous Blood Red is Syme’s name for Werner’s
(iii). Dark Cinnaber. [Cinnabar; Mercury sulphide] (iii). Pyrope. [Silicate mineral] Blood Red.
2 6 3.
veg etable .
animal.
animal.
2 62 .
An i m a l .
a n ima l. Thomas Godart,
George Edwards, Blood from a case
Gleanings of of leukaemia,
Natural History, 1758. watercolour, c. 1852–61.
Cochineal Red is visible Veinous Blood Red is
on the head feathers visible on the veinous
of the Eurasian tree blood.
sparrow.*
Vegeta b l e .
v e geta bl e . Sydenham Edwards,
William Baxter, The New Botanic
British Phaenogamous Garden, 1812.
Botany, 1834–43. Veinous Blood Red
Cochineal Red is visible is visible on the petals
on the leaves of the of the scabious (left).
Sweet William catchfly.
M i n er a l .
min e r a l. Johann Gottlob
Louis Simonin, Kurr, The Mineral
v eg etab le .
Underground Life, Kingdom, 1859.

mi n era l.
min e r al.
1869. Veinous Blood Red is

Cochineal Red is visible on the pyrope
visible on the cinnabar (third row, fourth
(bottom row). specimen from right).
97. brownis h purple red. Brownish Purple Red, 98. c ho co lat e R ed. Chocolate Red, is veinous
the cherry red of Werner, blood red mixed with a
(i). (i). Breast of Bird of Paradise. [Paradisaeidae]
(ii). Flower of deadly Nightshade. [Deadly nightshade; is lake red mixed with (ii). Brown Disk of common Marigold. [Calendula] little brownish red.
(iii).
Red Antimony Ore. [Ore]
brownish black, and a (iii).
small portion of grey. [W]

2 6 5.
veg etable .
veg etable .
animal.
animal.
264.
a n ima l.
Richard Brinsley An i m a l .
Hinds, The Zoology François Levaillant,
of the Voyage of Le grand Oiseau de
HMS Sulphur, 1843. paradis, émeraude,
Brownish Purple mâle, engraving, 1801–06.
Red is visible on the Chocolate Red is visible
wings of the bat.* on the breast feathers
of the bird of paradise.
v e geta bl e .
William Woodville, Vegeta b l e .
Medical Botany, Pierre Bulliard,
Vol. 2, 1832. Flora Parisiensis,
Brownish Purple is Vol. 5, 1776–81.
visible on the petals of Chocolate Red is
the deadly nightshade. visible on the central
disk of the marigold.
min e r a l.
Philip Rashleigh, M i n er a l .
Specimens of James Sowerby,
min e r al.
min e r al.
British Minerals, 1797. British Mineralogy,

Brownish Purple Vol. 1, 1802–17.
is visible on the Chocolate Red is visible
antimony ore (above). on the iron oxide (left).*
97. brownis h purple red. Brownish Purple Red, 98. c ho co lat e R ed. Chocolate Red, is veinous
the cherry red of Werner, blood red mixed with a
(i). (i). Breast of Bird of Paradise. [Paradisaeidae]
(ii). Flower of deadly Nightshade. [Deadly nightshade; is lake red mixed with (ii). Brown Disk of common Marigold. [Calendula] little brownish red.
(iii).
Red Antimony Ore. [Ore]
brownish black, and a (iii).
small portion of grey. [W]

2 6 5.
veg etable .
veg etable .
animal.
animal.
264.
a n ima l.
Richard Brinsley An i m a l .
Hinds, The Zoology François Levaillant,
of the Voyage of Le grand Oiseau de
HMS Sulphur, 1843. paradis, émeraude,
Brownish Purple mâle, engraving, 1801–06.
Red is visible on the Chocolate Red is visible
wings of the bat.* on the breast feathers
of the bird of paradise.
v e geta bl e .
William Woodville, Vegeta b l e .
Medical Botany, Pierre Bulliard,
Vol. 2, 1832. Flora Parisiensis,
Brownish Purple is Vol. 5, 1776–81.
visible on the petals of Chocolate Red is
the deadly nightshade. visible on the central
disk of the marigold.
min e r a l.
Philip Rashleigh, M i n er a l .
Specimens of James Sowerby,
min e r al.
min e r al.
British Minerals, 1797. British Mineralogy,

Brownish Purple Vol. 1, 1802–17.
is visible on the Chocolate Red is visible
antimony ore (above). on the iron oxide (left).*
9 9. brownis h r e d. Brownish Red, is chocolate
red mixed with hyacinth red,
(i). Mark on Throat of Red-throated Diver.
[Red-throated loon; Gavia stellata] and a little chesnut brown. [W]
(ii).
(iii). Iron Flint. [Quartz]
2 6 7.
animal.
2 6 6.
animal.
John Gould, Birds
of Great Britain,
Vol. 5, 1862–73.
Brownish Red is visible
of the red-throated loon.
v egeta b l e .
Johann Wilhelm
Weinmann,
Phytanthoza
iconographia, 1737.
Carolina allspice.*
m i n er a l .
Sydenham Edwards,
v eg etab le .
The New Botanic

min e r al .
Garden, 1812.
Brownish Red is
visible on the iron ore
9 9. brownis h r e d. Brownish Red, is chocolate
red mixed with hyacinth red,
(i). Mark on Throat of Red-throated Diver.
[Red-throated loon; Gavia stellata] and a little chesnut brown. [W]
(ii).
(iii). Iron Flint. [Quartz]
2 6 7.
animal.
2 6 6.
animal.
John Gould, Birds
of Great Britain,
Vol. 5, 1862–73.
of the red-throated loon.
v egeta b l e .
Johann Wilhelm
Weinmann,
Phytanthoza
iconographia, 1737.
Carolina allspice.*
m i n er a l .
Sydenham Edwards,
v eg etab le .
The New Botanic

min e r al .
Garden, 1812.
Brownish Red is
visible on the iron ore
browns. browns.
Deep
Head of Pochard,
Orange- Female Spike of
100 Wing coverts
coloured Catstail Reed.
of Sheldrake.
Brown.
Deep Breast of Pochard,

Dead Leaves of
101 Reddish and Neck of Brown Blende.
green Panic Grass.
Brown. Teal Drake.
Umber
102 Moor Buzzard. Disk of Rubeckia.
Brown.
Chesnut Neck and Breast

103 Chesnuts. Egyptian Jasper.
Brown. of Red Grouse.
Light Brown Spots

Yellowish Iron Flint and
2 6 9.
104 on Guinea-Pig,
Brown. common Jasper.
Breast of Hoopoe.
Common Weasel, Light
Wood
105 parts of Feathers on Hazel Nuts. Mountain Wood.
Brown.
the Back of the Snipe.
Middle Parts of
2 6 8.
Liver Feathers of Hen

106 Semi Opal.
Brown. Pheasant, and Wing
coverts of Grosbeak.
Hair
107 Head of Pintail Duck. Wood Tin.
Brown.
Broccoli Head of Black

108 Zircon.
Brown. headed Gull.
included four of
Werner’s original
browns (numbers 104,
Olive Head and Neck Stems of Black Axinite,
106, 109 and 110), two 109
browns from the Lenz Brown. of Male Kestril. Currant Bush. Rock Cristal.
system (numbers 105
and 107), two browns
from the Jameson system
(numbers 103 and 108) Stormy Petril Wing
and three browns Blackish
110 Coverts of black Cock. Mineral Pitch.
from his own 1814 Brown.
edition (numbers Forehead of Foumart.
100, 101 and 102).
100. D e e p Or ang e - Co lou red Brow n. Deep Orange- 101. D eep R eddish B rown. Deep Reddish Brown,
coloured Brown, is is chesnut brown, with
(i). Head of Pochard. [Common pochard; Aythya ferina] (i). Breast of Pochard. [Common pochard; Aythya ferina]
Wing coverts of Sheldrake. [Shelduck; Tadorna] chesnut brown, with Neck of Teal Drake. [Eurasian teal; Anas crecca] a little chocolate red.
(ii).
(iii).
Female Spike of Catstail Reed. [Cattail; Typha]
a little reddish brown, (ii).
(iii).
Dead Leaves of green Panic Grass. [Panicum]
Brown Blende. [Sphalerite; Zincblende; Sulphide mineral]
and a small quantity
of orange brown.
271.
veg etable .
veg etable .
animal.
animal.
2 70.
a n ima l.
George Graves,
British
Ornithology, 1821. An i m a l .
Deep Orange- Carl Hoffmann,
coloured Brown is Book of the World, 1857.
visible on the feathers Deep Reddish Brown
on the head of the is visible on the neck
common pochard. feathers of the male
Eurasian teal (below left).
v e geta bl e .
J. W. Palmstruch, Vegeta b l e .
Svensk Botanik, Adam Lonicer,
Vol. 8, 1807. Krauterbuch, 1557.
Deep Orange- Deep Reddish Brown
coloured Brown is is visible on the dead
visible on the spike leaves of the panic
of the cattail reed. grass (left).
James Sowerby, Frederic Brewster
British Mineralogy, Loomis, Field Book
Vol. 1, 1802–17. of Common Rocks
min e r al.
min e r al.
Deep Orange-coloured and Minerals, 1923.

Brown is visible on Deep Reddish Brown is
the the hematite visible on the sphalerite
(both specimens).* (bottom row, right).
100. D e e p Or ang e - Co lou red Brow n. Deep Orange- 101. D eep R eddish B rown. Deep Reddish Brown,
coloured Brown, is is chesnut brown, with
(i). Head of Pochard. [Common pochard; Aythya ferina] (i). Breast of Pochard. [Common pochard; Aythya ferina]
Wing coverts of Sheldrake. [Shelduck; Tadorna] chesnut brown, with Neck of Teal Drake. [Eurasian teal; Anas crecca] a little chocolate red.
(ii).
(iii).
Female Spike of Catstail Reed. [Cattail; Typha]
a little reddish brown, (ii).
(iii).
Dead Leaves of green Panic Grass. [Panicum]
Brown Blende. [Sphalerite; Zincblende; Sulphide mineral]
and a small quantity
of orange brown.
271.
veg etable .
veg etable .
animal.
animal.
2 70.
a n ima l.
George Graves,
British
Ornithology, 1821. An i m a l .
Deep Orange- Carl Hoffmann,
coloured Brown is Book of the World, 1857.
visible on the feathers Deep Reddish Brown
on the head of the is visible on the neck
common pochard. feathers of the male
Eurasian teal (below left).
v e geta bl e .
J. W. Palmstruch, Vegeta b l e .
Svensk Botanik, Adam Lonicer,
Vol. 8, 1807. Krauterbuch, 1557.
Deep Orange- Deep Reddish Brown
coloured Brown is is visible on the dead
visible on the spike leaves of the panic
of the cattail reed. grass (left).
James Sowerby, Frederic Brewster
British Mineralogy, Loomis, Field Book
Vol. 1, 1802–17. of Common Rocks
min e r al.
min e r al.
Deep Orange-coloured and Minerals, 1923.

Brown is visible on Deep Reddish Brown is
the the hematite visible on the sphalerite
(both specimens).* (bottom row, right).
102. um b e r b rown. Umber Brown, is chesnut 103. c he sn ut brown. Chesnut Brown, the
brown, with a little characteristic colour
(i). Moor Buzzard. [Marsh Harrier; Circus aeruginosus] (i). Neck and Breast of Red Grouse. [Lagopus lagopus scotica]
(ii). Disk of Rubeckia. [Coneflower; Black-eyed Susan; blackish brown. (ii). Chesnuts. [Castanea or Aesculus] of the browns of Werner’s
(iii).
Rudbeckia] (iii). Egyptian Jasper. [Silica]
series, is deep reddish
brown and yellowish
brown. [W]
2 7 3.
veg etable .
animal.
animal.
272.
An i m a l .
Edward Donovan,
a n ima l. Natural History of
John Gould, Birds British Birds, 1794–1819.
of Great Britain, Chesnut Brown is
Vol. 1, 1862–73. visible on the neck
Umber Brown is and breast feathers
visible on the feathers of the red grouse.
of the marsh harrier.
Vegeta b l e .
v e geta bl e . H. L. Duhamel du
J. H. Jaume Saint- Monceau, Traité
Hilaire, Flore et la des arbres et arbustes,
pomone Françaises, Vol. 2, 1800–19.
Vol. 4, 1828. Chesnut Brown is
Umber Brown is visible visible on the seed
on the central disk of the horse chestnut.
of the coneflower.
M i n er a l .
ve g etab le .

min e r al.
min e r al.
Vol. 4, 1802–17. Chesnut Brown is

Umber Brown is visible on the jasper
visible on the oxide (top row, right and
of tin (top row).* bottom row, left).
102. um b e r b rown. Umber Brown, is chesnut 103. c he sn ut brown. Chesnut Brown, the
brown, with a little characteristic colour
(i). Moor Buzzard. [Marsh Harrier; Circus aeruginosus] (i). Neck and Breast of Red Grouse. [Lagopus lagopus scotica]
(ii). Disk of Rubeckia. [Coneflower; Black-eyed Susan; blackish brown. (ii). Chesnuts. [Castanea or Aesculus] of the browns of Werner’s
(iii).
Rudbeckia] (iii). Egyptian Jasper. [Silica]
series, is deep reddish
brown and yellowish
brown. [W]
2 7 3.
veg etable .
animal.
animal.
272.
An i m a l .
Edward Donovan,
a n ima l. Natural History of
John Gould, Birds British Birds, 1794–1819.
of Great Britain, Chesnut Brown is
Vol. 1, 1862–73. visible on the neck
Umber Brown is and breast feathers
visible on the feathers of the red grouse.
of the marsh harrier.
Vegeta b l e .
v e geta bl e . H. L. Duhamel du
J. H. Jaume Saint- Monceau, Traité
Hilaire, Flore et la des arbres et arbustes,
pomone Françaises, Vol. 2, 1800–19.
Vol. 4, 1828. Chesnut Brown is
Umber Brown is visible visible on the seed
on the central disk of the horse chestnut.
of the coneflower.
M i n er a l .
ve g etab le .

min e r al.
min e r al.
Vol. 4, 1802–17. Chesnut Brown is

Umber Brown is visible on the jasper
visible on the oxide (top row, right and
of tin (top row).* bottom row, left).
104. y e llowis h b row n. Yellowish Brown, is 105. wo o d brown. Wood Brown, is
chesnut brown mixed with yellowish brown
(i). Light Brown Spots on Guinea-Pig. [Cavia porcellus] (i). Common Weasel. [Little weasel; Mustela nivalis]
Breast of Hoopoe. [Upupa epops] a considerable portion of Light parts of Feathers on the Back of the Snipe. mixed with ash grey.
(ii).
(iii). Iron Flint. [Quartz] Common Jasper. [Silica]
lemon yellow. [W] (ii).
[Common snipe; Gallinago gallinago]
Hazel Nuts. [Hazelnut; Corylus]
(iii). Mountain Wood. [Silicate mineral]
2 7 5.
veg etable .
animal.
animal.
2 74 .
An i m a l .
John Gould, Birds
a n ima l. of Great Britain,
John Gould, Birds of Vol. 4, 1862–73.
Europe, Vol. 3, 1832–37. Wood Brown is visible
Yellowish Brown is on the light feathers
visible on the breast on the back of the
feathers of the hoopoe. common snipe.
A. Mentz and C. H. A. Mentz and C. H.
Ostenfeld, Billeder Ostenfeld, Billeder
af Nordens Flora, af Nordens Flora,
Vol. 2, 1917. Vol. 1, 1917.
Yellowish Brown is Wood Brown is
visible on the flower of visible on the shell
the lakeshore bulrush.* of the hazelnut.
Johann Gottlob Reinhard Brauns,
ve g etab le .
Kurr, The Mineral The Mineral

min e r al.
min e r al.
Kingdom, 1859. Kingdom, Vol. 2, 1912.
Yellowish Brown is Wood Brown is visible
visible on the jasper on the mountain wood
(centre row, centre). (bottom row, right).
104. y e llowis h b row n. Yellowish Brown, is 105. wo o d brown. Wood Brown, is
chesnut brown mixed with yellowish brown
(i). Light Brown Spots on Guinea-Pig. [Cavia porcellus] (i). Common Weasel. [Little weasel; Mustela nivalis]
Breast of Hoopoe. [Upupa epops] a considerable portion of Light parts of Feathers on the Back of the Snipe. mixed with ash grey.
(ii).
(iii). Iron Flint. [Quartz] Common Jasper. [Silica]
lemon yellow. [W] (ii).
[Common snipe; Gallinago gallinago]
Hazel Nuts. [Hazelnut; Corylus]
(iii). Mountain Wood. [Silicate mineral]
2 7 5.
veg etable .
animal.
animal.
2 74 .
An i m a l .
John Gould, Birds
a n ima l. of Great Britain,
John Gould, Birds of Vol. 4, 1862–73.
Europe, Vol. 3, 1832–37. Wood Brown is visible
Yellowish Brown is on the light feathers
visible on the breast on the back of the
feathers of the hoopoe. common snipe.
A. Mentz and C. H. A. Mentz and C. H.
Ostenfeld, Billeder Ostenfeld, Billeder
af Nordens Flora, af Nordens Flora,
Vol. 2, 1917. Vol. 1, 1917.
Yellowish Brown is Wood Brown is
visible on the flower of visible on the shell
the lakeshore bulrush.* of the hazelnut.
Johann Gottlob Reinhard Brauns,
ve g etab le .
Kurr, The Mineral The Mineral

min e r al.
min e r al.
Kingdom, 1859. Kingdom, Vol. 2, 1912.
Yellowish Brown is Wood Brown is visible
visible on the jasper on the mountain wood
(centre row, centre). (bottom row, right).
106. live r b rown. Liver Brown, is chesnut 107. ha i r brown. Hair Brown, is olive
brown mixed with a little brown mixed with
(i). Middle Parts of Feathers of Hen Pheasant. (i). Head of Pintail Duck. [Northern pintail; Anas acuta].
[Phasianus colchicus] black and olive green. † (ii). ash grey. [W]
Wing coverts of Grosbeak. [Grosbeak] † Syme should have applied a [W] notation in this
(iii). Wood Tin. [Tin oxide mineral].
(ii). instance, as Liver Brown appears in Werner’s
(iii). Semi Opal. [Silica] original list of colours.
2 7 7.
animal.
animal.
2 76.
An i m a l .
John Gould, Birds of of Great Britain,
Europe, Vol. 3, 1832–37. Vol. 5, 1862–73.
Liver Brown is visible Hair Brown is visible
on the wing feathers on the head feathers
of the grosbeak. of the northern pintail.
Johann Wilhelm Johann Wilhelm
Weinmann, Weinmann,
Phytanthoza Phytanthoza
iconographia, 1737. iconographia, 1737.
Liver Brown is Hair Brown is visible
visible on the seedpod on the fucus seaweed
of the cashew.* (top row, right).*
Reinhard Brauns, Philip Rashleigh,
v eg etab le .
ve g etab le .
The Mineral Specimens of British

mi n era l.
min e r al.
on the opal (second on the wood tin
row, centre). (all specimens).
106. live r b rown. Liver Brown, is chesnut 107. ha i r brown. Hair Brown, is olive
brown mixed with a little brown mixed with
(i). Middle Parts of Feathers of Hen Pheasant. (i). Head of Pintail Duck. [Northern pintail; Anas acuta].
[Phasianus colchicus] black and olive green. † (ii). ash grey. [W]
Wing coverts of Grosbeak. [Grosbeak] † Syme should have applied a [W] notation in this
(iii). Wood Tin. [Tin oxide mineral].
(ii). instance, as Liver Brown appears in Werner’s
(iii). Semi Opal. [Silica] original list of colours.
2 7 7.
animal.
animal.
2 76.
An i m a l .
John Gould, Birds of of Great Britain,
Europe, Vol. 3, 1832–37. Vol. 5, 1862–73.
on the wing feathers on the head feathers
of the grosbeak. of the northern pintail.
Johann Wilhelm Johann Wilhelm
Weinmann, Weinmann,
Phytanthoza Phytanthoza
iconographia, 1737. iconographia, 1737.
Liver Brown is Hair Brown is visible
visible on the seedpod on the fucus seaweed
of the cashew.* (top row, right).*
Reinhard Brauns, Philip Rashleigh,
v eg etab le .
ve g etab le .
The Mineral Specimens of British

mi n era l.
min e r al.
on the opal (second on the wood tin
row, centre). (all specimens).
108. broccol i brow n. Broccoli Brown, is olive 109. o li v e brown. Olive Brown, is ash
brown mixed with ash grey mixed with a little
(i). Head of Black headed Gull. [Chroicocephalus ridibundus] (i). Head and Neck of Male Kestril.
(ii). grey, and a small tinge [Common kestrel; Falco tinnunculus] blue, red, and chesnut
(iii). Zircon. [Silicate mineral]
of red. [W] (ii).
(iii).
Stems of Black Currant Bush. [Blackcurrant; Ribes nigrum]
Axinite. [Silicate mineral] Rock Crystal. [Quartz]
brown. [W]
2 7 9.
veg etable .
animal.
animal.
2 78.
a n ima l.
Charles d’Orbigny,
Dictionnaire An i m a l .
universel d’histoire John Gould, Birds of
naturelle, 1849. Europe, Vol. 1, 1832–37.
Broccoli Brown is visible Olive Brown is visible
on the head feathers on the head and neck
of the black-headed gull. feathers of the
common kestrel.
v e geta bl e .
Weinmann, J. Zorn and D. L.
Phytanthoza Oskamp, Afbeeldingen
iconographia, 1737. der Artseny-gewassen,
Broccoli Brown is 1796–1800.
visible on the fruit Olive Brown is visible
of the Commiphora.* on the stem of the
blackcurrant.
min e r a l.
The World’s George Frederick
Minerals, 1916. Kunz, Gems and
v eg etab le .
Broccoli Brown is Precious Stones of

mi n era l.
min e r al.
visible on the zircon North America, 1890.

(centre row, right). Olive Brown is visible
The zircon is embedded on the axinite
within a rock. (bottom row).
108. broccol i brow n. Broccoli Brown, is olive 109. o li v e brown. Olive Brown, is ash
brown mixed with ash grey mixed with a little
(i). Head of Black headed Gull. [Chroicocephalus ridibundus] (i). Head and Neck of Male Kestril.
(ii). grey, and a small tinge [Common kestrel; Falco tinnunculus] blue, red, and chesnut
(iii). Zircon. [Silicate mineral]
of red. [W] (ii).
(iii).
Stems of Black Currant Bush. [Blackcurrant; Ribes nigrum]
Axinite. [Silicate mineral] Rock Crystal. [Quartz]
brown. [W]
2 7 9.
veg etable .
animal.
animal.
2 78.
a n ima l.
Charles d’Orbigny,
Dictionnaire An i m a l .
universel d’histoire John Gould, Birds of
naturelle, 1849. Europe, Vol. 1, 1832–37.
Broccoli Brown is visible Olive Brown is visible
on the head feathers on the head and neck
of the black-headed gull. feathers of the
common kestrel.
v e geta bl e .
Weinmann, J. Zorn and D. L.
Phytanthoza Oskamp, Afbeeldingen
iconographia, 1737. der Artseny-gewassen,
Broccoli Brown is 1796–1800.
visible on the fruit Olive Brown is visible
of the Commiphora.* on the stem of the
blackcurrant.
min e r a l.
The World’s George Frederick
Minerals, 1916. Kunz, Gems and
v eg etab le .
Broccoli Brown is Precious Stones of

mi n era l.
min e r al.
visible on the zircon North America, 1890.

(centre row, right). Olive Brown is visible
The zircon is embedded on the axinite
within a rock. (bottom row).
110. blac kis h brow n. Blackish Brown, is
composed of chesnut
(i). Stormy Petril. [Storm petrel; Procellariiformes]
Wing Coverts of black Cock. [Black grouse; Lyrurus tetrix] brown and black. [W]
Forehead of Foumart. [European polecat; Common ferret; Mustela putorius]
(ii).
(iii). Mineral Pitch. [Asphalt; Bitumen; Petroleum]
281.
animal.
2 8 0.
animal.
John Gould, Birds
of Great Britain,
Vol. 5, 1862–73.
Blackish Brown is
of the storm petrel.
v egeta b l e .
Robert Bentley
and Henry Trimen,
Medicinal Plants, 1880.
Blackish Brown is
visible on the skin
of the blackberry.*
m i n er a l .
Johann Gottlob
v eg etab le .
Kurr, The Mineral

min e r al .
Kingdom, 1859.
Blackish Brown
is visible on the pitch
(bottom row, centre left).
110. blac kis h brow n. Blackish Brown, is
composed of chesnut
(i). Stormy Petril. [Storm petrel; Procellariiformes]
Wing Coverts of black Cock. [Black grouse; Lyrurus tetrix] brown and black. [W]
Forehead of Foumart. [European polecat; Common ferret; Mustela putorius]
(ii).
(iii). Mineral Pitch. [Asphalt; Bitumen; Petroleum]
281.
animal.
2 8 0.
animal.
John Gould, Birds
of Great Britain,
Vol. 5, 1862–73.
Blackish Brown is
of the storm petrel.
v egeta b l e .
Robert Bentley
and Henry Trimen,
Medicinal Plants, 1880.
Blackish Brown is
visible on the skin
of the blackberry.*
m i n er a l .
Johann Gottlob
v eg etab le .
Kurr, The Mineral

min e r al .
Kingdom, 1859.
Blackish Brown
is visible on the pitch
(bottom row, centre left).
Printer. Artist. Decorator. Printer. Artist. Decorator.
sym e’s Winsor & Caran Little Farrow sy me’s W in sor & C ar an L it t le Fa r row
No. cm y k pa nto ne No. c my k pan ton e
colou r s Newton D’Ach e Greene & Ball colou r s N ew ton D’Ac h e Greene & Ba l l
1 4-4-12-0 7527 U Iridescent White White Loft White Snow White 56 34-22-71-26 7748 U Oxide of Chromium Moss Green Garden Sap Green
2 3-4-10-0 N/a Flake White Hue White Flint Pointing 57 31-19-63-17 5767 U Sap Green Olive Yellow Boxington Yeabridge Green
3 5-4-10-0 Cool Gray 1 U Titanium White Buff Titanium Whitening James White 58 20-14-35-4 453 U Olive Green Raw Umber 10% Kitchen Green Green Ground
4 4-4-13-0 7527 U Iridescent White Primerose Slaked Lime White Tie 59 44-30-46-25 7735 U Chrome Green Deep Dark Sap Green N/A Green Smoke
5 3-4-12-0 n/a Naples Yellow Light Primerose Stock Orange Coloured White 60 23-26-61-19 5835 U Olive Green Green Ochre Light Bronze Green N/A
6 5-4-12-0 7527 U Iridescent White Naples Ochre Wood Ash New White 61 18-11-52-2 5865 U Green Gold OliveYellow Pale Lime Breakfast Room Green
7 6-5-12-0 7527 U Zinc White Primerose Rolling Fog Pale Skimmed Milk White 62 16-12-56-7 616 U Green Gold N/A Oak Apple N/A
8 8-6-12-0 Cool Gray 1 U Iridescent White Raw Umber 10% French Grey Pale School House White 63 8-8-30-1 468 U Naples Yellow Light Naples Ochre Apple Farrow’s Cream
9 15-11-16-2 2330 U Silver French Grey 10% Bone China Blue Mid Ash Grey 64 20-22-56-17 4505 U Olive Green Green Ochre Light Bronze Green Calke Green
10 18-13-17-3 400 U Pewter French Grey 30% Mono Hardwick White 65 11-14-48-6 4003 U Cadmium Lemon Yellow Ochre Yellow-pink Churlish Green
11 19-13-16-3 Cool Gray 3 U Davy’s Gray French Grey 10% French Grey Mizzle 66 10-11-53-4 615 U Winsor Yellow Bismuth Yellow Carys Pale Hound
R E F E R E N C E S F O R T H E C O N T E M P O R A RY P R I N T E R , A RT I ST A N D D E C O R AT O R .
2 8 3.
12 20-15-17-4 420 U Silver Silver Grey Gauze Dark Purbeck Stone 67 9-10-47-2 460 U Transparent Yellow Bismuth Yellow Lemon Tree Dayroom Yellow
13 19-16-31-7 4239 U Davy±’s Gray Olive Brown 10% Portland Stone French Gray 68 13-25-67-13 4018 U Green Gold Raw Sienna N/A Sudbury Yellow
14 27-20-22-9 2331 U Pewter French Grey Mid Lead Colour Manor House Gray 69 21-45-72-28 7574 U Gold Ochre Brown Ochre Callaghan India Yellow
15 33-24-30-16 415 U Charcoal Grey Raw Umber 50% French Grey Dark Treron 70 22-33-69-24 7558 U Yellow Ochre Pale Green Ochre Bath Stone N/A
16 50-41-31-38 2334 U Payne’s Gray Paynes Grey Juniper Ash Plummett 71 9-12-34-1 7500 U Raw Umber Light Naples Ochre Ivory House White
17 45-36-26-49 2336 U Charcoal Grey Graphite Dolphin Tanner’s Brown 72 15-15-40-4 4545 U Yellow Ochre Pale Olive Brown 10% Normandy Grey Ball Green
18 53-44-25-54 4287 U Blue Black Paynes Grey Lamp Black Railings 73 9-13-37-2 7501 U Raw Sienna Naples Ochre White Lead Dark Dorset Cream
19 51-35-33-54 5463 U Mars Black Cassel Earth Invisible Green Off-black 74 10-15-41-2 7402 U Yellow Ochre Naples Ochre Woodbine Yellow Ground
20 51-44-29-57 4147 U Perylene Black Cassel Earth Basalt Paean Black 75 7-9-27-0 7500 U Naples Yellow Light Primerose Custard Pale Hound
21 50-46-31-58 BLACK 5 U Payne’s Gray Burnt Sienna Chimney Black Mahogany 76 14-30-70-3 7555 U Yellow Ochre Light Golden Bismuth Mister David Dutch Orange
22 64-50-29-69 black 6 U Ivory Black Black Basalt Pitch Black 77 13-25-58-0 156 U Naples Yellow Deep Yellow Ochre Mortlake Yellow Citron
23 63-49-31-69 532 U Lamp Black Black Chocolate Colour Off-black 78 16-42-75-5 7571 U Raw Sienna Raw Sienna Yellow-pink India Yellow
24 81-74-14-66 282 U Blue Black N/A Thai Sapphire Scotch Blue 79 24-61-59-33 7587 U Burnt Sienna Burnt Sienna 50% Tuscan Red Preference Red
25 91-82-9-58 280 U Prussian Blue Violet Ultra Blue N/A 80 18-59-86-13 4013 U Brown Ochre Orange Heat Red Earth
26 57-42-8-22 4128 U Indanthrene Blue Prussian Blue Mambo Pitch Blue 81 17-53-60-20 7592 U Transparent Maroon Burnt Ochre N/A N/A
27 74-68-9-37 2746 U Ultramarine Violet Brown Purpleheart N/A 82 14-57-63-17 7585 U Transparent Red Ochre Burnt Ochre Tuscan Red Picture Gallery Red
28 52-39-9-20 7683 U Prussian Blue Phthalocyanine Blue Mambo Pitch Blue 83 18-62-67-27 7600 U Indian Red Perylene Brown Bronze Red Eating Room Red
29 50-31-2-5 285 U Cerulean Blue Prussian Blue Sky Blue Ultramarine Blue 84 14-78-65-25 2350 U Scarlet Lake Scarlet Theatre Red Incarnadine
30 43-27-6-7 2128 U Ultramarine Genuine Cobalt Blue Tivoli Cook’s Blue 85 15-71-62-23 7524 U Transparent Red Ochre Russet N/A Blazer
31 38-23-7-6 535 U French Ultramarine Light Cobalt Blue Blue Verditer Lulworth Blue 86 14-55-54-14 7619 U Winsor Red Burnt Ochre 50% Orange Aurora Red Earth
32 35-8-14-5 4170 U Cobalt Turquoise Light Light Malachite Green Turquoise Blue Arsenic 87 20-97-50-55 4102 U Permanent Magenta Crimson Aubergine Baked Cherry Radicchio
33 37-16-15-16 5493 U Cobalt Green Grey Blue Celestial Blue Green Blue 88 10-20-32-2 4675 U Transparent Red Ochre Brown Ochre 10% Creamerie Setting Plaster
34 31-16-14-12 428 U Viridian Steel Grey Grey Stone Oval Room Blue 89 9-12-19-0 7604 U Rose Dore Primerose Julie’s Dream Tallow
35 12-6-4-0 N/a Manganese Blue French Grey 10% Bone China Blue Pale Pale Powder 90 9-16-18-0 7611 U Rose Madder Genuine Burnt ochre 10% Pink Slip Pink Ground
36 38-25-9-5 2115 U French Ultramarine Manganese Violet Gauze Dark N/A 91 15-68-27-15 233 U Permanent Carmine Crimson Alizarine Carmine Rangwali
37 73-67-15-40 7679 U Mauve Blue Shade Light Aubergine Purpleheart N/A 92 23-73-17-19 2062 U Magenta Purplish Red Mischief Lake Red
38 69-60-19-47 2765 U Winsor Violet Violet Brown Purple Brown Scotch Blue 93 24-48-27-4 4036 U Purple Lake Sepia 10% Dorchester Pink Crimson Red
39 49-40-9-9 272 U Winsor Violet Ultramarine Violet Hortense Pitch Blue 94 50-82-25-47 2355 U Permanent Mauve Crimson Aubergine Adventurer N/A
40 60-65-11-19 2370 U Cobalt Violet Violet Purpleheart N/A 95 36-62-40-40 696 U Purple Lake Sepia 50% Blush Brinjal
2 82 .
41 59-65-17-38 2627 U Permanent Mauve Light Aubergine Córdoba Brinjal 96 60-61-39-61 2478 U Purple Madder Cassel Earth Purple Brown Paean Black
42 67-64-15-36 2371 U Winsor Violet Violet Brown N/A Pelt 97 35-40-33-22 437 U Permanent Mauve Sepia 10% Dolphin Sulking Room Pink
43 18-13-7-1 664 U Mauve Blue Shade Paynes Grey 30% Gauze Mid Calluna 98 53-61-42-58 2478 U Raw Umber Cassel Earth Toad Pelt
44 41-32-20-17 5285 U Mauve Blue Shade Violet Grey Arquerite Brassica 99 35-65-50-51 4056 U Brown Madder Burnt Sienna Spanish Brown Mahogany
45 62-51-20-36 2111 U Winsor Violet Sepia 50% Juniper Ash Imperial Purple 100 28-62-57-40 499 U Vandyke Brown Burnt Ochre Callaghan Picture Gallery Red
46 17-8-17-1 5595 U Terre Verte Light Malachite Green Pearl Colour Mid Green Ground 101 42-64-44-53 4104 U Mars Violet Deep Burnt Sienna Spanish Brown Deep Reddish Brown
47 20-13-21-2 4288 U Prussian Green Olive Yellow Portland Stone Cooking Apple Green 102 47-56-45-55 Black 5 U Burnt Umber Brown Ochre Felt Tanner’s Brown
48 27-18-25-6 Cool Gray 5 U Olive Green Green Ochre Pearl Colour Dark Lichen 103 33-57-53-42 7603 U Brown Madder Brown Ochre N/A N/A
49 51-30-33-30 4198 U Chrome Green Deep Malachite Green Livid Studio Green 104 27-44-60-29 2317 U Raw Umber Green Ochre Stone-dark-warm London Stone
50 36-7-27-2 558 U Permanent Green Beryl Green Green Verditer Arsenic 105 19-28-47-11 4249 U Raw Umber Light Olive Brown 10% Stock Dark Dead Salmon
51 23-11-16-2 441 U Viridian Steel Grey Salix Teresa’s Green 106 49-54-47-56 412 U Davy’s Grey Raw Umber Chimney Brick Salon Drab
52 27-7-34-2 4204 U Prussian Green Spring Green Aquamarine Breakfast Room Green 107 33-35-49-25 4242 U Raw Umber (Green) Raw Umber Grey Moss Pigeon
53 43-8-53-3 2255 U Winsor Green Cobalt Green Spearmint Emerald Green 108 30-33-42-18 7529 U Raw Umber (Green) Olive Brown 50% Silt Broccoli Brown
54 36-22-55-19 5835 U Olive Green Moss Green Citrine Bancha 109 38-44-44-35 411 U Davy’s Grey Sepia Felt Charleston Gray
55 57-36-66-59 350 U Prussian Green Dark Sap Green Olive Colour Duck Green 110 55-52-46-58 412 U Charcoal Grey Cassel Earth Attic II Off-Black
Printer. Artist. Decorator. Printer. Artist. Decorator.
sym e’s Winsor & Caran Little Farrow sy me’s W in sor & C ar an L it t le Fa r row
No. cm y k pa nto ne No. c my k pan ton e
colou r s Newton D’Ach e Greene & Ball colou r s N ew ton D’Ac h e Greene & Ba l l
1 4-4-12-0 7527 U Iridescent White White Loft White Snow White 56 34-22-71-26 7748 U Oxide of Chromium Moss Green Garden Sap Green
2 3-4-10-0 N/a Flake White Hue White Flint Pointing 57 31-19-63-17 5767 U Sap Green Olive Yellow Boxington Yeabridge Green
3 5-4-10-0 Cool Gray 1 U Titanium White Buff Titanium Whitening James White 58 20-14-35-4 453 U Olive Green Raw Umber 10% Kitchen Green Green Ground
4 4-4-13-0 7527 U Iridescent White Primerose Slaked Lime White Tie 59 44-30-46-25 7735 U Chrome Green Deep Dark Sap Green N/A Green Smoke
5 3-4-12-0 n/a Naples Yellow Light Primerose Stock Orange Coloured White 60 23-26-61-19 5835 U Olive Green Green Ochre Light Bronze Green N/A
6 5-4-12-0 7527 U Iridescent White Naples Ochre Wood Ash New White 61 18-11-52-2 5865 U Green Gold OliveYellow Pale Lime Breakfast Room Green
7 6-5-12-0 7527 U Zinc White Primerose Rolling Fog Pale Skimmed Milk White 62 16-12-56-7 616 U Green Gold N/A Oak Apple N/A
8 8-6-12-0 Cool Gray 1 U Iridescent White Raw Umber 10% French Grey Pale School House White 63 8-8-30-1 468 U Naples Yellow Light Naples Ochre Apple Farrow’s Cream
9 15-11-16-2 2330 U Silver French Grey 10% Bone China Blue Mid Ash Grey 64 20-22-56-17 4505 U Olive Green Green Ochre Light Bronze Green Calke Green
10 18-13-17-3 400 U Pewter French Grey 30% Mono Hardwick White 65 11-14-48-6 4003 U Cadmium Lemon Yellow Ochre Yellow-pink Churlish Green
11 19-13-16-3 Cool Gray 3 U Davy’s Gray French Grey 10% French Grey Mizzle 66 10-11-53-4 615 U Winsor Yellow Bismuth Yellow Carys Pale Hound
2 8 3.
12 20-15-17-4 420 U Silver Silver Grey Gauze Dark Purbeck Stone 67 9-10-47-2 460 U Transparent Yellow Bismuth Yellow Lemon Tree Dayroom Yellow
13 19-16-31-7 4239 U Davy±’s Gray Olive Brown 10% Portland Stone French Gray 68 13-25-67-13 4018 U Green Gold Raw Sienna N/A Sudbury Yellow
14 27-20-22-9 2331 U Pewter French Grey Mid Lead Colour Manor House Gray 69 21-45-72-28 7574 U Gold Ochre Brown Ochre Callaghan India Yellow
15 33-24-30-16 415 U Charcoal Grey Raw Umber 50% French Grey Dark Treron 70 22-33-69-24 7558 U Yellow Ochre Pale Green Ochre Bath Stone N/A
16 50-41-31-38 2334 U Payne’s Gray Paynes Grey Juniper Ash Plummett 71 9-12-34-1 7500 U Raw Umber Light Naples Ochre Ivory House White
17 45-36-26-49 2336 U Charcoal Grey Graphite Dolphin Tanner’s Brown 72 15-15-40-4 4545 U Yellow Ochre Pale Olive Brown 10% Normandy Grey Ball Green
18 53-44-25-54 4287 U Blue Black Paynes Grey Lamp Black Railings 73 9-13-37-2 7501 U Raw Sienna Naples Ochre White Lead Dark Dorset Cream
19 51-35-33-54 5463 U Mars Black Cassel Earth Invisible Green Off-black 74 10-15-41-2 7402 U Yellow Ochre Naples Ochre Woodbine Yellow Ground
20 51-44-29-57 4147 U Perylene Black Cassel Earth Basalt Paean Black 75 7-9-27-0 7500 U Naples Yellow Light Primerose Custard Pale Hound
21 50-46-31-58 BLACK 5 U Payne’s Gray Burnt Sienna Chimney Black Mahogany 76 14-30-70-3 7555 U Yellow Ochre Light Golden Bismuth Mister David Dutch Orange
22 64-50-29-69 black 6 U Ivory Black Black Basalt Pitch Black 77 13-25-58-0 156 U Naples Yellow Deep Yellow Ochre Mortlake Yellow Citron
23 63-49-31-69 532 U Lamp Black Black Chocolate Colour Off-black 78 16-42-75-5 7571 U Raw Sienna Raw Sienna Yellow-pink India Yellow
24 81-74-14-66 282 U Blue Black N/A Thai Sapphire Scotch Blue 79 24-61-59-33 7587 U Burnt Sienna Burnt Sienna 50% Tuscan Red Preference Red
25 91-82-9-58 280 U Prussian Blue Violet Ultra Blue N/A 80 18-59-86-13 4013 U Brown Ochre Orange Heat Red Earth
26 57-42-8-22 4128 U Indanthrene Blue Prussian Blue Mambo Pitch Blue 81 17-53-60-20 7592 U Transparent Maroon Burnt Ochre N/A N/A
27 74-68-9-37 2746 U Ultramarine Violet Brown Purpleheart N/A 82 14-57-63-17 7585 U Transparent Red Ochre Burnt Ochre Tuscan Red Picture Gallery Red
28 52-39-9-20 7683 U Prussian Blue Phthalocyanine Blue Mambo Pitch Blue 83 18-62-67-27 7600 U Indian Red Perylene Brown Bronze Red Eating Room Red
29 50-31-2-5 285 U Cerulean Blue Prussian Blue Sky Blue Ultramarine Blue 84 14-78-65-25 2350 U Scarlet Lake Scarlet Theatre Red Incarnadine
30 43-27-6-7 2128 U Ultramarine Genuine Cobalt Blue Tivoli Cook’s Blue 85 15-71-62-23 7524 U Transparent Red Ochre Russet N/A Blazer
31 38-23-7-6 535 U French Ultramarine Light Cobalt Blue Blue Verditer Lulworth Blue 86 14-55-54-14 7619 U Winsor Red Burnt Ochre 50% Orange Aurora Red Earth
32 35-8-14-5 4170 U Cobalt Turquoise Light Light Malachite Green Turquoise Blue Arsenic 87 20-97-50-55 4102 U Permanent Magenta Crimson Aubergine Baked Cherry Radicchio
33 37-16-15-16 5493 U Cobalt Green Grey Blue Celestial Blue Green Blue 88 10-20-32-2 4675 U Transparent Red Ochre Brown Ochre 10% Creamerie Setting Plaster
34 31-16-14-12 428 U Viridian Steel Grey Grey Stone Oval Room Blue 89 9-12-19-0 7604 U Rose Dore Primerose Julie’s Dream Tallow
35 12-6-4-0 N/a Manganese Blue French Grey 10% Bone China Blue Pale Pale Powder 90 9-16-18-0 7611 U Rose Madder Genuine Burnt ochre 10% Pink Slip Pink Ground
36 38-25-9-5 2115 U French Ultramarine Manganese Violet Gauze Dark N/A 91 15-68-27-15 233 U Permanent Carmine Crimson Alizarine Carmine Rangwali
37 73-67-15-40 7679 U Mauve Blue Shade Light Aubergine Purpleheart N/A 92 23-73-17-19 2062 U Magenta Purplish Red Mischief Lake Red
38 69-60-19-47 2765 U Winsor Violet Violet Brown Purple Brown Scotch Blue 93 24-48-27-4 4036 U Purple Lake Sepia 10% Dorchester Pink Crimson Red
39 49-40-9-9 272 U Winsor Violet Ultramarine Violet Hortense Pitch Blue 94 50-82-25-47 2355 U Permanent Mauve Crimson Aubergine Adventurer N/A
40 60-65-11-19 2370 U Cobalt Violet Violet Purpleheart N/A 95 36-62-40-40 696 U Purple Lake Sepia 50% Blush Brinjal
2 82 .
41 59-65-17-38 2627 U Permanent Mauve Light Aubergine Córdoba Brinjal 96 60-61-39-61 2478 U Purple Madder Cassel Earth Purple Brown Paean Black
42 67-64-15-36 2371 U Winsor Violet Violet Brown N/A Pelt 97 35-40-33-22 437 U Permanent Mauve Sepia 10% Dolphin Sulking Room Pink
43 18-13-7-1 664 U Mauve Blue Shade Paynes Grey 30% Gauze Mid Calluna 98 53-61-42-58 2478 U Raw Umber Cassel Earth Toad Pelt
44 41-32-20-17 5285 U Mauve Blue Shade Violet Grey Arquerite Brassica 99 35-65-50-51 4056 U Brown Madder Burnt Sienna Spanish Brown Mahogany
45 62-51-20-36 2111 U Winsor Violet Sepia 50% Juniper Ash Imperial Purple 100 28-62-57-40 499 U Vandyke Brown Burnt Ochre Callaghan Picture Gallery Red
46 17-8-17-1 5595 U Terre Verte Light Malachite Green Pearl Colour Mid Green Ground 101 42-64-44-53 4104 U Mars Violet Deep Burnt Sienna Spanish Brown Deep Reddish Brown
47 20-13-21-2 4288 U Prussian Green Olive Yellow Portland Stone Cooking Apple Green 102 47-56-45-55 Black 5 U Burnt Umber Brown Ochre Felt Tanner’s Brown
48 27-18-25-6 Cool Gray 5 U Olive Green Green Ochre Pearl Colour Dark Lichen 103 33-57-53-42 7603 U Brown Madder Brown Ochre N/A N/A
49 51-30-33-30 4198 U Chrome Green Deep Malachite Green Livid Studio Green 104 27-44-60-29 2317 U Raw Umber Green Ochre Stone-dark-warm London Stone
50 36-7-27-2 558 U Permanent Green Beryl Green Green Verditer Arsenic 105 19-28-47-11 4249 U Raw Umber Light Olive Brown 10% Stock Dark Dead Salmon
51 23-11-16-2 441 U Viridian Steel Grey Salix Teresa’s Green 106 49-54-47-56 412 U Davy’s Grey Raw Umber Chimney Brick Salon Drab
52 27-7-34-2 4204 U Prussian Green Spring Green Aquamarine Breakfast Room Green 107 33-35-49-25 4242 U Raw Umber (Green) Raw Umber Grey Moss Pigeon
53 43-8-53-3 2255 U Winsor Green Cobalt Green Spearmint Emerald Green 108 30-33-42-18 7529 U Raw Umber (Green) Olive Brown 50% Silt Broccoli Brown
54 36-22-55-19 5835 U Olive Green Moss Green Citrine Bancha 109 38-44-44-35 411 U Davy’s Grey Sepia Felt Charleston Gray
55 57-36-66-59 350 U Prussian Green Dark Sap Green Olive Colour Duck Green 110 55-52-46-58 412 U Charcoal Grey Cassel Earth Attic II Off-Black
biblio graphy. https://www.darwinproject.ac.uk/
letter/DCP-LETT-178.xml
Publié par la Société française des
chrysanthémistes… (Paris: for La
Heaths in the Collection of the Duke
of Bedford, at Woburn Abbey.
Structure of the Brain, Comprising
an Estimate of the Claims of Drs. Gall
—Darwin
— Correspondence Project, Société française des chrysanthémistes) Alphabetically and Systematically and Spurzheim to Discovery in the
‘Letter no. 192’, Darwin, C., to J. S. —Dixon,
— L., 2014. See Werner’s Arranged. (London: J. Moyes) Anatomy of that Organ (Edinburgh:
Henslow [c. 26 October–] 24 November Mineralogical System —Sowerby,
— J., 1788. An Easy Introduction William Blackwood)
[1832], https://www.darwinproject. —Edwards,
— S. T. and Lindley, J., 1819. to Drawing Flowers According to —Grimm,
— M., Kleine-Tebbe, C. and
ac.uk/letter/DCP-LETT-192.xml The Botanical Register: Consisting Nature (London: The Author) Stijnman, A., 2011. Lichtspiel und
introductio n. —Lenz,
— J. G., 1793. Grundriss der Patrick Syme’s colour chart and —Jameson,
— R., 1804. System of —Darwin
— Correspondence Project, of Coloured Figures of Exotic —Sowerby,
— J., 1809. See Colours in Zoology Farbenpracht: Entwicklungen des
Mineralogie, nach dem neuesten nomenclature for scientific purposes’, Mineralogy, Vol. 1 (Edinburgh: ‘Letter no. 2743’, Darwin, C. to Asa Plants Cultivated in British Gardens —Syme,
— P., 1810. Practical Directions for Farbdrucks 1500–1800; aus den
—Aikin,
— A., 1815. A Manual of Wernerschen System (Hildsburghausen: XVII–XVIII. Revue de la Société Archibald Constable and Co.) Gray, 3 April [1860], https://www.darwin with Their History and Mode of Learning Flower-Drawing. Illustrated Beständen der Herzog-August-
Mineralogy. First American Edition Johann Gottfried Hanisch) d’études anglo-américaines des —Jameson,
— R., 1805. System of project.ac.uk/letter/DCP-LETT-2743.xml Treatment, Vol. V (London: by Coloured Drawings (Edinburgh: Bibliothek; [Ausstellung der
(Philadelphia: Solomon W. Conrad) —Lenz,
— J. G., 1794. Mustertafeln der bis XVIIe et XVIIIe siècles, 75, 1–25 Mineralogy, Vol. 2 (Edinburgh: —Harris,
— M., 1775. The English Printed for James Ridgway) Printed for the Author by George Herzog-August-Bibiothek Wolfenbüttel
—Curry,
— W. (Jun.), 1834. The Dublin Jetzt Bekannten Einfachen Mineralien. —Sowerby,
— J., 1804–17. British Mineralogy: Bell & Bradfute) Lepidoptera, or the Aurelian’s —Estner,
— F. J. A., 1794. See Introduction Ramsay & Company) ... vom 11. März bis 28. August 2011]
University Magazine: A Literary (Jena: Losten des Verfassers) or, Coloured Figures Intended to —Jameson,
— R., 1805. See Introduction Pocket Companion… (London: —Forbes,
— J. D., 1849. ‘Hints towards a —Syme,
— P., 1814. See Introduction (Wiesbaden: Harrassowitz)
and Political Journal (Dublin: —Lenz,
— J. G., 1798. Mineralogisches Elucidate the Mineralogy of Great —Jameson,
— R., 1808. System of Printed for J. Robson) classification of colours’, Philosophical —Tkach,
— N., Heuchert, B., Krüger, —Hunter,
— J. 1841. ‘On the changes in
William Curry, Jun. and Company) Taschenbuch für Anfänger Britain, 5 vols (London: R. Taylor and Co.) Mineralogy, Vol. 3 (Edinburgh: —
—Harris, M., 1776. An Exposition of Magazine, Third Series, 34, 161–78 C., Heklau, H., Marx, D., Braun, U., the colour of the iris produced by
—Darwin,
— C. R., 1845. Journal of und Liebhaber, Vol. 1 (Erfurt: —Sowerby,
— J., 1811. Exotic Mineralogy: or, William Blackwood) English Insects (London: Printed for —Forster,
— T., 1813. ‘On a systematic and Röser, M., 2016. ‘Type material in inflammation’, Edinburgh Monthly
Researches into the Natural History Henningschen Buchhandlung) Coloured Figures of Foreign Minerals, —Jameson,
— R., 1820. A System of the author by Messrs. Robson and Dilly) arrangement of colours’, The the herbarium of the Martin Luther Journal of Medical Science,
and Geology of the Countries Visited —Lenz,
— J. G., 1800. System der äusseren as a Supplement to British Mineralogy Mineralogy, in which Minerals are —Jones,
— W. J., 2013. German Colour Philosophical Magazine 42, 119–21 University Halle-Wittenberg of species February, 79–84
During the Voyage of H.M.S. Beagle Kennzeichen der Mineralien in (London: Benjamin Meredith) Arranged According to the Natural Terms: A Study in Their Evolution —Galton,
— F., 1887. ‘Notes on permanent based on collections from Alexander —Karliczek,
— A., 2013a. ‘Die Bemessung
Round the World under the Command deutscher, lateinischer, italienischer, —Struve,
— H., 1797. Méthode analytique History Method, Vol. 1 (Edinburgh: from Earliest Times to the Present colour types in mosaic’, Journal of the von Humboldt’s American expedition des Himmels: Das Cyanometer des
of Captain Fitz Roy, R.N. 2nd ed. französischer, dänischer und des fossiles, fondée sur leurs Archibald Constable & Co.) (Amsterdam/Philadelphia: Anthropological Institute 16, 145–47 between 1799 and 1804 in its historical Horace-Bénédicte de Saussure’, in
(London: John Murray) ungarischer Sprache, mit erläuternden caractères extérieur (Paris: C. Pougens) —Kazmer,
— M., 2002. ‘Werner’s first John Benjamins) —Gerhard,
— W., 1834. Zur Geschichte, context’, Schlechtendalia 29, 1–107 Breidbach, O. (ed.), Über die Natur
—Darwin,
— C. R., 1985. The Anmerkungen (Bamburg and —Syme,
— P., 1814. Werner’s Nomenclature translator: Ferenc Benkő, Hungarian —Keynes,
— R. (ed.), 2000. Charles Cultur und Classification der —Wachsmuth,
— B., 2014. ‘Farbentafeln des Lichts (Wiederstedt: Novalis
Correspondence of Charles Würzburg: Tobias Göbhard) of Colours: with additions, arranged priest, mineralogist, professor’, in Darwin’s Zoology Notes & Specimen Georginen oder Dahlie (Leipzig: für Gärtner und Pflanzenfreunde’, Museum), 49–60
Darwin, Volume 5: 1851–1855. —Lenz,
— J. G., 1806. Tabellen über das so as to render it highly useful to the Albrecht, H. and Ladwig, R. (eds), Lists from H.M.S. Beagle (Cambridge: Baumgärtner) Zandera 29, 70–89 —Karliczek,
— A., 2013b. ‘Vom Phänomen
Edited by F. Burkhardt (Cambridge: gesammte Mineralreich (Jena: Göpferdt) arts and sciences, particularly zoology, Abraham Gottlob Werner and the Cambridge University Press) —Halsby,
— J. and Harris, P., 2001. The —Wagenbreth,
— O., 1967. ‘Werner-Schüler zum Merkmal: Farben in der Natur
Cambridge University Press) —Lenz,
— J. G., 1819. Die Metalle: botany, chemistry, mineralogy, Foundation of the Geological Sciences —Linnaeus,
— C., 1758. Systema naturae…, Dictionary of Scottish Painters: als Geologen und Bergleute und ihre geschichte um 1800’, in Vogt, M. and
—Darwin,
— C. R., 2016. The Works of ein Handbuch für Freunde der and morbid anatomy. Annexed to (Freiburger Forschungshefte D 207, 10th ed. (Stockholm: Laurentii Salvii) 1600 to the Present, 3rd ed. Bedeutung für die Geologie und Karliczek, A. (eds), Erkenntniswert
Charles Darwin, P. H. Barrett and Mineralogie. Platin, Gold, Quecksilber, which are examples selected from Verlag der Technischen Universität —Lyon,
— J., 1976. ‘The “Initial Discourse” (Edinburgh: Canongate) den Bergbau des 19. Jahrhunderts’ Farbe (Jena: Ernst-Haeckel-Haus), 83–111
R. B. Freeman (eds), Vol. 3, Journal of Silber und Kupferordnung, well-known objects in the animal, Bergakademie Freiberg), 161–71 to Buffon’s Histoire naturelle: the first —Hooker,
— W. J., 1834. Supplement to in Rösler, H. J. (ed.), Über die —Karliczek,
— A., 2014. Modelle des Leben
Researches, Part 2 (London: Routledge) Vol. 1 (Giessen: C. G. Müller) vegetable, and mineral kingdoms —Laudan,
— R., 1987. From Mineralogy complete English translation’, Journal the English Botany of the Late Sir Entwicklung der Mineralsystematik in digen: Interaktionen von Physiologie,
—Emmerling,
— L. A., 1793–97. Lehrbuch —Lenz,
— J. G., 1822. Handbuch der (Edinburgh: William Blackwood to Geology: The Foundations of of the History of Biology 9, 133–81 J. E. Smith and Mr. Sowerby: The der ersten Hälfte des 19. Jahrhunderts Biologie und Pathologie von
der Mineralogie, 3 vols (Giessen: vergleichenden Mineralogie: ein and T. Cadell); 2nd ed., 1821 a Science 1650–1830 (Chicago: —Parry,
— W. E. (ed.), 1825. Appendix to Descriptions, Synonyms, and Places of durch die Schüller A. G. Werners, Boerhaave bis Meckel (Jena: SALANA)
Georg Friedrich Hayer) tabellarisches Hülfsbuch zur —Weaver,
— T., 1805. A Treatise on the University of Chicago Press) Captain Parry’s Journal of a Second Growth, Vol. II (London: C. E. Sowerby) Freiberger Forschungshefte, C 223: —Karliczek,
— A., 2016. ‘Natur der Farben
—Estner,
— F. J. A., 1794. Versuch einer alsbaldigen Auffindung und External Characters of Fossils, —Linnaeus,
— C., 1735. See Introduction Voyage for the Discovery of a North- —Jameson,
— R., 1804. See Werner’s Mineralogie–Lagerstättenlehre – Farben der Natur: Die Eigenschaft
Mineralogie: für Anfänger und Bestimmung der Mineralien. Vol. 1 translated from the German of —Memoirs
— of the Wernerian Natural west Passage… (London: John Murray) Mineralogical System (Leipzig: VEB Deutscher Verlag für Farbe zwischen natürlicher Ordnung,
Liebhaber: Nach des herrn (Giessen: C. G. Müller) Abraham Gottlob Werner (Dublin: History Society, Vol. I, for the years —Richardson,
— J., 1829–37. Fauna —Jameson,
— R., 1805. See Introduction Grundstoffindustrie), 163–78 Naturbeschreibung und Natur-
Bergcommissionsraths Werner’s —Lewis,
— D., 2012. The Feathery Tribe. M. N. Mahon) 1808,–9,–10, 1811 (Edinburgh: Bell Boreali-Americana; or the Zoology —Lack,
— H.-W., 2015. The Bauers: Joseph, —Wagenitz,
— G. and Lack, H.-W., 2012. erkenntnis um 1800’, in Dönike, M.,
Methode (Vienna: J. Georg Oehler) Robert Ridgway and the Modern —Werner,
— A. G., 1774. Von den & Bradfute) of the Northern Parts of British Franz & Ferdinand. Masters of ‘Carl Ludwig Willdenow (1765–1812), ein Müller-Tamm, J. and Steinle, F. (eds),
America (London: John Murray)
B I B L I O G R A P H Y.
—Eyssvogel,
— F. G., 1756. Neu-Eröffnetes Study of Birds (New Haven: Yale äusserlichen Kennzeichen der Fossilien. —Mohs,
— F., 1825. Treatise on Mineralogy, Botanical Illustration. An Illustrated Botanikerleben in Briefen’, Annals of Die Farben der Klassik (Göttingen:
2 8 5.
Magazin, Bestehend in einer University Press) (Leipzig: Siegfried Lebrecht Crusius) or the Natural History of the Mineral —Ridgway,
— R., 1886. See Introduction Biography (Munich: Prestel) the History and Philosophy of Biology Wallstein Verlag), 173–204
Versammlung allerhand raren Künsten —Linnaeus,
— C., 1735. Systema naturae, —Widenmann,
— J. F. W., 1794. Handbuch Kingdom, Vol. 1 (translated by Wilhelm —Ridgway,
— R., 1890. ‘Scientific results —Lack,
— H.-W. and Ibáñez, M. V., 1997. (formerly Jahrbuch für Geschichte —Karliczek,
— A., 2018. ‘Zur Herausbildung
und besonderen Wissenschafften, sive Regna tria naturae systematice des oryktognostischen Theils der Haidinger) (Edinburgh: Archibald of explorations by the U.S. Fish ‘Recording colour in late eighteenth und Theorie der Biologie) 17, 1–289 von Farbstandards in den frühen
Durch welche sich Alle Arten der proposita per classes, ordines, Mineralogie (Leipzig: Siegfried Constable) Commission Steamer Albatross. century botanical drawings: Sydney —Werner,
— A. G., 1774. See Introduction Wissenschaften des 18. Jahrhunderts’,
Künstler sehr grossen Nutzen schaffen genera, & species, 1st ed. (Leiden: Lebrecht Crusius) —Nicol,
— J., 1849. Manual of Mineralogy, No. I. Birds collected on the Galapagos Parkinson, Ferdinand Bauer and —Willdenow,
— C. L., 1792. Grundriss der Ferrum. Nachrichten aus der
können (Bamberg: Martin Göbhardt) Theodorum Haak) —Wilkinson,
— J. G., 1858. On Colour or the Natural History of the Mineral Islands in 1888’, in Proceedings of Thaddäus Haenke’, Curtis’s Botanical Kräuterkunde zu Vorlesungen Eisenbibliothek 90, 36–49
—Hamm,
— E. P., 2001. ‘Unpacking Goethe’s —Ludwig,
— C. F., 1803–4. Handbuch der and on the Necessity for a General Kingdom (Edinburgh: Adam and the United States National Museum, Magazine 14, 87–100 entworfen (Berlin: Haude und Spener) —Karliczek,
— A. and Schwarz, A., (eds),
collections: the public and the private Mineralogie nach A. G. Werner, 2 vols Diffusion of Taste Among All Classes Charles Black) Vol. XII, 101–28 (Washington, DC: —Linnaeus,
— C., 1751. Philosophia Botanica —Willdenow,
— C. L., 1805. The Principles 2016. Farre. Farbstandards in den
in natural-historical collecting’, (Leipzig: Siegfried Lebrecht Crusius) (London: John Murray) —Simonini,
— G., 2018. See Introduction Government Printing Office) in qua explicantur fundamenta of Botany, and of Vegetable Physiology frühen Wissenschaften (Jena: SALANA)
The British Journal for the History —Mawe,
— J., 1813. A Treatise on Diamonds —Zappe,
— J. M. R., 1804. Mineralogisches —Sweet,
— J. M., 1976. The Wernerian —Ridgway,
— R., 1912. Color Standards botanica cum definitionibus partium, (Edinburgh: William Blackwood) —Kuehni,
— R. G. and Schwarz, A., 2008.
284.
of Science 34, 275–300. and Precious Stones (London: Longman, Handlexicon (Vienna: Anton Doll) Theory of the Neptunian Origin and Color Nomenclature exemplis terminorum, observationibus —Wood,
— L., 1991. ‘George Brookshaw: Color Ordered. A Survey of Color
—Hartley,
— S. D., 2001. Robert Jameson, Hurst, Rees, Orme and Brown) of Rocks (New York: Hafner Press) (Washington, DC: The author) rariorum, adjectis figuris aeneis the case of the vanishing cabinet-maker Order Systems from Antiquity to
Geology and Polite Culture, 1796–1826: —Morrell,
— J. B., 1972. ‘Science and wern er’s mi n era lo g ic a l —Syme,
— P., 1814. See Introduction —Rutherford,
— H. W., 1908. Catalogue (Stockholm: Gottfried Kiesewetter) I’, Apollo 133, 301–6 the Present (Oxford and New York:
Natural Knowledge Enquiry Scottish University reform: Edinburgh syst em. —Weaver,
— T., 1805. See Introduction of the library of Charles Darwin now —Linnaeus,
— C. and Freer, S., 2005. Oxford University Press)
and Civic Sensibility in Late in 1826’, The British Journal for the —Werner,
— A. G., 1774. See Introduction in the Botany School, Cambridge Linnaeus’ Philosophia Botanica. 2nd o n e f o r a l l? —Kusukawa,
— S., 2015. ‘Richard Waller’s
Enlightenment Scotland (PhD: History of Science 6, 39–56 —Agricola,
— G., 1556 (1950). De re —Werner,
— A. G., 1791. Ausführliches … with an Introduction by Francis ed. (Oxford: Oxford University Press) Table of Colours (1686)’, in Bushart, M.
The University of Edinburgh) —Picardet
— [Guyton de Morveau], C., 1790. Metallica (translated from the first und sistematisches Verzeichnis Darwin (Cambridge: Cambridge —Mabberley,
— D. J., 2017. Painting —Anonymous,
— 1794. Wiener Farben- and Steinle, F. (eds), Colour Histories:
—Jameson,
— L., 1854. ‘Biographical Traité des caractères extérieurs des Latin Edition of 1556 by H. C. Hoover des Mineralien-kabinets des University Press) by Numbers: The Life and Art of kabinet; oder vollständiges Musterbuch Science, Art, and Technology in the
memoir of the late Professor Jameson’, fossiles (Dijon: L.-N. Frantin) in 1950) (New York: Dover Publications) weiland kurfürstlich, sächsischen —Shaw,
— G., 1794. Zoology of New Ferdinand Bauer (Sydney: New aller Natur-, Grund- und Zusammen- 17th and 18th Centuries (Berlin and
Edinburgh New Philosophical —Rees,
— A., 1819. The Cyclopædia; Or, —Allan,
— R., 1834. A Manual of Mineralogy Berghauptmans Hernn Karl Eugen Holland (London: John Sowerby; South Publishing) setzungsfarben mit 5000 nach der Boston: De Gruyter), 3–21
Journal 57, 1–49 Universal Dictionary of Arts, Sciences, Comprehending the More Recent Pabst von Ohain (Leipzig and printed by J. Davis) —McEwan,
— P. J. M., 1994. Dictionary Natur gemalten Abbildungen und der —Linnaeus,
— C., 1735. See Introduction
—Jameson,
— R., 1804. Tabular View of and Literature, Vol. 38 (London: Discoveries in the Mineral Kingdom Annaberg: Grazischen Buchhandlung) —Sowerby,
— J., 1809. A New Elucidation of Scottish Art & Architecture Bestimmung des Namens einer jeden —Prange,
— C. F., 1782. Farbenlexicon:
the External Characters of Minerals Longman, Hurst, Rees, Orme and Brown) (Edinburgh: Adam and Charles Black) —Zeisig,
— J. C. (Minerophilus or of Colours, Original Prismatic, and (Woodbridge: Antique Collectors’ Club) Farbe, dann einer ausführlichen Worinn die möglichsten Farben der
for the Use of Students of Oryctognosy —Ridgway,
— R., 1886. A Nomenclature —Bomare,
— J.- C. V. de, 1762. Minéralogie, Minerophilo Freibergensi), 1730. Material (London: Richard Taylor) —Mathews,
— F. S., 1895. ‘A chart of correct Beschreibung aller Farbengeheimnisse Natur nicht nur nach ihren Eigen-
—Jameson,
— R., 1805. A Treatise on the of Colors for Naturalists, and ou nouvelle exposition du règne Neues und wohleingerichtetes —van
— Wyhe, J. (ed.), 2002–. The Complete colors of flowers Arranged by (Vienna and Prague: Schönfeld) schaften, Benennungen, Verhältnissen
External Characters of Minerals Compendium of Useful Knowledge mineral (Paris: Vincent) Mineral- und Bergwercks-Lexikon Work of Charles Darwin Online F. Schuyler Mathews for the use —Breidbach,
— O. and Karliczek, A., 2011. und Zusammensetzungen sondern
(Edinburgh: Bell & Bradfute) for Ornithologists (Boston: Little, —Cronstedt,
— A. F., 1770. An Essay (New Mining Lexicon) (Chemnitz: (http://darwin-online.org.uk) of Florists’, American Florist 11, 34 ‘Himmelblau – das Cyanometer des auch durch die wirkliche Ausmahlung
—Jameson,
— R., 1811. ‘On Colouring Brown, and Company) Towards a System of Mineralogy Johann Christoph and Johann David —Mérimée,
— J.-F. L., 1815. ‘Mémoire sur Horace-Bénédict de Saussure (1740– enthalten sind; Zum Gebrauch für
Geognostical Maps’, Memoirs of the —Ridgway,
— R., 1912. Color Standards (translated by Gustav von Engestrom, Stösseln) Sy m e’s co lou r ch a rt i n b ota n y. les lois générales de la coloration 1799)’, Sudhoffs Archiv. Zeitschrift Naturforscher, Mahler, Fabrikanten,
Wernerian Natural History Society. and Color Nomenclature revised by Emanuel Mendes da Costa) appliquées à la formation d’une für Wissenschaftsgeschichte 95, 3–29 Künstler und übrigen Handwerker,
Vol. I. For the years 1808,–9,–10 (Washington, DC: The author) (London: Edward and Charles Dilly) co lours i n zo o lo gy. —Barton,
— W. P. C., 1823. A Flora of North échelle chromatique, à l’usage des —Broca,
— P., 1865. Instructions générales welche mit Farben umgehen
(Edinburgh: Bell & Bradfute), 149–61 —Saccardo,
— P. A., 1891. Chromotaxia —Dana,
— J. D., 1837. A System of Mineralogy: America Illustrated by Coloured naturalistes’, in C. F. Brisseau de pour les recherches et (Halle: Hendel)
—Jameson,
— R., 1816. A Treatise on the seu Nomenclator colorum polyglottus Including an Extended Treatise on —Baird,
— S. F., Brewer, T. M. and Figures Drawn from Nature, Vol. III Mirbel, Élémens de Physiologie observations anthropologiques —Prout,
— W., 1819. ‘Description of a
External, Chemical, and Physical additis speciminibus coloratis ad Crystallography (New Haven: Durrie Ridgway, R., 1905. A History of (Philadelphia: H. C. Carey and I. Lea) végétale et de Botanique, Vol. 2 (anatomie et physiologie) urinary calculus, composed of the
Characters of Minerals, 2nd ed. usum botanicorum et zoologorum & Peck and Herrick & Noyes) North American Birds (Boston: —Bénezit,
— E.-C., 2011. ‘Patrick Syme’, in (Paris: Magimel), 909–24 (Paris: Victor Masson et Fils) lithate or urate of Ammonia’, Medico-
(Edinburgh: Archibald Constable & Co.) (Padua: Typis seminarii) —Dixon,
— L., 2014. ‘Syme, Patrick (1774–1845), Little, Brown, and Company) Benezit Dictionary of Artists, online ed. —Parry,
— W. E. (ed.), 1825. See Colours —Eichhorn,
— H., 1827. ‘Allgemeine chirurgical Transactions 10, 389–95
—Jameson,
— R., 1821. Manual of Mineralogy: —Schäffer,
— J. C., 1769. Entwurf einer flower painter’, Oxford Dictionary of —Barlow,
— N. (ed.), 1967. Darwin and —Blunt,
— W. and Stearn, W. T., 1995. The in Zoology Bemerkungen über die Terminologie —Radde,
— O., 1877. Raddeʼs Internationale
Containing an Account of Simple allgemeinen Farbenverein, oder National Biography (online edition) Henslow. The Growth of an Idea Art of Botanical Illustration, new ed. —Pretty,
— E., 1810. A Practical Essay on der Hautkrankheiten’, Archiv für Farbenskala: 42 Gammen mit circa
Minerals and also a Description Versuch und Muster einer gemein- —Eddy,
— M. D., 2002. ‘Scottish chemistry, (London: Bentham-Moxon Trust, (Woodbridge: Antique Collector’s Club) Flower Painting in Water Colours medizinische Erfahrungen im 900 Tönen (Hamburg: Verlag der
and Arrangement of Mountain Rocks nützlichen Bestimmung und classification and the early John Murray) —Brown,
— G. [Brookshaw, G.], 1797. A (London: S. and J. Fuller) Gebiete der praktischen Medizin, Stenochromatischen)
(Edinburgh: Archibald Constable & Co.) Benennung der Farben mineralogical career of the “ingenious” —Buffon,
— Comte de, 1770. Histoire New Treatise on Flower Painting: —Ragonot–Godefroy
— [P. B.?], 1842. Traité Chirurgie, Geburtshülfe und —Schäffer,
— J. C., 1769. See Introduction
—Kirwan,
— R., 1794 [1784]. Elements of (Regensburg: Emanuel Adam Weiss) Rev. Dr John Walker (1746 to 1779)’, naturelle des oiseaux. Tome 1 Containing the Most Familiar and sur la culture des œillets; suivie d’une Staatsarzneikunde 50, 432–77 —Simonini,
— G., 2018. See Introduction
Mineralogy, 2nd ed. (London: P. Elmsly) —Secord,
— J. A., 1991(a). ‘Edinburgh British Journal for the History (Paris: L’Imprimerie Royale) Easy Instructions; with Directions nouvelle classification pouvant aussi —Engel,
— A., 2009. Farben der Globalisie- —Spillmann,
— W. (ed.), 2009.
—Latreille,
— P. A., 1803–4. Histoire naturelle, Lamarckians: Robert Jameson and of Science 35, 411–38 —Darwin
— C. R., ‘Books to be read’ How to Mix the Various Tints, and s’appliquer aux genres rosier, dahlia, rung. Die Entstehung moderner Farb-Systeme 1611–2007. Farb-
générale et particulière des crustacés Robert E. Grant’, Journal of the —Gehler,
— J. K., 1757. De characteribus and ‘Books Read’ notebook. (1838–51) Obtain a Complete Knowledge by chrysanthème, et a tous ceux qui sont Märkte für Farbstoffe 1500–1900 Dokumente in der Sammlung Werner
et des insectes, Vol. 1 (Paris: F. Dufart) History of Biology 24, 1–18 fossilium externis (Leipzig: Officina CUL-DAR119. Transcribed by Kees Practice Alone (London: Printed nombreux en variétés (Paris: Audot) (Frankfurt am Main: Campus-Verlag) Spillmann (Basel: Schwabe)
—Lenz,
— J. G., 1799 [1791]. Mineralogisches —Secord,
— J. A., 1991(b). ‘The discovery Langenhemiana) Rookmaaker. Darwin Online, for the author) —Ridgway,
— R., 1886. See Introduction —Gerabek,
— W. E., Haage, B. D., Keil, G. —Waller,
— R., 1686. ‘A Catalogue of Simple
Handbuch durch weitere Ausführung of a vocation: Darwin’s early geology’, —Hübner,
— J., 1736. Curieuses und http://darwin-online.org.uk/ —Dauthenay,
— H. and Oberthür, R., 1905. —Saccardo,
— P. A., 1891. See Introduction and Wegner, W. (eds), 2007. and Mixt Colours, with a Specimen of
des Wernerschen Systems, 3rd ed. The British Journal for the History Reales Natur- Kunst- Berg- —Darwin
— Correspondence Project, Répertoire de couleurs pour aider —Simonini,
— G., 2018. See Introduction Enzyklopädie Medizingeschichte each Colour prefixt to its proper Name’,
(Hildsburghausen: Johann Gottfried of Science 24, 133–57 Gewerck- und Handlungs-Lexicon, ‘Letter no. 178’, Darwin, C., to J. S. à la détermination des couleurs des —Sinclair,
— G., 1825. Hortus ericæus (Berlin: Walter De Gruyter) Philosophical Transactions of the
Hanisch) —Simonini,
— G., 2018. ‘Organising colours: 7th ed. (Leipzig: Gleditsch) Henslow [23 July –] 15 August [1832], fleurs, des feuillages et des fruits. woburnensis: Or, A Catalogue of —Gordon,
— J., 1817. Observations on the Royal Society 16, 24–32
biblio graphy. https://www.darwinproject.ac.uk/
letter/DCP-LETT-178.xml
Publié par la Société française des
chrysanthémistes… (Paris: for La
Heaths in the Collection of the Duke
of Bedford, at Woburn Abbey.
Structure of the Brain, Comprising
an Estimate of the Claims of Drs. Gall
—Darwin
— Correspondence Project, Société française des chrysanthémistes) Alphabetically and Systematically and Spurzheim to Discovery in the
‘Letter no. 192’, Darwin, C., to J. S. —Dixon,
— L., 2014. See Werner’s Arranged. (London: J. Moyes) Anatomy of that Organ (Edinburgh:
Henslow [c. 26 October–] 24 November Mineralogical System —Sowerby,
— J., 1788. An Easy Introduction William Blackwood)
[1832], https://www.darwinproject. —Edwards,
— S. T. and Lindley, J., 1819. to Drawing Flowers According to —Grimm,
— M., Kleine-Tebbe, C. and
ac.uk/letter/DCP-LETT-192.xml The Botanical Register: Consisting Nature (London: The Author) Stijnman, A., 2011. Lichtspiel und
introductio n. —Lenz,
— J. G., 1793. Grundriss der Patrick Syme’s colour chart and —Jameson,
— R., 1804. System of —Darwin
— Correspondence Project, of Coloured Figures of Exotic —Sowerby,
— J., 1809. See Colours in Zoology Farbenpracht: Entwicklungen des
Mineralogie, nach dem neuesten nomenclature for scientific purposes’, Mineralogy, Vol. 1 (Edinburgh: ‘Letter no. 2743’, Darwin, C. to Asa Plants Cultivated in British Gardens —Syme,
— P., 1810. Practical Directions for Farbdrucks 1500–1800; aus den
—Aikin,
— A., 1815. A Manual of Wernerschen System (Hildsburghausen: XVII–XVIII. Revue de la Société Archibald Constable and Co.) Gray, 3 April [1860], https://www.darwin with Their History and Mode of Learning Flower-Drawing. Illustrated Beständen der Herzog-August-
Mineralogy. First American Edition Johann Gottfried Hanisch) d’études anglo-américaines des —Jameson,
— R., 1805. System of project.ac.uk/letter/DCP-LETT-2743.xml Treatment, Vol. V (London: by Coloured Drawings (Edinburgh: Bibliothek; [Ausstellung der
(Philadelphia: Solomon W. Conrad) —Lenz,
— J. G., 1794. Mustertafeln der bis XVIIe et XVIIIe siècles, 75, 1–25 Mineralogy, Vol. 2 (Edinburgh: —Harris,
— M., 1775. The English Printed for James Ridgway) Printed for the Author by George Herzog-August-Bibiothek Wolfenbüttel
—Curry,
— W. (Jun.), 1834. The Dublin Jetzt Bekannten Einfachen Mineralien. —Sowerby,
— J., 1804–17. British Mineralogy: Bell & Bradfute) Lepidoptera, or the Aurelian’s —Estner,
— F. J. A., 1794. See Introduction Ramsay & Company) ... vom 11. März bis 28. August 2011]
University Magazine: A Literary (Jena: Losten des Verfassers) or, Coloured Figures Intended to —Jameson,
— R., 1805. See Introduction Pocket Companion… (London: —Forbes,
— J. D., 1849. ‘Hints towards a —Syme,
— P., 1814. See Introduction (Wiesbaden: Harrassowitz)
and Political Journal (Dublin: —Lenz,
— J. G., 1798. Mineralogisches Elucidate the Mineralogy of Great —Jameson,
— R., 1808. System of Printed for J. Robson) classification of colours’, Philosophical —Tkach,
— N., Heuchert, B., Krüger, —Hunter,
— J. 1841. ‘On the changes in
William Curry, Jun. and Company) Taschenbuch für Anfänger Britain, 5 vols (London: R. Taylor and Co.) Mineralogy, Vol. 3 (Edinburgh: —
—Harris, M., 1776. An Exposition of Magazine, Third Series, 34, 161–78 C., Heklau, H., Marx, D., Braun, U., the colour of the iris produced by
—Darwin,
— C. R., 1845. Journal of und Liebhaber, Vol. 1 (Erfurt: —Sowerby,
— J., 1811. Exotic Mineralogy: or, William Blackwood) English Insects (London: Printed for —Forster,
— T., 1813. ‘On a systematic and Röser, M., 2016. ‘Type material in inflammation’, Edinburgh Monthly
Researches into the Natural History Henningschen Buchhandlung) Coloured Figures of Foreign Minerals, —Jameson,
— R., 1820. A System of the author by Messrs. Robson and Dilly) arrangement of colours’, The the herbarium of the Martin Luther Journal of Medical Science,
and Geology of the Countries Visited —Lenz,
— J. G., 1800. System der äusseren as a Supplement to British Mineralogy Mineralogy, in which Minerals are —Jones,
— W. J., 2013. German Colour Philosophical Magazine 42, 119–21 University Halle-Wittenberg of species February, 79–84
During the Voyage of H.M.S. Beagle Kennzeichen der Mineralien in (London: Benjamin Meredith) Arranged According to the Natural Terms: A Study in Their Evolution —Galton,
— F., 1887. ‘Notes on permanent based on collections from Alexander —Karliczek,
— A., 2013a. ‘Die Bemessung
Round the World under the Command deutscher, lateinischer, italienischer, —Struve,
— H., 1797. Méthode analytique History Method, Vol. 1 (Edinburgh: from Earliest Times to the Present colour types in mosaic’, Journal of the von Humboldt’s American expedition des Himmels: Das Cyanometer des
of Captain Fitz Roy, R.N. 2nd ed. französischer, dänischer und des fossiles, fondée sur leurs Archibald Constable & Co.) (Amsterdam/Philadelphia: Anthropological Institute 16, 145–47 between 1799 and 1804 in its historical Horace-Bénédicte de Saussure’, in
(London: John Murray) ungarischer Sprache, mit erläuternden caractères extérieur (Paris: C. Pougens) —Kazmer,
— M., 2002. ‘Werner’s first John Benjamins) —Gerhard,
— W., 1834. Zur Geschichte, context’, Schlechtendalia 29, 1–107 Breidbach, O. (ed.), Über die Natur
—Darwin,
— C. R., 1985. The Anmerkungen (Bamburg and —Syme,
— P., 1814. Werner’s Nomenclature translator: Ferenc Benkő, Hungarian —Keynes,
— R. (ed.), 2000. Charles Cultur und Classification der —Wachsmuth,
— B., 2014. ‘Farbentafeln des Lichts (Wiederstedt: Novalis
Correspondence of Charles Würzburg: Tobias Göbhard) of Colours: with additions, arranged priest, mineralogist, professor’, in Darwin’s Zoology Notes & Specimen Georginen oder Dahlie (Leipzig: für Gärtner und Pflanzenfreunde’, Museum), 49–60
Darwin, Volume 5: 1851–1855. —Lenz,
— J. G., 1806. Tabellen über das so as to render it highly useful to the Albrecht, H. and Ladwig, R. (eds), Lists from H.M.S. Beagle (Cambridge: Baumgärtner) Zandera 29, 70–89 —Karliczek,
— A., 2013b. ‘Vom Phänomen
Edited by F. Burkhardt (Cambridge: gesammte Mineralreich (Jena: Göpferdt) arts and sciences, particularly zoology, Abraham Gottlob Werner and the Cambridge University Press) —Halsby,
— J. and Harris, P., 2001. The —Wagenbreth,
— O., 1967. ‘Werner-Schüler zum Merkmal: Farben in der Natur
Cambridge University Press) —Lenz,
— J. G., 1819. Die Metalle: botany, chemistry, mineralogy, Foundation of the Geological Sciences —Linnaeus,
— C., 1758. Systema naturae…, Dictionary of Scottish Painters: als Geologen und Bergleute und ihre geschichte um 1800’, in Vogt, M. and
—Darwin,
— C. R., 2016. The Works of ein Handbuch für Freunde der and morbid anatomy. Annexed to (Freiburger Forschungshefte D 207, 10th ed. (Stockholm: Laurentii Salvii) 1600 to the Present, 3rd ed. Bedeutung für die Geologie und Karliczek, A. (eds), Erkenntniswert
Charles Darwin, P. H. Barrett and Mineralogie. Platin, Gold, Quecksilber, which are examples selected from Verlag der Technischen Universität —Lyon,
— J., 1976. ‘The “Initial Discourse” (Edinburgh: Canongate) den Bergbau des 19. Jahrhunderts’ Farbe (Jena: Ernst-Haeckel-Haus), 83–111
R. B. Freeman (eds), Vol. 3, Journal of Silber und Kupferordnung, well-known objects in the animal, Bergakademie Freiberg), 161–71 to Buffon’s Histoire naturelle: the first —Hooker,
— W. J., 1834. Supplement to in Rösler, H. J. (ed.), Über die —Karliczek,
— A., 2014. Modelle des Leben
Researches, Part 2 (London: Routledge) Vol. 1 (Giessen: C. G. Müller) vegetable, and mineral kingdoms —Laudan,
— R., 1987. From Mineralogy complete English translation’, Journal the English Botany of the Late Sir Entwicklung der Mineralsystematik in digen: Interaktionen von Physiologie,
—Emmerling,
— L. A., 1793–97. Lehrbuch —Lenz,
— J. G., 1822. Handbuch der (Edinburgh: William Blackwood to Geology: The Foundations of of the History of Biology 9, 133–81 J. E. Smith and Mr. Sowerby: The der ersten Hälfte des 19. Jahrhunderts Biologie und Pathologie von
der Mineralogie, 3 vols (Giessen: vergleichenden Mineralogie: ein and T. Cadell); 2nd ed., 1821 a Science 1650–1830 (Chicago: —Parry,
— W. E. (ed.), 1825. Appendix to Descriptions, Synonyms, and Places of durch die Schüller A. G. Werners, Boerhaave bis Meckel (Jena: SALANA)
Georg Friedrich Hayer) tabellarisches Hülfsbuch zur —Weaver,
— T., 1805. A Treatise on the University of Chicago Press) Captain Parry’s Journal of a Second Growth, Vol. II (London: C. E. Sowerby) Freiberger Forschungshefte, C 223: —Karliczek,
— A., 2016. ‘Natur der Farben
—Estner,
— F. J. A., 1794. Versuch einer alsbaldigen Auffindung und External Characters of Fossils, —Linnaeus,
— C., 1735. See Introduction Voyage for the Discovery of a North- —Jameson,
— R., 1804. See Werner’s Mineralogie–Lagerstättenlehre – Farben der Natur: Die Eigenschaft
Mineralogie: für Anfänger und Bestimmung der Mineralien. Vol. 1 translated from the German of —Memoirs
— of the Wernerian Natural west Passage… (London: John Murray) Mineralogical System (Leipzig: VEB Deutscher Verlag für Farbe zwischen natürlicher Ordnung,
Liebhaber: Nach des herrn (Giessen: C. G. Müller) Abraham Gottlob Werner (Dublin: History Society, Vol. I, for the years —Richardson,
— J., 1829–37. Fauna —Jameson,
— R., 1805. See Introduction Grundstoffindustrie), 163–78 Naturbeschreibung und Natur-
Bergcommissionsraths Werner’s —Lewis,
— D., 2012. The Feathery Tribe. M. N. Mahon) 1808,–9,–10, 1811 (Edinburgh: Bell Boreali-Americana; or the Zoology —Lack,
— H.-W., 2015. The Bauers: Joseph, —Wagenitz,
— G. and Lack, H.-W., 2012. erkenntnis um 1800’, in Dönike, M.,
Methode (Vienna: J. Georg Oehler) Robert Ridgway and the Modern —Werner,
— A. G., 1774. Von den & Bradfute) of the Northern Parts of British Franz & Ferdinand. Masters of ‘Carl Ludwig Willdenow (1765–1812), ein Müller-Tamm, J. and Steinle, F. (eds),
America (London: John Murray)
—Eyssvogel,
— F. G., 1756. Neu-Eröffnetes Study of Birds (New Haven: Yale äusserlichen Kennzeichen der Fossilien. —Mohs,
— F., 1825. Treatise on Mineralogy, Botanical Illustration. An Illustrated Botanikerleben in Briefen’, Annals of Die Farben der Klassik (Göttingen:
2 8 5.
Magazin, Bestehend in einer University Press) (Leipzig: Siegfried Lebrecht Crusius) or the Natural History of the Mineral —Ridgway,
— R., 1886. See Introduction Biography (Munich: Prestel) the History and Philosophy of Biology Wallstein Verlag), 173–204
Versammlung allerhand raren Künsten —Linnaeus,
— C., 1735. Systema naturae, —Widenmann,
— J. F. W., 1794. Handbuch Kingdom, Vol. 1 (translated by Wilhelm —Ridgway,
— R., 1890. ‘Scientific results —Lack,
— H.-W. and Ibáñez, M. V., 1997. (formerly Jahrbuch für Geschichte —Karliczek,
— A., 2018. ‘Zur Herausbildung
und besonderen Wissenschafften, sive Regna tria naturae systematice des oryktognostischen Theils der Haidinger) (Edinburgh: Archibald of explorations by the U.S. Fish ‘Recording colour in late eighteenth und Theorie der Biologie) 17, 1–289 von Farbstandards in den frühen
Durch welche sich Alle Arten der proposita per classes, ordines, Mineralogie (Leipzig: Siegfried Constable) Commission Steamer Albatross. century botanical drawings: Sydney —Werner,
— A. G., 1774. See Introduction Wissenschaften des 18. Jahrhunderts’,
Künstler sehr grossen Nutzen schaffen genera, & species, 1st ed. (Leiden: Lebrecht Crusius) —Nicol,
— J., 1849. Manual of Mineralogy, No. I. Birds collected on the Galapagos Parkinson, Ferdinand Bauer and —Willdenow,
— C. L., 1792. Grundriss der Ferrum. Nachrichten aus der
können (Bamberg: Martin Göbhardt) Theodorum Haak) —Wilkinson,
— J. G., 1858. On Colour or the Natural History of the Mineral Islands in 1888’, in Proceedings of Thaddäus Haenke’, Curtis’s Botanical Kräuterkunde zu Vorlesungen Eisenbibliothek 90, 36–49
—Hamm,
— E. P., 2001. ‘Unpacking Goethe’s —Ludwig,
— C. F., 1803–4. Handbuch der and on the Necessity for a General Kingdom (Edinburgh: Adam and the United States National Museum, Magazine 14, 87–100 entworfen (Berlin: Haude und Spener) —Karliczek,
— A. and Schwarz, A., (eds),
collections: the public and the private Mineralogie nach A. G. Werner, 2 vols Diffusion of Taste Among All Classes Charles Black) Vol. XII, 101–28 (Washington, DC: —Linnaeus,
— C., 1751. Philosophia Botanica —Willdenow,
— C. L., 1805. The Principles 2016. Farre. Farbstandards in den
in natural-historical collecting’, (Leipzig: Siegfried Lebrecht Crusius) (London: John Murray) —Simonini,
— G., 2018. See Introduction Government Printing Office) in qua explicantur fundamenta of Botany, and of Vegetable Physiology frühen Wissenschaften (Jena: SALANA)
The British Journal for the History —Mawe,
— J., 1813. A Treatise on Diamonds —Zappe,
— J. M. R., 1804. Mineralogisches —Sweet,
— J. M., 1976. The Wernerian —Ridgway,
— R., 1912. Color Standards botanica cum definitionibus partium, (Edinburgh: William Blackwood) —Kuehni,
— R. G. and Schwarz, A., 2008.
284.
of Science 34, 275–300. and Precious Stones (London: Longman, Handlexicon (Vienna: Anton Doll) Theory of the Neptunian Origin and Color Nomenclature exemplis terminorum, observationibus —Wood,
— L., 1991. ‘George Brookshaw: Color Ordered. A Survey of Color
—Hartley,
— S. D., 2001. Robert Jameson, Hurst, Rees, Orme and Brown) of Rocks (New York: Hafner Press) (Washington, DC: The author) rariorum, adjectis figuris aeneis the case of the vanishing cabinet-maker Order Systems from Antiquity to
Geology and Polite Culture, 1796–1826: —Morrell,
— J. B., 1972. ‘Science and wern er’s mi n era lo g ic a l —Syme,
— P., 1814. See Introduction —Rutherford,
— H. W., 1908. Catalogue (Stockholm: Gottfried Kiesewetter) I’, Apollo 133, 301–6 the Present (Oxford and New York:
Natural Knowledge Enquiry Scottish University reform: Edinburgh syst em. —Weaver,
— T., 1805. See Introduction of the library of Charles Darwin now —Linnaeus,
— C. and Freer, S., 2005. Oxford University Press)
and Civic Sensibility in Late in 1826’, The British Journal for the —Werner,
— A. G., 1774. See Introduction in the Botany School, Cambridge Linnaeus’ Philosophia Botanica. 2nd o n e f o r a l l? —Kusukawa,
— S., 2015. ‘Richard Waller’s
Enlightenment Scotland (PhD: History of Science 6, 39–56 —Agricola,
— G., 1556 (1950). De re —Werner,
— A. G., 1791. Ausführliches … with an Introduction by Francis ed. (Oxford: Oxford University Press) Table of Colours (1686)’, in Bushart, M.
The University of Edinburgh) —Picardet
— [Guyton de Morveau], C., 1790. Metallica (translated from the first und sistematisches Verzeichnis Darwin (Cambridge: Cambridge —Mabberley,
— D. J., 2017. Painting —Anonymous,
— 1794. Wiener Farben- and Steinle, F. (eds), Colour Histories:
—Jameson,
— L., 1854. ‘Biographical Traité des caractères extérieurs des Latin Edition of 1556 by H. C. Hoover des Mineralien-kabinets des University Press) by Numbers: The Life and Art of kabinet; oder vollständiges Musterbuch Science, Art, and Technology in the
memoir of the late Professor Jameson’, fossiles (Dijon: L.-N. Frantin) in 1950) (New York: Dover Publications) weiland kurfürstlich, sächsischen —Shaw,
— G., 1794. Zoology of New Ferdinand Bauer (Sydney: New aller Natur-, Grund- und Zusammen- 17th and 18th Centuries (Berlin and
Edinburgh New Philosophical —Rees,
— A., 1819. The Cyclopædia; Or, —Allan,
— R., 1834. A Manual of Mineralogy Berghauptmans Hernn Karl Eugen Holland (London: John Sowerby; South Publishing) setzungsfarben mit 5000 nach der Boston: De Gruyter), 3–21
Journal 57, 1–49 Universal Dictionary of Arts, Sciences, Comprehending the More Recent Pabst von Ohain (Leipzig and printed by J. Davis) —McEwan,
— P. J. M., 1994. Dictionary Natur gemalten Abbildungen und der —Linnaeus,
— C., 1735. See Introduction
—Jameson,
— R., 1804. Tabular View of and Literature, Vol. 38 (London: Discoveries in the Mineral Kingdom Annaberg: Grazischen Buchhandlung) —Sowerby,
— J., 1809. A New Elucidation of Scottish Art & Architecture Bestimmung des Namens einer jeden —Prange,
— C. F., 1782. Farbenlexicon:
the External Characters of Minerals Longman, Hurst, Rees, Orme and Brown) (Edinburgh: Adam and Charles Black) —Zeisig,
— J. C. (Minerophilus or of Colours, Original Prismatic, and (Woodbridge: Antique Collectors’ Club) Farbe, dann einer ausführlichen Worinn die möglichsten Farben der
for the Use of Students of Oryctognosy —Ridgway,
— R., 1886. A Nomenclature —Bomare,
— J.- C. V. de, 1762. Minéralogie, Minerophilo Freibergensi), 1730. Material (London: Richard Taylor) —Mathews,
— F. S., 1895. ‘A chart of correct Beschreibung aller Farbengeheimnisse Natur nicht nur nach ihren Eigen-
—Jameson,
— R., 1805. A Treatise on the of Colors for Naturalists, and ou nouvelle exposition du règne Neues und wohleingerichtetes —van
— Wyhe, J. (ed.), 2002–. The Complete colors of flowers Arranged by (Vienna and Prague: Schönfeld) schaften, Benennungen, Verhältnissen
External Characters of Minerals Compendium of Useful Knowledge mineral (Paris: Vincent) Mineral- und Bergwercks-Lexikon Work of Charles Darwin Online F. Schuyler Mathews for the use —Breidbach,
— O. and Karliczek, A., 2011. und Zusammensetzungen sondern
(Edinburgh: Bell & Bradfute) for Ornithologists (Boston: Little, —Cronstedt,
— A. F., 1770. An Essay (New Mining Lexicon) (Chemnitz: (http://darwin-online.org.uk) of Florists’, American Florist 11, 34 ‘Himmelblau – das Cyanometer des auch durch die wirkliche Ausmahlung
—Jameson,
— R., 1811. ‘On Colouring Brown, and Company) Towards a System of Mineralogy Johann Christoph and Johann David —Mérimée,
— J.-F. L., 1815. ‘Mémoire sur Horace-Bénédict de Saussure (1740– enthalten sind; Zum Gebrauch für
Geognostical Maps’, Memoirs of the —Ridgway,
— R., 1912. Color Standards (translated by Gustav von Engestrom, Stösseln) Sy m e’s co lou r ch a rt i n b ota n y. les lois générales de la coloration 1799)’, Sudhoffs Archiv. Zeitschrift Naturforscher, Mahler, Fabrikanten,
Wernerian Natural History Society. and Color Nomenclature revised by Emanuel Mendes da Costa) appliquées à la formation d’une für Wissenschaftsgeschichte 95, 3–29 Künstler und übrigen Handwerker,
Vol. I. For the years 1808,–9,–10 (Washington, DC: The author) (London: Edward and Charles Dilly) co lours i n zo o lo gy. —Barton,
— W. P. C., 1823. A Flora of North échelle chromatique, à l’usage des —Broca,
— P., 1865. Instructions générales welche mit Farben umgehen
(Edinburgh: Bell & Bradfute), 149–61 —Saccardo,
— P. A., 1891. Chromotaxia —Dana,
— J. D., 1837. A System of Mineralogy: America Illustrated by Coloured naturalistes’, in C. F. Brisseau de pour les recherches et (Halle: Hendel)
—Jameson,
— R., 1816. A Treatise on the seu Nomenclator colorum polyglottus Including an Extended Treatise on —Baird,
— S. F., Brewer, T. M. and Figures Drawn from Nature, Vol. III Mirbel, Élémens de Physiologie observations anthropologiques —Prout,
— W., 1819. ‘Description of a
External, Chemical, and Physical additis speciminibus coloratis ad Crystallography (New Haven: Durrie Ridgway, R., 1905. A History of (Philadelphia: H. C. Carey and I. Lea) végétale et de Botanique, Vol. 2 (anatomie et physiologie) urinary calculus, composed of the
Characters of Minerals, 2nd ed. usum botanicorum et zoologorum & Peck and Herrick & Noyes) North American Birds (Boston: —Bénezit,
— E.-C., 2011. ‘Patrick Syme’, in (Paris: Magimel), 909–24 (Paris: Victor Masson et Fils) lithate or urate of Ammonia’, Medico-
(Edinburgh: Archibald Constable & Co.) (Padua: Typis seminarii) —Dixon,
— L., 2014. ‘Syme, Patrick (1774–1845), Little, Brown, and Company) Benezit Dictionary of Artists, online ed. —Parry,
— W. E. (ed.), 1825. See Colours —Eichhorn,
— H., 1827. ‘Allgemeine chirurgical Transactions 10, 389–95
—Jameson,
— R., 1821. Manual of Mineralogy: —Schäffer,
— J. C., 1769. Entwurf einer flower painter’, Oxford Dictionary of —Barlow,
— N. (ed.), 1967. Darwin and —Blunt,
— W. and Stearn, W. T., 1995. The in Zoology Bemerkungen über die Terminologie —Radde,
— O., 1877. Raddeʼs Internationale
Containing an Account of Simple allgemeinen Farbenverein, oder National Biography (online edition) Henslow. The Growth of an Idea Art of Botanical Illustration, new ed. —Pretty,
— E., 1810. A Practical Essay on der Hautkrankheiten’, Archiv für Farbenskala: 42 Gammen mit circa
Minerals and also a Description Versuch und Muster einer gemein- —Eddy,
— M. D., 2002. ‘Scottish chemistry, (London: Bentham-Moxon Trust, (Woodbridge: Antique Collector’s Club) Flower Painting in Water Colours medizinische Erfahrungen im 900 Tönen (Hamburg: Verlag der
and Arrangement of Mountain Rocks nützlichen Bestimmung und classification and the early John Murray) —Brown,
— G. [Brookshaw, G.], 1797. A (London: S. and J. Fuller) Gebiete der praktischen Medizin, Stenochromatischen)
(Edinburgh: Archibald Constable & Co.) Benennung der Farben mineralogical career of the “ingenious” —Buffon,
— Comte de, 1770. Histoire New Treatise on Flower Painting: —Ragonot–Godefroy
— [P. B.?], 1842. Traité Chirurgie, Geburtshülfe und —Schäffer,
— J. C., 1769. See Introduction
—Kirwan,
— R., 1794 [1784]. Elements of (Regensburg: Emanuel Adam Weiss) Rev. Dr John Walker (1746 to 1779)’, naturelle des oiseaux. Tome 1 Containing the Most Familiar and sur la culture des œillets; suivie d’une Staatsarzneikunde 50, 432–77 —Simonini,
— G., 2018. See Introduction
Mineralogy, 2nd ed. (London: P. Elmsly) —Secord,
— J. A., 1991(a). ‘Edinburgh British Journal for the History (Paris: L’Imprimerie Royale) Easy Instructions; with Directions nouvelle classification pouvant aussi —Engel,
— A., 2009. Farben der Globalisie- —Spillmann,
— W. (ed.), 2009.
—Latreille,
— P. A., 1803–4. Histoire naturelle, Lamarckians: Robert Jameson and of Science 35, 411–38 —Darwin
— C. R., ‘Books to be read’ How to Mix the Various Tints, and s’appliquer aux genres rosier, dahlia, rung. Die Entstehung moderner Farb-Systeme 1611–2007. Farb-
générale et particulière des crustacés Robert E. Grant’, Journal of the —Gehler,
— J. K., 1757. De characteribus and ‘Books Read’ notebook. (1838–51) Obtain a Complete Knowledge by chrysanthème, et a tous ceux qui sont Märkte für Farbstoffe 1500–1900 Dokumente in der Sammlung Werner
et des insectes, Vol. 1 (Paris: F. Dufart) History of Biology 24, 1–18 fossilium externis (Leipzig: Officina CUL-DAR119. Transcribed by Kees Practice Alone (London: Printed nombreux en variétés (Paris: Audot) (Frankfurt am Main: Campus-Verlag) Spillmann (Basel: Schwabe)
—Lenz,
— J. G., 1799 [1791]. Mineralogisches —Secord,
— J. A., 1991(b). ‘The discovery Langenhemiana) Rookmaaker. Darwin Online, for the author) —Ridgway,
— R., 1886. See Introduction —Gerabek,
— W. E., Haage, B. D., Keil, G. —Waller,
— R., 1686. ‘A Catalogue of Simple
Handbuch durch weitere Ausführung of a vocation: Darwin’s early geology’, —Hübner,
— J., 1736. Curieuses und http://darwin-online.org.uk/ —Dauthenay,
— H. and Oberthür, R., 1905. —Saccardo,
— P. A., 1891. See Introduction and Wegner, W. (eds), 2007. and Mixt Colours, with a Specimen of
des Wernerschen Systems, 3rd ed. The British Journal for the History Reales Natur- Kunst- Berg- —Darwin
— Correspondence Project, Répertoire de couleurs pour aider —Simonini,
— G., 2018. See Introduction Enzyklopädie Medizingeschichte each Colour prefixt to its proper Name’,
(Hildsburghausen: Johann Gottfried of Science 24, 133–57 Gewerck- und Handlungs-Lexicon, ‘Letter no. 178’, Darwin, C., to J. S. à la détermination des couleurs des —Sinclair,
— G., 1825. Hortus ericæus (Berlin: Walter De Gruyter) Philosophical Transactions of the
Hanisch) —Simonini,
— G., 2018. ‘Organising colours: 7th ed. (Leipzig: Gleditsch) Henslow [23 July –] 15 August [1832], fleurs, des feuillages et des fruits. woburnensis: Or, A Catalogue of —Gordon,
— J., 1817. Observations on the Royal Society 16, 24–32
sourc e s of illustratio ns. Vol. 4, Pieter Cramer, Caspar Stoll, 1782;
151bl Illustrations of the Flowering
Gottlob Hayne, 1807; 187br © bpk/
Staatsbibliothek zu Berlin; 188al Zur
220bl Etudes de fleurs et de fruits: peints
d’après nature, Henriette Antoinette
Freidrich Johann Bertuch, 1802;
261b Gems and Precious Stones of North
Plants and Ferns of the Falkland Islands, Geschichte, Cultur und Classification Vincent, 1820; 220br British Mineralogy, America, George Frederick Kunz, 1890;
E. M. Cotton, E. F. Vallentin-Bertrand, der Georginen oder Dahlien, Wilhelm Vol. 1, James Sowerby, 1802–17; 262a Gleanings of Natural History, Vol. 2,
1921; 151br British Mineralogy, Vol. 3, Gerhard, Leipzig, 1836; 188ar Traité sur 221al Album/Alamy Stock Photo; George Edwards, 1758; 262bl British
James Sowerby, 1802–17; 152al British la culture des oeillets, Ragonot-Godefroy, 221ar Edwards’s Botanical Register, Phaenogamous Botany, William Baxter,
Butterflies, James Duncan, 1840; 1842; 188bl Chromotaxia, Pier Andrea Vol. 27, John Lindley, 1829–47; 1832–43; 262br Underground Life, Louis
2 © The Trustees of The Natural Britain, Vol. 5, John Gould, 1862–73; 81a Versuch einer Geschichte von Flötz- and the Adjacent Papuan Islands, Vol. 2, 152ar Les Liliacées, Vol. 7, Pierre-Joseph Saccardo, 1894; 188br Répertoire de 221b Underground Life, Louis Simonin, Simonin, 1869; 263al Wellcome Library,
History Museum, London; 6–7 Werner’s 51bl ‘Grapes – White Hamburg’, George Gebürgen, Johann Gottlob Lehmann, John Gould, 1875–88; 112ar Choix des plus Redouté, 1805; 152b Nastasic; 153al The couleurs pour aider à la détermination 1869; 222a Bilderbuch für Kinder, London; 263ar The New Botanic Garden,
Nomenclature of Colours, Patrick Syme, Brookshaw, 1812; 51br The Mineral 1756; 81bl, 81br Von den äusserlichen belles fleurs, Pierre-Joseph Redouté, 1833; Reading Room/Alamy Stock Photo; des couleurs des fleurs, des feuillages Vol. 4, Freidrich Johann Bertuch, Sydenham Edwards, 1812; 263b The
1821; 8–9 Geoscientific collections, Kingdom, Vol. 2, Reinhard Brauns, 1912; Kennzeichen der Fossilien, Abraham 112b Gems and precious stones of North 153ar The Flora Homoeopathica, et des fruits, René Oberthür, Henri 1802; 222bl Familiar Indian Flowers, Mineral Kingdom, Johann Gottlob Kurr,
TU Berg-akademie Freiberg; 10–11 MS 54al Birds of Europe, Vol. 3, John Gould, Gottlob Werner, Leipzig, 1774; 82 Klassik America, George Frederick Kunz, 1890; Edward Hamilton, 1852; 153b The World’s Dauthenay, 1905; 190 Birds of America, Lena Lowis, 1878; 222br Exotic 1859; 264al The Zoology of the Voyage of
Typ 55.9 (43). Houghton Library, Harvard 1832–37; 54ar Dorling Kindersley/UIG/ Stiftung Weimar, HAAB, Ruppert 113a The Coleoptera of the British Minerals, Leonard Spencer, 1916; Vols. I–IV, John James Audubon, 1827–38; Mineralogy, Vol. 2, James Sowerby, 1811; HMS Sulphur, Vol. 1, Richard Brinsley
University; 12–13 Tennants Auctioneers, Bridgeman Images; 54b Specimens of 4789; 85al, 85ar Deliciae naturae Islands, W. W. Fowler, Vol. 4, 1891; 154 Birds of Asia, Vol. 6, John Gould, 192–194 Werner’s Nomenclature of 223a, 223bl Florilegius/Alamy Stock Hinds, 1843; 264ar Medical Botany, Vol. 2,
North Yorkshire; 14–15 © The Trustees British Minerals, Philip Rashleigh, 1797; selectae, Georg Wolfgang Knorr, 1766; 113bl Medical Botany, Vol. 2, William 1850; 155a Florilegius/Alamy Stock Photo; Colours, Patrick Syme, 1821; 195 Private Photo; 223br Exotic Mineralogy, Vol. 2, William Woodville, 1832; 264b Specimens
of the Natural History Museum, 55al Birds of Great Britain, Vol. 2, 85bl Familiar Lessons on Mineralogy Woodville, 1832; 113br The Mineral 155b Underground Life, Louis Simonin, Collection; 198al Florilegius/Alamy Stock James Sowerby, 1811; 225, Traité complet of British Minerals, Philip Rashleigh,
London 17 Wellcome Library, London; John Gould, 1862–73; 55ar British and Geology, John Mawe, 1826; Kingdom, Johann Gottlob Kurr, 1859; 1869; 156al Birds of America, Vols. I–IV, Photo; 198ar © Florilegius/Mary Evans; de l’anatomie de l’homme, Marc Jean 1797; 265al Histoire naturelle des oiseaux
18al, 18ar © The Trustees of the Phaenogamous Botany, William Baxter, 85br A Treatise on Diamonds, John 114al British Butterflies, James Duncan, John James Audubon, 1827–38; 198b The World’s Minerals, Leonard Bourgery, 1831–54; 226 Geoscientific de paradis et des rolliers, François Le
Natural History Museum, London; 1832–43; 55b The Mineral Kingdom, Mawe, 1823; 86al David M Beach; 1840; 114ar The Ladies’ Flower-Garden 156ar Medical Botany, Vol. 3, William Spencer, 1916; 199al A Treatise on collections, TU Bergakademie Freiberg; Vaillant, 1806; 265ar Flora Parisiensis,
18bl, 18br Entwurf einer allgemeinen Johann Gottlob Kurr, 1859; 56a Birds 86ar Memoirs of the Wernerian of Ornamental Perennials, Vol. 2, Woodville, 1832; 156b The Mineral Kingdom, British Song-birds, Patrick Syme, 1823; 229, 230al, 230ar Wellcome Library, Vol. 1, Pierre Bulliard, 1776; 265b British
Farbenverein, Jacob Christian Schäffer, of Europe, Vol. 2, John Gould, 1832–37; Natural History Society, Vol. 4, Jane Loudon, 1849; 114b The Mineral Johann Gottlob Kurr, 1859; 157al The Moths 199ar Billeder af Nordens Flora, Vol. 1, A. London; 230bl Fasciculus Medicinae, Mineralogy, Vol. 1, James Sowerby, 1802–17;
1769; 21al By permission of the Royal 56bl Deutschlands Flora in Wernerian Natural History Society, Kingdom, Johann Gottlob Kurr, 1859; of the British Isles, Richard South, 1920; Mentz, C.H. Ostenfeld, 1917; 199b Specimens Johannes de Ketham, 1493; 230br Inquiry 266a Birds of Great Britain, Vol. 5,
Irish Academy © RIA; 21ar Geoscientific Abbildungen nach der Natur mit 1822; 86bl Collector’s cabinet drawer 115al Birds of New Guinea and the 157ar PhotoStock-Israel/Alamy Stock of British Minerals, Philip Rashleigh, into the Nature and Treatment of Gravel, John Gould, 1862–73; 266b The Mineral
collections, TU Bergakademie Freiberg; Beschreibungen, Jacob Sturm, 1798; (Anonymous Dutch) © Centraal Museum, Adjacent Papuan Islands, Vol. 2, John Photo; 157b The Palmer; 158a Birds 1797; 200a Album/Alamy Stock Photo; Calculus, and Other Diseases Connected Kingdom, Vol. 1, Reinhard Brauns, 1912;
21b The Picture Art Collection/Alamy 56br A Treatise on Diamonds, John Utrecht; 86br Private Collection; Gould, 1875–88; 115ar © Florilegius/Mary of Europe, Vol. 5, John Gould, 1832–37; 200bl U.S. Department of Agriculture with a Deranged Operations of the 267 The New Botanic Garden, Sydenham
Stock Photo; 22al Handbuch des Mawe, 1823; 57a Birds of Europe, Vol. 5, 88 Birds of America, Vols. I–IV, John James Evans; 115b British Mineralogy, Vol. 1, 158b Gems and Precious Stones of North Pomological Watercolor Collection. Urinary Organs, William Prout, 1821, Edwards, 1812; 270al Album/Alamy Stock
oryktognostischen Theils der Mineralogie, John Gould, 1832–37; 57bl Florilegius/ Audubon, 1827–1838; 90–91 Werner’s James Sowerby, 1802–17; 116al ilbusca; America, George Frederick Kunz, 1890; Rare and Special; Collections, National State Library of Victoria; 233 Wellcome Photo; 270ar Svensk Botanik, Vol. 8,
Johann Friedrich Wilhelm Widenmann, Alamy Stock Photo; 57br British Nomenclature of Colours, Patrick Syme, 116ar Choix des plus belles fleurs, 159 Neerland’s Plantentuin, Cornelis Agricultural Library, Beltsville, MD Library, London; 234 Instructions J. W. Palmstruch, 1807; 270b British
1794; 22ar Versuch einer Mineralogie, Mineralogy, James Sowerby, 1802–17; Edinburgh, 1821; 94a Florilegius/Alamy Pierre-Joseph Redouté, 1833; 116b The Antoon Jan Abraham Oudemans, 1865; 20705; 200br The World’s Minerals, générales pour les recherches et Mineralogy, Vol. 1, James Sowerby,
Franz Joseph Anton Estner, 1794; 58a Birds of Great Britain, Vol. 1, Stock Photo; 94b Underground Life, Mineral Kingdom, Vol. 1, Reinhard 162al Beetles in Russia and Western Leonard Spencer, 1916; 201a Florilegius/ observations anthropologiques, Paul 1802–17; 271al Florilegius/Alamy Stock
22b Méthode analytique des fossiles, John Gould, 1862–73; 58bl DEA/G. Louis Simonin, 1869; 95 Florilegius/ Brauns, 1912; 117al The Zoology of Europe, Georgiy Jacobson, 1905; Alamy Stock Photo; 201bl © The Robin Broca, 1865; 236 Birds of America, Vols. Photo; 271ar © Florilegius/Mary Evans;
fondée sur leurs caractères extérieurs, Cigolini/De Agostini via Getty Images; Alamy Stock Photo; 96a Birds of the Voyage of HMS Sulphur, Richard 162ar Billeder af Nordens Flora, A. Mentz, Symington Collection/Mary Evans I–IV, John James Audubon, 1827–38; 271b SSPL/Getty Images; 272a Birds of
Henri Struve, 1797; 25al, 25ar Versuch 58br Specimens of British Minerals, Europe, Vol. 5, John Gould, 1832–37; Brinsley Hinds, Vol. 1, 1843; 117ar Belgique C. H. Ostenfeld, 1917; 162b Private Picture Library; 201br Underground 238–240 Werner’s Nomenclature of Great Britain, Vol. 1, John Gould, 1862–73;
eines Farbensystems, Ignaz Philip Rashleigh, 1797; 59al Birds of 96b Florilegius/Alamy Stock Photo; horticole, Vol. 6, Charles Morren, 1856; Collection; 163a Birds of Europe, Vol. 5, Life, Louis Simonin, 1869; 202al Birds Colours, Patrick Syme, 1821; 241 Private 272bl The History Collection/Alamy
Schiffermüller, 1772; 25bl, 25br A Europe, Vol. 4, John Gould, 1832–37; 97 Exotic Mineralogy, James Sowerby, 117b Specimens of British Minerals, John Gould, 1832–37; 163bl © Florilegius/ of Great Britain, Vol. 3, John Gould, Collection; 244a Birds of Europe, Vol. 3, Stock Photo; 272br British Mineralogy,
Treatise on Diamonds, John Mawe, 59ar Deutschlands Flora in Abbildungen 1811; 98al Birds of New Guinea and the Philip Rashleigh, 1797; 118al Florilegius/ Mary Evans; 163br The Mineral Kingdom, 1862–73; 202ar © Florilegius/Mary Evans; John Gould, 1832–37; 244bl English Vol. 4, James Sowerby, 1802–17;
Vol. 2, Reinhard Brauns, 1912; 164al 202b The Mineral Kingdom, Vol. 1, Botany, or Coloured Figures of 273al Florilegius/Alamy Stock Photo;
S OU RC E S O F I L LUST R AT I O N S.
1823; 26al A Treatise on the External nach der Natur mit Beschreibungen, Adjacent Papuan Islands, Vol. 2, John Alamy Stock Photo; 118ar Choix des plus
2 87.
Characters of Minerals, Robert Jameson, Jacob Sturm, 1798; 59b The Mineral Gould, 1875–88; 98ar Deutschlands Flora belles fleurs, Pierre-Joseph Redouté, British Butterflies, James Duncan, 1840; Reinhard Brauns, 1912; 203a Birds British Plants, Vol. 7, J.E. Smith, 1863–99; 273ar Traité des arbres et arbustes,
1805; 26ar © National Gallery of Scotland; Kingdom, Vol. 2, Reinhard Brauns, 1912; in Abbildungen nach der Natur, Jacob 1833; 118b The World’s Minerals, Leonard 164ar American Medical Botany, Jacob of Australia, Vol. 7, John Gould, 244br British Mineralogy, Vol. 3, James Vol. 2, H. L. Duhamel du Monceau, 1804;
26b David Rumsey Map Collection, 60al A Treatise on British Song-birds, Sturm, 1798; 98b Exotic Mineralogy, Spencer, 1916; 119al Florilegius/Alamy Bigelow, 1817; 164b Exotic Mineralogy, 1840–48; 203bl Edwards’s Botanical Sowerby, 1802–17; 245a The Hemiptera 273b The World’s Minerals, Leonard
David Rumsey Map Center, Stanford Patrick Syme, 1823; 60ar Florilegius/ James Sowerby, 1811; 99al The Stock Photo; 119ar Icones plantarum James Sowerby, 1811; 165a Birds of Great Register, Vol. 23, John Lindley, 1829–47; Heteroptera of the British Islands, Spencer, 1916; 274al Birds of Europe,
Libraries; 29al VTR/Alamy Stock Photo; Alamy Stock Photo; 60b The Mineral Coleoptera of the British Islands, Vol. 5, medicinalium, Vol. 5, J. Zorn, 1779; Britain, Vol. 5, John Gould, 1862–73; 203br British Mineralogy, Vol. 2, James Edward Saunders, 1892; 245bl Mary Vol. 3, John Gould, 1832–37; 274ar Billeder
29ar agefotostock/Alamy Stock Photo; Kingdom, Vol. 1, Reinhard Brauns, 1912; W.W. Fowler, 1891; 99ar Choix des plus 119b Familiar Lessons on Mineralogy 165bl Florilegius/Alamy Stock Photo; Sowerby, 1802–17; 204 Florilegius/Alamy Evans Picture Library; 245br The af Nordens Flora, A. Mentz, C.H.
29bl, 29br Werner’s Nomenclature 61al Birds of Europe, Vol. 3, John Gould, belles fleurs, Pierre-Joseph Redouté, 1833; and Geology, John Mawe, 1826; 165br The Mineral Kingdom, Johann Stock Photo; 205a Choix des plus belles Mineral Kingdom, Vol. 2, Reinhard Ostenfeld, 1917; 274b The Mineral
of Colours, Patrick Syme, 1821; 30al On 1832–37; 61ar British Mineralogy, James 99b Specimens of British Minerals, 120 British Butterflies, James Duncan, Gottlob Kurr, 1859; 166a De Uitlandsche fleurs, Pierre-Joseph Redouté, 1833; Brauns, 1912; 246 Birds of America, Kingdom, Johann Gottlob Kurr, 1859;
Colour, and on the Necessity for a Sowerby, 1802–17; 61b Illustrationes Philip Rashleigh, 1797; 100al A Selection 1840; 121a Neerland’s Plantentuin, Kapellen: Voorkomende in de Drie 205b Exotic Mineralogy, Vol. 2, James Vols. I–IV, John James Audubon, 1827–38; 275a Birds of Great Britain, Vol. 4, John
General Diffusion of Taste Among all florae Hispaniae insularumque of the Birds of Brazil and Mexico, Cornelis Antoon Jan Abraham Waereld-deelen Asia, Africa en America, Sowerby, 1811; 208al Dittrick Medical 247a The Mineral Kingdom, Johann Gould, 1862–73; 275bl Billeder af Nordens
Classes, John Gardner Wilkinson, Balearium, Vol. 1 t.47, Heinrich Moritz William Swainson, 1841; 100ar The Oudemans, 1865; 121b A Popular Treatise Pieter Cramer, Caspar Stoll, 1782; History Center, Case Western Reserve Gottlob Kurr, 1859; 247b Afbeeldingen Flora, A. Mentz, C.H. Ostenfeld, 1917;
1858; 30ar Chromotaxia seu Willkomm, 1886–92; 64a Birds of Great natural history of Carolina, Florida, on Gems, Lewis Feuchtwanger, 1859; 166bl © Florilegius/Mary Evans; University; 208ar Album/Alamy Stock der artseny-gewassen, Vol. 2, J. Zorn, 275br The Mineral Kingdom, Vol. 2,
nomenclator colorum polyglottus Britain, John Gould, 1862–73; 64b The and the Bahama Islands, Mark 123al The Natural History of British 166br The World’s Minerals, Leonard Photo; 208b British Mineralogy, Vol. 1, P.L. Oskamp, 1796; 248 Deliciae naturae Reinhard Brauns, 1912; 276a Birds of
additis speciminibus coloratis ad Mineral Kingdom, Vol. 1, Reinhard Catesby, 1754; 100b British Mineralogy, Birds, Vol. 1, Edward Donovan, 1794; Spencer, 1916; 167a The Zoology of the James Sowerby, 1802–17; 209al Birds of selectae, Vol. 1, Georg Wolfgang Knorr, Europe, Vol. 3, John Gould, 1832–37;
usum botanicorum et zoologorum, Brauns, 1912; 65 Neerland’s Plantentuin, James Sowerby, 1802–17; 101al British 123ar The Natural History of British Voyage of HMS Sulphur, Vol. 2, Richard New Guinea and the Adjacent Papuan 1766; 249a Herbarium Blackwellianum, 276bl Historic Images/Alamy Stock
Pier Andrea Saccardo, 1894; Cornelis Antoon Jan Abraham Butterflies, James Duncan, 1840; Birds, Vol. 4, Edward Donovan, 1794; Brinsley Hinds, 1843; 167bl Edwards’s Islands, Vol. 1, John Gould, 1875–88; Vol. 2, E. Blackwell, 1754; 249b The Photo; 276br The Mineral Kingdom,
30bl, 30br A Nomenclature of Colors Oudemans, 1865; 66a The Naturalist’s 101ar The Natural History Museum/ 123bl, 123br Florilegius/Alamy Stock Botanical Register, Vol. 25, John Lindley, 209ar Historic Images/Alamy Stock World’s Minerals, Leonard Spencer, Vol. 2, Reinhard Brauns, 1912; 277a Birds
for Naturalists, Robert Ridgway, Miscellany, George Shaw, Frederick P. Alamy Stock Photo; 101b The World’s Photo; 124–125 Tennants Auctioneers; 1829–47; 167br The World’s Minerals, Photo; 209b The Mineral Kingdom, 1916; 250al Birds of Europe, Vol. 3, of Great Britain, Vol. 5, John Gould,
2 8 6.
1886; 36 Birds of America, Vols. I–IV, Nodder, 1789–1813; 66bl Florilegius/ Minerals, Leonard Spencer, 1916; 126 CUL DAR 44: 13, Reproduced by kind Leonard Spencer, 1916; 168 The Picture Vol. 2, Reinhard Brauns, 1912; John Gould, 1832–37; 250ar The Mineral 1862–73; 277bl Phytanthoza iconographia,
John James Audubon, 1827–1838; Alamy Stock Photo; 66br The Mineral 102al 510 Collection/Alamy Stock permission of the Syndics of Cambridge Art Collection/Alamy Stock Photo; 210a The Quadrupeds of North America, Kingdom, Vol. 1, Reinhard Brauns, 1912; Vol. 2, Johann Wilhelm Weinmann, 1737;
38–40 Werner’s Nomenclature of Kingdom, Vol. 1, Reinhard Brauns, 1912; Photo; 102ar bauhaus1000; University Library; 128–129 © The 169a Pictures Now/Alamy Stock Photo; Vol. 3, John James Audubon, 1849; 250b Pomologie franç̧aise, A. Poiteau, 277br Specimens of British Minerals,
Colours, Patrick Syme, 1821; 41 Private 67a Birds of Europe, Vol. 4, John Gould, 102b Naturgeschichte des Tier- Pflanzen- Trustees of The Natural History Museum, 169b Bilwissedition Ltd. & Co. KG/Alamy 210bl Herbarium Blackwellianum, 1846; 251al Birds of Europe, Vol. 3, John Philip Rashleigh, 1797; 278a Florilegius/
Collection; 44a Birds of Europe, Vol. 5, 1832–37; 67bl Phytanthoza iconographia, und Mineralreichs, Gotthilf Heinrich London; 131a © The Trustees of The Stock Photo; 170 Birds of Great Vol. 2, E. Blackwell, 1754; 210br Specimens Gould, 1832–37; 251ar Flora Danica, G. C. Alamy Stock Photo; 278bl LLP collection/
John Gould, 1832–37; 44bl Neerland’s Johann Wilhelm Weinmann, 1737; von Schubert, 1886; 103al Birds of Great Natural History Museum, London; Britain, Vol. 3, John Gould, 1862–73; of British Minerals, Philip Rashleigh, Oeder, 1761; 251b British Mineralogy, Vol. Alamy Stock Photo; 278br The World’s
Plantentuin, Cornelis Antoon Jan 67br The World’s Minerals, Leonard Britain, Vol. 3, John Gould, 1862–73; 131bl, 131br Historic England Archive; 171a © Florilegius/Mary Evans; 171b The 1797; 211al The Book of Butterflies, 1, James Sowerby, 1802–17; 252a Wellcome Minerals, Leonard Spencer, 1916;
Abraham Oudemans, 1865; 44br The Spencer, 1816; 68 Birds of Europe, Vol. 5, 103ar Favourite Flowers of Garden 132–133 © The Trustees of The Natural Mineral Kingdom, Vol. 1, Reinhard Sphinxes and Moths, Vol. 2, Thomas Library, London; 252bl Phytanthoza 279al Birds of Europe, Vol. 1, John Gould,
Mineral Kingdom, Vol. 2, Reinhard John Gould, 1832–37; 69a Neerland’s and Greenhouse, Edward Step, 1896; History Museum, London; 134a Album/ Brauns, 1912; 173al, 173ar © National Brown, 1832; 211ar Billeder af Nordens iconographia, Vol. 2, Johann 1832–37; 279ar Florilegius/Alamy Stock
Brauns, 1912; 45a British Oology, Plantentuin, Cornelis Antoon Jan 103b Gems and Precious Stones of Alamy Stock Photo; 134bl, 134br Journal Gallery of Scotland; 173bl, 173br A Flora, Vol. 2, A. Mentz, C.H. Ostenfeld, Wilhelm Weinmann, 1737; 252br British Photo; 279b Gems and Precious Stones
William Chapman Hewitson, 1833; Abraham Oudemans, 1865; 69b The North America, George Frederick of a Second Voyage for the Discovery of Botanical Drawing-book, James 1917; 211b British Mineralogy, Vol. 4, Mineralogy, Vol. 1, James Sowerby, of North America, George Frederick
45bl © The Trustees of the British Mineral Kingdom, Vol. 2, Reinhard Kunz, 1890; 104al Gleanings of a North-west Passage from the Atlantic Sowerby, 1788; 174al A New Treatise James Sowerby, 1802–17; 212al Birds of 1802–17; 253a PhotoStock-Israel/Alamy Kunz, 1890; 280a Birds of Great Britain,
Museum; 45br British Mineralogy, Brauns, 1912; 70al The Book of Natural History, George Edwards, to the Pacific, William Edward Parry, on Flower Painting, George Brookshaw, New Guinea and the Adjacent Papuan Stock Photo; 253bl Die Rosen nach der Vol. 5, John Gould, 1862–73; 280b The
James Sowerby, 1802–17; 46a Birds of Butterflies, Sphinxes and Moths, Thomas 1758; 104ar Phytanthoza iconographia, 1825; 136–137 British Oology, William 1818; 174ar A Series of Progressive Islands, Vol. 1, John Gould, 1875–88; Natur gezeichnet und coloriert mit Mineral Kingdom, Johann Gottlob Kurr,
Europe, Vol. 5, John Gould, 1832–37; Brown, 1832; 70ar Choix des plus belles Vol. 2, Johann Wilhelm Weinmann, 1737; Chapman Hewitson, 1833; 139al Zoology Lessons Intended to Elucidate the Art of 212ar Flore Médicale, Vol. 2, François- kurzen botanischen Bestimmungen 1859; 281 Album/Alamy Stock Photo
46bl Billeder af Nordens Flora, A. Mentz, fleurs, Pierre-Joseph Redouté, 1833; 104b Specimens of British Minerals, of New Holland, Vol. 1, George Shaw, Flower Painting in Water Colours, 1824; Pierre Chaumeton, 1833; 212b The begleitet, Carl Gottlob Rössig, 1802–20;
C.H. Ostenfeld, 1917; 46br Naturgeschichte 70b Specimens of British Minerals, Philip Rashleigh, 1797; 105al British 1794; 139ar A new elucidation of colours, 174bl Lessons in Flower Painting, James Mineral Kingdom, Vol. 2, Reinhard 253br Private Collection; 254a British Front cover, left to right, Birds of
des Tier- Pflanzen- und Mineralreichs, Philip Rashleigh, 1797; 71al British Butterflies, James Duncan, 1840; original prismatic, and material, Andrews, 1836; 174br A New Elucidation Brauns, 1912; 213a Birds of Great Butterflies, James Duncan, 1840; Europe, John Gould, Vol. 5, 1832–37;
Gotthilf Heinrich von Schubert, 1886; Butterflies, James Duncan, 1840; 105ar The Botanical Magazine, Vols. 1–2, James Sowerby, 1809; 139bl, 139br An of Colours, Original Prismatic, and Britain, Vol. 2, John Gould, 1862–73; 255a Allgemeines teutsches Garten- Exotic Mineralogy, James Sowerby, 1811;
47a Birds of Europe, Vol. 4, John 71ar Florilegius/Alamy Stock Photo; 1787–89; 105b Gems and Precious Stones Exposition of English Insects, Moses Material, James Sowerby, 1809; 213bl Phytanthoza iconographia, Vol. 1, Magazin, Vol. 6, 1804–11; 255b The English Botany, J. T. B. Syme and James
Gould, 1832–37; 47bl Leemage/Universal 71b The Mineral Kingdom, Johann of North America, George Frederick Harris, 1776; 140–141 © The Trustees of 176–177 MS Am 1118.11. Houghton Library, Johann Wilhelm Weinmann, 1737; Mineral Kingdom, Johann Gottlob Kurr, Sowerby, Vol. 2, 1864; The Botanical
Images Group via Getty Images; Gottlob Kurr, 1859; 72a British Kunz, 1890; 106 Birds of Europe, Vol. 3, The Natural History Museum, London; Harvard University; 179al The Natural 213br Die Mineralien: in 64 Colorirten 1859; 258a Birds of New Guinea and the Magazine, Vol. 1, 1788; The Mineral
47br The Mineral Kingdom, Johann Quadrupeds, William MacGillivray, John Gould, 1832–37; 107a Flora graeca, 142al, 142ar A History of North American History Museum/Alamy Stock Photo; Abbildungen Nach der Natur, Johann Adjacent Papuan Islands, Vol. 3, John Kingdom, Johann Gottlob Kurr, 1859;
Gottlob Kurr, 1859; 48a Birds of America, 1849; 72b Wellcome Library, London; Vol. 6, John Sibthorp, James Smith, 1828; Birds, Vol. 2, Spencer Fullerton Baird, 179ar Systema naturae, Vol. 10, Carl Carl Weber, 1871; 214a Birds of Europe, Gould, 1875–88; 258bl Historic Images/ Birds of Australia, John Gould, Vol. 5,
Vols. I–IV, John James Audubon, 1827–38; 73 Florilegius/Alamy Stock Photo; 107b The Mineral Kingdom, Johann Robert Ridgway, Thomas Mayo Brewer, Linnaeus, 1758; 179bl Grundriss der Vol. 5, John Gould, 1837; 214b ZU_09; Alamy Stock Photo; 258br The Mineral 1840–48; Neerland’s Plantentuin, Cornelis
48bl Billeder af Nordens Flora, A. Mentz, 75 Encyclopédie, ou dictionnaire Gottlob Kurr, 1859; 110al Album/Alamy 1905; 142bl, 142br Color Standards and Kräuterkunde zu Vorlesungen entworfen, 215 Florilegius/Alamy Stock Photo; Kingdom, Vol. 2, Reinhard Brauns, 1912; Antoon Jan Abraham Oudemans, Vol. 2,
C. H. Ostenfeld, 1917; 48br Premier raisonné des sciences, des arts et des Stock Photo; 110ar Flora parisiensis, Color Nomenclature, Robert Ridgway, Carl Ludwig Willdenow, 1792; 179br The 218al Birds of Europe, Vol. 2, John Gould, 259a The Zoology of the Voyage of HMS 1865; Birds of Great Britain, John Gould,
mémoire sur les kaolins ou argiles à métiers, Denis Diderot, Jean le Rond Pierre Bulliard, 1776–1783; 110b The 1912; 144 Birds of America, Vols. I–IV, Principles of Botany, and of Vegetable 1832–37; 218ar Billeder af Nordens Flora, Sulphur, Vol. 1, Richard Brinsley Hinds, Vol. 5, 1862–73; Birds of Great Britain,
porcelaine, Alexandre Brongniart, 1839; d’Alembert, 1751–1777; 77al, 77ar De re Mineral Kingdom, Vol. 2, Reinhard John James Audubon, 1827–38; Physiology, Carl Ludwig Willdenow, Vol. 2, A. Mentz, C. H. Ostenfeld, 1917; 1843; 259bl Edwards’s Botanical Register, John Gould, Vol. 3, 1862–73; Choix des
49a Birds of Great Britain, Vol. 2, John metallica libri XII, Georgius Agricola, Brauns, 1912; 111a De Uitlandsche 146–147 Werner’s Nomenclature 1805; 180–181 The Botanical Register, 218b The World’s Minerals, Leonard Vol. 15, John Lindley, 1829–47; 259br plus belles fleurs, Pierre-Joseph Redouté,
Gould, 1862–73; 49bl Art Collection/Alamy 1621; 77bl Physica subterranea Kapellen: Voorkomende in de Drie of Colours, Patrick Syme, 1821; Vol. 5, James Ridgway, Sydenham Spencer, 1916; 219al Birds of Great Private Collection; 260al Gleanings of 1833; Deliciae naturae selectae, Georg
Stock Photo; 49br The World’s Minerals, profundam subterraneorum genesin, Waereld-deelen Asia, Africa en America, 150al Florilegius/Alamy Stock Photo; Edwards, 1819; 182a Ronald M. Bodoh; Britain, Vol. 2, John Gould, 1862–73; Natural History, Vol. 2, George Edwards, Wolfgang Knorr, Vol. 1, 1766; Edwards’s
Leonard Spencer, 1916; 50a Wellcome Johann Joachim Becher, 1669; Vol. 3, Pieter Cramer, Caspar Stoll, 1782; 150ar Flora Batava, Vol. 1, J. Kops, 1800; 182b © National Gallery of Scotland; 219ar Cistineae: The Natural Order of 1758; 260ar LLP collection/Alamy Stock Botanical Register, Vol. 15, John Lindley,
Library, London; 50bl Billeder af 77br Systema naturae, Vol. 3, Carl 111bl Edwards’s Botanical Register, 150b Historical Images Archive/Alamy 184–185 © The Trustees of The Natural Cistus; Or Rock-rose, Robert Sweet, 1830; Photo; 260b The Mineral Kingdom, 1829–47.
Nordens Flora, A. Mentz, C. H. Ostenfeld, Linneaus, 1735; 78–79 Reproduced by Vol. 23, John Lindley, 1829–47; 111br The Stock Photo; 151a De Uitlandsche History Museum, London; 187a © bpk/ 219b The World’s Minerals, Leonard Vol. 2, Reinhard Brauns, 1912; 261al The
1917; 50br The Mineral Kingdom, Vol. 2, kind permission of the President and Mineral Kingdom, Vol. 2, Reinhard Kapellen: Voorkomende in de Drie Staatsbibliothek zu Berlin; 187bl Termini Spencer, 1916; 220a The Natural Natural History Museum/Alamy Stock Back cover Birds of America, John
Reinhard Brauns, 1912; 51a Birds of Great Fellows of Queens’ College, Cambridge; Brauns, 1912; 112al Birds of New Guinea Waereld-deelen Asia, Africa en America, botanici iconibus illustrati, Friedrich History Museum/Alamy Stock Photo; Photo; 261ar Bilderbuch für Kinder, James Audubon, 1827–38.
sourc e s of illustratio ns. Vol. 4, Pieter Cramer, Caspar Stoll, 1782;
151bl Illustrations of the Flowering
Gottlob Hayne, 1807; 187br © bpk/
Staatsbibliothek zu Berlin; 188al Zur
220bl Etudes de fleurs et de fruits: peints
d’après nature, Henriette Antoinette
Freidrich Johann Bertuch, 1802;
261b Gems and Precious Stones of North
Plants and Ferns of the Falkland Islands, Geschichte, Cultur und Classification Vincent, 1820; 220br British Mineralogy, America, George Frederick Kunz, 1890;
E. M. Cotton, E. F. Vallentin-Bertrand, der Georginen oder Dahlien, Wilhelm Vol. 1, James Sowerby, 1802–17; 262a Gleanings of Natural History, Vol. 2,
1921; 151br British Mineralogy, Vol. 3, Gerhard, Leipzig, 1836; 188ar Traité sur 221al Album/Alamy Stock Photo; George Edwards, 1758; 262bl British
James Sowerby, 1802–17; 152al British la culture des oeillets, Ragonot-Godefroy, 221ar Edwards’s Botanical Register, Phaenogamous Botany, William Baxter,
Butterflies, James Duncan, 1840; 1842; 188bl Chromotaxia, Pier Andrea Vol. 27, John Lindley, 1829–47; 1832–43; 262br Underground Life, Louis
2 © The Trustees of The Natural Britain, Vol. 5, John Gould, 1862–73; 81a Versuch einer Geschichte von Flötz- and the Adjacent Papuan Islands, Vol. 2, 152ar Les Liliacées, Vol. 7, Pierre-Joseph Saccardo, 1894; 188br Répertoire de 221b Underground Life, Louis Simonin, Simonin, 1869; 263al Wellcome Library,
History Museum, London; 6–7 Werner’s 51bl ‘Grapes – White Hamburg’, George Gebürgen, Johann Gottlob Lehmann, John Gould, 1875–88; 112ar Choix des plus Redouté, 1805; 152b Nastasic; 153al The couleurs pour aider à la détermination 1869; 222a Bilderbuch für Kinder, London; 263ar The New Botanic Garden,
Nomenclature of Colours, Patrick Syme, Brookshaw, 1812; 51br The Mineral 1756; 81bl, 81br Von den äusserlichen belles fleurs, Pierre-Joseph Redouté, 1833; Reading Room/Alamy Stock Photo; des couleurs des fleurs, des feuillages Vol. 4, Freidrich Johann Bertuch, Sydenham Edwards, 1812; 263b The
1821; 8–9 Geoscientific collections, Kingdom, Vol. 2, Reinhard Brauns, 1912; Kennzeichen der Fossilien, Abraham 112b Gems and precious stones of North 153ar The Flora Homoeopathica, et des fruits, René Oberthür, Henri 1802; 222bl Familiar Indian Flowers, Mineral Kingdom, Johann Gottlob Kurr,
TU Berg-akademie Freiberg; 10–11 MS 54al Birds of Europe, Vol. 3, John Gould, Gottlob Werner, Leipzig, 1774; 82 Klassik America, George Frederick Kunz, 1890; Edward Hamilton, 1852; 153b The World’s Dauthenay, 1905; 190 Birds of America, Lena Lowis, 1878; 222br Exotic 1859; 264al The Zoology of the Voyage of
Typ 55.9 (43). Houghton Library, Harvard 1832–37; 54ar Dorling Kindersley/UIG/ Stiftung Weimar, HAAB, Ruppert 113a The Coleoptera of the British Minerals, Leonard Spencer, 1916; Vols. I–IV, John James Audubon, 1827–38; Mineralogy, Vol. 2, James Sowerby, 1811; HMS Sulphur, Vol. 1, Richard Brinsley
University; 12–13 Tennants Auctioneers, Bridgeman Images; 54b Specimens of 4789; 85al, 85ar Deliciae naturae Islands, W. W. Fowler, Vol. 4, 1891; 154 Birds of Asia, Vol. 6, John Gould, 192–194 Werner’s Nomenclature of 223a, 223bl Florilegius/Alamy Stock Hinds, 1843; 264ar Medical Botany, Vol. 2,
North Yorkshire; 14–15 © The Trustees British Minerals, Philip Rashleigh, 1797; selectae, Georg Wolfgang Knorr, 1766; 113bl Medical Botany, Vol. 2, William 1850; 155a Florilegius/Alamy Stock Photo; Colours, Patrick Syme, 1821; 195 Private Photo; 223br Exotic Mineralogy, Vol. 2, William Woodville, 1832; 264b Specimens
of the Natural History Museum, 55al Birds of Great Britain, Vol. 2, 85bl Familiar Lessons on Mineralogy Woodville, 1832; 113br The Mineral 155b Underground Life, Louis Simonin, Collection; 198al Florilegius/Alamy Stock James Sowerby, 1811; 225, Traité complet of British Minerals, Philip Rashleigh,
London 17 Wellcome Library, London; John Gould, 1862–73; 55ar British and Geology, John Mawe, 1826; Kingdom, Johann Gottlob Kurr, 1859; 1869; 156al Birds of America, Vols. I–IV, Photo; 198ar © Florilegius/Mary Evans; de l’anatomie de l’homme, Marc Jean 1797; 265al Histoire naturelle des oiseaux
18al, 18ar © The Trustees of the Phaenogamous Botany, William Baxter, 85br A Treatise on Diamonds, John 114al British Butterflies, James Duncan, John James Audubon, 1827–38; 198b The World’s Minerals, Leonard Bourgery, 1831–54; 226 Geoscientific de paradis et des rolliers, François Le
Natural History Museum, London; 1832–43; 55b The Mineral Kingdom, Mawe, 1823; 86al David M Beach; 1840; 114ar The Ladies’ Flower-Garden 156ar Medical Botany, Vol. 3, William Spencer, 1916; 199al A Treatise on collections, TU Bergakademie Freiberg; Vaillant, 1806; 265ar Flora Parisiensis,
18bl, 18br Entwurf einer allgemeinen Johann Gottlob Kurr, 1859; 56a Birds 86ar Memoirs of the Wernerian of Ornamental Perennials, Vol. 2, Woodville, 1832; 156b The Mineral Kingdom, British Song-birds, Patrick Syme, 1823; 229, 230al, 230ar Wellcome Library, Vol. 1, Pierre Bulliard, 1776; 265b British
Farbenverein, Jacob Christian Schäffer, of Europe, Vol. 2, John Gould, 1832–37; Natural History Society, Vol. 4, Jane Loudon, 1849; 114b The Mineral Johann Gottlob Kurr, 1859; 157al The Moths 199ar Billeder af Nordens Flora, Vol. 1, A. London; 230bl Fasciculus Medicinae, Mineralogy, Vol. 1, James Sowerby, 1802–17;
1769; 21al By permission of the Royal 56bl Deutschlands Flora in Wernerian Natural History Society, Kingdom, Johann Gottlob Kurr, 1859; of the British Isles, Richard South, 1920; Mentz, C.H. Ostenfeld, 1917; 199b Specimens Johannes de Ketham, 1493; 230br Inquiry 266a Birds of Great Britain, Vol. 5,
Irish Academy © RIA; 21ar Geoscientific Abbildungen nach der Natur mit 1822; 86bl Collector’s cabinet drawer 115al Birds of New Guinea and the 157ar PhotoStock-Israel/Alamy Stock of British Minerals, Philip Rashleigh, into the Nature and Treatment of Gravel, John Gould, 1862–73; 266b The Mineral
collections, TU Bergakademie Freiberg; Beschreibungen, Jacob Sturm, 1798; (Anonymous Dutch) © Centraal Museum, Adjacent Papuan Islands, Vol. 2, John Photo; 157b The Palmer; 158a Birds 1797; 200a Album/Alamy Stock Photo; Calculus, and Other Diseases Connected Kingdom, Vol. 1, Reinhard Brauns, 1912;
21b The Picture Art Collection/Alamy 56br A Treatise on Diamonds, John Utrecht; 86br Private Collection; Gould, 1875–88; 115ar © Florilegius/Mary of Europe, Vol. 5, John Gould, 1832–37; 200bl U.S. Department of Agriculture with a Deranged Operations of the 267 The New Botanic Garden, Sydenham
Stock Photo; 22al Handbuch des Mawe, 1823; 57a Birds of Europe, Vol. 5, 88 Birds of America, Vols. I–IV, John James Evans; 115b British Mineralogy, Vol. 1, 158b Gems and Precious Stones of North Pomological Watercolor Collection. Urinary Organs, William Prout, 1821, Edwards, 1812; 270al Album/Alamy Stock
oryktognostischen Theils der Mineralogie, John Gould, 1832–37; 57bl Florilegius/ Audubon, 1827–1838; 90–91 Werner’s James Sowerby, 1802–17; 116al ilbusca; America, George Frederick Kunz, 1890; Rare and Special; Collections, National State Library of Victoria; 233 Wellcome Photo; 270ar Svensk Botanik, Vol. 8,
Johann Friedrich Wilhelm Widenmann, Alamy Stock Photo; 57br British Nomenclature of Colours, Patrick Syme, 116ar Choix des plus belles fleurs, 159 Neerland’s Plantentuin, Cornelis Agricultural Library, Beltsville, MD Library, London; 234 Instructions J. W. Palmstruch, 1807; 270b British
1794; 22ar Versuch einer Mineralogie, Mineralogy, James Sowerby, 1802–17; Edinburgh, 1821; 94a Florilegius/Alamy Pierre-Joseph Redouté, 1833; 116b The Antoon Jan Abraham Oudemans, 1865; 20705; 200br The World’s Minerals, générales pour les recherches et Mineralogy, Vol. 1, James Sowerby,
Franz Joseph Anton Estner, 1794; 58a Birds of Great Britain, Vol. 1, Stock Photo; 94b Underground Life, Mineral Kingdom, Vol. 1, Reinhard 162al Beetles in Russia and Western Leonard Spencer, 1916; 201a Florilegius/ observations anthropologiques, Paul 1802–17; 271al Florilegius/Alamy Stock
22b Méthode analytique des fossiles, John Gould, 1862–73; 58bl DEA/G. Louis Simonin, 1869; 95 Florilegius/ Brauns, 1912; 117al The Zoology of Europe, Georgiy Jacobson, 1905; Alamy Stock Photo; 201bl © The Robin Broca, 1865; 236 Birds of America, Vols. Photo; 271ar © Florilegius/Mary Evans;
fondée sur leurs caractères extérieurs, Cigolini/De Agostini via Getty Images; Alamy Stock Photo; 96a Birds of the Voyage of HMS Sulphur, Richard 162ar Billeder af Nordens Flora, A. Mentz, Symington Collection/Mary Evans I–IV, John James Audubon, 1827–38; 271b SSPL/Getty Images; 272a Birds of
Henri Struve, 1797; 25al, 25ar Versuch 58br Specimens of British Minerals, Europe, Vol. 5, John Gould, 1832–37; Brinsley Hinds, Vol. 1, 1843; 117ar Belgique C. H. Ostenfeld, 1917; 162b Private Picture Library; 201br Underground 238–240 Werner’s Nomenclature of Great Britain, Vol. 1, John Gould, 1862–73;
eines Farbensystems, Ignaz Philip Rashleigh, 1797; 59al Birds of 96b Florilegius/Alamy Stock Photo; horticole, Vol. 6, Charles Morren, 1856; Collection; 163a Birds of Europe, Vol. 5, Life, Louis Simonin, 1869; 202al Birds Colours, Patrick Syme, 1821; 241 Private 272bl The History Collection/Alamy
Schiffermüller, 1772; 25bl, 25br A Europe, Vol. 4, John Gould, 1832–37; 97 Exotic Mineralogy, James Sowerby, 117b Specimens of British Minerals, John Gould, 1832–37; 163bl © Florilegius/ of Great Britain, Vol. 3, John Gould, Collection; 244a Birds of Europe, Vol. 3, Stock Photo; 272br British Mineralogy,
Treatise on Diamonds, John Mawe, 59ar Deutschlands Flora in Abbildungen 1811; 98al Birds of New Guinea and the Philip Rashleigh, 1797; 118al Florilegius/ Mary Evans; 163br The Mineral Kingdom, 1862–73; 202ar © Florilegius/Mary Evans; John Gould, 1832–37; 244bl English Vol. 4, James Sowerby, 1802–17;
Vol. 2, Reinhard Brauns, 1912; 164al 202b The Mineral Kingdom, Vol. 1, Botany, or Coloured Figures of 273al Florilegius/Alamy Stock Photo;
1823; 26al A Treatise on the External nach der Natur mit Beschreibungen, Adjacent Papuan Islands, Vol. 2, John Alamy Stock Photo; 118ar Choix des plus
2 87.
Characters of Minerals, Robert Jameson, Jacob Sturm, 1798; 59b The Mineral Gould, 1875–88; 98ar Deutschlands Flora belles fleurs, Pierre-Joseph Redouté, British Butterflies, James Duncan, 1840; Reinhard Brauns, 1912; 203a Birds British Plants, Vol. 7, J.E. Smith, 1863–99; 273ar Traité des arbres et arbustes,
1805; 26ar © National Gallery of Scotland; Kingdom, Vol. 2, Reinhard Brauns, 1912; in Abbildungen nach der Natur, Jacob 1833; 118b The World’s Minerals, Leonard 164ar American Medical Botany, Jacob of Australia, Vol. 7, John Gould, 244br British Mineralogy, Vol. 3, James Vol. 2, H. L. Duhamel du Monceau, 1804;
26b David Rumsey Map Collection, 60al A Treatise on British Song-birds, Sturm, 1798; 98b Exotic Mineralogy, Spencer, 1916; 119al Florilegius/Alamy Bigelow, 1817; 164b Exotic Mineralogy, 1840–48; 203bl Edwards’s Botanical Sowerby, 1802–17; 245a The Hemiptera 273b The World’s Minerals, Leonard
David Rumsey Map Center, Stanford Patrick Syme, 1823; 60ar Florilegius/ James Sowerby, 1811; 99al The Stock Photo; 119ar Icones plantarum James Sowerby, 1811; 165a Birds of Great Register, Vol. 23, John Lindley, 1829–47; Heteroptera of the British Islands, Spencer, 1916; 274al Birds of Europe,
Libraries; 29al VTR/Alamy Stock Photo; Alamy Stock Photo; 60b The Mineral Coleoptera of the British Islands, Vol. 5, medicinalium, Vol. 5, J. Zorn, 1779; Britain, Vol. 5, John Gould, 1862–73; 203br British Mineralogy, Vol. 2, James Edward Saunders, 1892; 245bl Mary Vol. 3, John Gould, 1832–37; 274ar Billeder
29ar agefotostock/Alamy Stock Photo; Kingdom, Vol. 1, Reinhard Brauns, 1912; W.W. Fowler, 1891; 99ar Choix des plus 119b Familiar Lessons on Mineralogy 165bl Florilegius/Alamy Stock Photo; Sowerby, 1802–17; 204 Florilegius/Alamy Evans Picture Library; 245br The af Nordens Flora, A. Mentz, C.H.
29bl, 29br Werner’s Nomenclature 61al Birds of Europe, Vol. 3, John Gould, belles fleurs, Pierre-Joseph Redouté, 1833; and Geology, John Mawe, 1826; 165br The Mineral Kingdom, Johann Stock Photo; 205a Choix des plus belles Mineral Kingdom, Vol. 2, Reinhard Ostenfeld, 1917; 274b The Mineral
of Colours, Patrick Syme, 1821; 30al On 1832–37; 61ar British Mineralogy, James 99b Specimens of British Minerals, 120 British Butterflies, James Duncan, Gottlob Kurr, 1859; 166a De Uitlandsche fleurs, Pierre-Joseph Redouté, 1833; Brauns, 1912; 246 Birds of America, Kingdom, Johann Gottlob Kurr, 1859;
Colour, and on the Necessity for a Sowerby, 1802–17; 61b Illustrationes Philip Rashleigh, 1797; 100al A Selection 1840; 121a Neerland’s Plantentuin, Kapellen: Voorkomende in de Drie 205b Exotic Mineralogy, Vol. 2, James Vols. I–IV, John James Audubon, 1827–38; 275a Birds of Great Britain, Vol. 4, John
General Diffusion of Taste Among all florae Hispaniae insularumque of the Birds of Brazil and Mexico, Cornelis Antoon Jan Abraham Waereld-deelen Asia, Africa en America, Sowerby, 1811; 208al Dittrick Medical 247a The Mineral Kingdom, Johann Gould, 1862–73; 275bl Billeder af Nordens
Classes, John Gardner Wilkinson, Balearium, Vol. 1 t.47, Heinrich Moritz William Swainson, 1841; 100ar The Oudemans, 1865; 121b A Popular Treatise Pieter Cramer, Caspar Stoll, 1782; History Center, Case Western Reserve Gottlob Kurr, 1859; 247b Afbeeldingen Flora, A. Mentz, C.H. Ostenfeld, 1917;
1858; 30ar Chromotaxia seu Willkomm, 1886–92; 64a Birds of Great natural history of Carolina, Florida, on Gems, Lewis Feuchtwanger, 1859; 166bl © Florilegius/Mary Evans; University; 208ar Album/Alamy Stock der artseny-gewassen, Vol. 2, J. Zorn, 275br The Mineral Kingdom, Vol. 2,
nomenclator colorum polyglottus Britain, John Gould, 1862–73; 64b The and the Bahama Islands, Mark 123al The Natural History of British 166br The World’s Minerals, Leonard Photo; 208b British Mineralogy, Vol. 1, P.L. Oskamp, 1796; 248 Deliciae naturae Reinhard Brauns, 1912; 276a Birds of
additis speciminibus coloratis ad Mineral Kingdom, Vol. 1, Reinhard Catesby, 1754; 100b British Mineralogy, Birds, Vol. 1, Edward Donovan, 1794; Spencer, 1916; 167a The Zoology of the James Sowerby, 1802–17; 209al Birds of selectae, Vol. 1, Georg Wolfgang Knorr, Europe, Vol. 3, John Gould, 1832–37;
usum botanicorum et zoologorum, Brauns, 1912; 65 Neerland’s Plantentuin, James Sowerby, 1802–17; 101al British 123ar The Natural History of British Voyage of HMS Sulphur, Vol. 2, Richard New Guinea and the Adjacent Papuan 1766; 249a Herbarium Blackwellianum, 276bl Historic Images/Alamy Stock
Pier Andrea Saccardo, 1894; Cornelis Antoon Jan Abraham Butterflies, James Duncan, 1840; Birds, Vol. 4, Edward Donovan, 1794; Brinsley Hinds, 1843; 167bl Edwards’s Islands, Vol. 1, John Gould, 1875–88; Vol. 2, E. Blackwell, 1754; 249b The Photo; 276br The Mineral Kingdom,
30bl, 30br A Nomenclature of Colors Oudemans, 1865; 66a The Naturalist’s 101ar The Natural History Museum/ 123bl, 123br Florilegius/Alamy Stock Botanical Register, Vol. 25, John Lindley, 209ar Historic Images/Alamy Stock World’s Minerals, Leonard Spencer, Vol. 2, Reinhard Brauns, 1912; 277a Birds
for Naturalists, Robert Ridgway, Miscellany, George Shaw, Frederick P. Alamy Stock Photo; 101b The World’s Photo; 124–125 Tennants Auctioneers; 1829–47; 167br The World’s Minerals, Photo; 209b The Mineral Kingdom, 1916; 250al Birds of Europe, Vol. 3, of Great Britain, Vol. 5, John Gould,
2 8 6.
1886; 36 Birds of America, Vols. I–IV, Nodder, 1789–1813; 66bl Florilegius/ Minerals, Leonard Spencer, 1916; 126 CUL DAR 44: 13, Reproduced by kind Leonard Spencer, 1916; 168 The Picture Vol. 2, Reinhard Brauns, 1912; John Gould, 1832–37; 250ar The Mineral 1862–73; 277bl Phytanthoza iconographia,
John James Audubon, 1827–1838; Alamy Stock Photo; 66br The Mineral 102al 510 Collection/Alamy Stock permission of the Syndics of Cambridge Art Collection/Alamy Stock Photo; 210a The Quadrupeds of North America, Kingdom, Vol. 1, Reinhard Brauns, 1912; Vol. 2, Johann Wilhelm Weinmann, 1737;
38–40 Werner’s Nomenclature of Kingdom, Vol. 1, Reinhard Brauns, 1912; Photo; 102ar bauhaus1000; University Library; 128–129 © The 169a Pictures Now/Alamy Stock Photo; Vol. 3, John James Audubon, 1849; 250b Pomologie franç̧aise, A. Poiteau, 277br Specimens of British Minerals,
Colours, Patrick Syme, 1821; 41 Private 67a Birds of Europe, Vol. 4, John Gould, 102b Naturgeschichte des Tier- Pflanzen- Trustees of The Natural History Museum, 169b Bilwissedition Ltd. & Co. KG/Alamy 210bl Herbarium Blackwellianum, 1846; 251al Birds of Europe, Vol. 3, John Philip Rashleigh, 1797; 278a Florilegius/
Collection; 44a Birds of Europe, Vol. 5, 1832–37; 67bl Phytanthoza iconographia, und Mineralreichs, Gotthilf Heinrich London; 131a © The Trustees of The Stock Photo; 170 Birds of Great Vol. 2, E. Blackwell, 1754; 210br Specimens Gould, 1832–37; 251ar Flora Danica, G. C. Alamy Stock Photo; 278bl LLP collection/
John Gould, 1832–37; 44bl Neerland’s Johann Wilhelm Weinmann, 1737; von Schubert, 1886; 103al Birds of Great Natural History Museum, London; Britain, Vol. 3, John Gould, 1862–73; of British Minerals, Philip Rashleigh, Oeder, 1761; 251b British Mineralogy, Vol. Alamy Stock Photo; 278br The World’s
Plantentuin, Cornelis Antoon Jan 67br The World’s Minerals, Leonard Britain, Vol. 3, John Gould, 1862–73; 131bl, 131br Historic England Archive; 171a © Florilegius/Mary Evans; 171b The 1797; 211al The Book of Butterflies, 1, James Sowerby, 1802–17; 252a Wellcome Minerals, Leonard Spencer, 1916;
Abraham Oudemans, 1865; 44br The Spencer, 1816; 68 Birds of Europe, Vol. 5, 103ar Favourite Flowers of Garden 132–133 © The Trustees of The Natural Mineral Kingdom, Vol. 1, Reinhard Sphinxes and Moths, Vol. 2, Thomas Library, London; 252bl Phytanthoza 279al Birds of Europe, Vol. 1, John Gould,
Mineral Kingdom, Vol. 2, Reinhard John Gould, 1832–37; 69a Neerland’s and Greenhouse, Edward Step, 1896; History Museum, London; 134a Album/ Brauns, 1912; 173al, 173ar © National Brown, 1832; 211ar Billeder af Nordens iconographia, Vol. 2, Johann 1832–37; 279ar Florilegius/Alamy Stock
Brauns, 1912; 45a British Oology, Plantentuin, Cornelis Antoon Jan 103b Gems and Precious Stones of Alamy Stock Photo; 134bl, 134br Journal Gallery of Scotland; 173bl, 173br A Flora, Vol. 2, A. Mentz, C.H. Ostenfeld, Wilhelm Weinmann, 1737; 252br British Photo; 279b Gems and Precious Stones
William Chapman Hewitson, 1833; Abraham Oudemans, 1865; 69b The North America, George Frederick of a Second Voyage for the Discovery of Botanical Drawing-book, James 1917; 211b British Mineralogy, Vol. 4, Mineralogy, Vol. 1, James Sowerby, of North America, George Frederick
45bl © The Trustees of the British Mineral Kingdom, Vol. 2, Reinhard Kunz, 1890; 104al Gleanings of a North-west Passage from the Atlantic Sowerby, 1788; 174al A New Treatise James Sowerby, 1802–17; 212al Birds of 1802–17; 253a PhotoStock-Israel/Alamy Kunz, 1890; 280a Birds of Great Britain,
Museum; 45br British Mineralogy, Brauns, 1912; 70al The Book of Natural History, George Edwards, to the Pacific, William Edward Parry, on Flower Painting, George Brookshaw, New Guinea and the Adjacent Papuan Stock Photo; 253bl Die Rosen nach der Vol. 5, John Gould, 1862–73; 280b The
James Sowerby, 1802–17; 46a Birds of Butterflies, Sphinxes and Moths, Thomas 1758; 104ar Phytanthoza iconographia, 1825; 136–137 British Oology, William 1818; 174ar A Series of Progressive Islands, Vol. 1, John Gould, 1875–88; Natur gezeichnet und coloriert mit Mineral Kingdom, Johann Gottlob Kurr,
Europe, Vol. 5, John Gould, 1832–37; Brown, 1832; 70ar Choix des plus belles Vol. 2, Johann Wilhelm Weinmann, 1737; Chapman Hewitson, 1833; 139al Zoology Lessons Intended to Elucidate the Art of 212ar Flore Médicale, Vol. 2, François- kurzen botanischen Bestimmungen 1859; 281 Album/Alamy Stock Photo
46bl Billeder af Nordens Flora, A. Mentz, fleurs, Pierre-Joseph Redouté, 1833; 104b Specimens of British Minerals, of New Holland, Vol. 1, George Shaw, Flower Painting in Water Colours, 1824; Pierre Chaumeton, 1833; 212b The begleitet, Carl Gottlob Rössig, 1802–20;
C.H. Ostenfeld, 1917; 46br Naturgeschichte 70b Specimens of British Minerals, Philip Rashleigh, 1797; 105al British 1794; 139ar A new elucidation of colours, 174bl Lessons in Flower Painting, James Mineral Kingdom, Vol. 2, Reinhard 253br Private Collection; 254a British Front cover, left to right, Birds of
des Tier- Pflanzen- und Mineralreichs, Philip Rashleigh, 1797; 71al British Butterflies, James Duncan, 1840; original prismatic, and material, Andrews, 1836; 174br A New Elucidation Brauns, 1912; 213a Birds of Great Butterflies, James Duncan, 1840; Europe, John Gould, Vol. 5, 1832–37;
Gotthilf Heinrich von Schubert, 1886; Butterflies, James Duncan, 1840; 105ar The Botanical Magazine, Vols. 1–2, James Sowerby, 1809; 139bl, 139br An of Colours, Original Prismatic, and Britain, Vol. 2, John Gould, 1862–73; 255a Allgemeines teutsches Garten- Exotic Mineralogy, James Sowerby, 1811;
47a Birds of Europe, Vol. 4, John 71ar Florilegius/Alamy Stock Photo; 1787–89; 105b Gems and Precious Stones Exposition of English Insects, Moses Material, James Sowerby, 1809; 213bl Phytanthoza iconographia, Vol. 1, Magazin, Vol. 6, 1804–11; 255b The English Botany, J. T. B. Syme and James
Gould, 1832–37; 47bl Leemage/Universal 71b The Mineral Kingdom, Johann of North America, George Frederick Harris, 1776; 140–141 © The Trustees of 176–177 MS Am 1118.11. Houghton Library, Johann Wilhelm Weinmann, 1737; Mineral Kingdom, Johann Gottlob Kurr, Sowerby, Vol. 2, 1864; The Botanical
Images Group via Getty Images; Gottlob Kurr, 1859; 72a British Kunz, 1890; 106 Birds of Europe, Vol. 3, The Natural History Museum, London; Harvard University; 179al The Natural 213br Die Mineralien: in 64 Colorirten 1859; 258a Birds of New Guinea and the Magazine, Vol. 1, 1788; The Mineral
47br The Mineral Kingdom, Johann Quadrupeds, William MacGillivray, John Gould, 1832–37; 107a Flora graeca, 142al, 142ar A History of North American History Museum/Alamy Stock Photo; Abbildungen Nach der Natur, Johann Adjacent Papuan Islands, Vol. 3, John Kingdom, Johann Gottlob Kurr, 1859;
Gottlob Kurr, 1859; 48a Birds of America, 1849; 72b Wellcome Library, London; Vol. 6, John Sibthorp, James Smith, 1828; Birds, Vol. 2, Spencer Fullerton Baird, 179ar Systema naturae, Vol. 10, Carl Carl Weber, 1871; 214a Birds of Europe, Gould, 1875–88; 258bl Historic Images/ Birds of Australia, John Gould, Vol. 5,
Vols. I–IV, John James Audubon, 1827–38; 73 Florilegius/Alamy Stock Photo; 107b The Mineral Kingdom, Johann Robert Ridgway, Thomas Mayo Brewer, Linnaeus, 1758; 179bl Grundriss der Vol. 5, John Gould, 1837; 214b ZU_09; Alamy Stock Photo; 258br The Mineral 1840–48; Neerland’s Plantentuin, Cornelis
48bl Billeder af Nordens Flora, A. Mentz, 75 Encyclopédie, ou dictionnaire Gottlob Kurr, 1859; 110al Album/Alamy 1905; 142bl, 142br Color Standards and Kräuterkunde zu Vorlesungen entworfen, 215 Florilegius/Alamy Stock Photo; Kingdom, Vol. 2, Reinhard Brauns, 1912; Antoon Jan Abraham Oudemans, Vol. 2,
C. H. Ostenfeld, 1917; 48br Premier raisonné des sciences, des arts et des Stock Photo; 110ar Flora parisiensis, Color Nomenclature, Robert Ridgway, Carl Ludwig Willdenow, 1792; 179br The 218al Birds of Europe, Vol. 2, John Gould, 259a The Zoology of the Voyage of HMS 1865; Birds of Great Britain, John Gould,
mémoire sur les kaolins ou argiles à métiers, Denis Diderot, Jean le Rond Pierre Bulliard, 1776–1783; 110b The 1912; 144 Birds of America, Vols. I–IV, Principles of Botany, and of Vegetable 1832–37; 218ar Billeder af Nordens Flora, Sulphur, Vol. 1, Richard Brinsley Hinds, Vol. 5, 1862–73; Birds of Great Britain,
porcelaine, Alexandre Brongniart, 1839; d’Alembert, 1751–1777; 77al, 77ar De re Mineral Kingdom, Vol. 2, Reinhard John James Audubon, 1827–38; Physiology, Carl Ludwig Willdenow, Vol. 2, A. Mentz, C. H. Ostenfeld, 1917; 1843; 259bl Edwards’s Botanical Register, John Gould, Vol. 3, 1862–73; Choix des
49a Birds of Great Britain, Vol. 2, John metallica libri XII, Georgius Agricola, Brauns, 1912; 111a De Uitlandsche 146–147 Werner’s Nomenclature 1805; 180–181 The Botanical Register, 218b The World’s Minerals, Leonard Vol. 15, John Lindley, 1829–47; 259br plus belles fleurs, Pierre-Joseph Redouté,
Gould, 1862–73; 49bl Art Collection/Alamy 1621; 77bl Physica subterranea Kapellen: Voorkomende in de Drie of Colours, Patrick Syme, 1821; Vol. 5, James Ridgway, Sydenham Spencer, 1916; 219al Birds of Great Private Collection; 260al Gleanings of 1833; Deliciae naturae selectae, Georg
Stock Photo; 49br The World’s Minerals, profundam subterraneorum genesin, Waereld-deelen Asia, Africa en America, 150al Florilegius/Alamy Stock Photo; Edwards, 1819; 182a Ronald M. Bodoh; Britain, Vol. 2, John Gould, 1862–73; Natural History, Vol. 2, George Edwards, Wolfgang Knorr, Vol. 1, 1766; Edwards’s
Leonard Spencer, 1916; 50a Wellcome Johann Joachim Becher, 1669; Vol. 3, Pieter Cramer, Caspar Stoll, 1782; 150ar Flora Batava, Vol. 1, J. Kops, 1800; 182b © National Gallery of Scotland; 219ar Cistineae: The Natural Order of 1758; 260ar LLP collection/Alamy Stock Botanical Register, Vol. 15, John Lindley,
Library, London; 50bl Billeder af 77br Systema naturae, Vol. 3, Carl 111bl Edwards’s Botanical Register, 150b Historical Images Archive/Alamy 184–185 © The Trustees of The Natural Cistus; Or Rock-rose, Robert Sweet, 1830; Photo; 260b The Mineral Kingdom, 1829–47.
Nordens Flora, A. Mentz, C. H. Ostenfeld, Linneaus, 1735; 78–79 Reproduced by Vol. 23, John Lindley, 1829–47; 111br The Stock Photo; 151a De Uitlandsche History Museum, London; 187a © bpk/ 219b The World’s Minerals, Leonard Vol. 2, Reinhard Brauns, 1912; 261al The
1917; 50br The Mineral Kingdom, Vol. 2, kind permission of the President and Mineral Kingdom, Vol. 2, Reinhard Kapellen: Voorkomende in de Drie Staatsbibliothek zu Berlin; 187bl Termini Spencer, 1916; 220a The Natural Natural History Museum/Alamy Stock Back cover Birds of America, John
Reinhard Brauns, 1912; 51a Birds of Great Fellows of Queens’ College, Cambridge; Brauns, 1912; 112al Birds of New Guinea Waereld-deelen Asia, Africa en America, botanici iconibus illustrati, Friedrich History Museum/Alamy Stock Photo; Photo; 261ar Bilderbuch für Kinder, James Audubon, 1827–38.
IN DEX. imperial purple 91, 108–9, 115, 141, 184
indigo blue 8, 28, 90, 92–3, 98, 180
Pabst’s collection 77
reference collections 227
purples, Syme 29, 84, 91, 108–21
purplish red 28, 181, 239, 256–7, 261
Traité complet de l’anatomie de
l’homme (Bourgery) 225
ink black 28, 40, 62–3, 71 societies 20–3 purplish white 15, 38, 42–3, 46, 136 Traité sur la culture des oeillets
inks 235 Utrecht cabinet 86 (Ragonot-Godefroy) 186–9, 188
insects 19, 128–9, 132–3, 135, 138 Vigani’s cabinet 78–9 Radde, Otto 235 Treatise of Mineralogy (Mohs) 84
Introduction to Entomology Werner’s collection 8–9, 83 Ragonot-Godefroy (Pierre Boitard?) A Treatise on Diamonds and Precious
(Kirby & Spence) 129 Werner’s early publication 16 186–9, 188 Stones (Mawe) 24, 25, 85
iris of the eye 232, 233 Mitchell, George 83 raven black 28 A Treatise on the External Characters
iron smelting 75 Mohs, Karl Friedrich 84 red lilac purple 15, 91, 108–9, 118, 140, of Minerals (Jameson) 24, 26, 28, 84,
mosaics 186 176, 180, 184 178
Illustrations are in bold. brownish red 9, 137, 176, 239, 256–7, Syme’s charts 28, 34–5, 38–40, 42, 52, flint 20 Jameson, Robert see also A Treatise moths 132–3 reddish black 8, 40, 62–3, 70
266–7 62, 90–1, 92, 108, 146–7, 148, 160, 175, A Flora of North America (Barton) 186 on the External Characters of mountain green 14, 146, 148–9, 151, reddish orange 141, 183, 194, 216–17, ultramarine blue 11, 13, 90, 92–3, 101,
agates 20 browns 183–6, 192–4, 196, 206, 216, 238–40, Florentine lake 19 Minerals 180 222 129, 133
Agricola, Georgius 76, 77 Jameson 27 242, 256, 262 Forbes, James David 186 additional colours 27, 28, 84 Mustertafeln (Lenz) 23, 82 reddish white 8, 14, 38, 42–3, 45, 136, umber brown 10, 15, 124, 183, 185, 240,
Aikin, Arthur 24 Richardson 130, 135 taxonomy requirements 135 forges 75 background 83 180 268–9, 272
Allan, Robert 87 Syme 240, 268–81 Werner’ porcelain swatches 226 Forster, Thomas 175 colour list 34, 183 Natural History Museum 184–5 reds urinoscopy 227, 230, 231, 235
anatomy 227–8, 229 Buch, Leopold von 83 Werner’s Hauptfarben 16, 24, 32, Fourcroy, Antoine-François 21 founds Wernerian Society 27, 74, The Natural History of British Birds Estner 23
Anderson, Charles 83 buff orange 10, 12, 132, 181, 184, 194, 80, 81, 178 Francia, François Louis Thomas 174, 175 84, 172 (Donovan) 123 Jameson 27 Valmont de Bomare, Jacques-Christoph
Andrews, James 174, 175 216–17, 219 Widenmann’s charts 22, 33 Franklin, John 130, 231 mineral collection 19, 27 Nature’s Palette usage guide 6 Schäffer 18 83
animals, classification 16 Buffon, Comte de, Georges-Louis Wilkinson’s charts 28 Freiberg School of mining 16, 23, 24, 74, 77, portrait 26 Neptunism 80, 83, 87n Syme 238–9, 242–67 veinous blood red 183, 225, 239, 256–7,
Appendix to Captain Parry’s Leclerc 122, 123 Willdenow’s chart 178, 179, 183 80–3, 84, 178 study with Werner 24, 84 A New Elucidation of Colours Werner 19, 20 263
Journal (Hooker) 186 butterflies 132–3, 138 Covington, Syms 131 French grey 39, 52–3, 56, 136, 183, 186 as teacher 27, 84 (Sowerby) 135, 139, 172, 174, 175, 183 Répertoire de couleurs (Dauthenay velvet black 8, 40, 62–3, 72–3, 183
Appendix to Captain Parry’s cream yellow 9, 10, 181, 193, 206–7, on Werner’s colour charts 178, A New Treatise on Flower Painting & Oberthür) 188, 189 verdigris green 8, 10–11, 13, 78, 132, 146,
Journal of a Second Voyage Caldwell, James 17 214–15, 225 Galapagos Islands 131, 143 183 (Brookshaw?) 174, 175 Richardson, John 130, 134, 135, 186, 231 148–9, 154–5
(Richardson) 130, 134 campanula purple 91, 108–9, 114, 180 crimson red 9, 137, 140, 181, 185, Gall, Franz Joseph 231 Nicol, James 87 Ridgway, Robert 30, 31, 138–43, 142, 189 verditter blue 6, 8, 10, 11, 12, 90, 92–3,
apple green 9, 11, 136, 146, 148–9, Caran d’Ache paint colours 282–3 239, 256–7, 260 gallstone yellow 132, 137, 193, 206–8 Kapp, Christian Erhard 80 A Nomenclature of Colors for rose red 9, 11, 137, 181, 238, 242–3, 253 104, 125, 129, 136, 184
157, 175, 180 carmine red 9, 19, 181, 184, 239, 256–8 Cronstedt, Axel Fredrik 77, 83 Galton, Francis 186 Karsten, Dietrich Ludwig Gustav Naturalists (Ridgway) 30, 31, 138, 189 vermilion red 9, 11, 12, 78, 137, 181, 238,
art education 172–5 A Catalogue of Simple and Mixt Cullen, William 83 gamboge yellow 10, 181, 183, 184, 192, 83 nonpareil parrot 135 Saccardo, Pier Andrea 28–31, 30, 188, 242–3, 248–9
arterial blood red 9, 11, 137, 181, 183, Colours (Waller) 224 cuttlefish 127 196–7, 202 Ketham, Johannes de 230 189 Versuch einer Mineralogie (Estner) 22,
238, 242–3, 251 celandine green 8, 15, 146, 148–50 Cuvier, Georges 26 Gehler, Johann Karl 80 king’s yellow 9, 13, 79, 130, 133, 192, Oberthür, René 188, 189 saffron yellow 9, 125, 137, 177, 181, 183, 23, 28, 178
Arzone, Giovanni 182 Chance, Edgar Percival 14–15 cyanometers 227 geognosy 27, 83 196–7, 203 ochre yellow 9, 137, 181, 193, 206–7, 185, 192, 196–7, 204–5 Versuch eines Farbensystems
ash grey 8, 39, 52–4, 136 character traits (Goethe) 29 geology, Neptunism 80, 83, 87n Kirby, William 129 213 sap green 10, 11, 129, 137, 147, 160–1, (Schiffermüller) 25
asparagus green 9, 147, 160–1, 166, chesnut brown 14, 12, 79, 137, 183, 240, d’Alembert, Jean le Rond 75 Gerhard, Wilhelm 186, 188 Kirwan, Richard 16, 20, 21, 33, 83 Of the External Characteristics of 164, 175, 180, 183 Vesalius, Andreas 228, 229
180 268–9, 273 Dana, James Dwight 87 Gesuch einer Geschichte von Knorr, Georg Wolfgang 85, 102, 249 Fossils (Werner) scarlet red 9–11, 13, 28, 79, 125, 176, Vigani, John Francis 78–9
auricula purple 10, 84, 91, 108–9, Chevreul, Michel Eugène 189 Darwin, Charles 27, 126, 127–30, 131, Flötz-Gebürgen (Lehmann) 77–80, 81 kugellack 19 colour list 81 181, 185, 238, 242–3, 246–7 violet purple 8, 84, 91, 108–9, 112, 180
116, 133, 180 China blue 8, 10, 11, 90, 92–3, 99 135, 141 Gmelin, J. F. 20 frontispiece 81 Schäffer, Jacob Christian 18, 19–20
aurora red 9, 10, 11, 19, 137, 140, 181, chlorite 20 Darwin’s finches 131, 143 Goethe, Johann Wolfgang von 19, 23, 29 lake red 11, 181, 183, 239, 256–7, 259 publication 16, 74, 80 Schiffermüller, Ignaz 25 Walker, John 83
225, 238, 242–3, 250 chocolate red 13, 124, 239, 256–7, 265 Dauthenay, Henri 188, 189 Gordon, John 230, 231 Lamarck, Jean-Baptiste 23 translations 20 Scopoli, Giovanni Antonio 23 Wallace, Alfred Russel 128–9, 132–3
Australia 135 chromatometer/chromatic scale 135, Davy, Humphry 24 grass green 10, 20, 137, 147, 160–2, 175, 180 Latreille, Pierre André 23 oil green 9, 130, 137, 147, 160–1, Scotch blue 28, 90, 92–5, 141 Waller, Richard 224
azure blue 8, 10, 12, 79, 90, 92–3, 100, 174, 175 De characteribus fossilium externis greenish black 8, 40, 62–3, 67, 130 lavender purple 8, 11, 91, 108–9, 119 168–9 senses, use in mineralogy 16 Wallerius, Johan Gottschalk 77, 83
183 Chromotaxia (Saccardo) 28–31, 30, (Gehler) 80 greenish blue 13, 90, 92–3, 105, 125, 136 Lavoisier, Antoine 21 olive brown 6, 9, 35, 137, 268–9, 279 A Series of Progressive Lessons Waring & Dimes 182
188, 189 De humani corporis fabrica (Vesalius) greenish grey 11, 14, 39, 52–3, 60, 136 Lavoisier, Marie-Anne Paulze 21 olive green 9, 147, 160–1, 167, 176, (Francia) 174, 175 wax yellow 9, 12, 192, 196–7, 200, 231
Banks, Joseph 140 Chymische Untersuchungen (Pott) 77 228, 229 greenish white 11, 14, 38, 42–3, 49, 177, 180 lead grey 27 180 Shaw, George 135 Weaver, Thomas 24
I N D E X.
2 89.
Barton, William P. C. 186 classification 16, 122, 127, 224–7 De re metallica (Agricola) 76, 77 greens Lear, Edward 10–11 oology 136–7 shells 140–1 Werner, Abraham Gottlob see also
Bauer, Ferdinand 175 see also taxonomy deep orange-coloured brown 137, 240, Brookshaw, George 174 leek green 8, 146, 148–9, 152, 177, 180 orange-coloured white 8, 14, 38, Sienna yellow 9, 84, 181, 183, 193, Of the External Characteristics
Beagle Zoology Notes (Darwin) Cleaveland, Parker 24, 35 268–70 Jameson 27 Lehmann, Johann Gottlob 77–80, 81 42–3, 48, 136, 140 206–7, 212 of Fossils
127–30, 131 clove brown 6, 32–35, 130, 135, 279 deep reddish brown 9, 137, 240, Kirwan 20 Lehrbuch der Mineralogie oranges, Syme 84, 194, 216–23 Sinclair, George 186 background 16, 74–7
I N D E X.
Becher, Johann Joachim 76, 77 see also olive brown 268–9, 271 Syme 146–71 (Emmerling) 23 ornithology 122 siskin green 9, 10, 27, 147, 160–1, colour swatches collection 226
2 8 8.
Bénard, Robert 229 coal tar 235 deep reddish orange 12, 124, 129, 137, greyish black 14, 40, 62–5 lemon yellow 9, 192, 196–7, 201 orpiment orange 12, 13, 125, 129, 132, 170–1, 180 Hauptfarben colours 16, 24, 32, 80,
Benkö, Ferentz 20 cochineal red 9, 28, 130, 181, 183, 239, 194, 216–17, 223 greyish blue 8, 90, 92–3, 106–7, 136 Lenz, Johann Georg 20–3, 28, 32–3, 82 137, 194, 216–17, 220, 225 skimmed-milk white 8, 15, 38, 42–3, 81, 178
Berlin blue 79, 90, 92–3, 103, 132 256–7, 262 Deliciae naturae selectae (Knorr) 85, greyish white 13, 14, 28, 38, 42–3, lepidopterology 132–3 Outlines of Mineralogy, Geology 50, 136, 141 mineral collection 8–9
Berthollet, Claude Louis 21 Color Standards and Color 102, 249 51, 79, 136 Leske, Nathanael Gottfried 83 and Mineral Analysis (Thomson) 87 skin colour 122 portrait 21
Binko, Henry Boch 182 Nomenclature (Ridgway) 31, 142, 143 dermatology 232 greys Lessons in Flower Painting (Andrews) smelting 75–6 as teacher 80–3
birds 2, 10–13, 31, 122, 123–5, 131, 135–8, colour perception 227 Dickinson, Emily 176–7 Jameson 27 174, 175 Pabst von Ohain, Karl Eugen 77, 80 smoke grey 8, 10, 39, 52–3, 55 Wernerian Natural History Society 27,
139, 142 see also eggs On Colour (Wilkinson) 28 Diderot, Denis 75 Syme 28, 39, 52–61 Lindley, John 186 paint colours 175, 182, 282–3 snow white 8, 12, 38, 42–4, 124, 136, 180 74, 83, 84, 86, 172, 228, 235
blackish brown 9, 135, 137, 153, 240, colours Donovan, Edward 123 Grundriss der Kräuterkunde Linnaeus, Carl 16, 17, 76, 77, 122, 178, 179, pale blackish purple 91, 108–9, 120–1 Société Française des Chrysanthémistes Werner’s Nomenclature of Colours
268–9, 280–1 Andrews’ charts 174 duck green 129, 137, 147, 160–1, 163, (Willdenow) 172, 175, 178, 179, 183 224–7 pansy purple 84, 91, 108–9, 113 189 (Syme)
blackish green 9, 146, 148–9, 176 atlases 227 177, 180 Guyton de Morveau, Louis-Bernard 20, 21 Little Greene paint colours 282–3 Pantone 143, 282–3 South America map 126 colour charts 6–7, 29, 38–40, 90–1,
blackish grey 8, 39, 52–3, 61, 183 Broca’s chart 234 Dutch orange 10, 11, 13, 130, 130, 132, liver brown 9, 28, 240, 268–9, 276 Paris map 26 Sowerby, James 135, 139, 172–5, 173–4 146–7, 183–6, 192–4, 238–40
blackish purple 183 Cleaveland’s charts 35 181, 184, 194, 216–18 Haidinger, Wilhelm 87 Lizars, Daniel 183 Parry, William Edward 130, 134 Species plantarum (Linnaeus) 16 colour swatches 84–7
blacks, Syme 28, 40, 62–73 Dauthenay & Oberthür charts 188, hair brown 14, 28, 137, 240, 268–9, 277 Loder, Justus Christian 228 pathology 228, 231 Spence, William 129 cover 29
Blackwood, William 183, 231, 235 189 Earth’s crust, Neptunism theory 80, 83, 87 Handbuch der Mineralogie nach Lorilleux, Charles 189 peach blossom red 14, 79, 181, 238, Spurzheim, Johann 231 Darwin’s use 127–30
blood circulation 183 Emmerling’s charts 34 An Easy Introduction to Drawing A. G. Werner (Ludwig) 24 Ludwig, Christian Friedrich 24 242–3, 254–5 straw yellow 9, 10, 181, 193, 206–7, 210 foreword 135
blood red 9, 11, 23, 137, 181, 238, 239, Estner’s charts 22, 23 Flowers According to Nature Handbuch des oryktognostischen pearl grey 8, 10, 39, 52–3, 57, 136 Struve, Henri 22, 23 importance 31
242–3, 251, 256–7, 263 fastness 186 (Sowerby) 172 Theils der Mineralogie (Widenmann) mammals 135 Philosophia botanica (Linnaeus) 178 subjectivity in colours 19 medical usage 231
blues Gerhard’s chart 186, 188 ‘Edinburgh’ Enlightenment 84 22, 23 A Manual of Mineralogy (Aikin) 24 phrenology 231 sulphur yellow 9, 192, 196–8 new colours 84
cyanometers 227 Goethe wheels 29 Edinburgh University 27 Harris, Moses 23, 138, 139 A Manual of Mineralogy (Allan) 87 Physica subterranea (Becher) 76, 77 Supplement to the English Botany publication 27–8, 74, 183, 224, 235
Ridgway 30 Harris’s scheme 138, 139 Edinburgh University Press 183 Hayne, Friedrich Gottlob 183, 187 Manual of Mineralogy (Jameson) 27 Picardet, Claudine 20, 21, 28, 32 (Hooker) 186 Richardson’s use 130
Syme 28, 90, 92–107 Hayter’s chart 186, 187 Edwards, Sydenham 180–1, 186 Hayter, George 186, 187 Manual of Mineralogy (Nicol) 87 pigments Swebach-Desfontaines, Jacques 18 whites
bluish black 8, 40, 62–3, 66 Jameson’s charts 34, 84, 108, 160, eggs 10–11, 136–7 herbariums 176–7, 184–5 maps art education 174, 175 Syme, Patrick see also Werner’s Richardson 130
bluish green 15, 146, 148–9, 156, 176, 183 183, 242, 256 Eichhorn, Heinrich 232 Hewitson, William Chapman 136–7 Charles Darwin, coast of South early lack of standards 19 Nomenclature of Colours Syme 38, 42–51
bluish grey 10, 14, 39, 52–3, 59, 78 Kirwan’s charts 33, 108 An Elementary Treatise on Mineralogy Histoire naturelle des oiseaux America 126 Schäffer’s colours 18, 19–20 additional colours 27–8, 31, 183 Widenmann, Johann Friedrich
bluish lilac purple 14, 91, 108–10, 183 Lenz’s charts 32–3, 42, 52, 62, 148, and Geology (Cleaveland) 24 (Buffon) 122, 123 geognosy 27 pistachio green 9, 11, 125, 133, 147, art 172, 173, 182 Wilhelm 22, 23, 33, 178
bluish purple 91, 108–9, 111, 141, 180, 183 160, 256, 262 Elements of Mineralogy (Kirwan) 16, 20 Histoire naturelle, générale et Paris 26 160–1, 165 background 27, 74 Wilkinson, John Gardner 28, 30
Boitard, Pierre 186–9 Linnaeus, Carl 178 emerald green 6, 14–15, 146, 148–9, 158, 180 particulière des crustacés et des Mathews, Ferdinand Schuyler 189 pitch black 8, 40, 62–3, 68–9, 78, 129 colour list 4, 34–5 Willdenow, Carl Ludwig 172, 175, 178,
A Botanical Drawing-book (Sowerby) Mathew’s chart 189 Emmerling, Ludwig August 23, 34 insects (Latreille) 23 Mawe, John 24, 25, 85 plants, classification 16 pathology colours 228 179, 183
173 Mérimée’s charts 186, 187 Engelmann, Godefroy 235 Histoire naturelle (Swebach- Medical Society of Edinburgh 235 plum purple 8, 84, 91, 108–9, 117, 132, A System of Mineralogy (Dana) 87 wine yellow 9, 176, 193, 206–7, 211
The Botanical Register (Edwards modern reference charts 282–3 The English Lepidoptera (Harris) 138 Desfontaines) 18 medicine 224, 227–8, 231–2, 235 184 A System of Mineralogy (Jameson) 84 Winsor & Newton paint colours
& Lindley) 180–1, 186 nomenclature evolution 32–6 entomology 128–9, 132–3 A History of North American Meissen porcelain 226 Plutonism 87 Systema naturae (Linnaeus) 16, 76, 77, 282–3
botany 135, 175, 176–7, 186, 189 Picardet’s charts 32, 52, 62, 108, Estner, Franz Joseph Anton 22, 23, 28, 178 Birds (Ridgway) 142, 143 Mérimée, Léonor 186, 187 Poda von Neuhaus, Nikolaus 23 122, 178, 179, 224–7 wood brown 9, 137, 231, 240, 268–9,
Bourgery, Marc Jean 225 148, 160, 196, 206, 242, 256 An Exposition of English Insects (Harris) honey yellow 9, 137, 176, 181, metal smelting 75–6 Pott, Johann Heinrich 77 Systematibus mineralogicum 275
brain 230, 231 printing quality 84–7, 235 138, 139 193, 206–7, 209 Méthode analytique des fossiles A Practical Essay on Flower Painting (Wallerius) 77
Brenner, Elias 224 Prout’s chart 230, 231 eyes 50, 232, 233, 235 Hooker, William Jackson 186 (Struve) 22, 23 in Water Colours (Pretty) 175 yellowish brown 9, 15, 135, 137, 140, 240,
British Oology (Hewitson) 136–7 Ragonot-Godefroy’s chart 188, 189 Hope, James 230 Mineralogia (Wallerius) 77 Prange, Christian Friedrich 227 Tabular View of the External 268–9, 274
Broca, Paul 234, 235 Ridgway’s charts 30, 138, 142, 143, Farbenkabinet 227 Hortus ericæus woburnensis Mineralogisches Handbuch. (Lenz) 20 Pretty, Edward 175 Characters of Minerals (Jameson) yellowish grey 8, 14, 39, 52–3, 58, 136
broccoli brown 11, 14, 27, 240, 268–9, 278 189 Farrow & Ball paint colours 282–3 (Sinclair) 186, 187 Mineralogisches Handlexicon (Zappe) primrose yellow 9, 192, 196–7, 199 24, 28, 178, 183 yellowish white 8, 14, 38, 42–3, 47, 124,
Brongniart, Alexandre 26 Saccardo’s charts 30, 31, 188, 189 Fauna boreali-americana (Richardson) Hübner, Johann 74 23–4 The Principles of Botany (Willdenow) taxonomy 135–8 see also classification 136, 180, 183
Brookshaw, George 174, 175 Schäffer’s charts 18, 19–20 135 Humboldt, Alexander von 23, 178 mineralogy 175, 179 temperaments 29 yellows, Syme 192–3, 196–215
brownish black 40, 62–3, 68–9, 78 Sowerby’s chromatometer/chromatic finches 131, 142, 143 Hunter, James 232, 233 before late 18th century 16, 77 printing in colour 84–7, 235, 282–3 Thomson, Thomas 87
brownish orange 14, 124, 137, 183, 194, scales 135, 174, 175 fish 135 Hunter, John 183 Edinburgh University collection 27 prisms 135, 175 tile red 9, 27, 78, 132, 137, 140, 238, Zappe, Joseph Maria Redemtus 23–4
216–17, 221 Struve’s charts 22, 23 flax-flower blue 11, 90, 92–3, 102, 225 Hutton, James 87n Lenz’s charts 82 Prout, William 230, 231 242–4 Zeisig, Johann Caspar 74
brownish purple red 9, 239, 256–7, 264 subjectivity 19, 232 flesh red 10, 15, 137, 225, 238, 242–3, 252 hyacinth red 9, 141, 181, 238, 242–3, 245 Leske’s collection 83 Prussian blue 11, 90, 92–3, 96–7 tin 85 Zoology of New Holland (Shaw) 135, 139
IN DEX. imperial purple 91, 108–9, 115, 141, 184
indigo blue 8, 28, 90, 92–3, 98, 180
Pabst’s collection 77
reference collections 227
purples, Syme 29, 84, 91, 108–21
purplish red 28, 181, 239, 256–7, 261
Traité complet de l’anatomie de
l’homme (Bourgery) 225
ink black 28, 40, 62–3, 71 societies 20–3 purplish white 15, 38, 42–3, 46, 136 Traité sur la culture des oeillets
inks 235 Utrecht cabinet 86 (Ragonot-Godefroy) 186–9, 188
insects 19, 128–9, 132–3, 135, 138 Vigani’s cabinet 78–9 Radde, Otto 235 Treatise of Mineralogy (Mohs) 84
Introduction to Entomology Werner’s collection 8–9, 83 Ragonot-Godefroy (Pierre Boitard?) A Treatise on Diamonds and Precious
(Kirby & Spence) 129 Werner’s early publication 16 186–9, 188 Stones (Mawe) 24, 25, 85
iris of the eye 232, 233 Mitchell, George 83 raven black 28 A Treatise on the External Characters
iron smelting 75 Mohs, Karl Friedrich 84 red lilac purple 15, 91, 108–9, 118, 140, of Minerals (Jameson) 24, 26, 28, 84,
mosaics 186 176, 180, 184 178
Illustrations are in bold. brownish red 9, 137, 176, 239, 256–7, Syme’s charts 28, 34–5, 38–40, 42, 52, flint 20 Jameson, Robert see also A Treatise moths 132–3 reddish black 8, 40, 62–3, 70
266–7 62, 90–1, 92, 108, 146–7, 148, 160, 175, A Flora of North America (Barton) 186 on the External Characters of mountain green 14, 146, 148–9, 151, reddish orange 141, 183, 194, 216–17, ultramarine blue 11, 13, 90, 92–3, 101,
agates 20 browns 183–6, 192–4, 196, 206, 216, 238–40, Florentine lake 19 Minerals 180 222 129, 133
Agricola, Georgius 76, 77 Jameson 27 242, 256, 262 Forbes, James David 186 additional colours 27, 28, 84 Mustertafeln (Lenz) 23, 82 reddish white 8, 14, 38, 42–3, 45, 136, umber brown 10, 15, 124, 183, 185, 240,
Aikin, Arthur 24 Richardson 130, 135 taxonomy requirements 135 forges 75 background 83 180 268–9, 272
Allan, Robert 87 Syme 240, 268–81 Werner’ porcelain swatches 226 Forster, Thomas 175 colour list 34, 183 Natural History Museum 184–5 reds urinoscopy 227, 230, 231, 235
anatomy 227–8, 229 Buch, Leopold von 83 Werner’s Hauptfarben 16, 24, 32, Fourcroy, Antoine-François 21 founds Wernerian Society 27, 74, The Natural History of British Birds Estner 23
Anderson, Charles 83 buff orange 10, 12, 132, 181, 184, 194, 80, 81, 178 Francia, François Louis Thomas 174, 175 84, 172 (Donovan) 123 Jameson 27 Valmont de Bomare, Jacques-Christoph
Andrews, James 174, 175 216–17, 219 Widenmann’s charts 22, 33 Franklin, John 130, 231 mineral collection 19, 27 Nature’s Palette usage guide 6 Schäffer 18 83
animals, classification 16 Buffon, Comte de, Georges-Louis Wilkinson’s charts 28 Freiberg School of mining 16, 23, 24, 74, 77, portrait 26 Neptunism 80, 83, 87n Syme 238–9, 242–67 veinous blood red 183, 225, 239, 256–7,
Appendix to Captain Parry’s Leclerc 122, 123 Willdenow’s chart 178, 179, 183 80–3, 84, 178 study with Werner 24, 84 A New Elucidation of Colours Werner 19, 20 263
Journal (Hooker) 186 butterflies 132–3, 138 Covington, Syms 131 French grey 39, 52–3, 56, 136, 183, 186 as teacher 27, 84 (Sowerby) 135, 139, 172, 174, 175, 183 Répertoire de couleurs (Dauthenay velvet black 8, 40, 62–3, 72–3, 183
Appendix to Captain Parry’s cream yellow 9, 10, 181, 193, 206–7, on Werner’s colour charts 178, A New Treatise on Flower Painting & Oberthür) 188, 189 verdigris green 8, 10–11, 13, 78, 132, 146,
Journal of a Second Voyage Caldwell, James 17 214–15, 225 Galapagos Islands 131, 143 183 (Brookshaw?) 174, 175 Richardson, John 130, 134, 135, 186, 231 148–9, 154–5
(Richardson) 130, 134 campanula purple 91, 108–9, 114, 180 crimson red 9, 137, 140, 181, 185, Gall, Franz Joseph 231 Nicol, James 87 Ridgway, Robert 30, 31, 138–43, 142, 189 verditter blue 6, 8, 10, 11, 12, 90, 92–3,
apple green 9, 11, 136, 146, 148–9, Caran d’Ache paint colours 282–3 239, 256–7, 260 gallstone yellow 132, 137, 193, 206–8 Kapp, Christian Erhard 80 A Nomenclature of Colors for rose red 9, 11, 137, 181, 238, 242–3, 253 104, 125, 129, 136, 184
157, 175, 180 carmine red 9, 19, 181, 184, 239, 256–8 Cronstedt, Axel Fredrik 77, 83 Galton, Francis 186 Karsten, Dietrich Ludwig Gustav Naturalists (Ridgway) 30, 31, 138, 189 vermilion red 9, 11, 12, 78, 137, 181, 238,
art education 172–5 A Catalogue of Simple and Mixt Cullen, William 83 gamboge yellow 10, 181, 183, 184, 192, 83 nonpareil parrot 135 Saccardo, Pier Andrea 28–31, 30, 188, 242–3, 248–9
arterial blood red 9, 11, 137, 181, 183, Colours (Waller) 224 cuttlefish 127 196–7, 202 Ketham, Johannes de 230 189 Versuch einer Mineralogie (Estner) 22,
238, 242–3, 251 celandine green 8, 15, 146, 148–50 Cuvier, Georges 26 Gehler, Johann Karl 80 king’s yellow 9, 13, 79, 130, 133, 192, Oberthür, René 188, 189 saffron yellow 9, 125, 137, 177, 181, 183, 23, 28, 178
Arzone, Giovanni 182 Chance, Edgar Percival 14–15 cyanometers 227 geognosy 27, 83 196–7, 203 ochre yellow 9, 137, 181, 193, 206–7, 185, 192, 196–7, 204–5 Versuch eines Farbensystems
ash grey 8, 39, 52–4, 136 character traits (Goethe) 29 geology, Neptunism 80, 83, 87n Kirby, William 129 213 sap green 10, 11, 129, 137, 147, 160–1, (Schiffermüller) 25
asparagus green 9, 147, 160–1, 166, chesnut brown 14, 12, 79, 137, 183, 240, d’Alembert, Jean le Rond 75 Gerhard, Wilhelm 186, 188 Kirwan, Richard 16, 20, 21, 33, 83 Of the External Characteristics of 164, 175, 180, 183 Vesalius, Andreas 228, 229
180 268–9, 273 Dana, James Dwight 87 Gesuch einer Geschichte von Knorr, Georg Wolfgang 85, 102, 249 Fossils (Werner) scarlet red 9–11, 13, 28, 79, 125, 176, Vigani, John Francis 78–9
auricula purple 10, 84, 91, 108–9, Chevreul, Michel Eugène 189 Darwin, Charles 27, 126, 127–30, 131, Flötz-Gebürgen (Lehmann) 77–80, 81 kugellack 19 colour list 81 181, 185, 238, 242–3, 246–7 violet purple 8, 84, 91, 108–9, 112, 180
116, 133, 180 China blue 8, 10, 11, 90, 92–3, 99 135, 141 Gmelin, J. F. 20 frontispiece 81 Schäffer, Jacob Christian 18, 19–20
aurora red 9, 10, 11, 19, 137, 140, 181, chlorite 20 Darwin’s finches 131, 143 Goethe, Johann Wolfgang von 19, 23, 29 lake red 11, 181, 183, 239, 256–7, 259 publication 16, 74, 80 Schiffermüller, Ignaz 25 Walker, John 83
225, 238, 242–3, 250 chocolate red 13, 124, 239, 256–7, 265 Dauthenay, Henri 188, 189 Gordon, John 230, 231 Lamarck, Jean-Baptiste 23 translations 20 Scopoli, Giovanni Antonio 23 Wallace, Alfred Russel 128–9, 132–3
Australia 135 chromatometer/chromatic scale 135, Davy, Humphry 24 grass green 10, 20, 137, 147, 160–2, 175, 180 Latreille, Pierre André 23 oil green 9, 130, 137, 147, 160–1, Scotch blue 28, 90, 92–5, 141 Waller, Richard 224
azure blue 8, 10, 12, 79, 90, 92–3, 100, 174, 175 De characteribus fossilium externis greenish black 8, 40, 62–3, 67, 130 lavender purple 8, 11, 91, 108–9, 119 168–9 senses, use in mineralogy 16 Wallerius, Johan Gottschalk 77, 83
183 Chromotaxia (Saccardo) 28–31, 30, (Gehler) 80 greenish blue 13, 90, 92–3, 105, 125, 136 Lavoisier, Antoine 21 olive brown 6, 9, 35, 137, 268–9, 279 A Series of Progressive Lessons Waring & Dimes 182
188, 189 De humani corporis fabrica (Vesalius) greenish grey 11, 14, 39, 52–3, 60, 136 Lavoisier, Marie-Anne Paulze 21 olive green 9, 147, 160–1, 167, 176, (Francia) 174, 175 wax yellow 9, 12, 192, 196–7, 200, 231
Banks, Joseph 140 Chymische Untersuchungen (Pott) 77 228, 229 greenish white 11, 14, 38, 42–3, 49, 177, 180 lead grey 27 180 Shaw, George 135 Weaver, Thomas 24
I N D E X.
2 89.
Barton, William P. C. 186 classification 16, 122, 127, 224–7 De re metallica (Agricola) 76, 77 greens Lear, Edward 10–11 oology 136–7 shells 140–1 Werner, Abraham Gottlob see also
Bauer, Ferdinand 175 see also taxonomy deep orange-coloured brown 137, 240, Brookshaw, George 174 leek green 8, 146, 148–9, 152, 177, 180 orange-coloured white 8, 14, 38, Sienna yellow 9, 84, 181, 183, 193, Of the External Characteristics
Beagle Zoology Notes (Darwin) Cleaveland, Parker 24, 35 268–70 Jameson 27 Lehmann, Johann Gottlob 77–80, 81 42–3, 48, 136, 140 206–7, 212 of Fossils
127–30, 131 clove brown 6, 32–35, 130, 135, 279 deep reddish brown 9, 137, 240, Kirwan 20 Lehrbuch der Mineralogie oranges, Syme 84, 194, 216–23 Sinclair, George 186 background 16, 74–7
I N D E X.
Becher, Johann Joachim 76, 77 see also olive brown 268–9, 271 Syme 146–71 (Emmerling) 23 ornithology 122 siskin green 9, 10, 27, 147, 160–1, colour swatches collection 226
2 8 8.
Bénard, Robert 229 coal tar 235 deep reddish orange 12, 124, 129, 137, greyish black 14, 40, 62–5 lemon yellow 9, 192, 196–7, 201 orpiment orange 12, 13, 125, 129, 132, 170–1, 180 Hauptfarben colours 16, 24, 32, 80,
Benkö, Ferentz 20 cochineal red 9, 28, 130, 181, 183, 239, 194, 216–17, 223 greyish blue 8, 90, 92–3, 106–7, 136 Lenz, Johann Georg 20–3, 28, 32–3, 82 137, 194, 216–17, 220, 225 skimmed-milk white 8, 15, 38, 42–3, 81, 178
Berlin blue 79, 90, 92–3, 103, 132 256–7, 262 Deliciae naturae selectae (Knorr) 85, greyish white 13, 14, 28, 38, 42–3, lepidopterology 132–3 Outlines of Mineralogy, Geology 50, 136, 141 mineral collection 8–9
Berthollet, Claude Louis 21 Color Standards and Color 102, 249 51, 79, 136 Leske, Nathanael Gottfried 83 and Mineral Analysis (Thomson) 87 skin colour 122 portrait 21
Binko, Henry Boch 182 Nomenclature (Ridgway) 31, 142, 143 dermatology 232 greys Lessons in Flower Painting (Andrews) smelting 75–6 as teacher 80–3
birds 2, 10–13, 31, 122, 123–5, 131, 135–8, colour perception 227 Dickinson, Emily 176–7 Jameson 27 174, 175 Pabst von Ohain, Karl Eugen 77, 80 smoke grey 8, 10, 39, 52–3, 55 Wernerian Natural History Society 27,
139, 142 see also eggs On Colour (Wilkinson) 28 Diderot, Denis 75 Syme 28, 39, 52–61 Lindley, John 186 paint colours 175, 182, 282–3 snow white 8, 12, 38, 42–4, 124, 136, 180 74, 83, 84, 86, 172, 228, 235
blackish brown 9, 135, 137, 153, 240, colours Donovan, Edward 123 Grundriss der Kräuterkunde Linnaeus, Carl 16, 17, 76, 77, 122, 178, 179, pale blackish purple 91, 108–9, 120–1 Société Française des Chrysanthémistes Werner’s Nomenclature of Colours
268–9, 280–1 Andrews’ charts 174 duck green 129, 137, 147, 160–1, 163, (Willdenow) 172, 175, 178, 179, 183 224–7 pansy purple 84, 91, 108–9, 113 189 (Syme)
blackish green 9, 146, 148–9, 176 atlases 227 177, 180 Guyton de Morveau, Louis-Bernard 20, 21 Little Greene paint colours 282–3 Pantone 143, 282–3 South America map 126 colour charts 6–7, 29, 38–40, 90–1,
blackish grey 8, 39, 52–3, 61, 183 Broca’s chart 234 Dutch orange 10, 11, 13, 130, 130, 132, liver brown 9, 28, 240, 268–9, 276 Paris map 26 Sowerby, James 135, 139, 172–5, 173–4 146–7, 183–6, 192–4, 238–40
blackish purple 183 Cleaveland’s charts 35 181, 184, 194, 216–18 Haidinger, Wilhelm 87 Lizars, Daniel 183 Parry, William Edward 130, 134 Species plantarum (Linnaeus) 16 colour swatches 84–7
blacks, Syme 28, 40, 62–73 Dauthenay & Oberthür charts 188, hair brown 14, 28, 137, 240, 268–9, 277 Loder, Justus Christian 228 pathology 228, 231 Spence, William 129 cover 29
Blackwood, William 183, 231, 235 189 Earth’s crust, Neptunism theory 80, 83, 87 Handbuch der Mineralogie nach Lorilleux, Charles 189 peach blossom red 14, 79, 181, 238, Spurzheim, Johann 231 Darwin’s use 127–30
blood circulation 183 Emmerling’s charts 34 An Easy Introduction to Drawing A. G. Werner (Ludwig) 24 Ludwig, Christian Friedrich 24 242–3, 254–5 straw yellow 9, 10, 181, 193, 206–7, 210 foreword 135
blood red 9, 11, 23, 137, 181, 238, 239, Estner’s charts 22, 23 Flowers According to Nature Handbuch des oryktognostischen pearl grey 8, 10, 39, 52–3, 57, 136 Struve, Henri 22, 23 importance 31
242–3, 251, 256–7, 263 fastness 186 (Sowerby) 172 Theils der Mineralogie (Widenmann) mammals 135 Philosophia botanica (Linnaeus) 178 subjectivity in colours 19 medical usage 231
blues Gerhard’s chart 186, 188 ‘Edinburgh’ Enlightenment 84 22, 23 A Manual of Mineralogy (Aikin) 24 phrenology 231 sulphur yellow 9, 192, 196–8 new colours 84
cyanometers 227 Goethe wheels 29 Edinburgh University 27 Harris, Moses 23, 138, 139 A Manual of Mineralogy (Allan) 87 Physica subterranea (Becher) 76, 77 Supplement to the English Botany publication 27–8, 74, 183, 224, 235
Ridgway 30 Harris’s scheme 138, 139 Edinburgh University Press 183 Hayne, Friedrich Gottlob 183, 187 Manual of Mineralogy (Jameson) 27 Picardet, Claudine 20, 21, 28, 32 (Hooker) 186 Richardson’s use 130
Syme 28, 90, 92–107 Hayter’s chart 186, 187 Edwards, Sydenham 180–1, 186 Hayter, George 186, 187 Manual of Mineralogy (Nicol) 87 pigments Swebach-Desfontaines, Jacques 18 whites
bluish black 8, 40, 62–3, 66 Jameson’s charts 34, 84, 108, 160, eggs 10–11, 136–7 herbariums 176–7, 184–5 maps art education 174, 175 Syme, Patrick see also Werner’s Richardson 130
bluish green 15, 146, 148–9, 156, 176, 183 183, 242, 256 Eichhorn, Heinrich 232 Hewitson, William Chapman 136–7 Charles Darwin, coast of South early lack of standards 19 Nomenclature of Colours Syme 38, 42–51
bluish grey 10, 14, 39, 52–3, 59, 78 Kirwan’s charts 33, 108 An Elementary Treatise on Mineralogy Histoire naturelle des oiseaux America 126 Schäffer’s colours 18, 19–20 additional colours 27–8, 31, 183 Widenmann, Johann Friedrich
bluish lilac purple 14, 91, 108–10, 183 Lenz’s charts 32–3, 42, 52, 62, 148, and Geology (Cleaveland) 24 (Buffon) 122, 123 geognosy 27 pistachio green 9, 11, 125, 133, 147, art 172, 173, 182 Wilhelm 22, 23, 33, 178
bluish purple 91, 108–9, 111, 141, 180, 183 160, 256, 262 Elements of Mineralogy (Kirwan) 16, 20 Histoire naturelle, générale et Paris 26 160–1, 165 background 27, 74 Wilkinson, John Gardner 28, 30
Boitard, Pierre 186–9 Linnaeus, Carl 178 emerald green 6, 14–15, 146, 148–9, 158, 180 particulière des crustacés et des Mathews, Ferdinand Schuyler 189 pitch black 8, 40, 62–3, 68–9, 78, 129 colour list 4, 34–5 Willdenow, Carl Ludwig 172, 175, 178,
A Botanical Drawing-book (Sowerby) Mathew’s chart 189 Emmerling, Ludwig August 23, 34 insects (Latreille) 23 Mawe, John 24, 25, 85 plants, classification 16 pathology colours 228 179, 183
173 Mérimée’s charts 186, 187 Engelmann, Godefroy 235 Histoire naturelle (Swebach- Medical Society of Edinburgh 235 plum purple 8, 84, 91, 108–9, 117, 132, A System of Mineralogy (Dana) 87 wine yellow 9, 176, 193, 206–7, 211
The Botanical Register (Edwards modern reference charts 282–3 The English Lepidoptera (Harris) 138 Desfontaines) 18 medicine 224, 227–8, 231–2, 235 184 A System of Mineralogy (Jameson) 84 Winsor & Newton paint colours
& Lindley) 180–1, 186 nomenclature evolution 32–6 entomology 128–9, 132–3 A History of North American Meissen porcelain 226 Plutonism 87 Systema naturae (Linnaeus) 16, 76, 77, 282–3
botany 135, 175, 176–7, 186, 189 Picardet’s charts 32, 52, 62, 108, Estner, Franz Joseph Anton 22, 23, 28, 178 Birds (Ridgway) 142, 143 Mérimée, Léonor 186, 187 Poda von Neuhaus, Nikolaus 23 122, 178, 179, 224–7 wood brown 9, 137, 231, 240, 268–9,
Bourgery, Marc Jean 225 148, 160, 196, 206, 242, 256 An Exposition of English Insects (Harris) honey yellow 9, 137, 176, 181, metal smelting 75–6 Pott, Johann Heinrich 77 Systematibus mineralogicum 275
brain 230, 231 printing quality 84–7, 235 138, 139 193, 206–7, 209 Méthode analytique des fossiles A Practical Essay on Flower Painting (Wallerius) 77
Brenner, Elias 224 Prout’s chart 230, 231 eyes 50, 232, 233, 235 Hooker, William Jackson 186 (Struve) 22, 23 in Water Colours (Pretty) 175 yellowish brown 9, 15, 135, 137, 140, 240,
British Oology (Hewitson) 136–7 Ragonot-Godefroy’s chart 188, 189 Hope, James 230 Mineralogia (Wallerius) 77 Prange, Christian Friedrich 227 Tabular View of the External 268–9, 274
Broca, Paul 234, 235 Ridgway’s charts 30, 138, 142, 143, Farbenkabinet 227 Hortus ericæus woburnensis Mineralogisches Handbuch. (Lenz) 20 Pretty, Edward 175 Characters of Minerals (Jameson) yellowish grey 8, 14, 39, 52–3, 58, 136
broccoli brown 11, 14, 27, 240, 268–9, 278 189 Farrow & Ball paint colours 282–3 (Sinclair) 186, 187 Mineralogisches Handlexicon (Zappe) primrose yellow 9, 192, 196–7, 199 24, 28, 178, 183 yellowish white 8, 14, 38, 42–3, 47, 124,
Brongniart, Alexandre 26 Saccardo’s charts 30, 31, 188, 189 Fauna boreali-americana (Richardson) Hübner, Johann 74 23–4 The Principles of Botany (Willdenow) taxonomy 135–8 see also classification 136, 180, 183
Brookshaw, George 174, 175 Schäffer’s charts 18, 19–20 135 Humboldt, Alexander von 23, 178 mineralogy 175, 179 temperaments 29 yellows, Syme 192–3, 196–215
brownish black 40, 62–3, 68–9, 78 Sowerby’s chromatometer/chromatic finches 131, 142, 143 Hunter, James 232, 233 before late 18th century 16, 77 printing in colour 84–7, 235, 282–3 Thomson, Thomas 87
brownish orange 14, 124, 137, 183, 194, scales 135, 174, 175 fish 135 Hunter, John 183 Edinburgh University collection 27 prisms 135, 175 tile red 9, 27, 78, 132, 137, 140, 238, Zappe, Joseph Maria Redemtus 23–4
216–17, 221 Struve’s charts 22, 23 flax-flower blue 11, 90, 92–3, 102, 225 Hutton, James 87n Lenz’s charts 82 Prout, William 230, 231 242–4 Zeisig, Johann Caspar 74
brownish purple red 9, 239, 256–7, 264 subjectivity 19, 232 flesh red 10, 15, 137, 225, 238, 242–3, 252 hyacinth red 9, 141, 181, 238, 242–3, 245 Leske’s collection 83 Prussian blue 11, 90, 92–3, 96–7 tin 85 Zoology of New Holland (Shaw) 135, 139
Acknowledgments. About the contributors.
Patrick Baty: Imagine sharing a house with a non-German Patrick Baty is the author of The Anatomy of Colour and
speaker who has set himself the task of translating large the owner of specialist paint business Papers and Paints,
parts of an eighteenth-century technical work printed in London. He runs a consultancy that advises on the use of
the unfamiliar German Fraktur or Gothic script. Without paint and colours in historic buildings and has worked with
the support of my wife, Alex, shielding me from the real Dulux and Little Greene to develop ranges of traditional
world and offering words of encouragement, I would have paint colours for English Heritage.
found it quite impossible to complete the task. To her is
due an enormous thank you. Peter Davidson is the Senior Curator of Minerals at National
Museums Scotland. Here he manages the museum’s min-
Thanks also go to Tristan de Lancey, Jane Laing, Phoebe eral and meteorite collections, develops exhibitions for
Lindsley, Isabel Jessop, Sarah Vernon-Hunt and Susanna the museum and other institutions around the world, and
Ingram at Thames & Hudson. conducts research into the history of mineralogy.
Peter Davidson: I would like to thank Mary Nemeth, Joyce Elaine Charwat is currently conducting a doctoral research
Dixon, Giulia Simonini and Alison Turnbull for being project into natural history models and casts as ‘knoweldge
instrumental in building up my knowledge of Werner’s objects’ at the Oxford University Museum of Natural History
Nomenclature of Colours. Thanks also go to my friends in collaboration with UCL; she has previously worked as
and colleagues at National Museums Scotland, the National Special Collections Librarian at University College Cork,
Library of Scotland, Edinburgh University Library and and at the Linnean Society of London.
Technische Universität Bergakademie Freiberg. Finally,
I would like to record my personal thanks to my dear Giulia Simonini is a conservator, palaeographer and art
friend Robin Hansen who suggested me to the publishers. historian, and is currently researching a Ph.D thesis on
colour systems in eighteenth-century Europe at Technische
AC K N OW L E D G M E N T S.
Elaine Charwat: I would like to thank the Oxford University Universität Berlin.
Museum of Natural History, its people, animals and
objects, for sharing their knowledge and stories, Isabelle André Karliczek works on the development of colour
Charmantier at the Linnean Society for her advice, and standards, the theoretical medicine of the Enlightenment
Lukas, for sharing the journey. and evolutive and ecological influences on visual perception;
he is a member of the German Optical Museum and part
Giulia Simonini: I would like to thank Francesca Terzi, of the innovation project Cultur3D, which explores new
Hans Walter Lack, Friedrich Steinle, Peter Davidson, possibilities for the 3D-modelling of cultural assets.
Joyce Dixon, Mary Nemeth and André Karliczek.
André Karliczek: I would like to thank John Vivian for

2 9 0.
providing the English translation of my essay, as well as

Friedrich Steinle, Giulia Simonini and Konrad Scheurmann.
The publisher would like to thank Stephen Atkinson and

the team at the Natural History Musuem, London, for their
help identifying species, and Fergus Egan, Oliver Nelmes
and Alpana Sajip for their research work.
Published in North America 2021 in arrangement with All Rights Reserved. No part of this publication may be
Thames & Hudson Ltd., London, by Princeton University reproduced or transmitted in any form or by any means,
Press, 41 William Street, Princeton, New Jersey 08540 electronic or mechanical, including photocopy, recording
or any other information storage and retrieval system,
press.princeton.edu without prior permission in writing from the publisher.
First published in the United Kingdom in 2021 by Library of Congress Control Number: 2020941844
Thames & Hudson Ltd, 181a High Holborn, London
wC1v 7qx isbn 978-0-691-21704-8
Nature’s Palette © 2021 Thames & Hudson Ltd, London Printed and bound in China by C&C Offset Printing
Co. Ltd.
For image copyright information see pp. 286–7.
Designed by Daniel Streat, Visual Fields

Natures Palette A Color Reference System From The Natural World (Patrick Baty Patrick Syme

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Natures Palette A Color Reference System From The Natural World (Patrick Baty Patrick Syme

Uploaded by

Copyright:

Available Formats

N at u r e ’ s Pa l e t t e .

with 1,000 illustrations.

Princeton University Press

with 1,000 illustrations.

Princeton University Press

110. Blackish Brown

of Werner’s Nomenclature of Colours.

References for the contemporary printer, 282

artist and decorator.

110. Blackish Brown

of Werner’s Nomenclature of Colours.

References for the contemporary printer, 282

artist and decorator.

Gree ns. (pages 144 to 171).

Yellows and Orang e s. (pages 190 to 223).

Re ds an d Brow ns. (pages 236 to 281).

Although Syme listed colour

Gree ns. (pages 144 to 171).

Yellows and Orang e s. (pages 190 to 223).

Re ds an d Brow ns. (pages 236 to 281).

Although Syme listed colour

2 108. Broccoli Brown.

4 103. Chesnut Brown.

5 35. Bluish Lilac Purple.

7 46. Celandine Green.

8 13. Yellowish Grey.

10 90. Peach Blossom Red.

A C O LOU R R E F E R E N C E SYST E M F RO M T H E NAT U R A L WO R L D.

14 104. Yellowish Brown.

15 88. Flesh Red.

16 43. Red Lilac Purple.

18 102. Umber Brown.

19 79. Brownish Orange.

left Syme’s colours matched to

pp. 10–11 Syme’s colours matched to

pp. 12–13 Syme’s colours matched to tropical

The Origins, Development and Influence

In his Systema naturae, of 1735, the Swedish The work of Abraham

The Origins, Development and Influence

In his Systema naturae, of 1735, the Swedish The work of Abraham

(i). Plate 1 of minerals, Swebach-Desfontaines, Histoire naturelle, 1789.

(i). Plate 1 of minerals, Swebach-Desfontaines, Histoire naturelle, 1789.

are clearly marked as additions. mineralogy at the University of Jena in

(i). Portrait of the Irish geologist Richard Kirwan by an unknown artist.

are clearly marked as additions. mineralogy at the University of Jena in

(i). Portrait of the Irish geologist Richard Kirwan by an unknown artist.

(i). Colour chart, Johann Friedrich Wilhelm Widenmann, Handbuch

(i). Colour chart, Johann Friedrich Wilhelm Widenmann, Handbuch

Richard Kirwan. Weaver took the opportunity The dissemination of

(i). Colour wheel, Ignaz Schiffermüller, Versuch eines Farbensystems, 1772.

Richard Kirwan. Weaver took the opportunity The dissemination of

(i). Colour wheel, Ignaz Schiffermüller, Versuch eines Farbensystems, 1772.

recommended by Werner’, the majority being Syme (1774–1845), ‘flower-painter’, of Edinburgh.

recommended by Werner’, the majority being Syme (1774–1845), ‘flower-painter’, of Edinburgh.

one that lists 79 colours – Estner’s Versuch einer

(i). The rose of temperaments, Johann Wolfgang von Goethe and

one that lists 79 colours – Estner’s Versuch einer

(i). The rose of temperaments, Johann Wolfgang von Goethe and

f rom W er n e r to Sy m e , 17 74– 182 1. addition, artists needed recourse to a standard set

� Bluish-black � Brownish-black � Golden-red � Reddish-grey � Pea-yellow � Greyish-black � Peach-blossom-red � Reddish-grey � Flesh-red

f rom W er n e r to Sy m e , 17 74– 182 1. addition, artists needed recourse to a standard set

� Bluish-black � Brownish-black � Golden-red � Reddish-grey � Pea-yellow � Greyish-black � Peach-blossom-red � Reddish-grey � Flesh-red

No. Names. Colours. A N IMAL . v e g e ta b l e . mineral.