How Copper resinate is made:
|Artificial variety of pigment||
Turpentine, sometimes waxes, and pieces of verdigris are boiled together, and the resulting viscous, transparent mass is allowed to dry, and later pulverized.
One of the eariest known recipes for the preparation of copper resinates dates from the seventeenth century and is found in the De Mayerne manuscript. Copper resinate appears mainly as a glazing pigment that was used in Italian easel painting done in oil in the sixteenth century. It was also found on Northen paintings dating from the fifteenth and sixteenth century. However, after the sixteenth century is seems not to be a usual feature of the palette in Europe. There are numerous recipes for copper resinate calling for different ingredients, such as Venice turpentine, colophony, linseed oil, pine resin, mastic, oil of turpentine and even a yellow lake pigment (Van de Graaf). Verdigris is however always the principal ingredient giving the glaze its green colour. A recipe from a Florentine book gives a recipe for "making a green to put on glass instead of blinds" and recommends that copper resinate glaze is re-warmed before using it. This would allow it to flow again and produce a thin and even coat to be formed. Recipes that describe the production of copper resinate for painting normally call for an addition of a drying oil to the glaze.
(intro) - Cobalt green - Copper resinate - Emerald green - Green earth - Malachite - Verdigris - Viridian