Using paintings to determine what colors people wore is tempting, but it has one major flaw: Dyes and painting pigments don’t match. If an artist couldn’t depict a color, he wasn’t going to show people wearing it, no matter how common it was. Conversely, if a particular paint was costly, he might use it more, regardless of how common that color was in reality.<\/p>\n
This is a collection of notes about which pigments were available in 16th-century Ottoman Turkey, what range of colors they produced, and how expensive each pigment was. In time, I hope it will answer some questions about the relationship between painting pigments and fabric dyes.<\/p>\n
MOLAB\u00ae meets Persia: Non-invasive study of a sixteenth-century illuminated manuscript<\/a><\/p>\n Chiara Anselmi, Paola Ricciardi, David Buti, Aldo Romani, Patrizia Moretti, Kristine Rose Beers, Brunetto Giovanni Brunetti, Costanza Miliani & Antonio Sgamellotti (2015) MOLAB\u00ae meets Persia: Non-invasive study of a sixteenth-century illuminated manuscript, Studies in Conservation, 60:sup1, S185-S192, DOI: 10.1179\/0039363015Z.000000000223<\/p>\n Depictions of Prophet Solomon in Christian Icons and Ottoman Miniature Art<\/a> This article summarizes several Turkish-language resources that would otherwise be unavailable to me. Unfortunately, the authors are less concerned than I am with documenting the specific dates each pigment was used. The images analyzed date to c. 1490, 1558, 1586, and 1595-1600, so the research should apply to the 16th century.<\/p>\n\n
\nE.A. \u015earlak & R. Onurel. Mediterranean Archaeology and Archaeometry, Vol. 14, No 1, pp. 321-345<\/p>\n\n