Imperial Ache Ultramarine

From the Latin imperialis, of the empire — applied to color since the medieval period for the hues reserved for sovereigns and empires: imperial purple of Tyrian dye, imperial yellow of Ming-dynasty porcelain. As a modifier, imperial implies saturation combined with the institutional weight of a color owned by a court. Sits in the bold-and-deep corner, alongside royal.

Old English acan, to-hurt-or-throb. As a color modifier, ache implies a dull-and-lingering-and-throbbing quality, the visual register of Romantic-poet-and-pining-lover-ache hand-dull-and-lingering-and-throbbing Romantic-poet-and-pining-lover-and-bedside-vigil ached-and-dull-and-lingering-and-throbbing surfaces under Romantic-poet-and-pining-lover-and-bedside-vigil long-night-and-melancholy-and-pining candle-and-rain-window-light. Sits at the modifier-and-mood end of the grid, parallel to pang and throb in usage.

The pigment ground from lapis lazuli — the Afghan mineral imported through Venice in the late Middle Ages, more expensive by weight than gold during the Renaissance. The color refers to a freshly mixed ultramarine pigment in linseed oil: a saturated, slightly violet-shifted deep blue with the matte finish of micron-ground rock. Deeper than cobalt, cooler than royal, with the art-historical weight of the blue Vermeer reserved for Mary's robe.