Hooded Peplos Ultramarine

Old English hōd, hood — past-participle of hood, sharing root with German Hut (hat). As a color modifier, hooded implies the deep-and-veiled-and-fabric-shrouded quality of monk-and-friar enveloping-cowled-cloak silhouette in Cistercian-and-Benedictine monastic tradition. Sits at the deep-and-veiled end of the grid, parallel to cloaked and mantled with monastic register.

Greek πέπλος, Hellenic-women's-robe. As a color modifier, peplos implies a Hellenic-women's-peplos-and-pinned-shoulder quality, the visual register of Hellenic-peplos-and-Athena-Parthenos hand-Hellenic-women's-peplos-and-pinned-shoulder Hellenic-peplos-and-Athena-Parthenos-and-Panathenaic-festival peplos-and-Hellenic-women's-peplos surfaces under Hellenic-peplos-and-Athena-Parthenos-and-Panathenaic-festival Athenian-Acropolis-and-Panathenaic-procession Hellenic-court-light. Sits at the modifier-and-textile end of the grid, parallel to chiton and tunic 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.