Spick Ache Verdigris

Old Norse spik-spakr, spike-new — sharing root with spic-and-span. As a color modifier, spick implies a clear-and-newly-cleaned quality where the hue carries the just-polished visual register of fresh-painted-and-fresh-cleaned surfaces. Sits at the crisp-and-clean end of the grid, parallel to spotless and pristine in usage.

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 basic copper carbonate that forms on weathered copper and bronze — the pigment scraped from oxidized metal and used in Renaissance painting before being supplanted by more stable greens. The color refers to a thick verdigris on aged copper roofing or the Statue of Liberty's surface: a soft, slightly muted blue-green with the powdery finish of mineral oxide. Cooler than patina, warmer than seafoam, with the archaeological weight of a mineral made by time.