Heavy Nymph Cobalt

Old English hefig, weighty — cognate with heave. Used as a color modifier since at least the seventeenth century to indicate weight in saturation as much as value: heavy with pigment, heavy-bodied. In the engine's adjective grid, heavy sits alongside deep and plush in the dark-and-saturated quadrant. Closer to a fabric description than a pure value word.

Greek νύμφη, nature-spirit-and-young-bride. As a color modifier, nymph implies a nature-spirit-and-grove-and-spring quality, the visual register of Hellenic-nymph-and-grove-and-spring hand-nature-spirit-and-grove-and-spring Hellenic-nymph-and-grove-and-spring-and-Arcadian-pastoral nymph-and-nature-spirit-and-grove surfaces under Hellenic-nymph-and-grove-and-spring-and-Arcadian-pastoral Mediterranean-grove-and-stream dappled-grove-light. Sits at the modifier-and-myth end of the grid, parallel to dryad and nereid in usage.

Element Co, atomic number 27 — German Kobold, goblin, named by miners who found the metal interfered with smelting silver ore. Cobalt blue is the cobalt-aluminate pigment introduced by Louis Jacques Thénard in 1802: a saturated, slightly green-shifted deep blue with the matte finish of mineral pigment in oil. Cooler than ultramarine, warmer than prussian, with the painter's weight of a pigment used by Renoir, Van Gogh, and Cézanne.