Heavy Quilt Crimson

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.

Old French cuilte, padded-cushion. As a color modifier, quilt implies a hand-quilted-padded-textile quality, the visual register of American-and-English-quilt hand-quilted-and-padded patchwork-and-coverlet hand-quilted-and-padded textile surfaces under American-and-English hand-quilted-and-padded textile workshop-light. Sits at the modifier-and-texture end of the grid, parallel to tufted and flock in usage.

From the Old Spanish cremesin, itself from the Arabic qirmiz — the kermes scale insect, dried and ground into a brilliant carmine dye prized in the medieval Mediterranean. For centuries the most expensive red on a draper's shelf, reserved for cardinals, kings, and the cloth that gave English the word crimson. Cooler than scarlet, deeper than rose; the color of pomegranate seeds and a serious occasion.