Celadon (2 of 15)
This color name can be traced to French literature of the 17th century. Céladonwas the name of a character who wore green clothes in Honoré d’Urfé’s novelL’Astree. The term can also refer to any of several Chinese porcelains having a translucent, pale green glaze.
Chartreuse (3 of 15)
This name comes to us from a group of Carthusian French monks who concocted an aromatic liqueur, light green with a yellowish tinge in color, and named itchartreuse, after the mountain range in the Alps where their first monastery, La Grande Chartreuse, was built.
Mint (6 of 15)
The color name mint is borrowed from the name of the bright green aromatic plant. The plant’s name can be traced to the Greek minthe, which was the name of a nymph in Greek mythology who was transformed into the sweet-smelling herb by Persephone.
Myrtle (8 of 15)
Myrtle green is a dark green with a bluish tinge. The name comes from the myrtle plant, a shrub with fragrant white flowers and aromatic berries, which was held sacred by the Roman goddess Venus and used as an symbol of love in festivals. This ancient association accounts for later uses of the word myrtle to refer to garlands, wreaths, and in a figurative sense to indicate honor or affection.
Citron (10 of 15)
Citron is a grayish-green yellow color. It stems from Old French word for “lemon” and is unsurprisingly related to the wordcitrus. A rarer type of citrus with a thick rind is also called a citron.
Paris green (11 of 15)
The color name Paris green comes to us from a highly toxic powder of the same name that was once used to kill rats in Paris. It has also been used as an insecticide, wood preservative and pigment. The powder itself ranged in color from pale to deep hues of green, depending on how finely it was ground.
Hooker’s green (15 of 15)
This is our only shade of green that is an eponym. Hooker’s green is named after botanical illustrator William Hooker, the official artist of Horticultural Society of London, who primarily painted fruit on the bough, like the apple from his 1818 book Pomona Londinensis. His eponymous green, which he invented to suit the particular shade he needed, is a combination of Prussian blue and gamboge, a deep yellow shade, and continues to be favored by watercolorists.