Most Viewed

- Browns And The Cold Semi-neutral Grays Marrone Is Practically To
- Also Called Scarlet Chrome Is A Bright Chromate Of Lead Of An
- Black Chalk
- Composition Chemical Analysis Has Shown Several Of The Blues To Be
- Burnt Verdigris
- Belong The Dutch And Flemish Schools; The Sensible Which Aims At
- Less Known As English Red Prussian Red And Scarlet Ochre True
- Olive In Dark Green; Russet And Citrine In Dark Orange The
- Known Likewise As Raw Sienna Earth Terra Di Sienna &c Is A
- Root Of The Anchusa Tinctoria Commonly Known As Alkanet A Plant

Least Viewed

- Their Chief Source The Greens Consist Of Yellow Mixed With Copper
- Only That Of Extreme Light Objects Opaque It Follows That White Is To
- To Which The Various Appellations Have Been Given Of Thenard's Blue
- Thallium Orange
- Distilled Verdigris Or More Properly Refined Verdigris The Best Is
- Molybdenum Green
- Red And Blue In The Proportions Of Five Of The Former To Eight Of
- Violet De Mars Purple Ochre Or Mineral Purple Is A Dark Ochre
- Uniform Colour Thus Composed Is The Citrine Colour Of Fruit And
- Also In The Olive Foliage Of The Rose-tree Formed In The Individual

Cobalt Purples

are obtainable ranging from the richest crimson purple to the most
delicate violet. We have produced them by wet and dry methods, varying
in brilliancy and beauty, but characterised generally by want of body,
and frequently by a smalt-like grittiness. Chemically, good and stable
colours, they are not received with favour on the palette, and certainly
may be very well replaced by mixtures of cobalt blue and madder red.
When a permanent compound is obtainable equal in colour to an original
pigment, and superior in its physical attributes, no objection can
fairly be taken to its artistic preference. There are other things to be
considered in a pigment besides permanence, or even permanence and
colour combined. The two together do not constitute a perfect pigment,
that is, a material of practical utility and value. In the last
chapter, allusion was made to a green which possesses both the one and
the other, and yet is--at present, at least--quite unfitted for artistic
use. Hence, with a strong partiality for simple original pigments, we
are bound to confess there are cases where mixtures are justifiably
preferred. All we contend for is, that each constituent of such mixtures
should be stable, and neither give nor receive injury by being
compounded.





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Previous: Burnt Madder

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