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

- Distilled Verdigris Or More Properly Refined Verdigris The Best Is
- Sometimes Called China Or Chinese Ink Is Chiefly Brought From
- Only That Of Extreme Light Objects Opaque It Follows That White Is To
- These Are False Appellations Of A White Lead Called Also French
- Of These There Are Three Tints Deep A So-called Pale And Lemon
- Sometimes Designated Drop Gum And Variously Written Gamboge
- The Secondary Orange And Its Near Relatives Scarlet &c; And With
- Than Themselves; And Into Painters Whose Motto Is Vita Brevis Est Ars
- The Third And Last Of The Primary Or Simple Colours Is Blue Which
- Besides The Preceding There Is A Basic Prussian Blue Formed By

Egypt The Greeks Obtained The Knowledge Of Their Ars Chromatica

which they are said to have carried by gradual advances during several
centuries, from the monochromatic of their earlier painters, to the
perfection of colouring under Zeuxis and Apelles, 450 to 350 B.C.
Unfortunately, not long after, or about 300 B.C., art rapidly
deteriorated; the invasion of the Romans commenced; and the principles
of light, shade, and colours in painting as understood by the Greeks,
together with their valuable treatises on the subject were lost. The
early Roman and Florentine painters, so eminent in other respects, were
almost destitute of those principles, and of truly refined feeling for
the effects of colouring.

The partial restoration of this branch seems to have been coeval with
the earliest practice of painting in oil. The glory of it belongs to the
Venetians, to whom the art of painting passed with the last remains of
the Greek schools after the capture of Constantinople at the beginning
of the thirteenth century. Giovanni Bellini laid the foundation of
colouring, and Titian carried it to its highest practical perfection.
From the Venetian it extended to the Lombard, Flemish, and Spanish
schools. In the practice of these, however, there was perhaps as much of
instinct as principle, colouring still remaining to be established in
its perfection as a science.

According to the true, natural, and philosophical classification of
painting, there are but three principal classes or schools; viz.: the





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