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- 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

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- Red On The One Hand And Of The Middle Tertiary Russet On The
- Molybdenum Green
- Uniform Colour Thus Composed Is The Citrine Colour Of Fruit And
- Sometimes Called China Or Chinese Ink Is Chiefly Brought From
- While We Avoid The Compounding Of Contrasting Colours That Is The
- Only That Of Extreme Light Objects Opaque It Follows That White Is To
- Secondary Colours Are Three Only Orange Green And Purple
- Becoming What Is Called Peroxidized May By Consequence Change Or
- Gelbin's Yellow
- Described As Cory's Brown Madder

Firm Line--not Wash--of Carmine (of Madder Preferable--ed) Passed

within the outline on the shade side only of the leaf, will give to the
whole the look of a bright scarlet surface, but with an indescribable
superadded charm, that no merely flat colour can possess." In the same
branch of art, illumination, cadmium orange, opposed to viridian,
presents a most dazzling contrast, especially if relieved by purple.

TTITLE CHINESE ORANGE

belongs to the coal-tar colours, and ought strictly to have been classed
therewith. We have preferred, however, to keep it separate, because, as
Chinese Orange, it was introduced as a pigment, and has not been
employed as a dye. In colour, it somewhat resembles burnt Sienna,
enriched, reddened, brightened, and made more transparent, by admixture
with crimson lake. From its behaviour, it would seem to be composed of
yellow and red, such a compound as magenta and aniline yellow would
afford. Its pale washes are uncertain, being apt to resolve themselves
into red and yellow, of which the latter appears the most permanent;
for, on exposure to light and air, the red more or less flies, leaving
here a yellow, and there a reddish-yellow ground: in places both red and
yellow disappear. Like all fugitive colours, it is comparatively stable
when used in body; but even then it entirely loses its depth and
richness, and in a great measure its redness, becoming faded and
yellowish. In thin washes or glazing it is totally inadmissible; and,
being neither a red, an orange, nor a brown, is unsuited to pure
effects. Nevertheless, where it need not be unduly exposed; in portfolio
illuminations, for instance, the richness, subdued brilliancy, and
transparency of this pigment, justify its adoption. It is not affected
by an impure atmosphere.

Aniline colours may be adapted for oil painting by dissolving them in
the strongest alcohol, saturating the solution with Dammar resin,
filtering the tincture, and pouring the filtrate either on pure water or
solution of common salt, stirring well all the time. The water or brine
solution must be at least twenty times the bulk of the tincture. The
colour after being collected on a filter, washed, and dried, can be
ground with linseed oil, poppy oil, or oil varnishes.

TTITLE CHROME ORANGE,





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