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
- Uniform Colour Thus Composed Is The Citrine Colour Of Fruit And
- Sometimes Called China Or Chinese Ink Is Chiefly Brought From
- Their Chief Source The Greens Consist Of Yellow Mixed With Copper
- Egypt The Greeks Obtained The Knowledge Of Their Ars Chromatica
- 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
- Colours With The Neutral Black Of The Various Combinations Of Black
- Have To Be Learnt For Each Pigment Has Its Own Peculiar Habitudes

French Prussian-brown

According to Bouvier, a colour similar to that of bistre, and rivalling
asphaltum in transparency, is produced by partially charring a
moderately dark Prussian blue; neither one too intense, which gives a
heavy and opaque brownish-red, nor one too aluminous and bright, which
yields a feeble and yellowish tint. Yielding to a rapture we cannot
wholly share, he describes its qualities in the warmest terms. In his
opinion, it has the combined advantages of asphaltum, mummy, and raw
Sienna, without their drawbacks. "I cannot," he says, "commend too
highly the use of this charming bistre-tint: it is as beautiful and good
in water as in oil, perfectly transparent, of a most harmonious tone,
and dries better than any other colour suitable for glazing. Closely
resembling asphaltum in tint as well as in transparency, this brown is
preferable to it in every point of view." As the colour is very quickly
and easily obtained, the artist can judge for himself of its proper
value. M. Bouvier's process is, to place upon a clear fire a large iron
spoon, into which, when red hot, some pieces of the Prussian blue are
put about the size of a small nut: these soon begin to crackle, and
throw off scales in proportion as they grow hot. The spoon is then
removed, and allowed to cool: if suffered to remain too long on the
fire, the right colour will not be produced. When the product is crushed
small, some of it will be found blackish, and the rest of a yellowish
brown: this is quite as it should be. Chemically, the result is a
mixture of oxide of iron and partly undecomposed or carbonised
prussiate.





Next: Gambogiate Of Iron
Previous: Copper Brown

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