Most Viewed

- Browns And The Cold Semi-neutral Grays Marrone Is Practically To
- Black Chalk
- Composition Chemical Analysis Has Shown Several Of The Blues To Be
- Also Called Scarlet Chrome Is A Bright Chromate Of Lead Of An
- Burnt Verdigris
- Less Known As English Red Prussian Red And Scarlet Ochre True
- Belong The Dutch And Flemish Schools; The Sensible Which Aims At
- 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

- Of Those Pigments Would Do The Rich Yellowness Entirely Disappearing
- &c As Well As Of The Semi-neutral Gray &c: It Therefore Is Changed
- Orange De Mars Is A Subdued Orange Of The Burnt Sienna Class But
- Green Ultramarine
- Yellow Is A Chief Constituent: Hence Brown Is In Some Measure To Shade
- Sensible Perfection It Attained Harmony Of Colouring And Effect In
- Tertiary Colours Are Three Only Citrine Russet And Olive
- Together Instead Of Blending Them On The Palette May Be Attributed
- With Regard To Colours Individually It Is A General Law Of Their
- Are The Negative Powers Or Neutrals Of Colours And The Extremes Of

Less Known As English Red Prussian Red And Scarlet Ochre True

Venetian red, that is, the red of the Venetians, was probably brought
from India, and similar to our modern Indian red. The Venetian red of
the present day, however, is an artificial product, containing no earthy
base, and therefore improperly classed among the ochres. It is prepared
by calcining sulphate of iron, to which a little nitre may be
advantageously added. The result is a peroxide of iron, resembling light
red, but more powerful, and of a more scarlet hue. It is very permanent,
but being a purely iron pigment, should be cautiously employed with
colours affected by that metal. Though not bright, its tints are clear,
and it mixes and works kindly with cobalt or French blue, affording fine
pearly grays. Heightened by madder lake, it furnishes a glowing red,
very useful in some descriptions of skies; and saddened by black, it
gives low toned reds of good quality for buildings. With white it
produces carnation tints nearly approaching to nature, and much employed
by Titian, Vandyke, and others. Compounded with aureolin, Venetian red
yields a clear orange of considerable transparency.





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