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
- 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
- These Are False Appellations Of A White Lead Called Also French
- Of These There Are Three Tints Deep A So-called Pale And Lemon

Or Brun De Mars Is Either A Natural Or Artificial Ochre Containing

iron, or iron and manganese. Of much richness and strict permanence, it
resembles raw umber in being a brown with a citrine cast, but is
generally marked by a flush of orange which is not so observable in the
latter pigment.

TTITLE MIXED CITRINE.

What has been before remarked of the mixed secondary colours is more
particularly applicable to the tertiary, it being more difficult to
select three homogeneous substances of equal powers as pigments than
two, that shall unite and work together cordially. Hence the mixed
tertiaries are still less perfect and pure than the secondaries; and as
their hues are of extensive use in painting, original pigments of these
colours are proportionably estimable to the artist. Nevertheless there
are two evident principles of combination, of which he may avail himself
in producing these colours in the various ways of working; the one being
that of combining two original secondaries; and the other, of uniting
the three primaries in such a manner that the archeus shall predominate.
Thus in the case of citrine, either orange and green may be directly
compounded; or yellow, red, and blue be so mixed that the yellow shall
be in excess.

These colours are, however, obtained in many instances with best and
most permanent effect, not by the intimate combination of pigments upon
the palette, but by intermingling them, in the manner of nature, on the
canvas, so as to produce the appearance at a proper distance of a





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