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Or Burnt Terra Di Sienna Is Calcined Raw Sienna Of A Rich

transparent brown-orange or orange-russet colour, richer, deeper, and
more transparent than the raw earth. It also works and dries better, has
in other respects the qualities of its parent colour, and is a most
permanent and serviceable pigment in painting generally. For the warm
tints in rocks, mud banks, and buildings, this colour is excellent. When
mixed with blue it makes a good green; furnishing a bright green with
cobalt, and one much more intense with Prussian blue. For the foresea,
whether calm or broken by waves, it may be employed with a little
madder; while compounded with a small portion of the latter and lamp
black, it meets the hues of old posts, boats, and a variety of near
objects, as the tints may be varied by modifying the proportions of the
component colours. Used with white, it yields a range of sunny tones;
and with aureolin or French blue and aureolin will be found of service,
the last compound giving a fine olive green. Similar but fugitive greens
are afforded by admixture of burnt Sienna with indigo and yellow or
Roman ochre, or raw Sienna; tints which may be saddened into olive
neutrals by the addition of sepia, and rendered more durable by
substituting for indigo Prussian blue and black. Mixed with viridian, it
furnishes autumnal hues of the utmost richness, beauty, and permanence;
and, alone, is valuable as a glaze over foliage and herbage. For the
dark markings and divisions of stones a compound of Payne's gray and
burnt Sienna will prove serviceable; while for red sails the Sienna,
either by itself, with brown madder, or with Indian red, cannot be
surpassed. For foregrounds, banks and roads, cattle and animals in
general, burnt Sienna is equally eligible, both alone and compounded. It
has a slight tendency to darken by time.


was first introduced to the art-world at the International Exhibition of
1862, where it was universally admired for its extreme brilliancy and
beauty, a brilliancy equalled by few of the colours with which it was
associated, and a beauty devoid of coarseness. We remember well the
power it possessed of attracting the eye from a distance; and how, on
near approach, it threw nearly all other pigments into the shade. It has
in truth a lustrous luminosity not often to be met with, added to a
total absence of rankness or harshness. A simple original colour,
containing no base but cadmium, it is of perfect permanence, being
uninjured by exposure to light, air or damp, by sulphuretted hydrogen,
or by admixture. Having in common with cadmium sulphides a certain
amount of transparency, it is invaluable for gorgeous sunsets and the
like, either alone or compounded with aureolin. Of great depth and power
in its full touches, the pale washes are marked by that clearness and
delicacy which are so essential in painting skies. As day declines, and
blue melts into green, green into orange, and orange into purple, the
proper use of this pigment will produce effects both glowing and
transparent. Transparency signifies the quality of being seen through or
into; and in no better way can it be arrived at than by giving a number
of thin washes of determined character, each lighter than the preceding
one. With due care in preserving their forms, from the commencement to
the termination, such washes of orange will furnish hues the softest and
most aerial. For bits of bright drapery, a glaze over autumn leaves, and
mural decoration, this colour is adapted; while in illumination it
supplies a want formerly much felt. "With the exception of scarlet or
bright orange," said Mr. Bradley, nine or ten years since, in his Manual
of Illumination, "our colours are everything we could wish." As an
original pigment, a permanent scarlet does not yet exist; but the
brilliancy of cadmium orange cannot be disputed, nor its claim to be the
only unexceptionable bright orange known. It even assists the formation
of the other colour: remarks the author mentioned, "Brilliancy is
obtained by gradation. Suppose a scarlet over-curling leaf, for example.
The whole should be painted in pure orange, with the gentlest possible
after-touch of vermilion towards the corner under the curl. When dry, a

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