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Or French Blue Is A Rich Deep Colour But Less Transparent And Vivid








than the preceding variety, which is preferable in unmixed tints. For
compound hues, French blue is sufficiently well adapted, and is
extremely useful. With aureolin and burnt Sienna, or Vandyke brown, it
affords valuable autumn greens; and with lamp black, or lamp black and
light red, good stormy clouds. A sombre gray for distant mountains is
furnished by French blue and madder brown, with a very little gamboge;
and a deep purple for sunsets, by the blue and purple madder, or Indian
red and rose madder. With cadmium and orient yellows, sepia, viridian,
and many other colours, this ultramarine is of service.

TTITLE NEW BLUE

Is confined to water-colour painting, and is an artificial ultramarine,
holding a middle position between French blue and permanent blue, being
less deep than the one and less pale than the other. It may be said to
hover in tint between a rich ultramarine and cobalt.

TTITLE PERMANENT BLUE

Is a pale ultramarine, with a cobalt hue; and, in spite of its name,
less permanence than belongs to the richer and deeper sorts. What
Antwerp blue is to Prussian blue, this is to French blue--that is, as
regards colour. With respect to durability, however, permanent and
Antwerp blues cannot be compared; the former being a weakened variety of
a stable, and the latter a weakened variety of a semi-fugitive, pigment.
Hence permanent blue justifies its name, although that name would be
more suited to the brilliant, or French, ultramarine.

TTITLE GENUINE ULTRAMARINE,





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