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- 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

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- Of Those Pigments Would Do The Rich Yellowness Entirely Disappearing
- Orange De Mars Is A Subdued Orange Of The Burnt Sienna Class But
- Sensible Perfection It Attained Harmony Of Colouring And Effect In
- &c As Well As Of The Semi-neutral Gray &c: It Therefore Is Changed
- Orange Lead
- Yellow Is A Chief Constituent: Hence Brown Is In Some Measure To Shade
- To Keep In Mind--the Glow Of Sunshine And The Cool Of Shade
- This Principle Of Contrast Applies Even To Individual Colours And
- Tertiary Colours Are Three Only Citrine Russet And Olive
- Splendid Viridian A Green Nothing But Fire Will Change And No

Or French Veronese Green Is A Comparatively Recent Introduction

similar in colour and general properties to the following; beside which,
however, it appears dull, muddy, and impure. It is often adulterated
with arsenic to an enormous extent, which interferes with its
transparency, mars its beauty, and renders it of course rankly
poisonous.

TTITLE VIRIDIAN

is a still later addition to the palette, and the only permanent green
which can be described as gorgeous, being not unlike the richest velvet.
Pure and clear as the emerald, it may be called the Prussian Blue of
Greens, of such richness, depth, and transparency is it. In hue of a
bluish-green, its deepest shades verge on black, while its light tints
are marked by transparent clearness unsurpassed. No compound of blue and
yellow will afford a green at once so beautiful and stable, so gifted
with the quality of light, and therefore so suited for aerial and liquid
effects. Used with aureolin, it gives foliage greens sparkling with
sunshine; and, fitly compounded, will be found invaluable for the glassy
liquidity of seas, in painting which it becomes incumbent to employ
pigments more or less transparent. "The general failing in the
representation of the sea is, that instead of appearing liquid and thin,
it is made to bear the semblance of opacity and solidity. In order to
convey the idea of transparency, some object is often placed floating on
the wave, so as to give reflection; and it is strange that we find our
greatest men having recourse to this stratagem. To say it is not true in
all cases, is saying too much; but this we do assert, that as a general
principle it is quite false, and we prove it in this way: water has its
motion, more or less, from the power of the wind; it is acted upon in
the mass, and thus divided into separate waves, and these individually
have their surface ruffled, which renders them incapable of receiving
reflection. The exception to this will be, where the heaving of the sea
is the result of some gone-by storm, when the wind is hushed, and the
surface becomes bright and glassy. In this state, reflections are
distinctly seen. Another exception will be in the hollow portion of the
waves, as they curl over, and dash upon the shore."

As viridian, like the sea, is naturally "liquid and thin, bright and
glassy," the extract we have quoted from Mr. Penley, points to this
green as a pigment peculiarly adapted for marine painting; in which, it
may be added, its perfect permanence and transparency will be
appreciated in glazing. Its fitness for foliage has been remarked; but
in draperies the colour will prove equally useful, and in illumination
will be found unrivalled. In the last branch of art, indeed, viridian
stands alone, not only through its soft rich brilliancy, but by the
glowing contrast it presents with other colours: employed as a ground,
it throws up the reds, &c., opposed to it, in a marvellous manner. Like
the three preceding oxides of chromium, viridian neither injures nor is
injured by other pigments; is unaffected by light, damp, or impure air;
and is admissible in fresco. In enamelling it cannot be used; the
colour, depending on the water of hydration, being destroyed by a strong
heat.


TTITLE COPPER GREENS





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