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

- Sometimes Called China Or Chinese Ink Is Chiefly Brought From
- Red On The One Hand And Of The Middle Tertiary Russet On The
- Distilled Verdigris Or More Properly Refined Verdigris The Best Is
- Molybdenum Green
- Uniform Colour Thus Composed Is The Citrine Colour Of Fruit And
- Or Lamblack Is A Smoke Black Being The Soot Procured By The Burning
- While We Avoid The Compounding Of Contrasting Colours That Is The
- Only That Of Extreme Light Objects Opaque It Follows That White Is To
- And By Mixing Colours Or Tints With Black He Gets Shades It Is A
- Secondary Colours Are Three Only Orange Green And Purple

Pigment Says The Chemical News Supplies A Desideratum Hitherto In

vain sought for by artists. It is the nearest approach to a perfect
yellow in existence, and more closely resembles the purity of the
prismatic spectrum than any other artificial colour. It is transparent,
has great brilliancy and richness, both pure and in combination, and is
very permanent, being entirely unaffected by exposure to sulphuretted
hydrogen and other atmospheric impurities, or to the direct rays of the
sun during an entire summer. Aureolin, with ultramarine and madder red,
completes the triad of brilliant, permanent, and transparent primitive
colours." The above only tallies with the statements of several
scientific chemists and artists of note, statements which a prolonged
personal experience of the colour enables us to endorse. To our
knowledge, aureolin is quite uninjured by the severest tests to which a
pigment can be subjected. We have found it bear with impunity, even in
its lightest and faintest tints, the foulest gas and the brightest
sunshine. Damp has no effect upon it; and in oil, water, or fresco, it
is equally eligible. With all other colours aureolin mixes safely and
readily, forming combinations of the utmost variety and value. It
affords beautiful transparent tints, well defined, and of exceeding
purity; the paler washes being at once clear and delicate, and admitting
the most subtle gradations of tone. The artistic properties of
aureolin, however, will be best described by quoting the following





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