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Ru Is A Dense Deep-toned Brownish Yellow Fine In Sandy Foregrounds








With Indian yellow it gives a dark autumnal tint of great richness, but
stable only as respects the ochre. When mixed with other colours, it
furnishes a series of rich yet sober tones of extensive use. It covers
well, without being too opaque; and compounded with black and a little
brown-red is good for backgrounds, &c.

TTITLE TRANSPARENT GOLD OCHRE

Resembles in a great degree Roman ochre, but is clearer in its tints,
and more transparent. It is also brighter and much less opaque than
yellow ochre. It approaches somewhat the character of clear bright raw
sienna, though more pure and brilliant, serving for strong
semi-transparent greens and sunny effects.

TTITLE OXFORD OCHRE

Is a native pigment from the neighbourhood of Oxford, semi-opaque, of a
warm yellow colour and soft argillaceous texture, absorbent of water and
oil, in both of which it may be safely employed. It is one of the best
of yellow ochres.

TTITLE STONE OCHRE

Has been confounded with the last variety, to which, as well as to Roman
ochre, it is frequently similar. True stone ochres are found in balls or
globular masses of various sizes in the solid body of stones, lying near
the surface of rocks among the quarries of Gloucestershire and
elsewhere. These balls are smooth and compact, in general free from
grit, and of a powdery fracture. They vary exceedingly in colour, from
yellow to brown, murrey, and gray, but otherwise do not differ from
ordinary ochres.

In enamel they may be used for browns and dull reds.

TTITLE DI PALITO

Is a light yellow ochre, with no special distinguishing quality, except
that its tints are rather purer in colour than most ochres.

TTITLE ORIENT YELLOW

Is an entirely new preparation of absolute permanence, and perfectly
unexceptionable in all respects, both in water and oil. We can give it
no higher praise than by saying it equals aureolin in stability, as well
as in neither injuring, nor being injured by, other colours. Not
possessed of the same amount of transparency, it is distinguished by
greater richness and depth. Of a soft golden hue, lustrous and luminous,
it resembles a brilliant and somewhat opaque Indian yellow. A gorgeous
and durable substitute for that fugitive pigment is produced by
compounding the orient with aureolin, or by using the latter as a glaze.
Being more transparent than cadmiums and less obtrusive, the new yellow
is adapted for mellow sunset and sunrise clouds, or for sunshine on
distant mountains. With French blue it affords a beautiful sea green;
and, mixed with aureolin, gives fine foliage tints. It is also eligible
for draperies and illumination. For enamelling it is inadmissible, the
colour being destroyed by great heat; but in fresco it may safely be
employed.

As in the case of aureolin, we have had a prolonged personal experience
of this new yellow, an experience which justifies us in asserting that
there is none more permanent. In the whole range of artistic colours
there is no pigment less affected by chemical or physical agents. Acid
and ammoniacal fumes, foul gases, and exposure to damp, air, light, or
sunshine, equally fail to injure it. The perfect impunity with which it
bears the action both of sulphuretted hydrogen and sulphide of ammonium
is remarkable. The former gas may be continuously passed into the colour
suspended in water, or a strong solution of the latter sulphide be
poured upon it, and the yellow remains unchanged. Submitted to the
direct rays of the sun during an entire summer, its lightest and
faintest tints have preserved their original hue.

In a preceding chapter we remarked that, provided the colour be stable,
the more colour a pigment possesses the better. The "latent colour"
there alluded to, is one of the advantages of orient yellow. The more it
is looked into, the more colour is seen--there is no suspicion of a base
coloured, the pigment is colour itself.

TTITLE ORPIMENT,





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Previous: Likewise Known As Spruce Ochre And Ocre De Rue Or More Correctly



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