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The Semi-neutral Brown As The Extreme Primaries Blue And Yellow

when either compounded or opposed, afford, though not the most perfect
harmony, yet the most pleasing consonance of the primary colours; so the
extremes, purple and orange, yield the most pleasing of the secondary
consonances. This analogy extends likewise to the extreme tertiary and
semi-neutral colours, while the mean or middle colours furnish the most
agreeable contrasts or harmonies.

In nature pure purple is not a common colour, and on the palette purple
pigments are singularly few. They lie under a peculiar disadvantage as
to apparent durability and beauty of colour, owing to the neutralizing
power of yellowness in the grounds upon which they are laid; as well as
to the general warm colour of light, and the yellow tendency of almost
all vehicles and varnishes, by which the colour of purple is subdued.


is the carmine of cochineal partially charred till it resembles in
colour the purple of gold, for which, in miniature and water-painting,
it is substituted. It is a magnificent reddish purple of extreme
richness and depth, eligible in flower-painting and the shadow of
draperies. As it is generally impossible, however, to alter the nature
of a pigment by merely changing its colour, burnt carmine is scarcely
more permanent than the carmine from which it is produced. If used,
therefore, it should be in body, and not in thin washes or as a glaze.
Durable pigments are admissible in any form; but semi-stable pigments
(gamboge excepted) should only be employed in body.


holds the same relation to crimson lake as burnt carmine to ordinary
carmine; and is hence a weaker variety of the preceding, with less
richness, and likewise less permanence.


is prepared by precipitating an extract of cochineal with sulphate of
copper. It is a very deep-toned but rather cold and subdued purple,
neither so red nor so brilliant as burnt carmine; and is chiefly of
service in draperies. It is apt to lose its purple colour in a great
measure on exposure to light and air, and assume an inky blackness; a
defect which becomes less apparent when the pigment is used in bulk.


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