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- 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

- Distilled Verdigris Or More Properly Refined Verdigris The Best Is
- Sometimes Called China Or Chinese Ink Is Chiefly Brought From
- Egypt The Greeks Obtained The Knowledge Of Their Ars Chromatica
- While We Avoid The Compounding Of Contrasting Colours That Is The
- Only That Of Extreme Light Objects Opaque It Follows That White Is To
- Secondary Colours Are Three Only Orange Green And Purple
- Have To Be Learnt For Each Pigment Has Its Own Peculiar Habitudes
- These Are False Appellations Of A White Lead Called Also French
- Of These There Are Three Tints Deep A So-called Pale And Lemon
- Sometimes Designated Drop Gum And Variously Written Gamboge

Vehicles And Varnishes With Which They Are Mixed Many Of These Have

been blamed, and often with justice, for their injurious effects on
pigments. The reputation of the most permanent colour may be ruined, if
the vehicle, &c., employed with it be untrustworthy. The presence of
lead, for instance, in such materials renders them liable to be
blackened by foul air, and by consequence the pigments used therewith.

Time produces in many cases a mellow and harmonious change in pictures,
but occasionally alterations altogether unfavourable. To ensure the
former and prevent the latter, the attention of the artist in the course
of his colouring should be to the employment of such pigments and
colours as are prone to adapt themselves, in changing, to the intended
key of his colouring, and the right effect of his picture. Thus, if he
design a cool effect, ultramarine has a tendency through time to
predominate and aid the natural key of blue. He will, therefore,
compromise the permanence of this effect, if in such case he employ a
declining or changeable blue, or if he introduce such reds and yellows
as have a tendency to warmth or foxiness, by which the colouring of
many pictures has been destroyed. In a glowing or warm key, the case is
in some measure reversed--not wholly so, for it is observable that those
pictures have best preserved their colouring and harmony in which the
blue has been most lasting, by the pigment counteracting the change of
colour in the vehicle, and that suffusion of dusky yellow which time is
wont to bestow upon pictures even of the best complexion.

Unless introduced and guaranteed by houses of acknowledged reputation,
newly discovered pigments are to be used with caution. Good colours have
ever been prized with so true an estimation of their value, that to
produce such, after so many ages of research is no ordinary
accomplishment. But too many resplendent pigments, fruits of the
fecundity of modern chemistry, have been found deficient. The yellow and
orange chromates of lead, for instance, withstanding as they do the
action of the sunbeam, become by time, foul air, and the influence of
other pigments, inferior to the ochres. So the dazzling scarlet of
iodine and mercury must yield the palm of excellence to the more sober
vermilion, being a chameleon colour, subject to the most sudden and
opposite changes. And the blues of cobalt, as always tending to
greenness and obscurity, cannot rank beside ultramarine.

We are far from asserting, however, that all modern pigments are
inferior, or that pigments should be looked upon with suspicion because
they are modern. Several most valuable colours have lately claimed





Next: Attention Notably The Permanent Transparent Yellow Called Aureolin
Previous: Numerous Colours Are Likewise Injured By Lime And Fire And Cannot

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