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Without Change In This State It Was Called Giallolino Di Fornace And








was introduced as a pigment for artists, under the erroneous conception
that vitrification gives permanence to colours, when in truth it only
increases the difficulty of levigation, and injures their texture for
working. We have spoken of Naples yellow in the past tense, because the
pigment now sold as such is generally, or always, a compound colour, or
manufactured with a zinc instead of a lead base. In either case the
preceding remarks are not applicable to the present product, which is
perfectly durable and trustworthy. The new Naples yellow presents an
example of an old objectionable pigment being replaced by a different
and superior preparation. However fugitive certain colours may have
been, the fact of their once having had a place on the palette would
seem to be sufficient recommendation to some. At any rate, they are
still in occasional request, and we cannot but approve the pious fraud
which offers under the same name a good substitute for a bad original.
If an artist must needs demand a worthless pigment, he had better buy a
colour like it that will stand, even if it be not what he asked for.

The tints of Naples yellow are readily and accurately imitated by
admixture of deep cadmium yellow and white.

TTITLE ANTIMONY YELLOW,

As its name denotes, was likewise a preparation of that metal, of a
deeper colour than Naples yellow, but similar in its properties. It was
principally used in enamel and porcelain painting, and differed greatly
in tint. One variety, brighter than the rest, is stated not to have
been affected by foul air, and therefore could not have had a lead
basis.


TTITLE OCHRES,





Next: Known As Yellow Ochre Brown Ochre Roman Ochre Transparent Gold

Previous: The Name Of Giallolino And Was Variously Of A Pleasing Light Warm



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