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

- Their Chief Source The Greens Consist Of Yellow Mixed With Copper
- Only That Of Extreme Light Objects Opaque It Follows That White Is To
- To Which The Various Appellations Have Been Given Of Thenard's Blue
- Thallium Orange
- Distilled Verdigris Or More Properly Refined Verdigris The Best Is
- Molybdenum Green
- Red And Blue In The Proportions Of Five Of The Former To Eight Of
- Violet De Mars Purple Ochre Or Mineral Purple Is A Dark Ochre
- Uniform Colour Thus Composed Is The Citrine Colour Of Fruit And
- Also In The Olive Foliage Of The Rose-tree Formed In The Individual

Zinc Orange

When hydrochloric acid and zinc are made to act on nitro-prusside of
sodium, a corresponding zinc compound is formed of a deep orange colour,
slightly soluble in water, and not permanent.

* * * * *

For a secondary colour, orange is well represented on the modern
palette, and can point to some pigments as good and durable as any to be
found among the primaries. Burnt Sienna, cadmium orange, Mars orange,
neutral orange, and orange or burnt Roman ochre, are all strictly
permanent. The so-called orange vermilions were, it will be remembered,
classed among the reds.

As semi-stable, must be ranked chrome orange; and as fugitive, Chinese
orange, orange orpiment, and orange lead.

From the foregoing division, the predominance of eligible orange
pigments over those less trustworthy is manifest. Unfortunately, with
many painters it is not so manifest that their secondary and compound
colours should receive as much attention as the primaries, and that it
is their duty, not only to the art which they practice, but to the
patrons for whom they practice it, that their orange and green and
purple hues, should be as durable as their yellows, reds, and blues. For
such, the introduction of a new permanent pigment is of little interest,
unless its colour be primary; so wedded are they to that passion for
compounding which the chemist views with dismay. With dismay, because he
knows that the rules of mixture are severe, and cannot with impunity be
altered; that, although disguised in oil or gum, each pigment is a
chemical compound, with more or less of affinity and power, more or less
likely to act or be acted upon. Because he knows that, except with the
most experienced artists, compounding leads to confusion; and that in it
the temptations to use semi-stable or fugitive colours are strong. Look
at those tables of mixed tints of which artist-authors are so fond, and
tell us whether they always bear scrutiny--surely not. Admirable,
perfect as these tints may be in an artistic sense, how often is their
beauty like the hectic flush of consumption, which carries with it the
seeds of a certain death. Will that orange where Indian yellow figures
ever see old age, or that green with indigo, or purple with cochineal
lake? Will they not rather spread over the picture the Upas-tree of
fugacity, and kill it as they die themselves!





TTITLE SECONDARY GREEN

Green, which occupies the middle station in the natural scale of colours
and in relation to light and shade, is the second of the secondary





Next: Colours It Is Composed Of The Extreme Primaries Yellow And Blue
Previous: Uranium Orange

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