Light Does Upon Opacity Or Reflecting Power Opacity Is Therefore

the antagonist of transparency, and qualifies pigments to cover in

dead-colouring, or solid painting, as well as to combine with

transparent colours in forming tints; and hence it is that

semi-transparent pigments are suited in a mean degree both for dead

colouring and for finishing. As excellencies, therefore, transparency

and opacity are relative only--the first being as indispensable to shade

in all its gradations, as the latter is to light. With regard to

transparent and opaque colours generally, it is worthy of attention in

the practice of the oil-painter, that the best effects of the former are

produced when they are used with a resinous varnish; as opaque pigments

are best employed in oil, and the two become united with best effect in

a mixture of these vehicles. The natural and artificial powers, or depth

and brilliancy, of every colour lie within the extremes of black and

white; hence it follows that the most powerful effects of transparent

colours are obtained by glazing them over black and white. As, however,

few transparent pigments have sufficient body, or tinging power for

this, it is often necessary to glaze them over tints, or deep opaque

colours of the required hues. There is a charm in transparent colours

which frequently leads to an undue use thereof in glazing; but glazing,

scumbling, and their combined process must be employed with discretion,

according to the objects and effects of a picture.

Light Compounded With The Primary Red It Constitutes The Secondary Likewise Called Lac Lake This Is Obtained From The Lac Or Lacca Of facebooktwittergoogle_plusredditpinterestlinkedinmail