Or Burnt Terra Di Sienna Is Calcined Raw Sienna Of A Rich

transparent brown-orange or orange-russet colour, richer, deeper, and

more transparent than the raw earth. It also works and dries better, has

in other respects the qualities of its parent colour, and is a most

permanent and serviceable pigment in painting generally. For the warm

tints in rocks, mud banks, and buildings, this colour is excellent. When

mixed with blue it makes a good green; furnishing a bright green with

cobalt, and one much more intense with Prussian blue. For the foresea,

whether calm or broken by waves, it may be employed with a little

madder; while compounded with a small portion of the latter and lamp

black, it meets the hues of old posts, boats, and a variety of near

objects, as the tints may be varied by modifying the proportions of the

component colours. Used with white, it yields a range of sunny tones;

and with aureolin or French blue and aureolin will be found of service,

the last compound giving a fine olive green. Similar but fugitive greens

are afforded by admixture of burnt Sienna with indigo and yellow or

Roman ochre, or raw Sienna; tints which may be saddened into olive

neutrals by the addition of sepia, and rendered more durable by

substituting for indigo Prussian blue and black. Mixed with viridian, it

furnishes autumnal hues of the utmost richness, beauty, and permanence;

and, alone, is valuable as a glaze over foliage and herbage. For the

dark markings and divisions of stones a compound of Payne's gray and

burnt Sienna will prove serviceable; while for red sails the Sienna,

either by itself, with brown madder, or with Indian red, cannot be

surpassed. For foregrounds, banks and roads, cattle and animals in

general, burnt Sienna is equally eligible, both alone and compounded. It

has a slight tendency to darken by time.


was first introduced to the art-world at the International Exhibition of

1862, where it was universally admired for its extreme brilliancy and

beauty, a brilliancy equalled by few of the colours with which it was

associated, and a beauty devoid of coarseness. We remember well the

power it possessed of attracting the eye from a distance; and how, on

near approach, it threw nearly all other pigments into the shade. It has

in truth a lustrous luminosity not often to be met with, added to a

total absence of rankness or harshness. A simple original colour,

containing no base but cadmium, it is of perfect permanence, being

uninjured by exposure to light, air or damp, by sulphuretted hydrogen,

or by admixture. Having in common with cadmium sulphides a certain

amount of transparency, it is invaluable for gorgeous sunsets and the

like, either alone or compounded with aureolin. Of great depth and power

in its full touches, the pale washes are marked by that clearness and

delicacy which are so essential in painting skies. As day declines, and

blue melts into green, green into orange, and orange into purple, the

proper use of this pigment will produce effects both glowing and

transparent. Transparency signifies the quality of being seen through or

into; and in no better way can it be arrived at than by giving a number

of thin washes of determined character, each lighter than the preceding

one. With due care in preserving their forms, from the commencement to

the termination, such washes of orange will furnish hues the softest and

most aerial. For bits of bright drapery, a glaze over autumn leaves, and

mural decoration, this colour is adapted; while in illumination it

supplies a want formerly much felt. "With the exception of scarlet or

bright orange," said Mr. Bradley, nine or ten years since, in his Manual

of Illumination, "our colours are everything we could wish." As an

original pigment, a permanent scarlet does not yet exist; but the

brilliancy of cadmium orange cannot be disputed, nor its claim to be the

only unexceptionable bright orange known. It even assists the formation

of the other colour: remarks the author mentioned, "Brilliancy is

obtained by gradation. Suppose a scarlet over-curling leaf, for example.

The whole should be painted in pure orange, with the gentlest possible

after-touch of vermilion towards the corner under the curl. When dry, a

Or Brun De Mars Is Either A Natural Or Artificial Ochre Containing Or Cappagh Brown Is Likewise A Colour Peculiar To Oil It Is A facebooktwittergoogle_plusredditpinterestlinkedinmail