Ru Is A Dense Deep-toned Brownish Yellow Fine In Sandy Foregrounds





With Indian yellow it gives a dark autumnal tint of great richness, but

stable only as respects the ochre. When mixed with other colours, it

furnishes a series of rich yet sober tones of extensive use. It covers

well, without being too opaque; and compounded with black and a little

brown-red is good for backgrounds, &c.



TTITLE TRANSPARENT GOLD OCHRE



Resembles in a great degree Roman ochre, but is clearer in its tints,

and more transparent. It is also brighter and much less opaque than

yellow ochre. It approaches somewhat the character of clear bright raw

sienna, though more pure and brilliant, serving for strong

semi-transparent greens and sunny effects.



TTITLE OXFORD OCHRE



Is a native pigment from the neighbourhood of Oxford, semi-opaque, of a

warm yellow colour and soft argillaceous texture, absorbent of water and

oil, in both of which it may be safely employed. It is one of the best

of yellow ochres.



TTITLE STONE OCHRE



Has been confounded with the last variety, to which, as well as to Roman

ochre, it is frequently similar. True stone ochres are found in balls or

globular masses of various sizes in the solid body of stones, lying near

the surface of rocks among the quarries of Gloucestershire and

elsewhere. These balls are smooth and compact, in general free from

grit, and of a powdery fracture. They vary exceedingly in colour, from

yellow to brown, murrey, and gray, but otherwise do not differ from

ordinary ochres.



In enamel they may be used for browns and dull reds.



TTITLE DI PALITO



Is a light yellow ochre, with no special distinguishing quality, except

that its tints are rather purer in colour than most ochres.



TTITLE ORIENT YELLOW



Is an entirely new preparation of absolute permanence, and perfectly

unexceptionable in all respects, both in water and oil. We can give it

no higher praise than by saying it equals aureolin in stability, as well

as in neither injuring, nor being injured by, other colours. Not

possessed of the same amount of transparency, it is distinguished by

greater richness and depth. Of a soft golden hue, lustrous and luminous,

it resembles a brilliant and somewhat opaque Indian yellow. A gorgeous

and durable substitute for that fugitive pigment is produced by

compounding the orient with aureolin, or by using the latter as a glaze.

Being more transparent than cadmiums and less obtrusive, the new yellow

is adapted for mellow sunset and sunrise clouds, or for sunshine on

distant mountains. With French blue it affords a beautiful sea green;

and, mixed with aureolin, gives fine foliage tints. It is also eligible

for draperies and illumination. For enamelling it is inadmissible, the

colour being destroyed by great heat; but in fresco it may safely be

employed.



As in the case of aureolin, we have had a prolonged personal experience

of this new yellow, an experience which justifies us in asserting that

there is none more permanent. In the whole range of artistic colours

there is no pigment less affected by chemical or physical agents. Acid

and ammoniacal fumes, foul gases, and exposure to damp, air, light, or

sunshine, equally fail to injure it. The perfect impunity with which it

bears the action both of sulphuretted hydrogen and sulphide of ammonium

is remarkable. The former gas may be continuously passed into the colour

suspended in water, or a strong solution of the latter sulphide be

poured upon it, and the yellow remains unchanged. Submitted to the

direct rays of the sun during an entire summer, its lightest and

faintest tints have preserved their original hue.



In a preceding chapter we remarked that, provided the colour be stable,

the more colour a pigment possesses the better. The "latent colour"

there alluded to, is one of the advantages of orient yellow. The more it

is looked into, the more colour is seen--there is no suspicion of a base

coloured, the pigment is colour itself.



TTITLE ORPIMENT,





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