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,





With The Exception Of Madder Those Colours Mostly Affected By Light Working Well Is A Quality Which Depends Principally Upon Fineness Of facebooktwittergoogle_plusredditpinterestlinkedinmail

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