Hues Required To Obtain A Pure Green Which Consists Of Blue And
: ON THE SECONDARY, GREEN.
yellow only, a blue should be chosen tinged with yellow rather than with
red, and a yellow tinged with blue. If either a blue or a yellow were
taken, tinged with red, this latter colour would go to produce some grey
in the compound, which would tarnish the green. The fine nature-like
greens, which have lasted so well in some of the pictures of the Italian
schools, appear to have been compounded of ultramarine, or ultramarine
ashes and yellow. Whatever pigments are employed on a painting in the
warm yellow hues of the foreground, and blue colouring of the distance
and sky, are advantageous for forming the greens in landscape, &c.,
because they harmonize better both in colouring and chemically, and
impart homogeneity to the whole: a principle conducive to a fine tone
and durability of effect, and applicable to all mixed tints. In
compounding colours, it is desirable not only that they should agree
chemically, but that they should have, as far as possible, the same
degree of durability. In these respects, aureolin and ultramarine,
gamboge and Prussian blue, Indian yellow and indigo, are all judicious
mixtures, although not all to be recommended.
PERMANENT YELLOWS. PERMANENT BLUES.
Aureolin. Cerulian Blue.
Cadmium Yellow, pale. Cobalt Blue.
Cadmium Yellow, deep. Genuine Ultramarine.
Lemon Yellow. Brilliant Ultramarine.
Mars Yellow. French Ultramarine.
Naples Yellow, modern. New Blue.
Ochres. Permanent Blue.
The foregoing yellows and blues are in no wise inimical to each other,
and yield the best mixed greens, chemically considered, the palette can
afford. In an artistic sense, we confess, the result is not so
satisfactory: the list of blues, it must be admitted, being somewhat
scant. Among the latter there is no pigment with the wonderful depth,
richness, and transparency of Prussian blue, and none consequently which
will furnish with yellow a green of similar quality. That the artist,
therefore, will dispense with Prussian blue, it would be too much to
expect. There is, however, less necessity for it since the introduction
of viridian, a green resembling that which is produced by admixture of
Prussian blue and yellow, and which may be varied in hue by being
compounded with aureolin or ultramarine. Our object in this work is to
give precedence to the chemical rather than the artistic properties of
pigments, to separate the strictly stable from the semi-stable, and the
semi-stable from the fugitive. A colour or a mixture may be chemically
bad but artistically good, and vice versa; but the chemist looks upon no
pigment or compound with favour unless it be perfectly permanent, and
ignores its mere beauty when void of durability. Hence, all artistic
considerations are set aside in our lists of permanent pigments: if it
be possible to use them alone, so much the better for the permanence of
painting; if not, so much the worse will it be, according to the degree
of fugacity of the colours employed.
and the three succeeding varieties, are greens resembling each other in
being semi-stable, and more or less transparent. Bronze is a species of
Prussian green, of a dull blue-black hue. In its deep washes it appears
a greenish-black with a coppery cast. It is used in ornamental work, and
sometimes as a background tint for flower pieces.
TTITLE CHROME GREENS,
commonly so called, are compounds of chromate of lead and Prussian blue,