ON THE TERTIARY, RUSSET.
Russet, the second or middle tertiary colour, is, like citrine,
constituted ultimately of the three primaries, red, yellow, and blue;
but with this difference--instead of yellow as in citrine, the archeus
or predominating colour in russet is red, to which yellow and blue are
subordinates. For _orange_ and _purple_ being the immediate constituents
of russet, and red being a component part of each of those colours, it
follows that red enters doubly into russet, while yellow and blue appear
but once therein. The proportions of its middle hue are eight blue, ten
red, and three yellow, of equal intensities. Thus composed, russet takes
the relations and powers of a subdued red; and many pigments and dyes of
the latter denomination are strictly of the class of russet colours. In
fact, nominal distinction of colours is only relative; the gradation
from hue to hue, as from tint to tint, and shade to shade, being of such
unlimited extent, that it is impossible to pronounce absolutely where
one hue, tint, or shade ends, and another begins.
The harmonizing, neutralizing, or contrasting colour of russet, is a
_deep green_; or when the russet inclines to orange, a _gray_ or
_subdued blue_. These are often beautifully opposed in nature, being
medial accordances or in equal relation to light, shade and other
colours, and among the most agreeable to sense.
Russet, as we have said, partakes of the relations of red, but it is a
hue moderated in every respect, and qualified for greater breadth of
display in the colouring of nature and art; less so, perhaps, than its
fellow-tertiaries in proportion as it is individually more beautiful.
The powers of beauty are ever most effective when least obtrusive; and
its presence in colour should be chiefly evident to the eye that seeks
it--not so much courting as being courted.
Of the tertiary colours, russet is the most important to the artist; and
there are many pigments classed as red, purple, &c., which are of russet
hues. But there are few true russets, and only one original pigment of
that colour is now known on the palette, to wit--
229. RUBENS' MADDER,
_Orange Russet_, _Russet Rubiate_, or _Field's Russet_. This is a very
rich crimson russet with a flush of orange; pure, transparent, and of a
middle hue between orange and purple. Prepared from the madder root, it
is not subject to change by the action of light, time, or mixture of
other pigments. Although not so much employed as the marrone Madder
Brown, it is serviceable both as a local and auxiliary colour in
compounding and producing with yellow the glowing hues of autumnal
foliage, &c.; and with blue, the beautiful and endless variety of grays
in skies, flesh, &c. A good glazing colour, its thin washes afford fine
flesh tints in water: as an oil pigment it dries indifferently, and
requires to be forced by the addition of a little gold size or varnish.
Cappah brown and burnt umber sadden it to the rich tones adapted for
general use in shadows. So saddened, this lake meets admirably the dark
centres of the upper petals of certain fancy geraniums, while alone its
pale washes are equally well suited to the lower leaves.
230. MIXED RUSSET.
What has been remarked in the preceding chapter upon the production of
mixed citrine colours, is likewise applicable to mixed russet. By the
immediate method of producing it materially from its secondaries, good
and durable colours are obtained by compounding the following orange and
purple pigments--
PERMANENT ORANGE. | PERMANENT PURPLE.
|
Burnt Roman Ochre. | Mars Violet, true.
Burnt Sienna. | Purple Madder.
Cadmium Orange. |
Mars Orange. |
Neutral Orange. |
Many other less eligible duple and triple compounds of russet are
obvious upon principle, and it may be produced by adding red in due
predominance to some browns; but these, like most mixtures, are inferior
to original pigments. To the orange colours there may be added cadmium
red and the orange vermilions, pigments which were classed among the
reds, but which contain sufficient yellow to render them adapted for
either compound russets or compound citrines. And as of original purple
pigments there are two only which are stable, such mixtures as madder
red and French blue will help to swell the list of available permanent
purples. Rubens' madder itself may be changed in hue by being first
mixed with blue and then with orange.
* * * * *
231. _Prussiate of Copper_
differs chemically from Prussian blue only in having copper instead of
iron for its basis. It varies in hue from russet to purple brown, is
transparent and deep, but, being very liable to change in colour by the
action of light and by other pigments, has never been much used, and is
now obsolete. The compound has the objection of containing free
prussiate of potash, not removable by continued washing--sometimes as
much as five per cent.
* * * * *
There are several other pigments which enter imperfectly into, or verge
upon, the class of russet, which, having obtained the names of other
classes to which they are allied, will be found under other heads; such
are some of the ochres, as Indian red. Burnt carmine is often of the
russet hue, or convertible to it by due additions of yellow or orange;
as are burnt Sienna and various browns, by like additions of lake or
other reds.
The one pigment in this chapter known to the modern palette, Rubens'
madder, is permanent.