CHAPTER XXI._Field's Chromatography or Treatise on Colours and Pigments as Used by Artists

ON THE NEUTRAL, BLACK.

Black is the last and lowest in the series or scale of colours

descending--the opposite extreme from white--the maximum of colour. To

be perfect, it must be neutral with respect to colours individually, and

absolutely transparent, or destitute of reflective power as regards

light; its use in painting being to represent shade or depths, of which

black is the element in a picture and in colours, as white is of light.

As there is no perfectly pure and transparent black pigment, black

deteriorates all colours in deepening them, as it does warm colours by

partially neutralizing them, but it combines less injuriously with cold

colours. Though black is the antagonist of white, yet added to it in

minute portion, it in general renders white more neutral, solid, and

local, with less of the character of light. Impure black is brown, but

black in its purity is a cold colour, and communicates a coolness to all

light colours; thus it _blues_ white, _greens_ yellow, _purples_ red,

and _cools_ blue. Hence the artist errs with ill effect who regards

black as of nearest affinity to hot and brown colours, and will do well

to keep in mind--"The glow of sunshine and the _cool_ of shade."

It is a fault of even some of our best colourists, as evinced by their

pictures, to be too fond of black upon their palettes, and thence to

infuse it needlessly into their tints and colours. With such it is a

taste acquired from the study of old pictures; but in nature hardly any

object above ground is black, or in daylight is rendered neutral

thereby. Black, therefore, should be reserved for a local colour, or

employed only in the under-painting properly called grounding and dead

colouring. As a local colour, black has the effect of connecting or

amassing surrounding objects, and is the most retiring of all colours, a

property which it communicates to other colours in mixture. It heightens

the effect of warm as well as light colours, by a double contrast when

opposed to them, and in like manner subdues that of cold and deep

colours. In mixture or glazing, however, these effects are reversed, by

reason of the predominance of cold colour in the constitution of black.

Having, therefore, the double office of colour and of shade, black is

perhaps the most important of all colours to the artist, both as to its

use and avoidance.

It may be laid down as a rule that the black must be conspicuous.

However small a point of black may be, it ought to catch the eye,

otherwise the work is too heavy in the shadow. All the ordinary shadows

should be of some _colour_--never black, nor approaching black, they

should be evidently and always of a luminous nature, and the black

should look strange among them; never occurring except in a black

object, or in small points indicative of intense shade in the very

centre of masses of shadow. Shadows of absolutely negative grey,

however, may be beautifully used with white, or with gold; but still

though the black thus, in subdued strength, becomes spacious, it should

always be conspicuous: the spectator should notice this grey neutrality

with some wonder, and enjoy, all the more intensely on account of it,

the gold colour and the white which it relieves. Of all the great

colourists, Velasquez is the greatest master of the black chords: his

black is more precious than other people's crimson. Yet it is not simply

black and white that must be made valuable, rare worth must be given to

each colour employed; but the white and black ought to separate

themselves quaintly from the rest, while the other colours should be

continually passing one into the other, being all plainly companions in

the same gay world; while the white, black, and neutral grey should

stand monkishly aloof in the midst of them. Crimson may be melted into

purple, purple into blue, and blue into green, but none of them must be

melted into black.

All colours are comprehended in the synthesis of black, consequently the

whole sedative power of colour is comprised in black. It is the same in

the synthesis of white; and, with like relative consequence, white

includes all the stimulating powers of colour in painting. It follows

that a little white or black is equivalent to much colour, and hence

their use as colours requires judgment and caution. By due attention to

the synthesis of black, it may be rendered a harmonizing medium to all

colours, to all which it lends brilliancy by its sedative effect on the

eye, and its powers of contrast: nevertheless, we repeat, it must be

introduced with caution when _hue_ is of greater importance than shade.

Even when employed as a shadow, without much judgment in its use, black

is apt to appear as local colour rather than as privation of light; and

black pigments obtained by charring have a tendency to rise and

predominate over other hues, subduing the more delicate tints by their

chemical bleaching power upon other colours, and their own disposition

to turn brown or dusky. For these reasons deep and transparent colours,

which have darkness in their constitution, are better adapted as a rule

for producing the true natural and permanent effects of shade. Many

pictures of the early masters, and especially of the Roman and

Florentine schools, evince the truth of our remarks; and it is to be

feared the high reputation of these works has betrayed their admirers

into this defective employment of black.

Black substances reflect a small quantity of white light, which receives

the complementary of the colour contiguous to the black. By

'complementary' is meant that colour which is required with another

colour to form white light; thus, green is the complementary of red,

blue of orange, and yellow of violet, or vice versâ; because green and

red, blue and orange, and yellow and violet, each make up the full

complement of rays necessary to form white light. Briefly digressing, we

give the following mode of observing complementary colours:--Place a

sheet of white paper on a table opposite to one of two windows admitting

diffused daylight[C] into a room; take a piece of coloured glass and so

place it that the coloured light transmitted through it falls over the

surface of the paper; then put an opaque object on the paper close to

the coloured glass. The shadow of this object will not appear black or

of the colour of the glass, as might be supposed, but of its

complementary colour; thus if the glass is red, the colour of the

shadow will be green, although the whole of the paper surrounding it

appears red. Similarly, if the glass is blue, the shadow will appear

orange; if it is green, the shadow will appear red; and so with other

colours. It is absolutely essential, however, to the success of this

experiment, that the paper be also illuminated with the white light

admitted from the other window.

It has been said that black substances reflect a small quantity of white

light, which receives the complementary of the colour contiguous to the

black. If this colour is deep, it gives rise to a luminous

complementary, such as orange, or yellow, and enfeebles the black; while

the other complementaries, such as violet or green, strengthen and

purify it. In colours associated with black, if green is juxtaposed

therewith, its complementary red, added to the black, makes it seem

rusty. Those colours which best associate with black are orange, yellow,

blue, and violet. It would be well to remember that black, being always

deeper than the juxtaposed colour, entails contrast of tone, and tends

to lower the tone of that colour.

Most of the black pigments in use are obtained by charring, and owe

their colour to the carbon they contain. As the objects of vegetal and

animal nature may be blackened through every degree of impurity by the

action of fire, black substances more or less fitted for pigments

abound. The following are the chief native and artificial black

pigments, or colours available as such:--

289. BLACK LEAD,

_Plumbago_, or _Graphite_, contains in spite of its name no lead, being

simply a species of carbon or charcoal. In most specimens iron is

present, varying in quantity from a mere trace up to five per cent,

together with silica and alumina. Sometimes manganese and titanic acid

are likewise found. It is curious that carbon should occur in two

distinct and very dissimilar forms--as diamond, and as graphite; one,

white, hard, and transparent; the other, black, soft, and opaque: the

artist, therefore, who uses a pigment of plumbago, paints with nothing

more or less than a black diamond. The best graphite, the finest and

most valuable for pencils, is yielded by the mine of Borrowdale, at the

west end of Derwent Lake, in Cumberland, where it was first wrought

during the reign of Elizabeth. A kind of irregular vein traverses the

ancient slate-beds of that district, furnishing the carbon of an

iron-grey colour, metallic lustre, and soft and greasy to the touch.

Universally employed in the form of crayons, &c. in sketching,

designing, and drawing, until of late years it was not acknowledged as a

pigment: yet its powers in this respect claim a place for it. As a

water-colour, levigated in gum in the usual manner, it may be

effectively used with rapidity and freedom in the shading and finishing

of pencil drawings, or as a substitute therein for Indian ink. Even in

oil it may be employed occasionally, as it possesses remarkably the

property of covering, forms very pure grey, dries quickly, injures no

colour chemically, and endures for ever. These qualities render it the

most eligible black for adding to white in minute quantity to preserve

the neutrality of its tint.

Although plumbago has usurped the name of Black Lead, there is another

substance more properly entitled to this appellation, and which may be

used in the same way, and with like effects as a pigment. This substance

is the sulphide of lead, found native in the beautiful lead ore, or

Galena, of Derbyshire. An artificial sulphide can be prepared by dry and

wet processes, which is subject to gradual oxidation on exposure to the

air, and consequent conversion into grey or white. Neither variety can

be compared to graphite for permanence, although the native is

preferable to the artificial.

Plumbago, or the so-called Black Lead, is often adulterated to an

enormous extent with lamp black.

290. BLUE BLACK,

_Charcoal_, _Liege_, or _Vine Black_, is a well-burnt and levigated

charcoal prepared from vine twigs, of weaker body than ivory or lamp

black, and consequently better suited to the grays and general mixed

tints of landscape painting, in which it is not so likely to look black

and sooty as the others may do. Of a cool neutral tint, it has, in

common with all carbonaceous blacks, a preserving influence on white

when duly mixed therewith; which it owes, chemically, to the bleaching

power of carbon, and, chromatically, to the neutralizing and contrasting

power of black with white. Compounded slightly with blue black, and

washed over with zinc white, white lead may be exposed to any ordinary

impure atmosphere with comparative impunity. It would be well for art if

carbon had a like power upon the colour of oils, but of this it is

deficient; and although chlorine destroys their colour temporarily, they

re-acquire it at no very distant period.

Alone, blue black is useful as a cool shade for white draperies; and

compounded with cobalt, affords a good gray for louring clouds.

291. BRITISH INK

is a compound black, preferred by some artists to Indian ink, on account

of its not being liable to wash streaky, as the latter does: at the same

time it is not so perfectly fixed on the paper as Indian ink.

292. INDIAN INK,

sometimes called _China_ or _Chinese Ink_, is chiefly brought from

China in oblong cakes, of a musky scent, ready prepared for painting in

water. Varying considerably in body and colour, the best has a shining

black fracture, is finely compact, and homogeneous when rubbed with

water, in which, when largely diluted, it yields no precipitate. Without

the least appearance of particles, its dry surface is covered with a

pellicle of a metallic appearance. When dry on the paper, it resists the

action of water, yet it will give way at once to that action, when it

has been used and dried on marble or ivory, a fact which proves that the

alummed paper forms a strong combination with the ink; possibly a

compound of the latter on an aluminous base, might even be employed in

oil. Different accounts are given of the mode of making this ink, the

principal substance or colouring matter of which is a smoke black,

having all the properties of our lamp black; the variety of its hues and

texture seeming wholly to depend on the degree of burning and levigating

it receives. From certain Chinese documents, we learn that the ink of

Nan-king is the most esteemed; and among the many sorts imported into

this country, we find those of the best quality are prepared with lamp

black of the oil of Sesame; with which are combined camphor, and the

juice of a plant named _Houng hoa_ to give it brightness of tone.

According to an analysis by M. Proust, the better kinds contain about

two per cent. of camphor. By some, the pigment known as Sepia has been

supposed to enter into their composition.

_Liquid Indian Ink_ is a solution for architects, surveyors, &c.

293. IVORY BLACK

is ivory charred to blackness by strong heat in closed vessels.

Differing chiefly through want of care or skill in preparing, when well

made it is the richest and most transparent of all the blacks, a fine

neutral colour perfectly durable and eligible both in water and oil.

When insufficiently burnt, however, it is brown, and dries badly; or if

too much burnt, it becomes cineritious, opaque, and faint in hue. With a

slight tendency to brown in its pale washes, this full, silky black is

serviceable where the sooty density of lamp black would be out of place.

It is occasionally adulterated with bone black, a cheaper and inferior

product.

Being nothing more nor less than animal charcoal, ivory or bone black

had best not be compounded with organic pigments, in water at least. It

is well known that this charcoal possesses the singular property of

completely absorbing the colour of almost any vegetal or animal

solution, and of rendering quite limpid and colourless the water charged

with it. If a solution of indigo in concentrated sulphuric acid be

diluted with water, and animal charcoal added in sufficient quantity,

the solution will soon be deprived of colour. The more perfect the ivory

or bone black, the more powerful is its action likely to be: either over

or under calcined, animal charcoal is less energetic; in the former

case, because it is less porous; in the latter, because the animal

matter, not being wholly consumed, makes a kind of varnish in the

charcoal which interferes with its acting. To a greater or less extent,

gums, oils, and varnishes serve similarly as preventives, thereby

decreasing the danger of employing these blacks in admixture; but, in

the compounding of colours, nothing is gained by needless risk. To mix

with organic pigments, therefore, blue or lamp blacks should be

substituted for those of ivory or bone; that is, vegetal charcoal should

be used instead of animal. It is a question whether even with inorganic

pigments the adoption of the former in admixture would not be advisable.

It was once the general opinion that the action of animal charcoal was

limited to bodies of organic origin, but it has since been found that

inorganic matters are likewise influenced. "Through its agency," says

Graham, "even the iodine is separated from iodide of potassium;" whence

probably pigments containing iodine would suffer by contact. The

investigation of Weppen appears to prove that the action of the charcoal

extends to all metallic salts; with the following, no doubt remains of

this being so, to wit:--the sulphates of copper, zinc, chromium, and

protoxide of iron; the nitrates of lead, nickel, silver, cobalt,

suboxide and oxide of mercury; the protochlorides of tin and mercury;

the acetates of lead and sesquioxide of iron; and the tartrate of

antimony. Whether animal charcoal exercises any deleterious influence on

pigments consisting of these metals, and, if so, how far and under what

circumstances, can only be answered when our knowledge of the properties

of pigments is greater than it now is. At present, perhaps, it is safer

to choose vegetal charcoal for mixed tints, inasmuch as, although it

shares the property of bleaching in a certain degree, it does not

possess the same energy.

294. LAMP BLACK,

or _Lamblack_, is a smoke black, being the soot procured by the burning

of resins or resinous woods. It is a pure vegetal charcoal of fine

texture, not quite so intense nor so transparent as the black made from

ivory, but less brown in its pale tones. It has a very strong body that

covers readily every underlay of colour, works well, but dries badly in

oil. On emergency, it may be prepared extemporaneously for

water-painting by holding a plate over the flame of a lamp or candle,

and adding gum to the colour: the nearer the plate is held to the wick

of the lamp, the more abundant and warm will be the hue of the black

obtained; at a greater distance it will be more effectually charred, and

blacker.

Mixed with French blue or cobalt, lamp black gives good cloudy grays,

which are useful for the shadows of heavy storm clouds. With French blue

and this black alone various beautiful stormy skies may be represented;

the contrast of the blue causing the black to assume, if desired, a warm

tone in shadows. For like purposes, the black with ultramarine ash

affords a very soft hue, and with light red and cobalt in different

proportions yields silvery tones most serviceable. To the dark marking

of murky and dirty clouds, a compound of lamp black and light red is

particularly suited; while a mixture of the black with cobalt and purple

madder is adapted for slate-coloured sunset and sunrise clouds. French

blue softened with a little lamp black is fitted for mountains or hills,

very remote; and the same blue and black with rose madder meet their

tints if nearer. In seas the black is useful with raw Sienna and other

colours; while, whether in storm or calm, vessels and boats may be

painted with tints of lamp black, madder brown, and burnt Sienna,

varying in degrees of strength according to the distances. Lamp black

alone, or with French blue, cobalt and purple madder, emerald green, or

rose madder, is good for rocks; and for dark foreground objects when

mixed with madder lake and burnt Sienna. With aureolin the black

furnishes a sober olive for foliage, and with rose madder a fine colour

for the stems and branches of trees. Compounded with light red, it is

suited to the first general tones of the ground for banks and roads; and

with yellow ochre or madder red, to parts of buildings and cattle. A

very eminent miniature painter recommends for hair tints, lamp black,

Indian red, and burnt Sienna. Being a dense solid colour, this black

must be used sparingly to avoid heaviness.

Hitherto confined to painting and engraving, lamp black has lately

refuted the assertion that there is nothing new under the sun by making

its appearance in photography. By a method which combines the fidelity

of that art with the permanence of prints, there is produced a species

of photographic engraving, so to speak, having lamp black or carbon for

its colouring matter. Indeed, in this 'Autotype' process, as it is

called, any other durable pigment or pigments may be used, and a

photographic picture thus obtained. In copying the works of artists,

especially, the mode promises to be of value, inasmuch as by its agency

the same pigments may be made the colouring matter of the reproduction

as are employed in the original. If this be in sepia or bistre, the copy

can be autotyped in those colours; or if a red chalk drawing be required

to be multiplied, the proofs may be in red chalk, the copy when

produced to the same scale being scarcely distinguishable from the

original. In like manner, any single colour of the artist's palette is

applicable without restriction or limitation, so that not only are every

line and touch rendered absolutely, but the very pigment used in the

original is found in the copy. Moreover, as the pigments are quite

unchanged by the action of the other agents employed, the resulting

colour of the print is determined once for all, just as the artist mixes

those pigments on his palette for his picture. As extending the use of

lamp black and permanent pigments in general, this brief digression on

Autotypography may be pardoned in a treatise on colours.

295. MIXED BLACK.

Black is to be considered as a synthesis of the three primary colours,

the three secondaries, or the three tertiaries, or of all these

together; and, consequently, also of the three semi-neutrals, and may

thus be composed of due proportions of either tribe or triad. All

antagonistic colours, or contrasts, likewise afford the neutral black by

composition; but in all the modes of producing black by compounding

colours, blue is to be regarded as its archeus or predominating colour,

and yellow as subordinate to red, in the proportions, when their hues

are true, of eight blue, five red, and three yellow. It is owing to

this predominance of blue in the constitution of black, that it

contributes by mixture to the pureness of hue in white colours, which

usually incline to warmth, and that it produces the cool effect of

blueness in glazing and tints, or however otherwise diluted or dilated.

It accords with the principle here inculcated that in glass-founding the

oxide of manganese, which gives the _red_ hue, and that of cobalt, which

furnishes the _blue_, are added to brown or _yellow_ frit, to obtain a

velvety black glass. Similarly the dyer proceeds to dye black upon a

deep blue basis of indigo, with the ruddy colour of madder and the

yellow of quercitron, &c.

Some of the best blacks and neutrals of the painter are those formed

with colours of sufficient power and transparency upon the palette.

Prussian blue and burnt lake afford a powerful though not very durable

black; and compound blacks in which transparent pigments are employed

will generally go deeper and harmonize better with other colours than

any original black pigment alone. Hence lakes and deep blues, added to

the common blacks, greatly increase their clearness and intensity: in

mixture and glazing of the fine blacks of some old pictures, ultramarine

has evidently been used. In this view, black altogether compounded of

blue with red and yellow, each deep and transparent, and duly

subordinated according to its powers, will give the most powerful and

transparent blacks; although, like most other blacks, they dry badly in

oil. Of course, as with all compound colours, it depends entirely on the

pigments employed whether these mixed blacks are permanent or not: a

compound black can very well pass through the stages of black to grey,

gray, or dirty white, if each link in the chain of combination be not as

strong as its fellows.

* * * * *

296. _Black Chalk_

is an indurated clay, of the texture of white chalk, and chiefly used

for cutting into crayons. Fine specimens have been found near Bantry in

Ireland, and in Wales, but the Italian has the most reputation. Crayons

for sketching and drawing are also artificially prepared, which are

deeper in colour and free from grit. Wood charcoal is likewise cut into

crayons, that of soft woods, such as lime, poplar, &c., being best

adapted for the purpose.

297. _Black Ochre_,

Earth Black, or Prussian Black, is a native earth, combined with iron

and alluvial clay. It is found in most countries, and should be washed

and exposed to the atmosphere before being employed. Sea-coal, and

other black mineral substances, have been and may be used as substitutes

for the more perfect blacks, when the latter are not procurable, which

now seldom or never happens.

298. _Bone Black_,

obtained by charring, is similar to that of ivory, except that it is a

little warmer in tone, having a reddish or orange tinge, and is a worse

drier in oil. Like ivory black, it is very transparent. Immense

quantities of bone black are consumed with sulphuric acid in the

manufacture of shoe blacking.

299. _Coffee Black_,

though little known and not on sale, has been strongly recommended by

Bouvier as one of the best blacks that can be used. Soft without being

greasy, light, almost impalpable, even before being ground, it gives

tints of a very bluish gray when mixed with white, a quality precious

for making the blues of the sketch, and dull greens. It is said to dry

better than blue or vine black, and to combine admirably with other

colours. De Montabert prefers calling it Coffee Brown, giving it as an

exemplification of a bluish-brown, but probably this brown hue is owing

to want of skill in its manufacture. We have not had personal experience

of the colour, but there is no theoretical reason why a carbonaceous

black should not be produced from coffee. The mode of proceeding is to

calcine the berry in a covered vessel, and well wash the resulting

charcoal with boiling water by decantation. In order to prevent the

powder, which is of great lightness, from floating, it is made into

paste with a few drops of alcohol before adding the water.

300. _Frankfort Black_

is said to be made of the lees of wine from which the tartar has been

washed, by burning, in the manner of ivory black; although the inferior

sort is merely the levigated charcoal of woods, of which the hardest,

such as box and ebony, yield the best. Fine Frankfort black, though

almost confined to copper-plate printing, is one of the best black

pigments extant, being of a neutral colour, next in intensity to lamp

black, and more powerful than that of ivory. Strong light has the effect

of deepening its colour. It is probable that this was the black used by

some of the Flemish painters, and that the pureness of the greys formed

therewith is due to the property of charred substances of preventing

discolourment.

301. _Manganese Black_,

the common black oxide of that metal, is the best of all blacks for

drying in oil without addition. It is also a colour of vast body and

tingeing power. As a siccative, it might be advantageously employed with

ivory black.

302. _Mineral Black_

is a native impure carbon of soft texture, found in Devonshire. Blacker

than plumbago, and free from its metallic lustre, it is of a neutral

colour, greyer and more opaque than ivory black, and forms pure neutral

tints. Being perfectly durable, and drying well in oil, it is of value

in dead colouring on account of its solid body, as a preparation for

black and deep colours before glazing. It would likewise be the most

permanent and best possible black for frescoes.

303. _Paper Black_,

a pigment unknown to the modern palette, like most of our numbered

italicised colours, is of the nature of blue or vine black. Very soft

and of a fine bluish-gray, it is fitted for flesh, or for mixing with

whites or yellows in landscapes.

304. _Peach Black_,

or Almond Black, made by burning the stones of fruits, the shell of the

cocoa-nut, &c., is a violet-black, once much used by Parisian artists.

Bouvier believes it to be a good black, but at the same time sensibly

asks, of what use is it to have a black of this cast, which can always

be given by lake, without diminishing but rather increasing the

intensity of the black it may be mixed with.

305. _Prussian Black._

The same Prussian blue which gives a brown when burnt in the open air,

yields a black when calcined in a close crucible. Very intense, very

soft and velvety, and very agreeable to work, this bluish-black dries

much more promptly than most other blacks, and scarcely requires

grinding. On account of its extreme division, however, it would probably

be found more energetic as a decolourising agent in admixture with

organic pigments than most carbonaceous blacks.

Another Prussian black, containing copper, and made by a wet process, is

obtained when a dilute solution of cupric sulphate and ferrous sulphate,

in proper proportions, is mixed with a quantity of ferrocyanide of

potassium not in excess. A very bulky deep black precipitate is formed,

which is difficult to wash, and is deep black when dry. It is insoluble

in water, and appears to be a compound analogous to Prussian blue. As a

pigment, this black is inferior to the preceding.

306. _Purple Black_

is, or rather was, a preparation of madder, of a deep purple hue

approaching black. Powerful and very transparent, it glazed and dried

well in oil, and was a durable and eligible pigment. Its tints with

white lead were of a purple cast.

307. _Spanish Black_,

or Cork Black, is a soft black, obtained by charring cork, and differs

not essentially from Frankfort black, except in being of a lighter and

softer texture. "Some of my friends," says Bouvier, "call it _Beggars'

Ultramarine_, because it produces, by combinations, tints almost as fine

as ultramarine." A blue but not a velvet black, where intensity is

required some other is to be preferred. For mixtures, however, it is

stated to be admirable, and especially for linen, skies, distances, and

the various broken tints of carnations, &c.

* * * * *

Besides those blacks which have been mentioned, there are others

furnished by several of the metals and by many organic substances

employed as dyes; but as the blacks in common use are all permanent, and

have been found sufficient for every purpose, it is scarce needful to

swell the list. Nor is it more needful, the Editor considers, to swell

the book; lest his aim be defeated of reflecting in a _moderate_-sized

mirror the palette as it is and might be at the present day. Arrived at

age, as it were, in its twenty-first chapter, this treatise may fitly

conclude with Black, the last of the series of colours. Let us hope the

maxim of Sir Joshua Reynolds, that success in some degree was never

denied to earnest work may apply here.

Still, by way of finale, we would offer a few remarks. In no branch of

the science, perhaps, is it more hazardous to commit oneself to a

positive dictum than in the chemistry of colours, so liable are theory

and practice to clash, and so often does the experience of one person or

one time differ from that of another. He who has turned his attention to

pigments, finds nearly every assertion must be qualified, for to nearly

every rule there is some exception, and learns that theory alone may

mislead. For example, a colour known to be fugacious may last, in

certain cases, a surprisingly long time; while, on the contrary, a

pigment permanent when used alone, may be rendered fugitive by improper

compounding. Again, what holds good of a colour produced by one process,

or employed in one vehicle or by one artist, may not be true of the same

colour made by a different mode, or used in another vehicle or by

another artist. It is because, then, colours are of every degree of

durability, from the perfectly stable to the utterly fugitive, and

because each one is liable to influence by every condition of time,

place, and circumstance, that the chemist's theory is opposed as often

to the painter's practice as the experience of artists themselves

varies. This may explain the charges of inconsistency and contradiction

which have been brought against writers on pigments, faults that lie

rather with the nature of the subject than with the authors.

Even at the risk of being tiresome, we have throughout insisted on the

choice of permanent pigments, not simply for use alone but for mixed

tints. To quote Cennini, "I give you this advice, that you endeavour

always to use ... good colours.... And if you say that a poor person

cannot afford the expense, I answer, that if you work well (and give

sufficient time to your works), and paint with good colours, you will

acquire so much fame that from a poor person you will become a rich one;

and your name will stand so high for using good colours, that if some

masters receive a ducat for painting one figure, you will certainly be

offered two, and your wishes will be fulfilled, according to the old

proverb, 'good work, good pay.'" Of a truth, if man cannot dip his brush

in the rainbow and paint with the aerial colours of the skies, he can at

least select the best pigments that earth and the sea afford him;

preferring, where he cannot get brilliancy and permanence combined,

sobriety and permanence to brilliancy and fugacity. It must be the wish

of every real artist to leave behind him a lasting record of his skill,

a permanent panorama of those hues of nature which in life he loved so

well. To effect this, genius alone is powerless: there must be first a

proper choice of materials, and next a proper use of them. The painter's

pigments are the bricks wherewith the mortar of his mind must be mixed,

either to erect an edifice that shall endure for ages, or one which will

quickly topple over like a house of cards. Now in nothing more than in

painting is prevention better than cure--indeed cure may be said to be

here out of the question: for good or for evil a picture once painted is

painted for ever. Without a strong constitution there is no hope for it;

no chemistry can strengthen the sickly frame, restore the faded colour,

stop the ravages of consumption: Science stands helpless before dying

Art.

And yet, she sighs to think, it might have been otherwise. If durable

pigments had been employed, if her counsel had been sought, this need

not have been. In the history of modern art the use and abuse of colours

would furnish a sad chapter, telling of gross ignorance, and a grosser

indifference. Happily there is promise of a healthier state of things.

When this comes, Art will be less shy to consult her sister: in the

interests of both there should be closer union. Without waiting till the

picture is finished--for then it will be too late--let her, if in doubt,

frankly display the contents of her palette and ask advice. Now, not

knowing what pigments are chosen or how they are used, never standing

by and watching the progress of the work, how can Science lend her aid?

She would willingly, for she herself needs help: at present her

knowledge is limited, not so much of the chemistry of colours as of the

properties of pigments. She seeks to mix her pound of theory with an

ounce of practice, and craves a warmer welcome to the studio. For any

approximation to the truth to be arrived at, facts must be noted with

the conditions under which they occur, not by one sister alone nor by

the other alone, but by both. In future, Art and Science should go hand

in hand, mutually dependent on each other, mutually trustful of each

other, working with and for each other, earnestly and patiently.

FOOTNOTES:

[C] Light is either direct or diffused--direct, when the sun's rays fall

upon any object; diffused, when ordinary daylight illumines objects with

white light, causing them to appear of their peculiar colours.

ADDENDUM.

With the present rapid progress of applied chemistry, an addendum in a

work of this kind is quite excusable. Even while the book is being

printed some fact may be announced which the author or editor would wish

to insert. In our case this has happened. Very recently there has been

introduced in France as a pigment

308. TUNGSTEN WHITE,

or _Tungstate of Baryta_. "At the request of a landscape painter," says

M. Sacc in a letter to M. Dumas, "I was induced to examine in succession

all our insoluble white compounds, with regard to their adaptability to

painting purposes. Tungstate of baryta answers perfectly, covers as well

as white lead, and is as unalterable as zinc white. It has been employed

by this artist for three months, and was found equally successful in oil

or water colours, chromolithography, and even in making white

impressions on a black ground. This harmless substitute for the

injurious white lead is prepared on a large scale in Paris by M. E.

Rousseau." We have not met with a sample of that gentleman's

manufacture, but judging from our own specimens, made both by wet and

dry processes, and carefully tried in water and oil, it would seem that

a perfect white pigment has yet to be discovered. With us, at least,

tungstate of baryta is far from having the body of white lead, and

indeed is inferior in opacity to good zinc white. Unaffected by foul

air, the tungstate appears to possess the common fault of all whites

when compared with white lead--want of body, moreover it is a bad dryer.

However, M. Rousseau's preparation may not be open to these objections,

and we therefore reserve our final opinion of tungsten white. It is

intended to publish from time to time a fresh edition of Field's

Chromatography, and we hope in the next issue to give a more detailed

and favourable account of the new pigment.

INDEX.

Acacia catechu, 354.

Academy, Royal, at Burlington House, 365.

Acetate of lead, as a siccative, 51.

" improper use of, 52.

Adulteration, 70.

" of Anotta, 256.

" Artificial Ultramarine, 214.

" Black Lead, 394.

" Cadmium Yellow, 88.

" Carmine, 134.

" Chrome Yellow, 94.

" Cochineal, 132.

" Genuine Ultramarine, 214.

" Indigo, 202.

" Ivory Black, 397.

" Madder, 140.

" Madder Carmine, 142.

" Mars Yellow, 102.

" Prussian Blue, 203.

" Red Lead, 152.

" Smalt, 198.

" Verdigris, 276.

" Vermilion, 156.

" Veronese Green, 268.

" White Lead, 70, 74, 75.

" Yellow and Orange Orpiment, 113, 259.

" Zinc White, 77.

Advancing and retiring colours, 186-188.

Advice, Cennini's, 411.

Aerial perspective, 22.

African cochineal, 170.

" green, 271.

Air and light, action of, on pigments, 39.

Air effect, want of, 378.

Albumen, 50.

Alchemy, 259.

Alexander the Great, 296.

" Veronese, 284.

Alkanet, 302.

Almagra, 147.

Almond Black, 407.

American artist, an, 347.

Analysis of Brown, 377.

" Citrine, 329.

" Gray, 377.

" Marrone, 377.

" Olive, 330.

" Russet, 330.

Anchusa tinctoria, 302.

Ancients, colouring of the, 3.

" colours of the, 5, 6, 218.

Aniline, 162.

" colours, 162.

" " cakes of, 163.

" " in oil, 247.

Animal Æthiops, 348.

" charcoal, 397-399.

" jelly, 50.

Anotta, 255.

Antimony, Golden Sulphur of, 256.

" Orange, 256.

" Red, 159.

" White, 79.

" Yellow, 105.

Antipathies of pigments, 193.

Antwerp Blue, 207.

" Brown, 339.

Apelles, 7, 293.

Archil, 303.

" Purple, 303.

Arethas, 217.

Armenian blue, 5, 217, 228.

" bole, 147.

" stone, 228.

Arsenical pigments, 273.

Arsenic green, substitutes for, 288, 290.

" white, 79.

" yellow, 116.

Art and Science, 238, 412.

Artificial Ultramarine, 209-216.

" acid pigments with, 214.

" adulteration of, 215.

" green in, 211.

" gum with, 214.

Artificial Ultramarine, in siliceous painting, 212.

" origin of, 209.

" prize for, 209.

" test for, 212.

Artists and painters, 182.

Arts, Society of, 130.

Ash, Ultramarine, 379.

Ashes, Blue, 228.

Asphaltic Lake, the, 337.

Asphaltum and Asphalt, 337.

" Liquid, 339.

Association of Science, British, 357.

Assyrians, colouring and colours of, 6.

Augustus Cæsar, 295.

Aureolin, 42, 47, 83-87.

" Chemical News on, 84.

" in admixture, 86.

" Mr. Aaron Penley on, 85.

" the purest yellow, 84, 384.

Aurine, 162.

Autotype process, the, 401.

Avignon, berries of, 312.

Axiom, a wholesome, 201.

Axioms for compounding, 250.

Azuline, 162.

Azure, 192, 196, 217.

Barff, Mr., 212.

Barium and Bismuth chrome greens, 280.

Barthe and Laurent, MM., 235.

Bartholomew, Mr., 143.

Baryta, Ferrate of, 165.

" Silicate of, 290.

Barytic White, 65.

Beauty in Pigments, 46.

Beeswax, 50.

Berries, French, Persian, and Turkey, 212.

Berzelius, 169.

Bice, Green, 187.

Bignonia chica, 367.

Bismuth Purple, 304.

Bixa Orellana, 255.

Bixine, 256.

Black, 27.

" ancient, 5.

" as a colour, 387, 391.

" as a pigment, 389.

" colours with, 392.

" on the Neutral, 387.

BLACK PIGMENTS:--

Almond Black, 407.

Beggars' Ultramarine, 409.

Black Chalk, 404.

Black Lead, 382, 393.

Black Ochre, 404.

Blue Black, 394.

Bone Black, 405.

British Ink, 395.

Charcoal Black, 394.

Chinese Ink, 395.

Coffee Black, 405.

Copper Prussian Black, 408.

Cork Black, 409.

Earth Black, 404.

Frankfort Black, 406.

Galena, 394.

Graphite, 393.

Indian Ink, 395.

Ivory Black, 397.

Lamp Black, 399.

Liege Black, 394.

Manganese Black, 406.

Mineral Black, 407.

Mixed Black, 402.

Paper Black, 407.

Peach Black, 407.

Plumbago, 393.

Prussian Black, 404, 408.

Purple Black, 408.

Spanish Black, 409.

Vine Black, 394.

Bladder Green, 282.

Blanc d'Argent, 71.

Blending of pigments, 37.

Blood, Dragon's, 137.

Bloodstone, 147.

Blue, 28.

" ancient, 5, 217.

" Armenian, 5, 217.

" as a colour, 183.

" contrast of, 185, 188.

" discordant, 185.

" on the Primary, 183.

BLUE PIGMENTS:--

Antwerp Blue, 207.

Artificial Ultramarines, 209-216.

Azure, 192, 217.

Basic Prussian Blue, 207.

Berlin Blue, 203, 207.

Bice, 228.

Bleu de Garance, 209.

Blue Ashes, 228.

Blue Bice, 228.

Blue Carmine, 228.

Blue Ochre, 226, 380.

Blue Sand, 196.

Blue Verditer, 228.

Brilliant Ultramarine, 215.

Cerulian Blue, or Coeruleum, 190.

Cobalt Blue, 192.

Cobalt Blues, 189-199.

Cobalt Prussian Blue, 227.

Cobalt Ultramarine, 192.

Coëlin, 190.

Copper Blues, 227-230.

Cotton Seed Blue, 230.

Cyanine, 198.

Dumont's Blue, 196.

Dutch Ultramarine, 189.

Enamel Blue, 189.

Egyptian Blue, 229.

Factitious Ultramarine, 215.

Ferricyanide of Iron, 208.

Ferrocyanide of Iron, 203.

French Blue, 215.

French Ultramarine, 215.

Genuine Ultramarine, 216-225.

Gmelin's German Ultramarine, 209.

Gold Blue, 231.

Guimet's Ultramarine, 209.

Haerlem Blue, 207.

Hungary Blue, 189.

Indian Blue, 199.

Indicum, 199.

Indigo, 199.

Intense Blue, 202.

Iodine Blue, 231.

Iridium Blue, 232.

Iris, 228.

Lazuline, 217.

Lazulite Blue, 217.

Lazurstein, 217.

Leitch's Blue, 199.

Leithner's Blue, 189.

Manganese Blue, 232.

Mineral Blue, 207.

Mountain Blue, 228.

Native Prussian Blue, 207.

Native Ultramarine, 216.

Natural Ultramarine, 216.

New Blue, 216.

Outremer, 217.

Outremer de Guimet, 209.

Paris Blue, 192, 203.

Permanent Blue, 216.

Platinum Blue, 233.

Powder Blue, 196.

Prussian Blue, 203.

Prussiate of Iron, 203.

Pure Ultramarine, 217.

Real Ultramarine, 216.

Reboulleau's Blue, 230.

Royal Blue, 196.

Saunders' Blue, 230.

Saxon Blue, 189.

Schweinfurt Blue, 230.

Smalt, 195-198.

Terre Bleu, 228.

Thénard's Blue, 192.

True Ultramarine, 216.

Tungsten Blue, 233.

Turnbull's Blue, 208.

Ultramarines, 209-225.

Verditer, 228.

Vienna Blue, 192.

Wood-Tar Blue, 233.

Zaffre, 189.

Zinc-Cobalt Blue, 235.

Body White, 72.

Bole, Armenian, 147.

Borrowdale, 393.

Bouvier, 153, 345, 347, 355, 405, 407, 409.

Box, the painter's, 60.

Bradley, Mr., 246.

British School, 9.

Broken colours, 16.

Bronze, 279.

Brown, 28.

" analysis of, 377.

" as a colour, 335.

" Citrine, 317.

" contrast of, 337.

" Liquid, Prout's, 345.

" Madder, 305.

" Mars, 313.

" on the Semi-Neutral, 334.

BROWN PIGMENTS:--

Animal Æthiops, 348.

Antwerp Brown, 339.

Asphaltum or Asphalt, 337.

Bistre, 340.

Bitumen, 339.

Bitumen of Judea, 337.

Bone Brown, 340.

Burnt Umber, 341.

Cadmium Brown, 353.

Caledonian Brown, 341.

Campania Brown, 352.

Cappah Brown, 342.

Cassel Earth, 343.

Castle Earth, 343.

Catechu Browns, 374.

Chalon's Brown, 344.

Chestnut Brown, 357.

Chrome Browns, 355.

Cologne Earth, 344.

Copper Brown, 355.

Cory's Madder or Yellow Madder, 353.

Cullen's Earth, 344.

Egyptian Brown, 347.

Euchrome, 342.

French Prussian Brown, 355.

Gambogiate of Iron, 357.

Hypocastanum, 357.

Iron Browns, 357.

Ivory Brown, 340.

Jew's Pitch, 337.

Leitch's Brown, 346.

Manganese Brown, 358.

Mineral Brown, 342.

Mineral Pitch, 337.

Mixed Brown, 346.

Mummy, 347.

Mummy Brown, 347.

Nickel Brown, 358.

Ochre Browns, 358.

Prussian Brown, 348.

Purple Brown, 359.

Roman Sepia, 351.

Rubens' Brown, 359.

Sepia, 348.

Terre de Cassel, 343.

Uranium Brown, 360.

Vandyke Brown, 351.

Verona Brown, 353.

Warm Sepia, 350.

Yellow Madder, 353.

Zinc Brown, 360.

Brown Pink, 312.

" Red, 147.

" Spanish, 146.

" Stil de Grain, 312.

Browns, abundance of, 336, 361.

Brun de Mars, 313.

Brunswick Green, 271, 279.

Brushes, soap and alkali in, 52.

Burlington House, Royal Academy at, 365.

Burnt Carmine, 298.

" Lake, 298.

" Madder, 305.

" Orpiment, 259.

" Roman Ochre, 255.

" Sienna, 243.

" Terra di Sienna, 243.

" Verdigris, 331.

Cadmium Brown, 353.

" Orange, 36, 42, 244.

" Red, 42, 130.

" White, 78.

" Yellow, 87, 92.

" " adulteration of, 88.

" " manufacture of, 92.

" " when fugacious, 92.

" " with White Lead, 89.

Caledonian Brown, 341.

Campania Brown, 352.

Camphor, 396.

Cappah or Cappagh Brown, 342.

Carajuru, 367.

Carbolic acid, 162.

Carbon, 393.

Carmichael, Mr., 348.

Carmine, 133, 135.

" adulteration of, 134.

" Blue, 225.

" Burnt, 298.

" Field's, 142.

Carmine, Madder, 142.

" manufacture of, 134.

" Vermilion, 156.

" Violet, 302.

" with Indian Yellow, 98.

" " White Lead, 134.

Carnac, ruins at, 4.

Carnagione, 149.

Carthamus, 174.

Cartoons at Hampton Court, 10.

Cassel Earth, 343.

" Green, 288.

" Terre de, 343.

" Yellow, 121.

Cassius, Purple of, 306.

Cassius's Purple Precipitate, 306.

Castle Earth, 343.

Catechu Browns, 354.

Celandine, 96.

Cendres Bleues, 230.

Cennini, advice of, 411.

Cerulian Blue or Coeruleum, 190.

Ceruse, 74.

Chalk, Black, 404.

" Green, 173.

" Red, 172.

" White, 79.

Chalon's Brown, 344.

Chaptal, Count, 105, 229.

Charcoal, animal, 397, 399.

" Black, 394.

" vegetal, 398, 406.

Charles I., 220.

Charred blacks, 390, 395, 406.

Cheese, anotta in, 256.

Chemical News, extract from, 84.

Chestnut Brown, 357.

Chevreul, M., 173, 191, 205, 364.

Chiaroscuro, 15.

Chica d'Andiguez, 160.

" Marrone, 367.

" Red, 159.

China, Mandarins of, 219.

" White, 80.

Chinese Ink, 395.

" Lake, 137.

" Orange, 246.

" Rouge, 174.

" Vermilion, 156.

" White, 75.

" Yellow, 111.

Chinoline, 162.

Chocolate Lead, 368.

Chromate of Mercury, 256.

Chromates of lead, organic pigments with, 248, 280.

Chrome Arseniate, 284.

" Browns, 355.

" Green, True, 267.

" Greens, 279-281.

" Ochre, 267.

Chrome Orange, 248.

" Oxide, 267.

" Oxides, 266-271.

" Red, 151.

" Scarlet, 151.

" Yellows, 93-95.

" " adulteration of, 94.

Chromium, Green Oxide of, 267.

" Opaque Oxide of, 267.

" Oxide of, 267.

" Transparent Oxide of, 268.

Church, Professor, 165.

Cicero, 296.

Cinnabar, 153.

" Green, 280.

Citrine, 28.

" analysis of, 329.

" as a colour, 310.

" contrast of, 311.

" on the Tertiary, 310.

CITRINE PIGMENTS:--

Brown Pink, 312.

Brown Stil de Grain, 312.

Brun de Mars, 313.

Cassia Fistula, 316.

Citrine Brown, 317.

Citrine Lake, 312.

Mars Brown, 313.

Mixed Citrine, 314.

Quercitron Lake, 312.

Raw Umber, 315.

Umber, 315.

Citron Yellow, 95.

Classes of Colours, on, 27-30.

CLASSIFIED PIGMENTS:--

Black, 409.

Blue, 236.

Brown, 361.

Citrine, 319.

Gray, 380.

Green, 291.

Grey, 386.

Marrone, 371.

Olive, 333.

Orange, 261.

Purple, 308.

Red, 181.

Russet, 324.

White, 80.

Yellow, 125.

Claude, 345.

Cleanliness in painting, 53.

Coal-Tar Colours, 160-164, 247.

" cakes of, 163.

" in oil, 247.

Cobalt Blue, 192.

chalkiness in, 195.

manufacture of, 192.

" Blues, 189-199.

" Green, 285.

" Marrone, 368.

" Prussian Blue, 227.

" " Green, 282.

" Purples, 305.

" Ultramarine, 192.

Coccus (Abies nigra), 168.

" cacti, 131.

" ficus, 138.

" ilicis, 153, 167.

Cochineal, 132.

" adulteration of, 132.

" Dr. Warren de la Rue on, 132.

" lake, with Vermilion, 136.

" Lakes, 131-137.

Coëlin, 190.

Coeruleum, 190, 198, 217, 229.

Coffee Black, 405.

" Brown, 405.

Cohesion and colour, 197, 208.

" durability, 197, 208.

Cologne Earth, 344.

" Yellow, 94.

Colour and neutrality, 375.

" latent, 58.

" of extreme light objects, 21.

" of shadow, 21.

" on the Relations and Harmony of, 13.

Coloured rays, mixture of, 384.

Colouring, ancient, 3-7.

" false, 20.

" importance of, 10-12.

" on, 3.

" vicious, 11-21.

Colours, ancient, 5, 6, 218.

" and Pigments Individually, on, 57.

" broken, 16.

" classes of:--

" " Neutral, 27.

" " Primary, 28.

" " Secondary, 28.

" " Semi-Neutral, 29.

" " Tertiary, 28.

" complementary, 391.

" discordant, 17, 185.

" entire, 28.

" extreme, 28.

" fugacity of ancient, 6.

" held in check, 106.

" hot and cold, 20.

" imaginary, 115.

" individual beauty of, 57.

" light and dark, 30.

" material, mixture of, 384.

" mixture and compounding of, 17-19.

" not obtainable, 114.

" not pigments, 305.

" perspective of, 22.

Colours, retiring or advancing, 186-188.

" superfluous, 124.

" unfitted for pigments, 115, 180.

" vitrified, 33, 197.

" with black, 27, 392.

" " colours, 27.

" " grey, 382.

" " white, 27, 63.

Common pigments, 359.

Compounding colours, on, 242-252, 277.

Compound pigments, 36.

Constable, 265.

Constantinople, 7.

Constant White, 65.

" free acid in, 66.

Contrast of colour and neutrality, 15.

" gradations and extremes, 19.

" hues, 13-15.

" shades, 15.

" warmth and coolness, 15.

Copper Blues, 227-230.

" Borate, 285.

" Brown, 355.

" Chrome, 286.

" Greens, 271-276.

" Prussian Black, 408.

" Prussiate of, 323.

" Reds, 164.

" Smalt, 220.

" Stannate, 286.

" Yellow, 116.

Cork Black, 409.

Correggio, 8, 335.

Cory's Madder or Yellow Madder, 119, 353.

Cotton Seed Blue, 230.

Cremnitz or Crems White, 72.

Crimson Lake, 135.

Crookes, Mr., 260.

Crowding of pictures, 364.

Cudbear, 303.

Cullen's Earth, 344.

Cuttle Fish, 348.

Cuyp, 136.

Cyanine, 198.

Cyanus, 198, 217.

Damonico, 257.

Darkening of mineral colours, 284.

Davy, Sir H., 229.

Dead Sea, the, 337.

Deep Cadmium, 87.

" Chrome, 93.

" Vermilion, 154.

" Deoxidation of pigments, 38.

Detractors of modern pigments, 43-45.

Dewint's Green, 330.

Diagram, 89.

Diesbach, M. 203.

Dilution of colour, 34.

Di Palito, 109.

Direct and diffused light, 391.

Discord of colours, 17, 185.

Disinfectants of the palette, 359.

Distance, law about, 188.

Distilled Verdigris, 276.

Distinction of colours, 318, 320.

Dominichino, 8.

Dragon's Blood, 137.

" with White Lead, 138.

Drop Gum, 96.

Drying of pigments, 50.

" oils, lead in, 121.

Duffield, Mrs., 144.

Dumas, M., 234, 414.

Dumont's Blue, 196.

Durability of pigments, 31-45, 46.

Dussance, Professor H., 175.

Dutch Pink, 100.

" Schools, 8.

" the, 156, 200.

" Ultramarine, 189.

" White, 74.

Dyeing, brown for, 318.

" orange for, 257.

Dyes and pigments, 169.

Earth Black, 404.

" Burnt Sienna, 243.

" Cassel, or Castle, 343.

" Cologne, 344.

" Cullen's, 344.

" Green, 283.

" Raw Sienna, 113.

Egg-shells, white of, 80.

Egypt, catacombs of, 347.

" temples of Upper, 5, 217.

Egyptian Blue, 229.

" Brown, 347.

Egyptians, the, colouring and colours of, 3-5.

Elizabeth, Queen, 393.

Eisner's Green, 286.

Emerald Green, 271.

Emeraldine, 162.

Enamel Blue, 189.

" colours, 33, 197.

England, climate and females of, 9.

English Green, 280.

" Pink, 100.

" Red, 149.

" Vermilion, 146.

Entire colours, 28.

Equations, 329, 330, 377.

Euchrome, 342.

Exhibition, International, of 1862, 244, 354.

Experiment, 213.

Exposure of pigments, 38.

Extract of Gamboge, 97.

" Vermilion, 157.

Extreme colours, 28.

Factitious Indigo, proposed, 202.

" Ultramarine, 215.

Falsalo, 341.

Fast and fugitive, pigments both, 38.

Ferrate of Baryta, 165.

Ferricyanide of Iron, 208.

Ferrocyanide " 203.

Field's Carmine, 142.

" Lakes, 139-145.

" Orange Vermilion, 158.

" Purple, 301.

" Russet, 321.

Fineness of texture in pigments, 50.

Fire, action of, on pigments, 371.

" pigments affected by, 40.

Fistula, Cassia, 316.

Flake White, 72.

Flemish painters, 406.

" Schools, 8, 37.

" White, 72.

Florentine Lake, 137.

" painters and painting, 7, 8, 10, 391.

Flower pieces, background tint for, 279.

Foul air, ochres with, 359.

Frankfort Black, 406.

French berries, 312.

" Blue, 215.

" Green, 271.

" Prussian Brown, 355.

" Purple, Solid, 304.

" Ultramarine, 215.

" Veronese Green, 268.

" White, 71.

Fresco, Prussian Blue in, 206, 281.

Fruit pieces of W. Hunt, 315.

Fugacity of pigments, 31-45.

Fugitive colours, 34.

Gainsborough, 20.

Galena, 394.

Galleries, picture, 363-365.

Gallstone, 95.

Gamboge, 96.

" as a glaze, 97.

" extract of, 97.

Gamboge Orange, 257.

Gambogiate of Iron, 357.

Garance, Bleu de, 209.

Gas, effect of, on colours, 191.

Gelbin's Yellow, 117.

General Qualities of Pigments, on the, 46.

Genuine Ultramarine, 216-225.

" adulteration of, 224.

" colouring matter of, 224.

" defects in, 222.

" manufacture of, 220.

" price of, 220.

" properties of, 221.

" tests for, 224.

Giallolino, 103.

Gilpin, 351.

Giovanni Bellini, 7.

Giulio Romano, 11.

Glazing of colours, 18.

Gloucestershire, 109.

Gmelin, M., 178, 210, 218, 227.

Gmelin's German Ultramarine, 209.

Gold Blue, 231.

" Purple, 306.

" Reds, 166.

" size, japanner's, 51.

Golden Sulphur of Antimony, 256.

" Yellow, 256.

Gradation in art, 328.

" nature, 326.

Graham, Mr., 398.

Graphite, 393.

Gray, 29, 372.

" analysis of, 277.

" and grey, 29, 372, 381.

" as a colour, 372, 374.

" as a pigment, 377.

" contrast of, 373.

" on the Semi-Neutral, 372.

GRAY PIGMENTS:--

Mineral Gray, 375.

Mixed Gray, 377.

Neutral Tint, 377.

Payne's Gray, 378.

Ultramarine Ash, 379.

Greeks, colouring of the, 7, 8.

" the, 153, 167, 296.

Green, 28.

" as a colour, 263, 265.

" contrast of, 263.

" Dewint's, 330.

" discordant, 265.

" Olive, 330.

" on the Secondary, 263.

GREEN PIGMENTS:--

African Green, 271.

Barium Chrome Green, 280.

Bismuth Chrome Green, 280.

Bladder Green, 282.

Bronze, 279.

Brunswick Green, 271, 279.

Chrome Arseniate, 284.

Chrome Greens, 279-281.

Chrome Oxide, 267.

Chrome Oxides, 266-271.

Cobalt Green, 285.

Cobalt Prussian Green, 282.

Copper Borate, 285.

Copper Chrome, 286.

Copper Greens, 271-276, 285-287, 288.

Copper Stannate, 286.

Distilled Verdigris, 276.

Elsner's Green, 286.

Emerald Green, 271, 283.

English Green, 280.

French Green, 271.

French Veronese Green, 268.

German Mineral Green, 288.

Green Bice, 287.

Green Cinnabar, 280.

Green Earth, 283.

Green Lake, 288.

Green Ochre, 287.

Green Oxide of Chromium, 267.

Green Ultramarine, 287.

Green Verditer, 287.

Holy Green, 283.

Hooker's Green, 281.

Hungary Green, 274.

Imperial Green, 271.

Iris Green, 282.

Malachite Green, 274.

Manganese Green, 288.

Marine Green, 271.

Mineral Green, 288.

Mitis Green, 271.

Mixed Green, 277.

Molybdenum Green, 289.

Mountain Green, 274.

Native Green, 267.

Olympian Green, 271.

Opaque Oxide of Chromium, 267.

Oxide of Chromium, 267.

Patent Green, 271.

Persian Green, 271.

Pickle Green, 276.

Prussian Greens, 281.

Quinine Green, 289.

Rinman's Green, 285.

Roman Green, 290.

Sap Green, 282.

Saxon Green, 271.

Sheele's Green, 272.

Schweinfurt Green, 271.

Silicate of Baryta, 290.

Swedish Green, 272.

Terre Verte, 283.

Titanium Green, 290.

Transparent Oxide of Chromium, 268.

True Chrome Green, 267.

True Prussian Green, 281.

Uranium Green, 291.

Vanadium Green, 291.

Venetian Green, 283.

Verde Vessie, 282.

Verdetto, 283.

Verdigris, 276.

Verona Green, 283.

Veronese Green, 268.

Vert de Zinc, 285.

Vienna Green, 271.

Viride Æris, 276.

Viridian, 269.

Zinc Green, 285.

Green, pure, to obtain, 277.

Greens, ancient, 5.

Grey, 28-30, 372.

" and gray, 29, 381.

" as a colour, 381.

" as a pigment, 382.

" colours with, 382, 383.

" on the Neutral, 381.

GREY PIGMENTS:--

Black Lead, 382.

Mixed Grey, 384-386.

Grinding of pigments, 37.

Guido, 8.

Guimet, M., 210, 215.

" Outremer de, 209.

Guimet's Ultramarine, 209.

Gum, Drop, 96

" tragacanth, 66.

Gyges, 7.

Haerlem Blue, 207.

Hamburgh Lake, 137.

" White, 74.

Hampton Court, cartoons at, 10.

Harding's Tint, 380.

Harmony of colour, 13-24.

Hatching of colours, 18.

Haydon, 293.

Hercules Tyrius, 296.

Holy Green, 283.

Hooker's Green, 281.

Houng hoa, 396.

Hues, 27, 30.

Hungary Blue, 189.

" Green, 274.

Hunt, W., 315.

Hypocastanum, 357.

Illumination, Cadmium Orange in, 246.

" Coal-Tar Colours in, 163, 247.

" Manual of, 246.

" Viridian in, 270.

Imperial Green, 271.

Indian Blue, 199.

" Ink, 349, 395.

" Lake, 138.

" Ochre, 146.

" Purple, 298.

" Red, 148.

" Yellow, 98.

Indicum, 199.

Indigo, 199.

" adulteration of, 202.

" possible substitute for, 235.

" proposed Factitious, 202.

Indigofera, 200.

Indium Yellow, 117.

Individually, on Colours and Pigments, 57.

Ink, blue, 207.

" British, 395.

" Chinese, 395.

" green, 276.

" Indelible Brown, 345.

" Indian, 395.

" Liquid Indian, 397.

" red, 145.

Inkfish, the, 348.

Innoxious pigments, 53.

Intense Blue, 202.

" " manufacture of, 202.

International Exhibition of 1862, 244, 354.

Invisible Green, 329.

Iodine, 118.

" Blue, 231.

" Pink, 166.

" Scarlet, 150.

" Yellow, 118.

Iridium Blue, 232.

Iris, 228.

" Green, 282.

Iron Browns, 357.

" Ferricyanide of, 208.

" Ferrocyanide of, 203.

" Gambogiate of, 357.

" pigments affected by, 39, 90, 145, 147, 149, 150, 249.

" Prussiate of, 203.

" Smalt, 218.

" Yellow, 102, 118.

Italian Greens, 276, 277.

" Pink, 100.

Italics, numbered colours in, 114, 407.

Italy, colouring in modern, 8.

Ivory Black, 397.

" " with Manganese Black, 407.

Ivory Brown, 340.

Japanner's gold size, 51.

Jaune de Cologne, 94.

" " Fer, 102.

" " Mars, 102.

" Minérale, 94.

Jew's Pitch, 337.

Judea, Bitumen of, 337.

Kermes, 153.

" Lake, 167.

" Mineral, 159.

Key of colouring, 40.

Khair tree, the, 354.

King's Yellow, 111.

Knowledge of pigments, 43, 44.

Kremnitz or Krems White, 72.

Kremser White, 75.

Lac, 138, 167.

" Lake, 138.

Lake, Asphaltic, the, 337.

" Burnt, 198.

" Chinese, 137.

" Citrine, 312.

" Crimson, 135.

" Drop, 131.

" Florentine, 137.

" Green, 288.

" Hamburgh, 137.

" Indian, 138.

" Kermes, 167.

" Liquid Madder, 145.

" Madder, 144.

" Marrone, 369.

" Olive, 331.

" Orange, 258.

" Purple, 137.

" Quercitron, 100, 312.

" Roman, 137.

" Scarlet, 136.

" Venetian, 137.

" Yellow, 100.

Lakes, Cochineal, 131-137.

" Field's, 139-145.

" Madder, 139-145.

" Rubric, 139-145.

" Yellow, 99, 100.

Lamblack, 399.

Lamp Black, 399.

Lapis Lazuli, 209, 217, 219.

Laque de garance, 142.

" Minérale, 258.

Latent colour, 58.

Lawson, Professor, 168.

Lawson's Red, 168.

Layard, Mr., 6, 218.

Lazuline, 217.

Lazulite Blue, 217.

Lazur, Persian and Tartarian, 228.

Lazurium, 217.

Lazurstein, 217.

Lead, acetate or sugar of, 50-52.

" Black, 382, 393.

" carbonate of, 68.

" Chocolate, 368.

" dicarbonate of, 69.

" hydrated oxide of, 68.

" in drying oils, 121.

" Orange, 258

" oxychloride of, 73.

" pigments affected by, 39, 67, 97, 99, 112, 120, 134, 138, 139, 152, 201, 206, 248, 280, 312, 341.

" pigments, avoidance of, 67.

" Red, 151.

" Sulphate of, 72.

" White, 67-70.

" Whites, 67-75.

Leitch's Blue, 199.

" Brown, 346.

Leithner's Blue, 189.

Lemon Cadmium, 91.

" Yellow, 101.

Leonardo da Vinci, 8.

Leyden, Cassius of, 306.

Lichens, 304.

Liege Black, 394.

Light and air, pigments affected by, 91, 92, 95, 97, 98, 99, 112, 124, 134, 135, 136, 139, 151, 163, 199, 201, 205, 208, 247, 276, 282, 298, 303, 313, 330, 340, 343.

Light, direct and diffused, 391.

" electric, the, 191.

" magnesium, the, 191.

" Red, 149.

Likes and dislikes of pigments, 194.

Lime, pigments affected by, 40, 97, 98, 206, 275, 281.

" with Prussian Blue, 206, 281.

Linear perspective, 22.

Linseed oil with White Lead, 69.

Liquid Asphaltum, 339.

" Indian Ink, 397.

" Madder Lake, 145.

" Prout's Brown, 345.

" Rubiate, 145.

Lists of Permanent Pigments:--

" Blue, 278, 300.

" Green, 315, 329.

" Orange, 315, 323.

" Purple, 323, 329.

" Red, 253, 300.

" Yellow, 252, 278.

Litharge, 51, 120.

Litmus, 303.

Local colour, 24.

Lombard School, 8.

London White, 73.

Macpherson's Tint, 380.

Madder, 139.

" adulteration of, 140.

" Brown, 365.

" Burnt, 305.

" Carmine, 142.

" " adulteration of, 142.

" colouring matters of, 140.

" Cory's or Cory's Yellow, 119, 353.

" Dr. Schunck on, 140.

" Lake, 144.

" Lakes, 139-145.

" " manufacture of, 141.

" Liquid Lake, 145.

" Orange, 258, 353.

" Pink, 144.

" Purple, 301.

" reds in oil, 144.

" Rose, 143.

" Rubens', 321.

" Yellow, 118, 353.

Magenta, 162.

Majolica, 146.

Malachite Green, 274.

Manganese as a siccative, 51, 77, 406.

" Black, 406.

" Blue, 232.

" Brown, 358.

" Green, 288.

" Red, 168.

Manufacture of Cadmium Yellow, 92.

" Carmine, 134.

" Cobalt Blue, 192.

" Intense Blue, 202.

" Vermilion, 92, 153.

Marine Green, 271.

Marrone, 28.

" analysis of, 377.

" as a colour, 362.

" contrasts of, 362.

" for walls of picture galleries, 363.

" on the Semi-Neutral, 362.

MARRONE PIGMENTS:--

Brown Madder, 365.

Chica Marrone, 367.

Chocolate Lead, 368.

Cobalt Marrone, 368.

Madder Marrone, 369.

Marrone Lake, 369.

Marrone Red, 368.

Mars Marrone, 369.

Mixed Marrone, 367.

Purple Black, 369.

Mars Brown, 313.

" Brun de, 313.

" colours named after, 102, 146.

" Orange, 248.

" Red, 145.

" Rouge de, 145.

" Violet, 290.

" Violet de, 290.

" Yellow, 102.

Massicot, 120.

Mastic varnish, 50.

Mauve, 163.

Mercury, Chromate of, 256.

" marrone, 371.

" white, 79.

Mérimée, 121, 142, 229, 284, 316, 343.

Metallic whites, 79.

Metals, rare, 172.

Michael Angelo, 8.

Mineral Black, 407.

" Blue, 207.

" Brown, 342.

" colours, darkening of, 284.

" Gray, 375.

" Green, 288.

" Green, German, 288.

" Kermes, 159.

" Orange, 258.

" Pitch, 337.

" Purple, 290.

" Turbith, 123.

" Yellow, 106, 116, 121.

Minérale, Jaune, 94.

" Laque, 258.

Miniature painter, a, 401.

Minium, 151, 153.

Mitis Green, 271.

Mixed Colours:--

" Black, 402.

" Brown, 346.

" Citrine, 314.

" Gray, 377.

" Green, 277.

" Grey, 384.

" Marrone, 367.

" Olive, 328.

" Orange, 249.

" Purple, 290.

" Russet, 322.

Mixed tints, on, 249-252, 262.

Mixture, a, 199.

" of Bitumen and Mummy, 348.

" of coloured rays, 384.

" of material colours, 384.

" unnecessary, 35.

Modan or Morat White, 80.

Modern pigments, 41-45.

" detractors of, 43-45.

" inferior, 41.

" superior, 42.

Molybdenum Green, 289.

Monicon, 257.

Montabert, De, 405.

Montbeillard, Roman pavement at, 218.

Montpellier Yellow, 121.

Mountain Blue, 228.

" Green, 274.

Mountains, 254.

Mummy, 347.

" Brown, 347.

" and Bitumen, mixed, 348.

Murexide, 169.

Musée Minéralogique, of Paris, 219.

Mutrie, Miss, 143.

" Yellow, 92.

Naphthaline, 162.

Naples Yellow, modern, 104.

" old, 103.

Napoleon, Emperor, 176.

Native Bitumen, 338.

" Green, 267.

" Prussian Blue, 207, 226.

" Ultramarine, 216.

Natural Ultramarine, 216.

Nature, colour in, 311.

" gradation in, 326.

" palette of, 185.

" study of, 24.

Negative colours, 28.

Nepos Cornelius, 295.

Neutral colours, 27.

" Orange, Penley's, 253.

" Tint, 377.

Neutrality and colour, 375, 376.

Neutrals, colour as applied to the, 62.

New Blue, 216.

" pigments, 41-45.

Nickel Brown, 358.

Nineveh, 6, 218.

Nottingham White, 73.

Objectionable pigments, substitutes for, 96, 104, 114.

Ochre, Black, 404

" Blue, 226.

" Brown, 108.

" Browns, 358.

" Burnt Roman, 255.

" Chrome, 267.

" Green, 287.

" Indian, 148.

" Orange, 255.

" Oxford, 109.

" Purple, 290.

" Red, 147.

" Roman, 107.

" Scarlet, 149.

" Spanish, 255.

" Spruce, 108.

" Stone, 109.

" Transparent Gold, 108.

" Yellow, 106.

Ochres and foul air, 359.

" Red, 146-150.

" Yellow, 105-109.

Ocre de Ru, 108

Oil, coal-tar colours in, 247.

" water-colour cakes in, 50.

Oils, 33, 152, 194.

Olive, 28.

" analysis of, 330.

" as a colour, 325.

" contrast of, 325.

" on the Tertiary, 325.

OLIVE PIGMENTS:--

Burnt Verdigris, 331.

Dewint's Green, 330.

Mixed Olive, 328.

Olive Green, 330.

Olive Lake, 331.

Olive Oxide of Chromium, 331.

Olive Rinman's Green, 332.

Olive Scheele's Green, 332.

Olive Schweinfurt Green, 332.

Olive Terre Verte, 333.

Olive purples, 301.

Olympian Green, 271.

O'Neill, Mr., 159.

Opacity of pigments, 48.

Orange, 28,

" as a colour, 239.

" as an archeus, 240.

" contrast of, 240.

" discordant, 240.

" on the Secondary, 239.

ORANGE PIGMENTS:--

Anotta, 255.

Antimony Orange, 256.

Bixine, 256.

Burnt Roman Ochre, 255.

Burnt Sienna, 243.

Burnt Terra di Sienna, 243.

Cadmium Orange, 36, 244.

Chinese Orange, 246.

Chromate of Mercury, 256.

Chrome Orange, 248.

Damonico, 257.

Gamboge Orange, 257.

Golden Sulphur of Antimony, 256.

Golden Yellow, 256.

Laque Minérale, 258.

Madder Orange, 258, 353.

Mars Orange, 248.

Mineral Orange, 248.

Mixed Orange, 249.

Monicon, 257.

Neutral Orange, 253.

Orange Chrome, 248.

Orange Chromate of Lead, 248.

Orange de Mars, 248.

Orange Lake, 258.

Orange Lead, 258.

Orange Ochre, 255.

Orange Orpiment, 258.

Penley's Neutral Orange, 253.

Realgar, 258.

Red Orpiment, 258.

Rocou, 255.

Spanish Ochre, 255.

Terra Orellana, 255.

Thallium Orange, 259.

Uranium Orange, 260.

Zinc Orange, 261.

Orange Russet, 321.

" Vermilion, 157.

" " Field's, 158.

Order of Colours:--

White, 62-80, 414.

Yellow, 81-126.

Red, 127-182.

Blue, 183-238.

Orange, 239-262.

Green, 263-293.

Purple, 294-309.

Citrine, 310-319.

Russet, 320-324.

Olive, 325-333.

Brown, 334-361.

Marrone, 362-371.

Gray, 372-380.

Grey, 381-386.

Black, 387-413.

Organic pigments with lead chromates, 248.

Orient Yellow, 42, 110.

Original pigments, 35.

" importance of, 240-242.

Orpiment Yellow, 111-113.

Outremer, 217.

Outremer de Guimet, 209.

Oxford Ochre, 109.

Oxidation of pigments, 38.

Oxide, Chrome, 267.

" of Chromium, Green, 267.

" " Opaque, 267.

" " Transparent, 268.

Oxychloride of Lead, 73.

Oxygenated water, 69.

Oyster-shell, white of, 80.

Paille de Mil, 170.

Painting, siliceous, 212.

Pale Cadmium, 90.

" Chrome, 93.

" Vermilion, 154.

" washes of a pigment, 91.

Palette, disinfectants of the, 359.

" motto for the, 156.

" setting the, 23.

Palette-knife, avoidance of a steel, 39, 50, 90, 103.

Palladium, 122.

Paper Black, 407.

" Smalt and Ultramarine in, 196.

" to give a tone to, 253.

Paris Blue, 192, 203.

Paris, Musée Minéralogique at, 219.

" Société d'Encouragement of, 210.

Particular colour, predilection for a, 58, 59.

Patent Green, 271.

" Yellow, 121.

Pattison's White, 73.

Paul Veronese, 229, 335.

Payne's Gray, 378.

Peach Black, 407.

Pearl White, 78.

Peganum Harmala, 171.

Penley, Mr. Aaron, 85-87, 158, 268, 270.

Penley's Neutral Orange, 253.

Perfect pigment, a, 46.

Perkin, Mr. W., 162.

Permanent Blue, 216.

" pigments, 252, 278, 300, 315, 323, 329.

" White, 65.

Peroxidized pigments, 38.

Persian berries, 312.

" Green, 271.

" lazur, 228.

" Red, 148.

Perspective, aerial, 22, 23.

" linear, 22.

" of colours, 22, 23.

Persulphomolybdates, 171.

Philocles, 7.

Phosphine, 162.

Photography, lamp black in, 401.

" pigments generally in, 401.

Pickle Green, 276.

Picric acid, 162.

Picture galleries, 363-365.

Pictures and pigments, 292.

Pigment and colour, 31.

Pigments, action of fire and time on 31.

" adulteration of, 70.

" apt to vary, 126, 181.

" beauty in, 46.

" blending of, 37.

" common, 359.

" compound, 36.

" drying of, 50.

" fineness of texture in, 50.

" grinding of, 37.

" individual beauty of, 58.

" innoxious, 53.

" on the Durability and Fugacity of, 31.

" on the General Qualities of, 46.

" opacity and transparency of, 48.

" past and present, 293.

" rays from, 384.

" truth of hue in, 47.

" vehicles with, 48-53.

" working well, 49.

Pink, Brown, 313.

" Dutch, 100.

" English, 100.

" Italian, 100.

" Madder, 144.

" Rose, 173.

" Saucers, 174.

Pitch, Jew's, 337.

" Mineral, 337.

Pittacal, 234.

Platinum Blue, 233.

" Yellow, 121.

Playfair, Dr. Lyon, 355.

Pliny, 7, 153, 198, 218, 295, 338.

Plumbago, 393.

Polygnotus, 9.

Pompeii, 105, 229.

Porcelain, blue for, 235.

" green for, 267.

Poussin, 11, 316.

Powder Blue, 196.

Power of pigments, individual, 59.

Powers of colours, 82.

Practice of Sir J. Reynolds, 37.

Precipitate, Red, 173.

Prevention and cure, 412.

Price, Dr. D. S., 69.

Primary colours, 28.

Principles of practice, 35.

Process, Autotype, 401.

Protoxide, pigments in the state of, 37.

Proust, M., 396.

Prout, Samuel, 346.

Prout's Brown, Liquid, 345.

Prussian Black, 404, 408.

" Copper, 408.

Prussian Blue, 203.

" adulteration of, 203.

" character of, 237, 278, 301.

" Cobalt, 227.

" manufacture of, 203.

" Native, 207, 226.

" want of a permanent, 189.

" with alkalies, 206.

Prussian Brown, 348.

" " French, 255.

" Greens, 281, 282.

" Red, 149.

Prussiate of Copper, 323.

" Iron, 203.

Pure Scarlet, 150.

" Ultramarine, 216.

Purple, 28.

" as a colour, 295.

" as a pigment, 297.

" Black, 369, 408.

" Brown, 359.

" contrast of, 294, 297.

" Lake, 137.

" on the Secondary, 294.

PURPLE PIGMENTS:--

Archil Purple, 303.

Bismuth Purple, 304.

Burnt Carmine, 298.

Burnt Lake, 298.

Burnt Madder, 305.

Cassius's Purple Precipitate, 306.

Cobalt Purples, 305.

Field's Purple, 301.

Gold Purple, 306.

Indian Purple, 298.

Mars Violet, 290.

Mauve, 163.

Mineral Purple, 290.

Mixed Purple, 290.

Prussian Purple, 307.

Purple Madder, 301.

Purple Ochre, 290.

Purple of Cassius, 306.

Purple Rubiate, 301.

Sandal Wood Purple, 307.

Solid French Purple, 304.

Tin Violet, 308.

Violet Carmine, 302.

Violet de Mars, 290.

Purple, pure, 300.

" Tyrian, 295, 296.

Purpurates, 170.

Purree, 98.

Qualities of Pigments, on the General, 46.

Queen's Yellow, 123.

Quercitron Lake, 100, 312.

" Yellow, 100.

Quinine Green, 289.

Ramnus infectorius, 315.

Raphael, 8, 9.

Rare Metals, 172.

Raw Sienna, 113.

" Umber, 315.

Rays from pigments, 384.

Real Ultramarine, 216.

Realgar, 258.

Reboulleau's Blue, 230.

Red, 28.

" as a colour, 128.

" contrasts of, 128, 129.

" discordant, 129.

" Marrone, 368.

" on the Primary, 127.

" Orpiment, 258.

RED PIGMENTS:--

Almagra, 147.

Antimony Red, 159.

Armenian Bole, 147.

Bloodstone, 147.

Brown Red, 147.

Cadmium Red, 130.

Carmine, 133-135.

Carmine Vermilion, 156.

Carnagione, 149.

Chica Red, 159.

Chinese Lake, 137.

Chinese Rouge, 174.

Chinese Vermilion, 156.

Coal-Tar Colours, 160.

Cobalt Reds, 164.

Cochineal Lakes, 131-137.

Copper Reds, 164.

Crimson Lake, 135.

Deep Vermilion, 154.

Dragon's Blood, 137.

English Red, 149.

English Vermilion, 146.

Extract of Vermilion, 157.

Ferrate of Baryta, 165.

Field's Carmine, 142.

Field's Lakes, 139-145.

Field's Orange Vermilion, 158.

Florentine Lake, 137.

RED PIGMENTS:--

Gold Reds, 166.

Hamburgh Lake, 137.

Indian Lake, 138.

Indian Ochre, 146.

Indian Red, 148.

Iodine Pink, 166.

Iodine Scarlet, 150.

Kermes Lake, 167.

Lac Lake, 138.

Lawson's Red, 168.

Light Red, 149.

Liquid Madder Lake, 145.

Liquid Rubiate, 145.

Madder Carmine, 142.

Madder Lake, 144.

Madder Lakes, 139-145.

Magenta, 160.

Majolica, 146.

Manganese Red, 168.

Mars Red, 145.

Mineral Kermes, 159.

Minium, 151.

Murexide, 169.

Ochres, 146-150.

Orange Vermilion, 157.

Paille de Mil, 170.

Pale Vermilion, 154.

Peganum Harmala, 171.

Persian Red, 148.

Persulphomolybdates, 171.

Pink Madder, 144.

Pink Saucers, 174.

Prussian Red, 149.

Pure Scarlet, 150.

Purple Lake, 137.

Red Chalk, 172.

Red Chrome, 151.

Red Lead, 151.

Red Ochre, 147.

Red Precipitate, 173.

Redding, 146.

Roman Lake, 137.

Rose Madder, 143.

Rose Pink, 173.

Rose Rubiate, 145.

Rouge, 173.

Rouge de Mars, 145.

Rubric Lakes, 139-145.

Rufigallic Red, 174.

Sandal Red, 175.

Saturnine Red, 151.

Scarlet Chrome, 151.

Scarlet Lake, 136.

Scarlet Ochre, 149.

Scarlet Vermilion, 156.

Sil Atticum, 147.

Silver Red, 176.

Sinoper, 151.

Sorgho Red, 176.

Spanish Brown, 146.

Spanish Red, 150.

Terra Puzzoli, 149.

Terra Sinopica, 147.

Thallium Red, 177.

Tin Pink, 177.

Ultramarine Red, 178.

Uranium Red, 179.

Venetian Lake, 137.

Venetian Red, 149.

Vermilion, 154.

Vermilions, 153-158.

Wongshy Red, 180.

Reds, ancient, 5.

Relations of colour, 13-24.

Relative durability of colour, 32.

Rembrandt, 11, 345.

Revelation, Book of, 217.

Reynolds, Sir Joshua, 10, 35, 37, 158, 374, 410.

Rinman's Green, 285.

" Olive, 332.

Rocou, 255.

Roman Green, 290.

" Lake, 137.

" Ochre, 107.

" " Burnt, 255.

" painters and painting, 7, 8, 10, 391.

" Sepia, 351.

" White, 74.

Romans, the, 153, 295.

Romulus, 295.

Rosaniline, 162.

Rose, the, 327.

Rousseau, M. E., 414.

Rowbotham, Messrs., 144.

Royal Academy at Burlington House, 365.

" Blue, 196.

Rubens, 11, 37, 64, 157, 283, 334, 374.

" Brown, 359.

" Madder, 321.

Rubia tinctorum, 139.

Rubiate, Purple, 301.

Rue, Dr. Warren de la, 132.

Ruskin, Mr., 13.

Russet, 28.

" analysis of, 330.

" as a colour, 320.

" contrast of, 321.

" on the Tertiary, 320.

RUSSET PIGMENTS:--

Field's Russet, 321.

Mixed Russet, 322.

Orange Russet, 321.

Prussiate of Copper, 323.

Rubens' Madder, 321.

Russet Rubiate, 321.

Sacc, M., 414.

Safflower, 174.

Samuel Prout, 346.

Sandal Red, 175.

" Wood Purple, 307.

Sandarac, 259.

Sap Green, 282.

Satin White, 80.

Saturnine Red, 151.

Saucers, Pink, 174.

Saunders Blue, 230.

Saxon Blue, 189.

" Green, 271.

" Smalts, 215.

Scarlet Chrome, 151.

" Iodine, 150.

" Lake, 136.

" Ochre, 149.

" Pure, 150.

" transparent, a, reward for, 130.

" " substitute for, 130.

" Vermilion, 156.

Scheele's Green, 272.

" Olive, 332.

Schools of painting, 8-10, 37.

Schunck, Dr., 140.

Schweinfurt Blue, 230.

" Green, 271.

" " Olive, 332.

Scoffern, Dr., 357.

Sea, the Dead, 337.

" transparency of the, 269.

Secondary colours, 28.

" pigments, 242.

Semi-Neutral colours, 29.

" the term, 334.

Semi-stability, on, 308.

Semi-stable pigments, 298, 313.

Sepia, 348, 397.

" Liquid, 348.

" Roman, 350.

" Warm, 351.

Shades, 21.

Shadow, colour of, 27, 30.

Siccatives, 51-53.

Sienna, Burnt, 243.

" Raw, 113.

" Terra di, 113.

Sil Atticum, 147.

Silicate of Baryta, 290.

Siliceous painting, Ultramarine in, 212.

Silver Red, 176.

" White, 71.

Sinoper, 151.

Slate Clays, 380.

" powdered, 380.

Smalt, 195-198.

" adulteration of, 198.

" Copper, 229.

Smalt, grinding of, 197.

" in mural decoration, 198.

" in paper, 196.

" Iron, 218.

Soap and alkali in brushes, 52.

Société d'Encouragement of Paris, 210.

Society of Arts, 130.

Soda flame, 191.

Solid French Purple, 304.

Sorgho Red, 176.

Sources of pigments, 60.

South America, chica from, 368.

Spanish Black, 409.

" Brown, 146.

" Ochre, 255.

" Red, 150.

" Schools, 8.

" White, 80.

Spence, Mr., 68.

Spruce Ochre, 108.

St. Petersburg, palace at, 219.

Starch, 66.

Stil de Grain, Brown, 312.

Stippling, 315.

Stone, Armenian, 228.

" lapis lazuli, 217, 219.

" malachite, 274.

" Ochre, 109.

Strontian Yellow, 113.

Sulphate of Lead, 72.

" zinc, 51.

Sulphide of cadmium, thallium in, 260.

Sulphur and ochres, 359.

Sulphuretted hydrogen, pigments affected by, 39, 67, 69, 73, 78, 79, 93, 103, 120, 151, 152, 229, 248, 275, 276.

Susa, 296.

Swedish Green, 272.

Synonyms, value of, 145.

Talent of money, 296.

Teniers, 360.

Terra di Sienna, 113.

" " " Burnt, 243.

" Orellana, 255.

" Puzzoli, 149.

" Sinopica, 147.

Terre Bleu, 228.

" Verte, 283.

" " Olive, 333.

Terrene whites, 66, 80.

Tertiary colours, 28.

" on, 311.

Thallium, in sulphide of cadmium, 260.

" Orange, 259.

" Red, 177.

" Yellow, 122.

Thebes, mausoleum at, 3.

Thénard, M., 69, 192.

Thénard's Blue, 192.

Theophrastus, 198.

Theory and practice, 410.

Thwaites' Yellow, 122.

Time, pigments affected by, 40.

Tin Pink, 177.

" Violet, 308.

" White, 79.

Tin-Copper Green, 286.

Tint, Harding's, 380.

" Macpherson's, 380.

" Neutral, 377.

Tintoret, 8.

Tints, 27.

Titanium Green, 290.

Titian, 7, 8, 9, 11, 37, 150, 157, 293, 334.

Transparency of pigments, 48.

" to obtain, 245.

Transparent Gold Ochre, 108.

" Oxide of Chromium, 268.

" pigments, use of, 237.

Troy White, 80.

True Chrome Green, 267.

" Prussian Green, 281.

" Ultramarine, 216.

Truth of hue in pigments, 47.

Tullus Hostilius, 295.

Tungsten Blue, 233.

" White, 414.

Turacine, 165.

Turbith Mineral, 123.

Turkey Berries, 312.

Turnbull's Blue, 208.

Turner, 309, 328.

Turner's Yellow, 121.

Tyrian Purple, 295, 296.

Ultramarine, Artificial, 209-216.

" acid pigments with, 214.

" adulteration of, 215.

" experiment with, 213.

" green in, 211.

" gum with, 214.

" in siliceous painting, 212.

" test for, 212.

Ultramarine Ash, 379.

" Beggars', 409.

" Brilliant, 215.

" Cobalt, 192.

" Dutch, 189.

" Factitious, 215.

" French, 215.

Ultramarine, Genuine, 216-225.

" adulteration of, 224.

" colouring matter of, 224.

" defects in, 222, 223.

" manufacture of, 220.

" price of, 220.

" properties of, 221.

" tests for, 224.

Ultramarine, Gmelin's German, 209.

" Green, 287.

" Guimet's, 209-211.

" Native, 216.

" Natural, 216.

" Pure, 217.

" Real, 216.

" Red, 178.

" True, 216.

Umber, 315.

" Burnt, 341.

" grounds primed with, 316.

" Raw, 315.

Unnecessary mixture, 35.

Uranium Brown, 360,

" Green, 291.

" Orange, 260.

" Red, 179.

" Yellow, 123.

Ure, Dr., 73.

Vanadium Green, 291.

Vandyke, 11, 150, 220, 351.

" Brown, 351.

Van Eyck, 167.

Varnishes, 33, 152.

Vegetal charcoal, 398.

Vehicles with pigments, 48-53.

Velasquez, 389.

Venetian Green, 283.

" Lake, 137.

" painters, painting, and pigments, 7, 8, 34, 37, 139, 167.

" Red, 149.

" White, 75.

Verde Vessie, 282.

Verdetto, 283.

Verdigris, 51, 276.

" Burnt, 331.

" Distilled, 276.

Verditer, Blue, 228.

" Green, 287.

Vermilion, 153-158.

" adulteration of, 156.

" Carmine, 156.

" Chinese, and English, 156, 146.

" Deep, 154.

" European and Chinese, 154.

" Extract of, 157.

" Field's Orange, 158.

" manufacture of, 154.

" Orange, 157.

Vermilion Pale, 154.

" Scarlet, 156.

" with cochineal lake, 136.

" with iodide of mercury, 155.

Verona Brown, 353.

" Green, 283.

Veronese Green, 268.

" French, 268.

Vert de Zinc, 285.

Vicious extremes in colouring, 59.

Vienna Blue, 192.

" Green, 271.

" White, 72.

Vine Black, 394.

Violet, Carmine, 302.

" de Mars, 290.

" Mars, 290.

" Tin, 308.

Viride Æris, 276.

Viridian, 42, 269.

Vision, derangement of, 59.

Vitrification and permanence, 197.

Vitrified colours, 33, 103, 197.

Vitruvius, 229.

Wall colour for picture galleries, 363.

" space in " " 364.

Walpole, Mrs., 220.

Warm Sepia, 350.

Water-colour cakes in oil, 50.

Watts, Mr., 165.

Weppen, 398.

White, 27.

" as a colour, 62.

" as a pigment, 64.

" Chalk, 79.

" colour as applied to, 62.

Whitelac varnish, 50.

White Lead, 67-70.

" adulteration of, 70.

" colour restored in, 69.

" hydrated oxide in, 68.

" loss of opacity in, 68.

" use of, 70.

" with Blue Black, 395.

" " Bone Brown, 341.

" " Brown Pink, 312.

" " Cadmium Yellow, 89.

" " Carmine, 134.

" " Dragon's Blood, 138.

" " Gamboge, 97.

" " Indian Lake, 139.

" " Indigo, 201.

" " Massicot, 120.

" " Orpiment, 112.

" " Prussian Blue, 206.

" " Red Lead, 152.

" " Yellow Lakes, 99.

White, on the Neutral, 62.

" perfect, 62, 64.

WHITE PIGMENTS:--

Antimony White, 79.

Arsenic White, 79.

Barytic White, 65.

Blanc d'Argent, 71.

Body White, 72.

Cadmium White, 78.

Ceruse, 74.

China White, 80.

Chinese White, 75.

Constant White, 65.

Cremnitz or Kremnitz White, 72.

Crems or Krems White, 72.

Dutch White, 74.

Flake White, 72.

Flemish White, 72.

French White, 71.

Hamburgh White, 74.

Kremser White, 75.

London White, 73.

Mercury White, 79.

Modan or Morat White, 80.

Nottingham White, 73.

Oxychloride of Lead, 73.

Pattison's White, 73.

Pearl White, 78.

Permanent White, 65.

Roman White, 74.

Rouen White, 80.

Satin White, 80.

Silver White, 71.

Spanish White, 80.

Sulphate of Lead, 72.

Tin White, 79.

Tungsten White, 414.

Troy White, 80.

Venetian White, 75.

Vienna White, 72.

White Lead, 67-70.

Zinc White, 76.

Zinc Whites, 75-78.

White, properties of, 62-64.

" use of, 64.

Whites, classified, 80.

" in old pictures, 65.

Williamson, Professor, 205.

Wilson, 336.

Winter scene, a water-colour, 352.

Wongshy Red, 180.

Wood-Tar Blue, 233.

Working well in pigments, 49.

Yellow, 28.

" as a colour, 82.

" contrasts of, 82, 83.

Yellow, discordant, 83.

" Golden, 256.

" Madder, Cory's, 353.

" on the Primary, 81.

YELLOW PIGMENTS:--

Antimony Yellow, 105.

Arsenic Yellow, 116.

Aureolin, 83-87.

Bismuth Yellow, 116.

Brown Ochre, 108.

Cadmium Yellows, 87-92.

Cassel Yellow, 121.

Chinese Yellow, 111.

Chrome Yellows, 93-95.

Citron Yellow, 95.

Cologne Yellow, 94.

Copper Yellow, 116.

Deep Cadmium, 87.

Deep Chrome, 93.

Di Palito, 109.

Drop Gum, 96.

Dutch Pink, 100.

English Pink, 100.

Extract of Gamboge, 97.

Gallstone, 95.

Gamboge, 96.

Gelbin's Yellow, 117.

Giallolino, 103.

Indian Yellow, 98.

Indium Yellow, 117.

Iodine Yellow, 118.

Iron Yellow, 102, 118.

Italian Pink, 100.

Jaune de Cologne, 94.

Jaune de Fer, 102.

Jaune de Mars, 102.

Jaune Minérale, 94.

King's Yellow, 111.

Lakes, 99, 100.

Lemon Cadmium, 91.

Lemon Yellow, 101.

Litharge, 120.

Madder Yellow, 118, 353.

Mars Yellow, 102.

Massicot, 120.

Mineral Yellow, 106, 116, 121.

Montpellier Yellow, 121.

Mutrie Yellow, 92.

Naples Yellow, 103.

Ochres, 105-109.

Ocre de Ru, 108.

Orient Yellow, 110.

Orpiment or Yellow Orpiment, 111.

Oxford Ochre, 109.

Pale Cadmium, 90.

Pale Chrome, 93.

Patent Yellow, 121.

Platinum Yellow, 121.

Purree, 98.

Queen's Yellow, 123.

Quercitron Lake, or Yellow, 100.

Raw Sienna, 113.

Roman Ochre, 107.

Spruce Ochre, 108.

Stone Ochre, 109.

Strontian Yellow, 113.

Terra di Sienna, 113.

Thallium Yellow, 122.

Thwaites' Yellow, 122.

Transparent Gold Ochre, 108.

Turbith Yellow, 123.

Turner's Yellow, 121.

Uranium Yellow, 123.

Yellow Carmine, 123.

Yellow Lake, 100.

Yellow Ochre, 106.

Yellows, ancient, 5.

" classified, 125.

" former paucity of, 83.

" various, 124.

Zaffre, 189.

Zeuxis and Apelles, 7.

Zinc Brown, 360.

" Cobalt Blue, 235.

" Green, 285.

" Orange, 261,

" siccatives, 51, 77.

" Vert de, 285.

" White, 76.

" " adulteration of, 77.

" " over White Lead, 76.

" Whites, 75-78.

ERRATA.

Page 16 _for_ inharmonious _read_ harmonious

" 35 _for_ There prevails _read_ There prevail

" 48 _for_ as whiteness, or light do, _read_ as whiteness or light does

" 166 _for_ purple of cassius _read_ purple of Cassius

" 182 _for_ which manufactures _read_ which manufactures pictures

" 258 _for_ _Laque Minéral_ _read_ _Laque Minérale_

" 342 _for_ rivals _read_ rivels

" 378 _for_ predominate _read_ predominates

THE END.

LONDON:

Printed by A. Schulze, 13, Poland Street.

+------------------------------------------------------+

|Transcriber's Note: |

| |

|The errata above and the following have been corrected|

|in the text: |

| |

|Page vi Semi-neutral changed to Semi-Neutral |

| 10 life less changed to lifeless |

| 17 sun-rise changed to sunrise |

| 20 in the the changed to in the |

| 22 perpective changed to perspective |

| 29 marone changed to marrone |

| 69 di-carbonate changed to dicarbonate |

| 73 hydrogren changed to hydrogen |

| 77 imimical changed to inimical |

| 81 feuillemorte changed to feuillemort |

| 91 Item numbering has been left consistent |

| with the omission of item no. 23 |

| 129 extemes changed to extremes |

| 169 muroxide changed to murexide |

| 188 dullness changed to dulness |

| 192 gaslight changed to gas-light |

| 200 durablity changed to durability |

| 206 and 293 developement changed to development |

| 212 decolorized changed to decolourised |

| 235 indentical changed to identical |

| 241 re-acting changed to reacting |

| 250 Exibition changed to Exhibition |

| 273 childrens' changed to children's |

| 336 toneing changed to toning |

| 352 fine tooth-comb changed to fine-tooth comb |

| 408 analagous changed to analogous |

| 414 announceed changed to announced |

| 421 abies changed to Abies |

| |

|Inconsistencies in the use of analyse/analyze, |

|harmonise/harmonize and neutralise/neutralize have |

|been retained as in the original text, as have the |

|use of aërial and aerial. |

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Field's Chromatography or Treatise on Colours and Pigments as Used by Artists · 第 17 / 17 章