Vienna Blue Paris Blue Azure Cobalt-ultramarine &c Is The
: ON THE PRIMARY, BLUE.name now exclusively confined to that preparation of cobalt which has a
base of alumina. It may, therefore, be not improperly called a blue
lake, the colour of which is brought up by fire, in the manner of enamel
blues. The discovery of this important pigment was made in 1802 by M.
Thenard, who obtained it by calcining a well-combined mixture of alumina
and crystals of cobalt. There may be employed with the aluminous base,
latter in preference, as it produces the purest colour. The arseniate
has always a violet tinge, more visible by gas-light than by day; while,
on account of the arsenic, the blue is more apt to be greened by impure
air, by reason of the formation of yellow sulphide of arsenic. The
purity of the colour, however, does not altogether depend on the
compound of cobalt used; in a great measure--as with other pigments--it
rests on the purity of the materials. To obtain a perfect blue, neither
inclining to purple nor green, the cobalt and alumina should be freed
from iron, and the former, as much as possible, from nickel also. With
the absence of these and proper skill, a true and brilliant blue may be
produced, almost rivalling the finest ultramarine. Apart, too, from its
increased beauty, a cobalt blue containing no iron or nickel is of
greater permanence than the ordinary products, being less liable to that
greenness and obscurity which time confers.
Though not possessing the body, transparency, and depth of ultramarine,
nor its natural and modest hue, commercial cobalt blue works better in
water than that pigment in general does; and is hence an acquisition to
those who have not the management of the latter. Resisting the action of
strong light and acids, its beauty declines by time, while impure air
greens and ultimately blackens it. Nevertheless, these changes are not
readily effected, especially in well made samples full of colour, and
sometimes the green tone is mechanically imparted. What wheat is to a
loaf, colour is to a pigment--it has to be ground and made up for use;
in the one vehicle to be mixed with gums, in the other with oils. It
often happens that colours have an antipathy to the latter, and refuse
to compound kindly therewith. Occasionally this repugnance manifests
itself in a few days, occasionally not for months. We know of a green
which flatly declines to have anything to do with oils, sinking and
separating therefrom in the course of a week, and leaving the clear oil
on the top. Repeatedly have colours to be coaxed to behave themselves as
pigments, coaxed not to 'run,' to work well, to dry well, &c.; and in
the humouring of their likes and dislikes the skill and patience of the
artist-colourman are sometimes severely taxed. Given a colour, it might
puzzle most chemists to convert it into a pigment; luckily Commerce
lends her aid. Lasting success, it is true, does not always follow, and
oils will rise to the surface now and then, giving green hues to blues,
orange hues to reds, and buff hues to yellows. Hence changes of colour
have been imputed before now to chemical alteration, when in reality the
results have been physical, caused by the subsidence of the pigments,
and the floating of the vehicles employed.
Cobalt blue dries well in oil, does not injure or suffer injury from
pigments in general, and may be used with a proper flux in enamel, as
well as in fresco. It affords clear bright tints in skies and distances,
but is apt to cause opacity if brought too near the foreground, and to
assume a violet tinge by artificial light. With madder brown it yields a
range of fine pearly neutrals; and with light red, in any proportion,
gives beautiful cloud tints. In combination with aureolin and sepia, or
rose madder, cobalt furnishes most agreeable and delicate tints for
distant trees, when under the influence of a soft light, or hazy state
of the atmosphere. In water-colour painting, cobalt is tolerably firm on
paper, and consequently answers better for some purposes than French
blue. In middle distances, if the cobalt possess a tendency to
chalkiness, the addition of a little indigo is a good corrective,
especially where the blue tone is required to be sombre and dark: it
should, however, be observed that the change is but temporary, indigo
being a fugitive pigment. In marine painting in water-colours, cobalt is
most useful for the remotest parts of seas and headlands. When dry, it
can be changed by going over it with a slight wash of vermilion or light
red, whereby a prismatic character is realized. Any strength of tone can
be obtained by repeating the washes, and should the colour be too
powerful, it may be reduced by pouncing it with a soft wet sponge; or if
too cold and blue, by a thin wash of burnt Sienna, merely the water
stained.
The blues of cobalt, on whatever base they may be prepared, are
distinguished from native and artificial ultramarines by not being
decolorised by acids.
TTITLE SMALT,
Invented about the year 1540, in Saxony, is a vitreous compound of
cobalt and silica, in fact a blue glass. Since the fifteenth century,
cobalt has been used in different parts of Europe to tinge glass; and
so intense is the colouring power of its oxide, that pure white glass is
rendered sensibly blue by the addition of one thousandth part, while one
twenty-thousandth part communicates a perceptible azure tint. In common
More
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The Semi-neutral Brown As The Extreme Primaries Blue And Yellow
when either compounded or opposed, afford, though not the most perfect harmony, yet the most pleasing consonance of the primary colours; so the extremes, purple and orange, yield the most pleasing of the secondary consonances. This analogy extends lik... The Term Brown Then Denotes Rightly A Warm Broken Colour Of Which
... The Tertiary Citrine On The Side Of Shade And Less Perfectly So Of
... The Third And Last Of The Primary Or Simple Colours Is Blue Which
bears the same relation to shade as yellow to light. Hence it is the most retiring and diffusive of all colours, except purple and black; and all colours have the power of throwing it back in painting, to a greater or less extent, in proportion to the... Their Chief Source The Greens Consist Of Yellow Mixed With Copper
blue. The bluish-green which sometimes appears on Egyptian antiquities, ... There Are Five Classes Of Colours Viz:--the Neutral The Primary
... These Are False Appellations Of A White Lead Called Also French
... This Principle Of Contrast Applies Even To Individual Colours And
conduces greatly to good colouring. It may be carried with advantage into the variety of hue and tint in the same colour, not only as regards light and shade, but likewise with respect to warmth and coolness, as well as to colour and neutrality. Hence... Those Which Are Positive Or Definite; And The Three Colours Of Each
genus, united or compounded in such subordination that neither of them ... Thus Russet And Olive Compose Or Unite In Dark Purple; Citrine And
... Time On A Tree Of The Common Black Spruce (abies Nigra) In The
neighbourhood of Kingston. Having been but recently observed, a sufficient quantity had not been obtained for a complete series of experiments as to its nature and uses; but the habits of the insect, as well as the properties of the dye, seemed to ind... To Blue To Which The Attribute Of Coolness Peculiarly Belongs It Is
discordant when standing alone with yellow or with red, unresolved by their proper contrasts or harmonizing colours, purple and green. As an archeus or ruling colour, orange is one of the most agreeable keys in toning a picture, from the richness and ... 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 pic... To The Practice Of Producing Tints And Hues By Grinding Pigments
... To Which The Various Appellations Have Been Given Of Thenard's Blue
... To White And Black Or Light And Shade Hence Red Is Pre-eminent
among colours, as well as the most positive of all, forming with yellow ... Together Instead Of Blending Them On The Palette May Be Attributed
some of the peculiarities of the tints and textures of the Flemish school; they being, perhaps, results of intimate combination from grinding, and consequently of a more powerful chemical action among the ingredients compounded. This method has, in a ... Transparency Is An Essential Property Of All Glazing Pigments And
adds greatly to the value of dark or shading colours; indeed it is the prime quality upon which depth and darkness depend, as whiteness, or ... Transparent Is Meant Tingeing Power White Besides Its Uses As A
colour, is the instrument of light in painting, and compounds when pure with all colours, without changing their class. Yet it dilutes and cools all colours except blue, which is specifically cold; and, though it does not change nor defile any colour,... True Chrome Green Native Green &c Is Found Native In An Impure
state as Chrome Ochre, but is always artificially prepared for artistic use. Obtained anhydrous by dry modes, this is the only chrome oxide available in enamelling, and is the one seen on superior porcelain. It is a cold, sober sage green, deep-toned,... Truth Of Hue Is A Relative Quality In All Colours Except The Extreme
primaries, in the relations of which, blue, being of nearest affinity to black or shade, has properly but one other relation, in which it inclines to red and becomes purple-blue: it is, therefore, faulty or false, when, tending to yellow, it becomes o... Turner's Yellow Montpellier Yellow Mineral Yellow Cassel
... 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.... Ultramarine Bleu De Garance Outremer De Guimet &c The
unrivalled qualities of native ultramarine prepared from the lapis lazuli rendered it most desirable to obtain an artificial compound which, while possessing similar properties, could be produced in quantity, and at a less costly rate. In demolishing ... Ultramarine New Blue Permanent Blue Gmelin's German
... Ultramarine Ultramarine Pure Ultramarine Azure Outremer
... Ultramarine With The Cyanus And Coeruleum Of The Ancients; But
their cyanus, or Armenian blue, was a kind of mineral or mountain blue, tinged with copper; and their coeruleum, although it may sometimes have been real ultramarine, was properly and in general a copper ochre. That ultramarine was known to the ancien... Under The Name Of Leitch's Blue
TTITLE INDIGO, ... Uniform Colour Thus Composed Is The Citrine Colour Of Fruit And
foliage, on inspecting which we distinctly trace the stipplings of orange and green, or of yellow, red, and green. The truth and beauty resulting from such stipplings in art may be seen in the luscious fruit-pieces of the late W. Hunt, where the bloom... Variety Of This Pigment Known As Native Prussian Blue; Which Is
really a native phosphate of iron, occurring as a blue earthy powder, or as a white powder that becomes blue by exposure. TTITLE ANTWERP BLUE, ... Vehicles And Varnishes With Which They Are Mixed Many Of These Have
been blamed, and often with justice, for their injurious effects on pigments. The reputation of the most permanent colour may be ruined, if the vehicle, &c., employed with it be untrustworthy. The presence of lead, for instance, in such materials rend... Verde Vessie Or Iris Green Is A Vegetal Pigment Prepared From The
juice of the berries of the buckthorn, the green leaves of the woad, the blue flowers of the iris, &c. It is usually preserved in bladders, and ... Verditer Brunswick Green Vienna Green Hungary Green Green
... Vermilion Extract Of Vermilion Orange Vermilion And Field's
... Vermilion Is So Called From The Italian Word Vermiglio (little Worm)
given to the kermes or "coccus ilicis," which was used as a scarlet dye before the introduction of cochineal. It is a sulphuret of mercury, which previous to levigation is called Cinnabar; and is found native in quicksilver mines, as well as produced ... Very Slight Solubility In Water Would Be A Fatal Objection; And
although they would be liable to suffer from a foul atmosphere, we are inclined to think the effects would not be so lasting as in the chromates of lead. Like lead sulphide, the sulphide of thallium ranges from brown to brownish-black, or grey-black; ... Vienna Blue Paris Blue Azure Cobalt-ultramarine &c Is The
name now exclusively confined to that preparation of cobalt which has a base of alumina. It may, therefore, be not improperly called a blue lake, the colour of which is brought up by fire, in the manner of enamel blues. The discovery of this important... Violet De Mars Purple Ochre Or Mineral Purple Is A Dark Ochre
native of the Forest of Dean in Gloucestershire. It is of a murrey or chocolate colour, and forms cool tints of a purple hue with white. It is of a darker colour than Indian red, which has also been classed among purples, but has a similar body and op... Was Known In Ancient Times: The Romans Called It Auri Pigmentum Or
gold colour, whence, by corruption, its present name is derived. It is found in the native state in China and elsewhere, the best quality being in masses, consisting of plates of a fine golden hue, intermixed with portions of a vermilion or orange-red... We Have Adopted The Term Marrone Or Maroon As It Is Sometimes Called
for our second and middle semi-neutral, as applicable to a class of impure colours composed of black and red, black and purple, or black and russet, or of black and any other denomination in which red predominates. It is a mean between the warm, broke... Well To All Of These Must Be Superadded Durability When Used A
quality to which the health and vitality of a picture belong, and one so essential that all other properties put together without it are of no esteem with the artist who merits reputation. We have, therefore, given it a previous distinct consideration... Whatever The Practice Adopted Permanent Original Pigments Should Be
used as often as the case will admit; it being borne in mind, that a pigment may be compound, although its colour may be primary. As a rule, the less colours are mixed, the purer, brighter, and more lasting they will be found. ... When Inclining To Red Purple Takes The Name Of Crimson &c; And When
... While We Avoid The Compounding Of Contrasting Colours That Is The
colours must be kept distinct in the act of blending them, or otherwise they will run into dusky neutrality and defile each other. This is the case in blending and gradating from green to red, or from hue to hue--from blue to orange, or to and from co... White And Pure Black; The Grays Known To The Palette As Mineral Grey
and Payne's Grey having been incorrectly named. Practically, the nearest approach to a normal grey is furnished by Black Lead, which forms grey tints of greater permanence and purity than the blacks in general use, and is now employed for this purpose... White It Is Brought From Paris In The Form Of Drops Is Exquisitely
white, but of less body than flake white, and has all the properties of the best white leads. Being subject to the same changes, it is unfit for general use as a water-colour, though good in oil or varnish. TTITLE CREMNITZ WHITE, ... White Venetian White Hamburgh White Kremser White Sulphate
... Whiteness Even Contrast Has Its Contrast For Gradations Or
... With Cobalt Blue The Name Azure Has Sometimes Been Given To It
Varying exceedingly in quality and colour, the rougher kinds have been employed by the laundress, and in the making of porcelain, pottery, stained glass, encaustic tiles, &c.; as well as to cover the yellow tinge of paper. For this last purpose, howev... With Green It Forms The Tertiary Citrine And With Purple The Tertiary
... With It May Be Coupled Cadmium Orange A Colour Equally Brilliant And
stable, and equally without rankness or harshness, but of a true orange hue, admirably adapted for sunsets and the like. Last of all the fresh ... With Its Co-secondary Colour Green Purple Forms The Tertiary Olive;
and, when compounded with the remaining secondary, orange, it ... With Regard To Colour Then White In A Perfect State Should Be
neutral in hue, and absolutely opaque; that white being the best which reflects light most brilliantly. This property in white is called ... With Regard To Colours Individually It Is A General Law Of Their
relations, confirmed by nature and the impressions of sense, that those colours which lie nearest in nature to light have their greatest beauty in their lightest tints: and that those which tend similarly towards shade are most beautiful in their grea... With Regard To The Perspective Of Colours Or The Manner In Which They
affect the eye, according to position and distance, it is a branch of aerial perspective or the perspective of light and shade. This is distinguished from linear perspective, or the perspective of drawing, as drawing is from colouring; and they have p... With The Exception Of Madder Those Colours Mostly Affected By Light
... Without Change In This State It Was Called Giallolino Di Fornace And
was introduced as a pigment for artists, under the erroneous conception that vitrification gives permanence to colours, when in truth it only increases the difficulty of levigation, and injures their texture for working. We have spoken of Naples yello... Working Well Is A Quality Which Depends Principally Upon Fineness Of
... Yellow &c Is A Mixture Of Chloride And Oxide Of Lead Obtainable
either as a pale or a deep yellow. It is a hard, ponderous, sparkling substance, of a crystalline texture and bright colour; hardly inferior, when ground, to chrome yellow. Of an excellent body, and working well in oil and water, but soon injured both... Yellow Is A Chief Constituent: Hence Brown Is In Some Measure To Shade
what yellow is to light. Hence, also, proper quantities of either the three primaries, the three secondaries, or the three tertiaries, produce variously a brown mixture. Browns contribute to coolness and clearness by contrast when opposed to pure colo... Yellow When Orange Inclines To Red It Takes The Names Of Scarlet
... Yellow-green
Red breaks and diffuses with white with peculiar loveliness. It is discordant when standing with orange only, requiring to be joined or accompanied by their proper contrast, to resolve or harmonize the dissonance. In landscapes, &c., abounding with ...