Field's Chromatography Part 19

By heating chromate of stannic oxide to bright redness, a dark violet ma.s.s is obtained, which is better adapted to enamel painting than to the palette. It communicates in glazings a variety of tints, from rose-red to violet.

So scant is the number of good purples in common use, that there are but two which can be cla.s.sed as durable, namely, purple madder and the true Mars violet.

Foremost in the second group stands burnt carmine. As there are different degrees both of permanence and fugacity, so are there different degrees of semi-stability. Burnt carmine, burnt lake, Indian purple, and violet carmine, all belong to this division; but the first certainly is more permanent than the rest.

Rich and beautiful as it is, purple madder cannot be called brilliant; while Mars violet is, of course, ochrous. Unlike green and orange, therefore, purple can point to no original pigment at once vivid and durable: as regards purple, brilliancy implies a semi-stability that borders more or less closely on fugacity. Until the advent of a perfect palette, however, brilliancy and semi-stability will doubtless hold their own. Their present popularity may be seen by a glance at the lists of artist-colours--lists compiled, be it remembered, in obedience to the law of demand and supply. If art were really so much honoured as some of its disciples pretend, none but durable colours would be employed. In our opinion, if a picture be worth painting at all, it is worth painting with permanent pigments; but many evidently think otherwise. Deploring an error neither flattering to the craft they practise nor to themselves, we would urge such to bear in mind this axiom, semi-stable pigments become fugitive when used in thin washes.

Even in body they do not preserve their primitive hue, but in glazing and the like, their colour altogether flies or is wholly destroyed.

It is this semi-stability, recommended to the thoughtless and indifferent by the beauty which generally accompanies it, that is the bane of modern art. Even our greatest painters have yielded to its fascination. Who has not gazed upon one of Turner's fading pictures with still more of sadness than enjoyment, that anything so grand, so beautiful, so true, should slowly but surely be pa.s.sing away? A feeling akin to pity is conjured up at the sight of the helpless wreck, abandoned amid the treacherous materials employed, and sinking deeper and deeper. Mournful, indeed, is that mighty ruin of mind amid matter; mournful the thought that in years to come, the monument sought for will not be found.

FOOTNOTES:

[A] A talent of money, _i.e._, a talent's weight of silver, was equal to nearly 244.

CHAPTER XIV.

ON THE TERTIARY, CITRINE.

Citrine, or the colour of the citron, is the first of the tertiary cla.s.s of colours, or ultimate compounds of the primary triad, yellow, red, and blue; in which yellow is the archeus or predominating colour, and blue the extreme subordinate. For citrine being an immediate compound of the secondaries, _orange_ and _green_, of both which yellow is a const.i.tuent, the latter colour is of double occurrence therein, while the other two primaries enter singly into its composition. The mean or middle hue comprehends eight blue, five red, and six yellow, of equal intensities.

Hence citrine, according to its name, which is that of a cla.s.s of colours and used commonly for a dark yellow, partakes in a subdued degree of all the powers of its archeus yellow. In estimating, therefore, its properties and effects in painting, it is to be regarded as partic.i.p.ating of all the relations of yellow. By some this colour is improperly called brown, as almost all broken colours are. The harmonizing contrast of citrine is a _deep purple_, which may be seen beautifully opposed to it in nature, when the green of summer declines.

As autumn advances, citrine tends towards its orange hues, including the colours termed aurora, chamoise, and others before enumerated under the head of yellow. It is the most advancing of the tertiary colours, or nearest in relation to light; and is variously of a tender, modest, cheering character.

To understand and relish the harmonious relations and expressive powers of the tertiary colours, require a cultivation of perception and a refinement of taste for which study and practice are needed. To a great extent the colourist, like the poet, is born not made; but although he must have an innate sense of the beautiful and the true, hard work alone, with his head, his eyes, and his hands, will enable him to learn and turn to account the complex beauties and relations of tertiary colours. They are at once less definite and less generally evident, but more delightful--more frequent in nature, though rarer in common art, than the like relations of the secondaries and primaries. There is very little pure colour in the world: now and then a gleam dazzles us, like a burst of suns.h.i.+ne through grey mists; but as a rule, nature prefers broken colours to absolute hues. Most pure in spring, most full in summer, most mellow in autumn, most sober in winter, her tints and shades of colour are always more or less interlaced, from white and the primaries to the semi-neutral and black.

Of original citrine-coloured pigments there are only a few, unless we include several imperfect yellows which might not improperly be called citrines. The following are best ent.i.tled to this appellation:--

223. BROWN PINK,

_Brown Stil de Grain_, _Citrine Lake_, or _Quercitron Lake_ is usually prepared from the berries of Avignon (ramnus infectorius), better known as French, Persian, or Turkey berries; but a more durable and quicker drying species is obtained from the quercitron bark. If produced from the former, it must be branded as fugitive, but if from the latter, it may be termed semi-stable. In either case it is a lake, precipitated from the alkaline decoction by means of alum, in such proportions that the alkali shall not be more than half saturated. The excess of soda or potash employed imparts a brown hue; but the lake being in general an orange broken by green, falls into the cla.s.s of citrine colours, sometimes inclining to greenness, and sometimes towards the warmth of orange. It works well both in water and oil, in the latter of which it is of great depth and transparency, but its tints with white lead are very fugitive, and in thin glazing it does not stand: the berry variety dries badly. A fine rich colour, more beautiful than eligible, it is popular in landscape for foliage in foregrounds. Modified by admixture with burnt Sienna or gamboge, it yields a compound which, with the addition of a small quant.i.ty of indigo, gives a warm though not very durable green. In many of the Flemish pictures the foliage has become blue from the yellowish lake, with which the ultramarine was mixed, having faded.

It has been remarked that the alteration made by time in semi-stable pigments is not so observable when they are employed in full body. Their use generally has been deprecated, but in shadows such vegetable colours as brown pink are sometimes of advantage, as they are transparent, lose part of their richness by the action of the air, and do not become black. Moreover, if mixed with pigments which have a tendency to darken, they mitigate it very much. This last, indeed, is the most legitimate purpose to which semi-stable pigments whose colour fades on exposure can be put.

224. MARS BROWN,

or _Brun de Mars_, is either a natural or artificial ochre containing iron, or iron and manganese. Of much richness and strict permanence, it resembles raw umber in being a brown with a citrine cast, but is generally marked by a flush of orange which is not so observable in the latter pigment.

225. MIXED CITRINE.

What has been before remarked of the mixed secondary colours is more particularly applicable to the tertiary, it being more difficult to select three h.o.m.ogeneous substances of equal powers as pigments than two, that shall unite and work together cordially. Hence the mixed tertiaries are still less perfect and pure than the secondaries; and as their hues are of extensive use in painting, original pigments of these colours are proportionably estimable to the artist. Nevertheless there are two evident principles of combination, of which he may avail himself in producing these colours in the various ways of working; the one being that of combining two original secondaries; and the other, of uniting the three primaries in such a manner that the archeus shall predominate.

Thus in the case of citrine, either orange and green may be directly compounded; or yellow, red, and blue be so mixed that the yellow shall be in excess.

These colours are, however, obtained in many instances with best and most permanent effect, not by the intimate combination of pigments upon the palette, but by intermingling them, in the manner of nature, on the canvas, so as to produce the appearance at a proper distance of a 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 on the plum, the down of the peach, &c., are given with wondrous fidelity to nature. In the _russet_ hues of autumn foliage, where purple and orange have broken or superseded the summer green, this interlacing of colour appears; and also in the _olive_ foliage of the rose-tree, formed in the individual leaf by the ramification of purple in green. Besides the durable yellows, reds, and blues, the following orange and green pigments are eligible for mixed citrines. They may likewise, however, be safely and simply compounded by slight additions, to an original brown, of that primary or secondary tone which is requisite to give it the required hue.

PERMANENT ORANGE. | PERMANENT GREEN.

| Burnt Roman Ochre. | Oxide of Chromium, opaque.

Burnt Sienna. | Oxide of Chromium, transparent.

Cadmium Orange. | Veronese Green.

Mars Orange. | Viridian.

Neutral Orange. | Emerald Green.

| Scheele's Green.

| Terre Verte.

226. RAW UMBER,

or Umber, is a natural ochre, chiefly composed of oxide of manganese, oxide of iron, silica, and alumina. It is said to have been first brought from ancient Ombria, now Spoleto, in Italy. Found in England, and in most parts of the world, that which comes from Cyprus, under the name of Turkish or Levant umber, is the best. Of a quiet brown-citrine colour, semi-opaque, it dries rapidly, and injures no other good pigment with which it may be mixed. By time it grows darker, a disadvantage which may be obviated by compounding it with colours which pale on exposure. For light shadow tones and delicate grays it is extremely useful, and yields with blue most serviceable neutral greens. To mud walls, tints for stone, wood, gray rocks, baskets, yellow sails, and stormy seas, this citrine is suited. Some artists have painted on grounds primed with umber, but it has penetrated through the lighter parts of the work. Merimee states that there are several of Poussin's pictures so painted; that fine series, "The Seven Sacraments," being clearly among the number.

227. _Ca.s.sia Fistula_

is a native vegetal pigment, though it is more commonly employed as a medicinal drug. It is brought from the East and West Indies in a sort of cane, in which it is naturally produced. As a pigment it is deep, transparent, of an imperfect citrine colour, inclining to dark green, and diffusible in water without grinding, like gamboge and sap green.

Once sparingly used in water as a sort of subst.i.tute for bistre, it is not now to be met with on the palette.

228. _Citrine Brown._

From boiling, hot, or cold solutions of b.i.+.c.hromate of potash and hyposulphite of soda in excess, we have obtained an agreeable citrine-brown colour, varying in hue and tint according to the mode of preparation and proportions of materials employed. It is a hydrated oxide of chromium which, when washed and carefully dried, yields a soft floury powder. Transparent, and affording clear, delicate pale washes, the oxide has not been introduced as a pigment; partly owing to certain physical objections, and partly to a tendency to greenness. This tendency is peculiar to all the brown chrome oxides of whatever hue, whether hydrated or anhydrous; and indeed distinguishes more or less nearly all the compounds of chromium. Green, in fact, is the natural colour of such compounds, the colour which they are constantly struggling to attain; and hence it is that the green oxides of chromium, being clothed in their native hue, are of such strict stability. The inclination to green which the citrine under notice possesses, may be seen by was.h.i.+ng the precipitate with boiling water. It has been supposed that hydrated brown oxide of chromium is not a distinct compound of chromium and oxygen, but a feeble union of the green oxide with chromic acid. If this be the case, the citrine cast of the brown oxide is easily explained, as well as the gradual addition to its green by the deoxidation of the chromic acid.

In mixed tints for autumn foliage and the like, the tendency to green of this citrine brown would be comparatively unimportant; but whether the oxide be adapted to the palette or not, we believe the colour might be utilized. In dyeing, for instance, the solutions of b.i.+.c.hromate of potash and hyposulphite of soda would be worth a trial, the liquids of course being kept separate, and the brown washed with cold water. Various patterns could be printed with the b.i.+.c.hromate on a ground previously treated with hyposulphite.

Several other browns, and ochrous earths, partake of a citrine hue, such as Ca.s.sel Earth, Bistre, &c. But in the confusion of names, infinity of tones and tints, and variations of individual pigments, it is impossible to arrive at an unexceptionable or universally satisfactory arrangement.

We have therefore followed a middle and general course in distributing pigments under their proper heads.

Of the three citrines in common use, Mars brown and raw umber are strictly stable; while brown pink, the purest original citrine the palette possesses, is either semi-stable or fugitive, according to the colouring substance used in its preparation.

CHAPTER XV.

ON THE TERTIARY, RUSSET.

Russet, the second or middle tertiary colour, is, like citrine, const.i.tuted ultimately of the three primaries, red, yellow, and blue; but with this difference--instead of yellow as in citrine, the archeus or predominating colour in russet is red, to which yellow and blue are subordinates. For _orange_ and _purple_ being the immediate const.i.tuents of russet, and red being a component part of each of those colours, it follows that red enters doubly into russet, while yellow and blue appear but once therein. The proportions of its middle hue are eight blue, ten red, and three yellow, of equal intensities. Thus composed, russet takes the relations and powers of a subdued red; and many pigments and dyes of the latter denomination are strictly of the cla.s.s of russet colours. In fact, nominal distinction of colours is only relative; the gradation from hue to hue, as from tint to tint, and shade to shade, being of such unlimited extent, that it is impossible to p.r.o.nounce absolutely where one hue, tint, or shade ends, and another begins.

The harmonizing, neutralizing, or contrasting colour of russet, is a _deep green_; or when the russet inclines to orange, a _gray_ or _subdued blue_. These are often beautifully opposed in nature, being medial accordances or in equal relation to light, shade and other colours, and among the most agreeable to sense.

Russet, as we have said, partakes of the relations of red, but it is a hue moderated in every respect, and qualified for greater breadth of display in the colouring of nature and art; less so, perhaps, than its fellow-tertiaries in proportion as it is individually more beautiful.

The powers of beauty are ever most effective when least obtrusive; and its presence in colour should be chiefly evident to the eye that seeks it--not so much courting as being courted.

Of the tertiary colours, russet is the most important to the artist; and there are many pigments cla.s.sed as red, purple, &c., which are of russet hues. But there are few true russets, and only one original pigment of that colour is now known on the palette, to wit--