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By George Field

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Extra resources for A grammar of colouring applied to decorative painting and the arts

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28 colour, they should be gradually passed to its opposite colour, and refreshed in the clear light of day. upon a In a warm less distance. The becomes totally but is other colours, except white, stronger tones of any colour subdue by light, yellow diminished than fainter hues in the lost, all its same proportion as opposite colours The contrasting colours of a are yellow purple inclining to blue when the yellow inclines to orange, and a purple inclining to red when the yellow inclines to green, in the mean proportions and contrasts exalt them.

Of yellow pigments, that they much resemble whites in and that yellow, a a simple colour, canbeing primary and, therefore, not be composed by any mixture of other colours. their chemical relations in general, CHBOME YELLOW pigment of modern introduction into general use, and of which there are several varieties, mostly chromates Is a of lead, in which the latter metal more or less abounds. They are distinguished by the pureness, beauty, and brilliancy of their colours, which qualities are great temptations to their use in the 'hands of the painter ; they are notwithstanding far from unexceptionable pigments ; yet they have a good body, and go cordially into tint with white, both in water and oil ; but used alone, or in tint, they after some time lose their pure colour, and may even become black in impure air they nevertheless resist the sun's rays during a long time.

Hence it is pre-eminent among colours, as well as the most positive of all, forming with yellow the secondary orange and its near relatives, scarlet, &c. ; and with blue, the secondary purple and its allies, It gives some degree of warmth to all colours, but most to those which partake of yellow. crimson, &c. It is the archeus, or principal colour, in the tertiary THE GRAMMAR OF COLOURING. 40 russet; enters subordinately into the and two other tertiaries, ; goes largely into the composition of the various hues and shades of the semi-neutral citrine olive marrone, or chocolate, and its relatives, puce, murrey, and more or less morello, mordore, pompadour, &c.

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A grammar of colouring applied to decorative painting and the arts by George Field


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