This section is from the book "Chromatography; Or, A Treatise On Colours And Pigments, And Of Their Powers In Painting", by George Field. Also available from Amazon: Chromatography, or A Treatise on Colours and Pigments, and of Their Powers in Painting.
Green being a compound of blue and yellow, pigments of these colours may be used to supply the place of green pigments, by compounding them in the several ways of working - by mixing, glazing, hatching, or otherwise blending them in the proportions of the various hues required. The fine nature-like greens, which have lasted so well in some of the pictures of the Italian schools, appear to have been compounded of ultramarine, or ultramarine ashes and yellow. Whatever pigments are employed on a picture in the warm yellow hues of the foreground, and blue colouring of the distance and sky, are advantageous for forming the greens in landscape, etc, because they harmonize better both in colouring and chemically, and impart homogeneity to the whole, - which is a principle conducive to a fine tone and durability of effect; and this is a principle which applies to all mixed colours. In compounding colours, it is desirable not only that they should agree chemically, but that they should also have, as much as may be, the same degree of durability; and in these respects Prussian or Antwerp blue and gamboge form a judicious, though not extremely durable, compound, similar to Varley's green, Hooka's green, etc.
There is a green pigment of this kind prepared in Rome, of which the late President of the Royal Academy brought home a quantity, the modern substitute probably of the Italian green above mentioned, but wanting its durability, as it becomes blue in fading, and appears to be a mixture of Prussian blue and Dutch or Italian pink. See Cobalt Greens, Chrome Greens, and Prussian Green.