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.
Poppy Oil is much celebrated in some old books under the appellations of oil of pinks and oil of carnations, as erroneously translated from the French ceillet, or olivet, a local name for the poppy in districts where its oil is employed as a substitute for that of the olive. It is, however, inferior in strength, tenacity, and drying, to linseed oil, although next to it in these respects; and, though it is of a paler colour, and slower in changing, it becomes ultimately not so yellow, but nearly as brown and dusky as linseed oil, and, therefore, is not to be preferred to it.
Oglio Cotto, or the baked oil of the Italians, is said to be poppy oil digested upon litharge, as abovo. directed in the preparing of pale drying oil, till it has imbibed as much of the litharge as it will retain, and has become of a thick consistence. Diluted with varnish, it will become gelatinous and keep its place in painting.