Table VII

Pigments more or less transparent, and generally fit to be employed as glazing and finishing colours, if not disqualified according to Tables I., II., and III.: -

Yellow .

Lemon Yellow.

Sienna Earth.

Gamboge.

Indian Yellow.

Gallstone.

Quercitron Lake.

Italian

Pink.

English

Dutch

Yellow Lake.

Red....

Madder Carmine.

Madder Lakes.

Lac Lake.

Carmine.

Kermes

Lakes.

Common

Florence

Scarlet

Hambro'

Dragon's Blood.

Rose Pink

Blue ...

Ultramarines.

Cobalt Blue.

Smalt

Royal Blue.

Prussian Blue.

Antwerp Blue.

Intense Blue.

Indigo.

Blue Ochre.

Orange.

Madder Orange.

Anotta.

Burnt Sienna Earth

Jaune de Mars.

Green ..

Chrome Green.

Sap Green.

Prussian Green.

Terre-Verte.

Verdigris.

Purple..

Madder Purple.

Burnt Carmine.

Purple Lake.

Lac Lake.

Citrine .

Brown Pink.

Citrine Lake.

Cassia Fistula.

Russet.

Madder Brown.

Prussiate of Copper.

Olive ..

Olive Lake.

Brown..

Vandyke Brown.

Cologne Earth.

Burnt Umbre.

Bone Brown.

Asphaltum.

Brown..

Mummy.

Brown Pink.

Antwerp Brown.

Biatre.

Sepia.

Chestnut Brown.

Prussian Brown.

Marrone

Marrone Lake.

Carucm.

Gray. ..'.

Ultramarine Ashes.

Phosphate of Iron.

Black ..

Ivory Black.

Bone Black.

Lamp Black.

Frankfort Black.

Blue Black.

Spanish Black.

Purple Black.

Remarks. - This Table comprehends most of the best water-colours; and their most powerful effects in oil-painting are attainable by employing them with resinous varnishes. Pigments not inserted in this Table may of course be considered of an opposite class, or opaque colours; with which, nevertheless, transparent effects in painting are produced by the skill of the artist in breaking and mingling without mixing them, etc.

The great importance of transparent pigments is to unite, and give tone and atmosphere generally, with beauty and life, to solid or opaque colours of their own hues; to convert primary into secondary, and secondary into tertiary colours with brilliancy; to deepen and enrich dark colours and shadows, and to give force and tone to black itself. Designs neutrally and faintly painted, being brought up to the full force of colouring by transparent pigments, have a unity, tone, and harmony that savour much of the effect of music, when they depart not from the gravity and sentiment of the design; and it is in this way that nature produces her most beautiful colouring.

Table VIII

Pigments, the colours of which are little or not at all affected by heat or fire: -

White..

Tin White.

Barytic White.

Zinc White.

The Pure Earths.

Yellow .

(Naples Yellow.

Patent Yellow.

[Antimony Yellow.

Red....

Red Ochre.

Light Red.

| Venetian Red.

Undian Red.

Blue. ..

Royal Blue.

Smalt.

Dumont's Blue, and all Cobalt Blues.

Ultramarines.

Orange.

Orange Ochre.

Jaune de Mars.

Burnt Sienna Earth.

Burnt Roman Ochre.

Damonico.

Green.

Chrome Green.

Cobalt Green.

Purple.

Gold Purple.

Purple Ochre.

Brown..

Rubens' Brown.

Burnt Umbre.

Cassel Earth.

Cologne Earth.

Antwerp Brown.

Manganese Brown.

Black ..

Graphite.

Mineral Black.

Remarks. - Many of the pigments of this Table are available in enamel painting, and most of them are durable in the other modes.

Table IX

Pigments which are little or not at all affected by lime, and in various degrees eligible for fresco, distemper, and crayon painting: -

While.

Barytic White.

Pearl White.

Gypsum, ami all Pure Earths.

Yellow .

Yellow Ochre.

Oxford Ochre.

Roman Ochre.

Sienna Earth.

Di Palito.

Stone Ochre.

Brown Ochre.

Indian Yellow.

Patent Yellow.

Naples Yellow.

Massicot.

Red....

Vermilion.

Red Lead.

Red Ochre.

Light Rid.

Venetian Red.

Indian Red.

Madder Reds.

Blue....

Ultramarine.

Small, and all Cobalt Blues.

Orange,

Orange Vermilion.

Orange Lead.

Orange Chrome.

Laque Mineral.

Orange Ochre.

Jaune de Mars.

Burnt Sienna Earth.

Danionico.

Light Red, &c:

Green

Green Verditer.

Mountain Green.

Chrome Green.

Mineral Green.

Emerald Green.

Verdigris, and other Copper Greens.

Terre-Verte.

Cobalt Green.

Purple..

Gold Purple,

Madder Purple.

Purple Ochre.

Brown and

Semi- neutral.

Bone Brown.

Vandyke Brown.

Rubens' Brown.

Bistre.

Raw Umbre.

Burnt Umbre.

Cassel Earth.

Cologne Earth.

Antwerp Brown.

Chestnut Brown.

Asphaltum.

Mummy.

Ultramarine Ashes.

Manganese Brown.

Black ..

Ivory Black.

Lamp Black.

Frankfort Black.

Mineral Black.

Black Chalk.

Indian Ink.

Graphite.

Remarks. - This Table shews the multitude of pigments from which the painters in fresco, distemper, and crayons, may select their colours; in doing which, however, it will be necessary they should consult the previous Tables respecting other qualities of pigments essential to their peculiar modes of painting; and as these modes are exciting renewed interest in the world of art, tending to their extension in practice, particularly the latter of them, we will subjoin a few remarks thereon.