Chromatography

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Composition Chemical Analysis Has Shown Several Of The Blues To Be Chapter 1
The Reds Seem For The Most Part To Be Composed Of Oxide Of Iron Mixed Chapter 2
Native Cinnabar Or Vermilion The Yellows Are Said To Have Been In Chapter 3
Their Chief Source The Greens Consist Of Yellow Mixed With Copper Chapter 4
Is Merely A Faded Blue The Blacks Are Both Of Vegetable And Mineral Chapter 5
Egypt The Greeks Obtained The Knowledge Of Their Ars Chromatica Chapter 6
Gross And Material Which Is Content With Mere Nature And To Which Chapter 7
Belong The Dutch And Flemish Schools; The Sensible Which Aims At Chapter 8
Intellectual Which Aspires To The Ideal In Beauty Grandeur And Chapter 9
Schools Modern Art As Founded Upon The Intellectual School Of The Chapter 10
Sensible Perfection It Attained Harmony Of Colouring And Effect In Chapter 11
Sensuality While Perfecting Itself Materially Among The Flemish And Chapter 12
Even Now It Is Urged By Some To The Disparagement Of The British Chapter 13
Colour Remarks Ruskin Is Wholly Relative; Each Hue Throughout A Work Chapter 14
Contrast Of Hues Upon Which Depend The Brilliancy Force And Harmony Chapter 15
Of Shades To This Belong All The Powers Of Chiaroscuro By Which Term Chapter 16
Is That Of Warmth And Coolness Upon Which Depend The Toning And Chapter 17
General Effect Of A Picture Fourthly There Is The Contrast Of Colour Chapter 18
And Neutrality The Chromatic And Achromatic Or Hue And Shade By The Chapter 19
This Principle Of Contrast Applies Even To Individual Colours And Chapter 20
Is Important And Consists In The Blending And Gradating By Mixture Chapter 21
While We Avoid The Compounding Of Contrasting Colours That Is The Chapter 22
The Same In Light And Shade Or White And Black Which Mix With Chapter 23
Whiteness Even Contrast Has Its Contrast For Gradations Or Chapter 24
Intermedia Are Opposed To Contrasts Or Extremes; And Upon The Right Chapter 25
Colour It Has Already Been Observed Is Wholly Relative In Chapter 26
Opaque Contrary And Vice Versa: Indeed In Practice All These Must Chapter 27
Lose Sight Of That The Colour Of Shadow Is Always Transparent And Chapter 28
Only That Of Extreme Light Objects Opaque It Follows That White Is To Chapter 29
With Regard To The Perspective Of Colours Or The Manner In Which They Chapter 30
In Furnishing Or Setting The Palette Philosophically And Upon Chapter 31
As A Local Colour Which Is A Technical Term For The Natural Colour Chapter 32
By Mixing His Colours With White The Artist Obtains His Tints By Chapter 33
Mixing Colours With Colours He Produces Compound Colours Or Hues Chapter 34
And By Mixing Colours Or Tints With Black He Gets Shades It Is A Chapter 35
There Are Five Classes Of Colours Viz:--the Neutral The Primary Chapter 36
The Secondary The Tertiary And The Semi-neutral Chapter 37
Neutral Colours Are Three Only White Black And Grey According Chapter 38
Primary Colours Are Three Only Yellow Red And Blue They Are Chapter 39
Secondary Colours Are Three Only Orange Green And Purple Chapter 40
Tertiary Colours Are Three Only Citrine Russet And Olive Chapter 41
Those Which Are Positive Or Definite; And The Three Colours Of Each Chapter 42
Predominates To The Eye Constitute The Negative Or Neutral Colours Chapter 43
Of Which Black And White Have Been Stated To Be The Opposed Chapter 44
Extremes And Greys Their Intermediates Thus Black And White Are Chapter 45
Semi-neutral Colours Belong To A Class Of Which Brown Marrone Chapter 46
And Gray May Be Considered Types They Are So Called Because They Chapter 47
Colours With The Neutral Black Of The Various Combinations Of Black Chapter 48
Note Here The Difference Between Gray As Spelt With An A And Grey As Chapter 49
Spelt With An E The Two Names Being Occasionally Confounded Gray Chapter 50
Grey Is Neutral And Is Composed Of Or Can Be Resolved Into Black And Chapter 51
Of Shades Between The Extremes Of Light And Dark As Each Compound Chapter 52
Colour Also May Comprise A Similar Series Of Hues Between The Extremes Chapter 53
Thus Russet And Olive Compose Or Unite In Dark Purple; Citrine And Chapter 54
Olive In Dark Green; Russet And Citrine In Dark Orange The Chapter 55
Orange For Instance Which Is Naturally An Orange Pigment And Not Chapter 56
Whatever The Practice Adopted Permanent Original Pigments Should Be Chapter 57
To The Practice Of Producing Tints And Hues By Grinding Pigments Chapter 58
Together Instead Of Blending Them On The Palette May Be Attributed Chapter 59
Example Be In A State Which Chemists Have Termed Protoxide They Are Chapter 60
Becoming What Is Called Peroxidized May By Consequence Change Or Chapter 61
Pigments And Bases Are Subject To Deoxidation Or To A Loss Of Oxygen Chapter 62
Picture--that Picture Which May Meet With Foul Exhalations But Must Chapter 63
With The Exception Of Madder Those Colours Mostly Affected By Light Chapter 64
And Air Are Of Organic Origin Such As Gallstone Indian Yellow And Chapter 65
The Pigments Liable To Injury From Sulphuretted Hydrogen &c Are Chapter 66
Many Colours Are Apt To Change From The Action Of White Lead And Other Chapter 67
Numerous Colours Are Likewise Injured By Lime And Fire And Cannot Chapter 68
Vehicles And Varnishes With Which They Are Mixed Many Of These Have Chapter 69
Attention Notably The Permanent Transparent Yellow Called Aureolin Chapter 70
Highest Order Merits Regard Orient Yellow Distinguished For Its Chapter 71
Brilliancy And Absolute In Permanency Cadmium Red Next Attracts Chapter 72
With It May Be Coupled Cadmium Orange A Colour Equally Brilliant And Chapter 73
Pigments Of Whose Thorough Durability There Is No Doubt Comes The Chapter 74
Splendid Viridian A Green Nothing But Fire Will Change And No Chapter 75
Have To Be Learnt For Each Pigment Has Its Own Peculiar Habitudes Chapter 76
Well To All Of These Must Be Superadded Durability When Used A Chapter 77
Beauty Commonly Comprises In The Same Pigment Delicacy Purity And Chapter 78
Truth Of Hue Is A Relative Quality In All Colours Except The Extreme Chapter 79
Blue Is Furnished By Aureolin Alluded To In The Last Chapter The Chapter 80
Transparency Is An Essential Property Of All Glazing Pigments And Chapter 81
Light Does Upon Opacity Or Reflecting Power Opacity Is Therefore Chapter 82
Working Well Is A Quality Which Depends Principally Upon Fineness Of Chapter 83
Texture And What Is Called Body In Colours; Yet Every Pigment Has Its Chapter 84
Fineness Of Texture Is Produced By Extreme Grinding And Levigation Chapter 85
Desiccation Or Drying The Well-known Additions Of The Acetate Or Chapter 86
All Cases Add The Property Of Being Innoxious As This However Chapter 87
With Regard To Colours Individually It Is A General Law Of Their Chapter 88
In Respect To Pigments Individually It May Be Observed That--other Chapter 89
Latent Colour Not Immediately Apparent Apart From The Beauty Which A Chapter 90
With Regard To Colour Then White In A Perfect State Should Be Chapter 91
Body; By Which In Other Pigments Especially Those That Are Chapter 92
Transparent Is Meant Tingeing Power White Besides Its Uses As A Chapter 93
Also Called Permanent White And Barytic White Is When Well Chapter 94
The Grinding Sufficient Only Of Clear Cold Jelly Of Gum Tragacanth As Chapter 95
Comprise And Are Known Under The Names Of:--white Lead Flake White Chapter 96
And Body-white Cremnitz Or Kremnitz Crems Or Krems White Chapter 97
London And Nottingham White Flemish White Pattison's White Chapter 98
Blanc D'argent Or Silver White Ceruse Dutch White French Chapter 99
White Venetian White Hamburgh White Kremser White Sulphate Chapter 100
Of Lead &c Chapter 101
These Are False Appellations Of A White Lead Called Also French Chapter 102
White It Is Brought From Paris In The Form Of Drops Is Exquisitely Chapter 103
Known Likewise As Kremnitz Crems Or Krems White Is A Carbonate Chapter 104
Krems In Austria It Is Also Called Vienna White Being Brought From Chapter 105
Called When Levigated Body White Is An English White Lead In The Chapter 106
Cadmium White Chapter 107
17 Pearl White Chapter 108
Tin White Chapter 109
White Chalk Chapter 110
Light Compounded With The Primary Red It Constitutes The Secondary Chapter 111
Orange As Well As Its Relatives Scarlet And Other Warm Colours Chapter 112
It Is The Archeus Or Prime Colour Of The Tertiary Citrine; Chapter 113
Called Brown And Enters Largely Into The Complex Hues Termed Buff Chapter 114
Primary Blue Yellow Furnishes All The Variety Of The Secondary Chapter 115
Green As Well As Subordinately The Tertiaries Russet And Olive Chapter 116
Composition Of Black Chapter 117
Proportions Of Thirteen Purple To Three Yellow Measured In Surface Chapter 118
Pigment Says The Chemical News Supplies A Desideratum Hitherto In Chapter 119
Extract From Mr Aaron Penley's English School Of Painting In Water Chapter 120
Colours:-- Chapter 121
I Have Fully Tested The Qualifications Of Aureolin For The Chapter 122
Will Not Only Be Regarded By The Artist As A Great Boon In The Chapter 123
Real And Lasting Benefit To Pictorial Art In General The Chapter 124
Of These There Are Three Tints Deep A So-called Pale And Lemon Chapter 125
Cadmium Yellow {cadmium Carbonate Of Cadmium (white) Chapter 126
/\ Chapter 127
Sufficient To Make The Sulphur Bite Into The Base This Opinion Chapter 128
Also Called Jaune Minerale Jaune De Cologne Or Cologne Yellow Chapter 129
Pale Chrome And Deep Chrome Are Chromates Of Lead In Which The Chapter 130
Sometimes Designated Drop Gum And Variously Written Gamboge Chapter 131
Camboge Gamboage Cambogia Cambadium Cambogium Chapter 132
Gambodium Gambogium &c Is The Produce Of Several Kinds Of Trees Chapter 133
Is A Pigment Long Employed In India Under The Name Purree But Has Not Chapter 134
Also Called English And Dutch Pink Is An Absurd Name For A Stronger Chapter 135
Or Quercitron Yellow Is What Its Name Implies It Is Dark In Chapter 136
Jaune De Mars Jaune De Fer Iron Yellow &c Is An Artificially Chapter 137
The Name Of Giallolino And Was Variously Of A Pleasing Light Warm Chapter 138
Without Change In This State It Was Called Giallolino Di Fornace And Chapter 139
Known As Yellow Ochre Brown Ochre Roman Ochre Transparent Gold Chapter 140
Ochre Oxford Ochre Stone Ochre Di Palito &c Are Native Chapter 141
Called Also Mineral Yellow Is Found In Most Countries And Abundantly Chapter 142
Likewise Known As Spruce Ochre And Ocre De Rue Or More Correctly Chapter 143
Ru Is A Dense Deep-toned Brownish Yellow Fine In Sandy Foregrounds Chapter 144
Also Called King's Yellow Chinese Yellow Yellow Orpiment &c Chapter 145
Was Known In Ancient Times: The Romans Called It Auri Pigmentum Or Chapter 146
Known Likewise As Raw Sienna Earth Terra Di Sienna &c Is A Chapter 147
Arsenic Yellow Chapter 148
Called Also Mineral Yellow Has Improperly Been Classed As An Chapter 149
Bismuth Yellow Chapter 150
Copper Yellow Chapter 151
Gelbin's Yellow Chapter 152
Indium Yellow Chapter 153
Iodine Yellow Chapter 154
Iron Yellow Chapter 155
Madder Yellow Chapter 156
Described As Cory's Brown Madder Chapter 157
Massicot Chapter 158
Or Masticot Is A Protoxide Of Lead Varying From The Purest And Most Chapter 159
Litharge Is Merely Fused Massicot Old Writers Speak Of Litharge Of Chapter 160
Patent Yellow Chapter 161
Turner's Yellow Montpellier Yellow Mineral Yellow Cassel Chapter 162
Yellow &c Is A Mixture Of Chloride And Oxide Of Lead Obtainable Chapter 163
Platinum Yellow Chapter 164
Thallium Yellow Chapter 165
Thwaites' Yellow Chapter 166
Turbith Mineral Chapter 167
Or Queen's Yellow Is A Subsulphate Of Mercury Of A Beautiful Lemon Chapter 168
Uranium Yellow Chapter 169
Yellow Carmine Chapter 170
Of Those Pigments Would Do The Rich Yellowness Entirely Disappearing Chapter 171
Between Yellow And Blue; And Is Also In Like Intermediate Relation Chapter 172
To White And Black Or Light And Shade Hence Red Is Pre-eminent Chapter 173
The Secondary Orange And Its Near Relatives Scarlet &c; And With Chapter 174
Blue The Secondary Purple And Its Allies Crimson &c It Gives Some Chapter 175
Red Is The Archeus Or Principal Colour In The Tertiary Russet; Enters Chapter 176
Subordinately Into The Two Other Tertiaries Citrine And Olive; Goes Chapter 177
Semi-neutral Marrone Or Chocolate And Its Relations Puce Murrey Chapter 178
Browns Grays And All Broken Colours It Is Likewise The Second Chapter 179
Compounding Black And All Other Neutrals Into Which It Enters In The Chapter 180
Connexion With Yellow It Becomes Hot And Advancing; But Mixed Or Chapter 181
Combined With Blue Cool And Retiring It Is However More Congenial Chapter 182
A Blue-green; And When It Tends To Crimson Or Purple A Chapter 183
Yellow-green Chapter 184
Being The Most Positive Of Colours And Holding The Middle Station Of Chapter 185
Are The Negative Powers Or Neutrals Of Colours And The Extremes Of Chapter 186
Lake A Term Derived From The Lac Or Lacca Of India Is The Name Of Chapter 187
Carmine Crimson Lake Scarlet Lake Purple Lake Chinese Chapter 188
Lake Florentine Lake Hamburgh Lake Roman Lake Venetian Chapter 189
Lake &c And Are Obtained From The Coccus Cacti An Insect Found On Chapter 190
May Be Said Of Chinese Lake Chapter 191
Applies To Roman Lake Venetian Lake And Many Others; None Of Chapter 192
Likewise Called Lac Lake This Is Obtained From The Lac Or Lacca Of Chapter 193
Small Insect--coccus Ficus--made For The Sake Of Depositing Its Ova On Chapter 194
Rubric Lakes Or Field's Lakes Are Derived From The Root Of Rubia Chapter 195
Crimson To A Delicate Rose And Are Known As Madder Carmine Field's Chapter 196
Carmine Pink Madder Rose Madder Madder Lake And Liquid Chapter 197
Rubiate Or Liquid Madder Lake Chapter 198
Or Field's Carmine Like That Of Cochineal Is The Richest And Deepest Chapter 199
The Laque De Garance Which Was Tinged With The Rouge Of Carthamus Chapter 200
Rose Madder Which Is Indeed Indifferently Called Rose Madder Pink Chapter 201
Madder Or Madder Lake Speaking Of Pink Roses Mrs Duffield Remarks Chapter 202
Rose Rubiate Or Liquid Madder Lake Is A Concentrated Tincture Of Chapter 203
Or Rouge De Mars Is An Artificial Iron Ochre Similar In Subdued Tint Chapter 204
Comprise Red Ochre Indian Red Light Red Venetian Red Chapter 205
English Red Persian Red Prussian Red Spanish Red Brown Chapter 206
Red Indian Ochre Scarlet Ochre Carnagione Terra Puzzoli Chapter 207
English Vermilion Spanish Brown Majolica Redding Ruddle Chapter 208
Bole Almagra Sil Atticum Terra Sinopica &c They Are Rather Chapter 209
Is A Native Earth; Sometimes Brown Ochre Burnt And Called Brown Red Chapter 210
Once Known As Persian Red Is Brought From Bengal It Is A Natural Chapter 211
Less Known As English Red Prussian Red And Scarlet Ochre True Chapter 212
Spanish Red Is An Ochre Differing Little From The Above Chapter 213
Or Iodine Scarlet Is An Iodide Of Mercury Having The Body And Chapter 214
Also Called Scarlet Chrome Is A Bright Chromate Of Lead Of An Chapter 215
Minium Or Saturnine Red Is An Ancient Pigment By Some Old Writers Chapter 216
Vermilion Is So Called From The Italian Word Vermiglio (little Worm) Chapter 217
Pigment The [greek: Kinnabari] Of The Greeks And The Minium--a Term Chapter 218
Include The Several Varieties Known As--vermilion Deep Vermilion Chapter 219
Pale Vermilion Scarlet Vermilion Chinese Vermilion Carmine Chapter 220
Vermilion Extract Of Vermilion Orange Vermilion And Field's Chapter 221
Orange Vermilion Chapter 222
Or Carmine Vermilion Partakes Of A Crimson Hue And Is Adapted Chapter 223
Opacity Is A Fine Tone; But It Must Be Remembered That Transparency Chapter 224
Antimony Red Chapter 225
Chica Red Chapter 226
Coal-tar Colours Chapter 227
Body Was Formerly Prepared From Indigo--in Spanish Anil Whence The Chapter 228
Cobalt Reds Chapter 229
Copper Reds Chapter 230
Of The Gold Coast The Cape And Natal Turacine The Name Proposed Chapter 231
Ferrate Of Baryta Chapter 232
Gold Reds Chapter 233
Iodine Pink Chapter 234
Kermes Lake Chapter 235
So Called From The Arabic Alkermes It Is Sometimes Spelt Cermes Chapter 236
Books It Is Named Vermilion In Allusion To The Insect Or Vermes Chapter 237
Lawson's Red Chapter 238
Time On A Tree Of The Common Black Spruce (abies Nigra) In The Chapter 239
Manganese Red Chapter 240
Murexide Chapter 241
Compounds Termed Purpurates Among Them May Be Mentioned A Red Chapter 242
Paille De Mil Chapter 243
Peganum Harmala Chapter 244
Persulphomolybdates Chapter 245
Red Chalk Chapter 246
Red Precipitate Chapter 247
Rose Pink Chapter 248
Rouge Chapter 249
Chinese Rouge And Pink Saucers Have Much Of The Qualities Of And Chapter 250
Rufigallic Red Chapter 251
Sandal Red Chapter 252
Silver Red Chapter 253
Sorgho Red Chapter 254
Thallium Red Chapter 255
Tin Pink Chapter 256
Ultramarine Red? Chapter 257
Uranium Red Chapter 258
Wongshy Red Chapter 259
Principle Under The Name Of Wongshy And Consisting Of The Chapter 260
Than Themselves; And Into Painters Whose Motto Is Vita Brevis Est Ars Chapter 261
Quoque Chapter 262
The Third And Last Of The Primary Or Simple Colours Is Blue Which Chapter 263
Greens And With Red In All Purples Blue Characterizes The Tertiary Chapter 264
Olive And Is Also The Prime Colour Or Archeus Of The Neutral Black Chapter 265
&c As Well As Of The Semi-neutral Gray &c: It Therefore Is Changed Chapter 266
But A Mixture Of Black And White; But Pure Or Neutral Black And White Chapter 267
Compound In Infinite Shades All Of Which Are Neutral Also Or Grey Chapter 268
It Is True That A Mixture Of Black And White Is Of A Cool Hue Because Chapter 269
Requires Its Contrast Orange In Equal Proportion Whether Of Surface Chapter 270
So On The Palette Of Nature Each Colour Is An Example Of Colouring: Chapter 271
Colours Are Advancing Or Retiring In Their Quality--as Depth Chapter 272
Is In Reality We Grant That In Certain Objects Blue Is A Sign Of Chapter 273
Of Late Years In The German Coelin Known Here As Cerulian Blue And Chapter 274
Comprise Cerulian Blue Or Coeruleum Cobalt Blue Smalt Chapter 275
Royal Blue Dumont's Blue Saxon Blue Thenard's Blue Chapter 276
Leithner's Blue Hungary Blue Dutch Ultramarine Zaffre Or Chapter 277
Enamel Blue Vienna Blue Paris Blue Azure &c And Are Chapter 278
Or Coeruleum Under The Name Coelin There Has Of Late Years Been Chapter 279
To Which The Various Appellations Have Been Given Of Thenard's Blue Chapter 280
Vienna Blue Paris Blue Azure Cobalt-ultramarine &c Is The Chapter 281
With Cobalt Blue The Name Azure Has Sometimes Been Given To It Chapter 282
A Coarse Gritty Texture Is Peculiar To Smalt Whether It Be The Powder Chapter 283
Blue Of The Washtub And Blue Sand Of The Pottery Or The Dumont's Chapter 284
And Royal Blue Of The Artist And High-class Manufacturer But The Chapter 285
Fugitive But We May Briefly Explain It By Saying When Vitreous Chapter 286
State The Best Smalt In Lumps Appears Black Yields A Blue Powder On Chapter 287
Artists' Colours Therefore Vitrification Does Not Impart Chapter 288
Beckmann Is Fully Convinced That The Cyanus Of Theophrastus And The Chapter 289
Coeruleum Of Pliny Were A Blue Copper Earth However That May Be In Chapter 290
Under The Name Of Leitch's Blue Chapter 291
Or Indian Blue Was Known To The Ancients Under The Name Of Indicum Chapter 292
Chiefly Derived From A Genus Of Leguminous Plants Called Indigofera Chapter 293
Otherwise Called Berlin Blue Paris Blue Prussiate Of Iron Chapter 294
Ferrocyanide Of Iron &c Was Accidentally Discovered In 1710 By Chapter 295
A Sample Which Parts With Its Prussiate To Cold Water Is Quite Chapter 296
Besides The Preceding There Is A Basic Prussian Blue Formed By Chapter 297
Variety Of This Pigment Known As Native Prussian Blue; Which Is Chapter 298
Haerlem Blue Berlin Blue Mineral Blue Is A Lighter And Chapter 299
Or Ferricyanide Of Iron Is Formed By Adding The Red Prussiate Of Chapter 300