By George Field
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Additional info for A grammar of colouring applied to decorative painting and the arts
52 CHAPTER XL BLUE. THE third and last of the primary or simple colours is which bears the same relation to shade that yellow does to light hence it is the most retiring and diffusive of all colours, except purple and black and all colours have the power of throwing it back in painting, in blue, ; ; greater or less degree, in proportion to the intimacy of their relations to light ; first white, then yellow, orange, red, &c. Blue alone possesses entirely the quality technically called coldness in colouring, and it communicates this property variously to all other colours with which it be compounded.
These two attributes of God, manifest in the creation of the world and the regeneration of men, OF THE PRIMARY COLOURS YELLOW. 27 it is accordingly a faint hues called Straw-colour, &c. most advancing colour, of great power in reflecting Compounded with the primary red, it constilight. , and other warm colours. ; it It is the ruling colour of the tertiary citrine ; manner the endless variety of the characterizes in like semi-neutral colours called brown, and enters largely complex colours denominated buff, bay, tawny, into the tan, dun, drab, chestnut, roan, sorrel, hazel, auburn, Yellow is naturally associated with red in transient and prismatic colours, and they comport themselves with similar affinity and Isabella, fawn, feuillemorte, &c.
TERRA DI SIENNA, OR RAW SIENNA, Is also a ferruginous* native pigment, and appears to be an iron ore, which may be considered as a crude natural yellow lake, firm in substance, of a glossy fracIt is in many respects ture, and very absorbent. of rather an impure yellow but has more colour, body and transparency than the a valuable pigment, ochres ; and being little liable to change by the action of either light, time, or impure air, it may be safely used according to its powers, either in oil or water, and modes of practice.