Compendium of Colors 1785
A Compendium of Colors, And other Materials used in the Arts of Design, in their Various Branchers, with Remarks on their Natures and Uses, including The Method of Drawing in Chalk, Crayons, &c. Of Engraving in its several Manners, And of Sculpture, &c. &c., in: The Artist’s Repository and Drawing Magazine… II, London [Charles Taylor] 1785, pp. 1–132.
THE
ARTIST’S REPOSITORY.
VOL. II.
A
COMPENDIUM
OF
COLORS,
And other Materials used in the Arts of
DESIGN,
IN THEIR
VARIOUS BRANCHES:
WITH
REMARKS ON THEIR NATURES AND USES.
INCLUDING
The Method of Drawing in CHALK, CRAYONS, &c.
Of Painting in WATER COLORS, CRAYONS, OIL, &c.
Of Engraving in its several Manner,
And of Sculpture, &c. &c.
pp. 3–6
THE utility of the following COMPENDIUM will appear very clearly to all who consider the variety of substances which compose many colors and other materials used in the Arts. It is to be regretted that some professors of extensive reputation are not more intimately acquainted with this part of the science; but, to the student, for whose service this compilation is chiefly intended, such information is evidently of great advantage.
It is universally agreed that an injudicious mixture of pigments, contrary in their natures, produces very disagreeable consequences; which indeed might naturally be expected from the various and dissimilar origin of the ingredients. Some are productions of the animal, others of the vegetable kingdom; fossils afford some, minerals others; some are useless without calcination, others will not bear the fire; some remain constant in their colors, and retain their proper hues; others, though brilliant at first, become after a while totally corrupted, and by their corruption injure or destroy their companions, which might otherwise have stood well. Certainly, therefore, to acquire a knowledge of the origin of any pigment may conduce very much to a happy association of it with others.
It is not to be doubted that many substances might be of great service, if their properties were more satisfactorily understood, or better methods of managing them were discovered; which can only be attained by frequent opportunities of experiment. Moreover, we know, that foreign countries afford a variety of materials different from our own, which are used by the artists of those countries; it would be a desirable acquisition as well to the study of natural history in general, as to the arts, if gentlemen who have opportunity would inform themselves on such subjects, of their origin, manner of treatment, and preparation for use, their natures and effects; and if they could import such samples as might permit examination by our own artists, not only those artists, but perhaps by some happy discovery, the nation, might become obliged to their laudable endeavours.
It is likewise very certain that our own kingdom and its dependencies afford a great variety of substances which we now receive from foreigners, it would be well worth while to examine our native productions in this view; not to mention the pleasure arising from the investigation of every part of the works of nature. It is submitted to gentlemen, and to artists who reside in various parts of the kingdom, that such intelligence of British productions would be very acceptable to artists in other parts of the kingdom, whose situation deprives them of such knowledge: and in particular it is submitted to Artists, that the perfection of art is only to be attained by the liberal communications of those improvements which from time to time occur to individuals; by such generous behaviour, and by such only, can the arts attain that excellence which is the earnest desire of every genuine Artist.
The editor of this work would be happy to communicate such information to the public, since thereby many expensive materials would be superseded by others equally serviceable, at much less price; the improvements on those which are now disregarded might render them objects of greater attention; and not unfrequently our manufactures, as well as the arts, might derive great benefit from such liberality. Upon this principle a few articles not in general use are admitted into this collection; for, though their own services are but small, they may afford such hints as may tend to the discovery of others more valuable: nevertheless, it has been our endeavour, to insert chiefly those articles whose utility may be depended on; for it seems injudicious to burden this part of science with numerous recipes. Notwithstanding this remark, our readers may be assured that nothing really worthy their attention is omitted.
The intent of this work is not to instruct masters, but learners; nor can much novelty be expected on the subject: (there are many original recipes); but let it come from what quarter it may, INFORMATION is equally useful and valuable to the student.
To close these remarks, it should be recollected, that some colors, &c. are not only dangerous to health, but, without due circumspection in preparation and management, are even fatal; to guard against accidents from such sources is very desirable, and is alone sufficient to prove the utility of the present work, in which somewhat of their natures and effects are explained.
pp. 7–16
INTRODUCTORY REMARKS.
BEFORE we proceed to the several colors and materials in order, it may be proper to premise a few observations, which being equally applicable to all of them, may with the utmost propriety precede them.
In general the more simply and distinctly colors are used the better; they are not only more easy to work, but brighter, and more durable. Of colors produced by composition, such as green, and purple, those tints which contain the fewest ingredients are usually to be preferred.
Some colors, very necessary in painting in oil, are entirely useless in water; others, of great service in water, agree not with oil; and some, which in appearance promise well, are found deficient in practice.
Very few colors are in their natural state fit for immediate use, but require previous preparation, according to their dispositions; of these preparations the principal are GRINDING, and WASHING, but some require CALCINATION.
The GRINDING of colors should be continued till they are capable of uniting so intimately with the vehicle they are compounded with, as to seem only a liquid of that color (which is termed bearing a body;) and those colors which permit this are always most agreeable in using; whereas some will not embody, but are apt in working to separate and disperse. This remark chiefly concerns colors intended for oil: many of the best in water are fit for use by being dissolved in gum water.
Colors are liable to injury by being ground on a stone not thoroughly cleaned from the color which preceded: many persons who are curious, grind their own (at least the finer colors) that they may depend on their purity.
Colors ground in oil can never be used but in oil. Oil colors kept too long grow fat, and become useless.
Colors united with GUMS will not readily take oil.
Colors ground in SPIRITS may be preserved after grinding, and used either in oil or water.
In grinding colors the motion should not be too swift, but gentle, lest the color by heating lose part of its lustre, especially if it be a color of no great body. In grinding white observe to cease before it becomes greasy or dirty.
The materials used in grinding are a flat marble, or other smooth and hard stone; a muller or grinding stone; and a knife; the work sometimes requires strength, and always care.
Colors are WASHED by being mixed with a proper quantity of fair water till the water is thoroughly colored; if the surface of it appear greasy, take off that scum, and pour the colored water into a clean bason, leaving the grosser sediment behind; the water thus poured, will in a little time deposit a quantity of color. This operation may be repeated till the color obtained is sufficiently pure, as appears by its fineness, and brilliancy. Mr. SANDBY is said to wash Naples yellow with milk, instead of water.
Some colors require CALCINATION to render them fit for use; some are burnt merely by putting them in the fire till thoroughly red hot; others are rather dried than burnt, being placed in an iron ladle over the fire, and kept there till the smoke ceases. Ivory is burnt between two crucibles well luted together, and covered with coals.
The colors being free from those impurities which are natural to them, to TEMPER them, take a small quantity of any color, put it into a clean shell, or cup, &c. add to it a few drops of gum water, and incorporate them by working them about the shell; let it dry; and when dry, touch it with your finger, if any color comes off, it requires a stronger gum water; if the color shines and glisters when dry, the gum water was too strong, and must be qualified by lowering it with fair water. Always let it dry before you use it, then having wetted it, take a proper quantity in your pencil, transplace it on the pallette, and mingle them as the subject requires.
But besides the colors which require the treatment above described, and which are mostly earths, there are several useful colors (extracted chiefly from vegetables) in the form of tinctures; to obtain which, the customary method is to boil the ingredients, with the addition of alum, in a quantity of water till the water has acquired a sufficient strength of color; sometimes the mixture is boiled yet stronger; and sometimes, but not often, the sediment of the mixture after boiling is of use.
Colors are ranked as follows, WHITE, YELLOW, ORANGE, RED, PURPLE, BLUE, BLACK. White, and black, are the extremes of color; yellow is the point of color next to white; then green; then blue; green is composed of a mixture of yellow and blue; orange of a mixture of yellow and red; purple of a mixture of red and blue; these compound colors admit an infinity of tints as they incline most to either of the primary colors of which they are compounded.
Some persons divide colors into dark, and light: including among the first, black, umber, bistre; among light colors, white, and those which approach it.
To prevent colors from sinking in, take roch alum two ounces, and boil it in a pint of spring water, wet the back of the paper with a spunge dipped in the water while warm. Some use starch applied at the back. A yet stronger mixture which will prevent not only paper, but sattin from sinking, is made by boiling Isinglass in water, brandy or spirit of wine till it is clammy, then after your outlines are drawn, wash them over with this solution while hot. Repeat it if wanted.
GUM-WATER is made by dissolving a quantity of gum arabic (the clearer the better) in fair water. The strength of the gum-water required, must determine the proportion of the ingredients. Take a quarter of an ounce, or, half the quantity of gum arabic, and pour boiling water on it in a tea cup; when dissolved it is fit for use. A little coloquintida added to the solution, will prevent flies from injuring the work if exposed.
The WATER with which colors are united, is of more consequence than is generally imagined, and unless limpid and pure, contributes to their fading. Flake white used with water containing particles of iron, soon becomes black, and disagreeable. To remedy this evil the curious use only distilled water, which is easily obtained from a common tea-kettle, by condensing the steam; which, if the kettle is not too full of water, may be done by binding round the spout, a cloth wetted in cold water; or by the addition of a tin spout to fit the kettle, wetting and cooling the cloth occasionally. There are mineral waters, &c. which produce very singular effects with some colors.
To chuse camel’s hair pencils, Indian ink, &c. Vide p. 54, of the first set of lectures.
To use a color in tincture (generally called A WASH-COLOR) try first, whether its strength be what your subject requires, if it is too deep, it may be lightened by the addition of fair water; if too light, it may be deepened, by setting a saucer of it to simmer over a gentle fire till it is of the strength desired. The watery part may by this mean be nearly or even totally evaporated. Red Brazil wash will take a solid form, and afterwards work up pretty enough.
BODY COLORS (as they are called, to distinguish them from washes,) may be lightened by being diluted with water, but cannot be deepened beyond the natural state of that material: to shadow it when used of its full color, recourse must be had to a darker color, of a similar species.
Care should be taken to keep the drawing, &c. flat, and free from sinkings, lest the colors, if thin, should run to those parts, and make patches of darks, &c.
If the paper will not readily take colors, a little fish or ox gall will help them.
The foregoing hints apply to water colors only; a few observations on the use of colors in OIL, shall close these remarks.
A principal advantage of oil colors is, that after they are dry they afford a constant opportunity of being retouched, or even changed either in whole or in part; thus black may be re-colored white, or brown, blue, &c. but though this is undoubtedly a great advantage, yet it is only to be used when required by necessity: for the under color if allied to the superficial, promotes as well force as harmony; and it sometimes happens, that if the under color be cold, and powerful, it tends to injure the tone of the upper.
Oil colors are not in usual practice heightened, by diluting them with oil as water colors are with water; but by mixing with one color a pigment of a lighter nature, as light red upon dark red; yellow upon light red; white upon yellow, &c. or simply white. But if a part should be heightened beyond its due force, it may be lowered by diluting some similar color with oil, and (as it is termed) GLAZING it over, till it is lowered to the tone required. Glazing is sometimes used on a more important, or at least a more extensive plan; as when great richness is wanted in some particular color, as crimson &c. after having painted and finished it, the artist glazes it over with a coat of lake. Sometimes this is repeated, and the lights retouched: and instances have been where an artist has glazed a bright white into a crimson, by means of carmine and lake, &c.
This operation is best performed with colors transparent in their nature, such as lake, &c. but after all, it is not applauded by those whose skill enables them to produce an equal effect without the practice.
Those painters who have attained nearest to a just representation of nature, have usually composed on their palettes a number of tints related to those of the subject on which they were about to employ them; and by mingling these tints, they have approached nearer to the truth than those who mingled the primary colors of the pallette in their pencils, and immediately applied them to the cloth; for by this latter manner (which yet is too common) the colors are not only less incorporated, but apt to become dull and dirty.
The smell of oil colors would not be so bad as it sometimes is, were the oil of the best quality. Vide OIL.
Colors are ranged on a pallette, beginning with white on the front, then yellow, &c. according to the darkness of the color, ending with black.
A pencil for each color is necessary, where clean tints are desired.
The usual way of painting in oil, is to lay on the colors with one pencil, and then soften them into each other, with a clean tool: this is termed scumbling, but whether scumbling is really beneficial to a picture, is much doubted: certainly where strength is desired, it may well be omitted, as also in the finishing touches.
Colors incorporated with SIZE, are useful in works where they are required to be free from glistening, that they may be seen to advantage in all situations, such as the scenes of a theatre; but are not used for pictures. Of late fashion has introduced them in apartments instead of wainscotting, &c.
They are likewise used in FRESCO-PAINTINGS in warm countries, but these are very rare in Britain.
Fresco-paintings are performed on the mortar of a wall while wet, and dry with it; which circumstance totally prohibits the use of oil.
The incorporation of colors with wax is very rarely practised, for the method of procedure, vide ENCAUSTIC.
The principles of COLORING as a branch of art, depend on character, expression, &c. and may afford a few observations hereafter.
p. 17
A
COMPENDIUM
OF
COLOURS, &C.
*** The prices marked to many of the following articles, may
serve as a guide in purchasing colours, &c. but must be
taken with fame liberty, according to the quality of the
article, and the state of the wholesale markets, &c.
[Those under a shilling per pound, are marked cheap.]
. . .
p. 21
Bice
BICE, is a blue colour, prepared from the lapis armenus, formerly brought from Armenia, but now from the silver mines of Germany.
It bears the best body of all bright blues, used in common; but is in its colour the palest. It requires good grinding to prepare it for use, being inclined to be sandy, and should be well washed. It works indifferently well. GREEN BICE, is made by adding orpiment, to the blue bice.
Price one shilling per ounce.
p. 22–23
BLACKS.
Blue Black
BLUE BLACK, is the coal of burnt vegetables, the best is said to be furnished by vine-stalks, and tendrils. Price 8d. to 1s. 6d. per ounce. Kept in the colour-shops in bladders ground in oil, at 3d. each.
Horn Black
HORN BLACK, is inferior to ivory-black, it is made of bones burnt.
German or Frankfort Black
GERMAN or FRANKFORT BLACK, is made of the lees of wine burnt, and washed, afterwards ground in mills on purpose, with ivory, or peach stones burnt. It is a principal ingredient in the ink used by rolling-press printers. The French is superior to the German.
To try its goodness it is put into the mouth, if free from grit, and of a deep black, it is good.
Ivory Black
IVORY BLACK, is made of ivory burnt, or charred between two crucibles well luted; being thus rendered perfectly black, and in scales, it is ground and made into cakes, &c.
The goodness of ivory black, may be known by the fulness of its colour, free from any blue cast; and by its fineness. A little white sugar-candy prevents this colour (and others) from cracking.
It is used in painting in oil, but rejected in water, INDIAN INK answering much better. Price 1s. 6d. per pound. Bladders 3d. each.
Lamp-Black
LAMP-BLACK, originally perhaps the soot collected from lamps, is generally prepared by melting rosin, or pitch in iron vessels ; then setting it on fire under a proper receptacle for the smoke, which is the black. It is brought chiefly from Sweden and Norway, where it is frequently obtained from the refuse of the tree left in preparing rosin, or pitch. It is the basis of the ink used by letter-press printers. This black takes fire very readily ; the best method of extinguishing it, is by wet linen, hay or straw : water alone will not succeed. This colour is not much in request for pictures, since it requires forcing to make it dry.
Indian Ink
INDIAN INK is a black, with which our readers are already acquainted. Its price per stick, from 6d. to 5s.
Earth Black
EARTH BLACK, is a kind of coal which well pulverized is used in fresco.
Burtn paper, Peach stones, Cherry stones
Burnt paper, ground finely, is said to make a good black. Peach stones burnt, make a very fine black of a bluish cast, much used in France. Cherry stones may be substituted.
p. 23–27
BLUES.
BICE, vide ut supra.
Blue Ashes
BLUE ASHES, Cendres blue, corruptly Sanders blue, are used in water colours; some are very lively; but in oil they become dull. They are found among copper mines; water only is used in levigating them, to reduce them to a fine powder. This blue ought to be used in works to be seen by candle light (as scene painting) for though mixed with much white, it retains its beauty.
There is nothing to be found in the shops under this name but common verditer, or some species of it.
Blue, Prussian
BLUE, PRUSSIAN, is a modern invention, considerably in use among painters, though inferior to the ultramarine blue. It was discovered by accident, about the beginning of this century. A chemist of Berlin, having successively thrown upon the ground several liquors from his laboratory, was surprised to see it suddenly stained with a most beautiful colour. Recollecting the liquors he had thrown on each other, he made a similar mixture in a vessel, and produced the same colour. He did not publish his process, but prepared and sold his BLUE, which was substituted for ULTRAMARINE. The account of it was first published in the Berlin Memoirs, 1710; but without a description of its process.
In a paper of Dr. Woodward’s, communicated to the Royal Society in 1724, there is given a short way of making Prussian blue, which was found to answer perfectly well; and occasioned several experiments, whereby was discovered the nature of the bodies used in that preparation.
The method was this. Four ounces of bullock’s blood dried, and four ounces of salt of tartar, prepared from four ounces of crude tartar, and as much nitre, were calcined together; two hours after which, a black spungy substance remained in the crucible, weighing four ounces; a solution of which being made in boiling water, and afterwards filtered, left a remainder which when dried weighed nine drams. An ounce of English vitriol was dissolved in six ounces of rain water; and eight ounces of crude alum in two quarts of water. These being mixed hot with the blood, became green; and on adding two or three ounces of spirit of salt, they became of a fine blue, which subsided and left the water clear. The product was an ounce of very fine colour, fit for the painter.
Among the experiments made by mixing, in different manners and proportions, the several liquors of which this colour was to be prepared, all produced a blue; but in different degrees, some being deeper, others paler. In one experiment the alum was wholly left out, and a very pale blue was produced; in another the alum and vitriol were used in equal quantities, then the blue was extremely deep.
In all receipts given for making Prussian blue, the liquors are ordered to be mixed together boiling hot, except the spirit of salt; and the colour is most readily and beautifully made that way.
The method of making Prussian blue in perfection, has been purchased as a very valuable secret. Its process is very extraordinary, and could scarce be derived a priori, from any reasoning about the nature of colours. It is allowed to be an excellent blue pigment, though its durability is justly suspected.
The goodness of Prussian blue must be distinguished by its brightness, deepness, and coolness.
Four different processes given for making the finest sort of Prussian blue with quick-lime, are given in the Hist. of the Acad. of Sciences at Paris, for the year 1756.
Process I. Take 3lb. of ox’s blood, dried and reduced into a kind of small scales, an equal quantity of quick-lime newly baked, 2lb. of red tartar, and 1lb. 8 oz. of salt-petre; pulverise the whole grossly, and put it into a crucible, placed in the midst of a great furnace, and give it a gradual fire. After four hours, when the matter is reduced into a kind of paste which emits no more smoke, and is equally red, throw it by spoonfuls into two pails of boiling water; and, having filtrated the lixivium, mix it with a solution of 6lb. of alum, and 1lb. 8oz. of green vitriol. This operation will yield but 7oz. of fecula; but its beauty will make sufficient amends for the small quantity, as it will surpass in this respect all Prussian blues prepared by other methods. It has also as good an effect as the finest ultra-marine; and has, besides, the advantage of resisting the impression of the air.
Process II. Take 3lb. of dried ox’s blood, an equal quantity of quick-lime, 2lb. of red tartar, and 2lb. of nitre; let them be calcined and lixiviated, as in the former process: pour the lixivium into a solution of 4lb. of alum, and 1lb. of green vitriol. This operation will yield more of the blue fecula than the other, but the colour will be less beautiful.
Process III. Take 3lb. of dried ox’s blood, 4lb. 8 oz. of quick lime, 2lb. of red tartar, 1lb. 8oz. of salt-petre, proceed as before. This operation will produce the most beautiful blue; but the quantity will be only about 8 oz. and 4 drams.
Process IV. Take 3lb. of dried ox’s blood, 6lb. of quick lime, 2lb. of red tartar, and 1lb. 8 oz. of nitre. Calcine and lixiviate as before; pour the warm lixivium into a solution of 4lb. of alum, and 1lb. of green vitriol; the fecula precipitated in this way will be as beautiful as those of the first process, and the quantity 26 ounces.
The price of that kept in the shops is from 8d. to two shillings per ounce. In bladders 6d.
Blue, Powder, or Smalt
BLUE, POWDER, or SMALT, price from 1s 6d. to 12s. per ounce.
BLUE TURNSOL, is a blue used in painting on wood, made of the seed of that plant, by boiling four ounces of turnsol in a pint and an half of water in which lime has been slacked.
INDIGO. Vide Indigo.
ULTRAMARINE. Vide Ultramarine.
VERDITER. Vide Verditer.
. . .
p. 30
BROWNS.
Spanish Brown
SPANISH BROWN, a coarse dull colour, chiefly used by house-painters, but may be employed in some parts of landscapes, to make variety, &c.
Brown Ochre
BROWN OCHRE, is a cheap colour. Vide OCHRE.
Brown Pink
BROWN PINK. Vide Pink.
Cologne Earth
COLOGNE EARTH. Vide. Cologne Earth.
Spanish Liquirice
SPANISH LIQUORICE, diluted with water, makes a brown colour useful for variety.
Terra di Sienna
TERRA DI SIENNA, in its native state.
Terra di Sienna, Burnt
TERRA DI SIENNA. Burnt.
Umber
UMBER in its native state.
Umber, Burnt
UMBER. Burnt.
. . .
Boxes for Colours
BOXES FOR COLOURS, are of many various contrivances according to the purposes of those who use them. The general principles to be regarded in constructing Boxes, are, that all articles of a similar nature should be collected nearly together ; colours in oil by themselves ; colours in water by themselves, &c. Boxes complete to hold a variety of colours, varnishes, &c. are sold from 2l. 2s. to 2l. 10s. each. Portable boxes, are much cheaper, but are usually contrived by their proprietors.
p. 30–31
Calcination
CALCINATION, differs from mere burning, in that the latter leaves the substance burnt, of a black colour, the former leaves it white. Calcination increases the weight of lead, which thereby becomes red (i. e. MINIUM) almost one fourth.
p. 31–32
Calquing
CALQUING, is a term used where the back of any design is rubbed over, or coated with a fine powder, such as black lead, red chalk, &c. and the lines of the drawing by a point traced over them, are transferred to a paper laid beneath the back so coated.
This operation is useful, where an original is to be copied of the same size: Care must be taken, that neither the original or copy be moved from their exact situation with respect to each other during the operation; lest the parts transferred should be false.
Drawings intended to be made in red chalk, should be calqued by red chalk: not by black lead, as that has a greasiness which refuses to cut chalks properly; nor by black chalk, since the lines may then injure the drawing by their different colour from the rest of it.
CALQUING, is likewise used to signify the taking an impression from a drawing in chalk, by passing it through a rolling-press, with a sheet of wet paper upon it. The use of this procedure, is to transfer on the wet paper the powdery particles of the chalk used in drawing, and to fix those remaining in greater security from being rubbed and smeared. The tone of the drawing is rather deepened than lightened by this operation; the copy on the paper will be an exact reverse, of the original. Several drawings laid on each other, may be passed at once; but if they are passed more than one way, there is a hazard of their being moved and misplaced.
Sometimes prints are calqued by dissolving part of their ink, by means of soap, and transferring it to a fresh ground.
A drawing in water colours may be calquedby passing over the outlines with a good black-lead pencil, then warming the plate on which the ground is laid, so as gently to melt the ground; and laying the drawing on it, pass them through a press properly adjusted. This method succeeds very well for landscapes.
pp. 33–34
Cartnation
CARNATION, is understood of those parts in a picture, which represent flesh. As the representation of the human figure, has ever been justly esteemed the summit of art; all artists have paid attention to the well performing those parts which are usually without drapery.
It is much easier to say what is not a good carnation, than to define what is good: and indeed, the diversity presented by nature, not only in various climates, but among the same nation, is so extensive, that what might properly describe the complexion of one party, would ill suit another. Carnations are usually hurt by coldness, which often arises from intended delicacy; or by an improper kind of red, which approaches too near the brick. Some have scarce employed red at all; while others have so studied what they esteemed clearness of tint, that their figures seem to have fed on roses. Inhabitants of cities scarce ever present the pure bloom of nature; and perhaps it is not refining too much, when we say, that the same salubrity of air which is necessary to impart the most vivid tints to flowers, is likewise necessary to furnish good carnations.
p. 34
Charcoal
CHARCOAL, is an artificial coal, or fuel, being wood half burnt, and then extinguished. It is an excellent material to sketch with in beginning a design, as it may be brushed out even by a feather. The softest kind is preferred, which is that made of the willow.
Chalks
CHALKS, may properly be classed among the OCHRES; they are very useful in the art of design, being usually put into the hands of beginners. Their colours are WHITE, RED and BLACK.
White Chalk
WHITE CHALK, of the best quality is usually brought from Italy, which country does not possess our common chalk, but a distinct species. Italian chalk is in its contexture more firm and compact, its touch much smoother and neater than any other, consequently it may be used on smaller subjects. The same remark is just on the BLACK CHALK of Italy.
p. 35
French White Chalk
FRENCH WHITE CHALK, is soft and adapted only for larger subjects, as are all the chalks of France; its BLACK CHALK is only fit to be used where expedition admits of stumping. Considerable quantities of SPANISH chalk are imported, which is in texture between the foregoing, but not very smooth.
Red Chalk
RED CHALK, is very much used in design; it is in general of a kind and moderate temper and readily forms a grain. It is however, very far from cleanly in its nature, and is apt to smear and stain whatever it touches; the precautions necessary to guard against this quality, in fact contribute to its usefulness, since whoever having been habituated to red chalk can draw clean with it, is secure from injury by other materials.
Red chalk is best used simply on white paper, but some shadow it with black chalk, or stump in black chalk first into the shades, and proceed with red.
Black and white chalks mutually assist each other on a paper whose colour serves for a demi tint. Price varies according to quality, from 6d. per oz. to 1s. 6d. The bad is quite worthless. To be good, it should be free from grit, and not too hard.
Clair-Obscure
CLAIR-OBSCURE, is a term used to express the management and conduct of light in producing effect. As it is a very important principle of art, its consideration will occur in its proper place at large.
pp. 35–36
Clairo-Obscuro, Chiaro-Obscuro
CLAIRO-OBSCURO, or CHIARO OBSCURO, is used to denominate a design made in two colours only, ordinarily black and white; in which, variety of colours cannot contribute to effect, but it must be produced by other means,
This term is also applied to prints of two colours, which are obtained from plates or blocks, off which the darker tones are first impressed, and over that impression is spread, by a second plate, a more general colour, the whites being preserved, or left blank. These kind of prints were formerly much in request, and extremely well executed.
. . .
pp. 36–37
Cologne Earth
COLOGNE EARTH, is of a deep brown colour, does not succeed well in oil, but is much used in water-colours.
It is a very singular substance, reckoned by the colourmen, not a little troublesome to manage. It has been, and still is by some accounted a genuine earth; but others say it contains a great proportion of vegetable matter. It does not form, like other earths, a regular or entire stratum where it is found, but is gathered in large flat separate masses from among other strata.
It is moderately dry while in the earth, and of a texture soft and crumbling, when dried it becomes more compact and united; is very light, smooth, and easily reduced to pieces, adheres firmly to the tongue, and is very astringent and austere in its taste, resembling the taste of oak bark; from these criteria it seems to be the produce of wood, perhaps oak, long buried in the earth.
It is principally procured from near COLOGNE, (whence its name) but is found near BIRMINGHAM, and in MENDIPPE Hills, in Somersetshire, but not perfectly pure.
pp. 38–39
Crayon
CRAYON, is a general name for all coloured earths, or other substances used in drawing, or painting dry, i. e. without oil, or water, &c.
These substances are either natural or artificial; natural, when the material is of a proper colour, and consistence, and admits of being cut into a convenient size and form; such are chalks, whose use we have noticed, such are black-lead, charcoal, &c. but in general, crayons are compositions of coloured pigments previously reduced to powder.
The art of composing crayons, principally depends on the mixture of the component colours, and on the adaptation of the vehicle by which they are held incorporated. This is evident if we consider, with respect to the brilliancy or truth of the tone of colour, that it depends on the admission of more or less of any certain pigment ; and that all compound colours may, by possessing too much of any one colour which enters into the composition, prove when used, unfriendly to its neighbours. That the vehicle is of importance, appears from a consideration that scarce any two earths are equally tenacious; whence it follows, that as some of a loose texture are not without difficulty held by the strongest binders, so those of a compact nature, would by such binders, be rendered almost stones, and indeed these are prevailing faults among those usually offered for sale.
The soft ones may however, very well be used in larger performances; but those which are too hard to give their colour freely, or without wetting, are to be rejected.
Crayon Pencils
For smaller works, CRAYON PENCILS have lately been composed, whose utility depends like that of the former, on their temper; they have unquestionably an advantage in neatness, and security from being broken by accidents. Price about one shilling each.
Many very different vehicles have been suggested to bind the colours which form crayons: oatmeal boiled thick, milk, ale-wort, gums, glues, &c. Without entering into the merit of their various pretensions, we shall suggest, that the vehicle which is sufficiently strong to hold the tenderest pigments, and yet may be weakened to accommodate the firmest, is generally agreed to be pale ale-wort, which therefore is most used.
Crayons
CRAYONS must be made in a great variety of tints, to supply what tones of colour may be required; by mixture with each other, this variety is obtained; hence it follows, that according to the judgment of the composer, their tints will vary.
CRAYONS when complete should be kept in a box by themselves, each suite of colours distinct, to prevent injury from its neighbours; in the order from lightest to darkest; and if numerous, the lighter ones separate from the darker of the same color. CRAYONS should be pointed by drawing the knife from the point of the crayon upwards.
p. 44
Port Crayon
PORT CRAYON, is a convenient instrument for using chalks, &c. made of brass, steel, or silver; price in brass six pence ; in steel, from one shilling and sixpence upwards.
p. 44–45
Distemper
DISTEMPER, is a mode of painting, wherein the vehicle used to compound and fit the colours for application, is size, whites of eggs, or some similar gluten.
The best method of compounding colours in distemper, is to mix the size in water, to a proper strength, then to grind the colours in part of it, putting each colour separately in a proper pot, &c. Add a sufficient quantity of size to allow for the diminution of its strength, by a subsequent addition of warm water as wanted, either to grind the colour, or in the working of it. The pots should be securely tied with bladders.
It is evident that distemper paintings will not abide the injuries of the weather; their utility is confined to internal decoration, and to spacious areas, where the eye may be deceived by the perspective, without coming sufficiently near to scrutinize.
The scenes at the theatre are painted in distemper.
p. 45
Driers
DRIERS, are used to those colours, which when alone, are long in drying. Those chiefly used are drying oil, (vide oil) and oil, or spirits of turpentine, the latter from its clearness, is less liable to injure the lighter colours.
. . .
Egg-Shell White
EGG-SHELL WHITE, is used in water colours, and with success.
It is prepared by washing the shell very carefully, and peeling off the thin film on the inside, then grind the shell to an impalpable powder with gum-water, or about a twentieth part of white sugar-candy. Some order it to be washed before the gum is added, by rectified spirit of wine.
This is said to be of great service as a white, and with the oyster-shell powders, will contribute to the security of colours with which they are incorporated.
p. 50
Green
GREEN is very rarely a simple colour, but compounded of blue and yellow.
Mineral Green
A mineral GREEN is said to be brought from Hungary.
Verdigris, Sap Green
VERDIGRIS,
SAP GREEN, are the greens most used.
p. 54
Indian Red
INDIAN RED, is an earth of the ochre kind, of a fine compact texture, very heavy, and of a purplish deep red. It is said to be, while in the earth, of a deep blood colour, and so hard as to resist a spade. It is of a rough dusky surface and abounds in glittering particles, it adheres firmly to the tongue, is harsh to the touch, and stains the hands deeply. It is so strong a colour in oil, that it overpowers those with which it is mixed, unless cautiously used. Price 1s. per ounce, bladders 3d. each.
p. 60
Ochres
OCHRES are an extensive genus of earths. The most common are yellow and red: but there are likewise blue, brown and green ochres: and of these several distinctions. Dr. HILL describes of red, eleven sorts; of yellow, the same number; of blue, and green, one each, and of black two.
p. 62
Pencil
PENCIL. Under this title we shall notice the various sorts mostly in use.
Camel’s-Hair Pencil
CAMEL’S-HAIR PENCILS have been already noticed in the lectures. Price id. each.
p. 63
Fitch Pencils
FITCH PENCILS are used by some, who wish for a smoothness in their pictures, to scumble the colours after being laid on with a camel’s-hair pencil, and to drive them into each other; while those who wish to impart a bolder appearance to their works, paint wholly with fitches. Price 2d. each.
Tools
TOOLS are a larger kind of pencils, not inserted into a quill, as the foregoing, but bound round a flick, and stronger in their nature. Some painters use them constantly. Price from 8d. to 2s. each.
Badger Tools
BADGER TOOLS are the largest in common use, and are longer in the hair than the former.
Price from 8d. to 2s. each.
Beside these, are other kind of pencils, such as, those for shipping painters, very long in the hairs, and slender: useful to insert the ropes, &c. those for miniature painters, very delicate and small, &c.
p. 65
[Red]
Red, Light
RED, LIGHT, is of the ochre kind, and very powerful; it is much used by some even in flesh. Price 2d. per oz. Bladders 3d. each.
Red, Brown
RED, BROWN, is kept in bladders at 3d. each.
Red, Indian
RED, INDIAN, vide Indian red.
Red, Venetian
RED, VENETIAN, is a cheap colour, used to print copper-plates in imitation of red chalk. It should be finely ground.
p. 66
Sinopica, Terra
SINOPICA, TERRA, by many called blood-stone, is an earth of a purple colour, varying in tone, and depth of colour, found in plenty in the Jerseys in America, and probably elsewhere. Its colour renders further acquaintance with it highly desireable. Its texture is close and compact: its weight considerable. It is not very hard; melts slowly in the mouth; is perfectly pure and fine, and retains its colour in the fire. Why should it not be brought into common use?
p. 67
Terra di Sienna
TERRA DI SIENNA, like other earths, is denominated from the place where it is native. It is of a warm brown colour, pretty much used in landscape in oil, for roads, buildings, &c, as well burnt as unburnt.
Price raw 4d. per oz. bladders 6d. burnt 6d. per oz. bladders 6d. each.
Terra Verte
TERRA VERTE, is found in the earth, not in strata, but in large lumps. It is fine, regular, and smooth ; when scraped, and the finer parts separated, it is ready to be ground in oil for use, makes the best standing colour of any simple green ; but is a tender colour.
Price in bladders 3d. each.
An earth is dug up in Mendippe Hills, which is very closely allied to terra verte, why should it not be examined and tried?
Troy White
TROY WHITE is a native chalk found near Orleans in France, which is finely powdered, washed, and tempered for use.
Artificial TROY WHITE, called also Spanish white, is chalk washed repeatedly, and its finer particles united to alum-water, frequently stirred, then filtred, and dried, used sometimes in water-colours.
Turpentine
TURPENTINE, oil or spirit of turpentine, is used as a drier to the clearer colours, and to fit some colours for use in spirits of wine ; to clean pencils with from their colours, &c.
Price 6d. or 8d. per pint.
Colours ground in spirits of turpentine, after being thoroughly dry, may be used either in oil or water.
p. 73
Vermilion
VERMILION, natural, is found in some silver mines as a sand : This requires good grinding. Vermilion is a mercurial production ; made of artificial cinnabar, ground up with white wine, and whites of eggs repeatedly ; the more it is ground, the finer and paler it becomes. Price from 8d. to 2s. 6d. per ounce.
Ultramarine
ULTRAMARINE is procured from the lapis lazuli, by a tedious process of calcination, grinding, &c. It is the first and prince of blues, warm, rich and noble, but very dear. Price from three to ten guineas per ounce. King Charles I. presented to Mrs. BEALE, the paintress, 500l. worth, which he held in his hand.
Ultramarine-Ashes
ULTRAMARINE-ASHES are of a similar nature. Price 18 to 40 shillings per ounce.
p. 74
Umber
UMBER is a dark brown earth of the ochre kind; when burnt, is considerably deepened in its tone; used chiefly in oil; cheap in its price. Bladders 3d. each.
Naples Yellow
NAPLES YELLOW, was thought to be a species of yellow ochre: is very beautiful, of a bright yellow, of a loose porous, spongy, and shattery texture: remarkably heavy, of a dusty surface; gritty to the touch, breaks easily between the fingers, and stains the hands; adheres but slightly to the tongue; ferments briskly with aqua-fortis.
It has lately been demonstrated to be the production of art; on mixing together intimately twelve ounces of ceruse, or white-lead, one of alum, one of sal ammoniac, and three ounces of diaphoretic antimony, in an unglazed earthen pan covered over; and exposing the mixture to the heat of a moderate fire during seven or eight hours, a substance is obtained, possessing all the properties of Naples yellow.
It makes in oil a very useful, mild and lasting colour: it should be very well washed for water.
Price 6d. per ounce. In bladders 6d. each.