And Ivory Brown Are Obtained By Roasting Bone And Ivory Until By

: ON THE SEMI-NEUTRAL, BROWN.

partial charring they become of a brown colour throughout. Though much

esteemed by some artists, they are not quite eligible pigments, being

bad driers in oil, the only vehicle in which they are now used.

Moreover, their lighter shades are not permanent either in water or oil

when exposed to the action of strong light, or mixed in tint with white

lead. The palest of these colours are the most opaque: the deepest are

mo
e durable, and most so when approaching black. Neither bone nor ivory

brown is often employed, but the former may be occasionally applied in

forming clear, silvery, warm grays, in combination with zinc white.



TTITLE BURNT UMBER



is what its name denotes, and has a deeper shade with a more russet hue

than the raw umber. A quiet brown, it affords clear and warm shadows,

but is apt to look rather turbid if used in great depth. It washes and

works capitally in water, and dries quickly in oil, in which it is

employed as a siccative. Perfectly stable in either vehicle, it may

sometimes be substituted for Vandyke brown, is eligible in fresco, and

invaluable in buildings. Where the lakes of madder require saddening,

the addition of burnt umber increases their powers, and improves their

drying in oil. It contains manganese and iron, and may be produced



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