Hues Required To Obtain A Pure Green Which Consists Of Blue And


yellow only, a blue should be chosen tinged with yellow rather than with

red, and a yellow tinged with blue. If either a blue or a yellow were

taken, tinged with red, this latter colour would go to produce some grey

in the compound, which would tarnish the green. The fine nature-like

greens, which have lasted so well in some of the pictures of the Italian

schools, appear to have been compounded of ultramarine, or ultramarine
br /> ashes and yellow. Whatever pigments are employed on a painting in the

warm yellow hues of the foreground, and blue colouring of the distance

and sky, are advantageous for forming the greens in landscape, &c.,

because they harmonize better both in colouring and chemically, and

impart homogeneity to the whole: a principle conducive to a fine tone

and durability of effect, and applicable to all mixed tints. In

compounding colours, it is desirable not only that they should agree

chemically, but that they should have, as far as possible, the same

degree of durability. In these respects, aureolin and ultramarine,

gamboge and Prussian blue, Indian yellow and indigo, are all judicious

mixtures, although not all to be recommended.


Aureolin. Cerulian Blue.

Cadmium Yellow, pale. Cobalt Blue.

Cadmium Yellow, deep. Genuine Ultramarine.

Lemon Yellow. Brilliant Ultramarine.

Mars Yellow. French Ultramarine.

Naples Yellow, modern. New Blue.

Ochres. Permanent Blue.

Orient Yellow.

Raw Sienna.

The foregoing yellows and blues are in no wise inimical to each other,

and yield the best mixed greens, chemically considered, the palette can

afford. In an artistic sense, we confess, the result is not so

satisfactory: the list of blues, it must be admitted, being somewhat

scant. Among the latter there is no pigment with the wonderful depth,

richness, and transparency of Prussian blue, and none consequently which

will furnish with yellow a green of similar quality. That the artist,

therefore, will dispense with Prussian blue, it would be too much to

expect. There is, however, less necessity for it since the introduction

of viridian, a green resembling that which is produced by admixture of

Prussian blue and yellow, and which may be varied in hue by being

compounded with aureolin or ultramarine. Our object in this work is to

give precedence to the chemical rather than the artistic properties of

pigments, to separate the strictly stable from the semi-stable, and the

semi-stable from the fugitive. A colour or a mixture may be chemically

bad but artistically good, and vice versa; but the chemist looks upon no

pigment or compound with favour unless it be perfectly permanent, and

ignores its mere beauty when void of durability. Hence, all artistic

considerations are set aside in our lists of permanent pigments: if it

be possible to use them alone, so much the better for the permanence of

painting; if not, so much the worse will it be, according to the degree

of fugacity of the colours employed.


and the three succeeding varieties, are greens resembling each other in

being semi-stable, and more or less transparent. Bronze is a species of

Prussian green, of a dull blue-black hue. In its deep washes it appears

a greenish-black with a coppery cast. It is used in ornamental work, and

sometimes as a background tint for flower pieces.


commonly so called, are compounds of chromate of lead and Prussian blue,