Introduced With Caution When Hue Is Of Greater Importance Than Shade

: ON THE NEUTRAL, BLACK.

Even when employed as a shadow, without much judgment in its use, black

is apt to appear as local colour rather than as privation of light; and

black pigments obtained by charring have a tendency to rise and

predominate over other hues, subduing the more delicate tints by their

chemical bleaching power upon other colours, and their own disposition

to turn brown or dusky. For these reasons deep and transparent colours,

hich have darkness in their constitution, are better adapted as a rule

for producing the true natural and permanent effects of shade. Many

pictures of the early masters, and especially of the Roman and

Florentine schools, evince the truth of our remarks; and it is to be

feared the high reputation of these works has betrayed their admirers

into this defective employment of black.



Black substances reflect a small quantity of white light, which receives

the complementary of the colour contiguous to the black. By

'complementary' is meant that colour which is required with another

colour to form white light; thus, green is the complementary of red,

blue of orange, and yellow of violet, or vice versa; because green and

red, blue and orange, and yellow and violet, each make up the full

complement of rays necessary to form white light. Briefly digressing, we

give the following mode of observing complementary colours:--Place a

sheet of white paper on a table opposite to one of two windows admitting

diffused daylight[C] into a room; take a piece of coloured glass and so

place it that the coloured light transmitted through it falls over the

surface of the paper; then put an opaque object on the paper close to

the coloured glass. The shadow of this object will not appear black or

of the colour of the glass, as might be supposed, but of its

complementary colour; thus if the glass is red, the colour of the

shadow will be green, although the whole of the paper surrounding it

appears red. Similarly, if the glass is blue, the shadow will appear

orange; if it is green, the shadow will appear red; and so with other

colours. It is absolutely essential, however, to the success of this

experiment, that the paper be also illuminated with the white light

admitted from the other window.



It has been said that black substances reflect a small quantity of white

light, which receives the complementary of the colour contiguous to the

black. If this colour is deep, it gives rise to a luminous

complementary, such as orange, or yellow, and enfeebles the black; while

the other complementaries, such as violet or green, strengthen and

purify it. In colours associated with black, if green is juxtaposed

therewith, its complementary red, added to the black, makes it seem

rusty. Those colours which best associate with black are orange, yellow,

blue, and violet. It would be well to remember that black, being always

deeper than the juxtaposed colour, entails contrast of tone, and tends

to lower the tone of that colour.



Most of the black pigments in use are obtained by charring, and owe

their colour to the carbon they contain. As the objects of vegetal and

animal nature may be blackened through every degree of impurity by the

action of fire, black substances more or less fitted for pigments

abound. The following are the chief native and artificial black

pigments, or colours available as such:--



TTITLE BLACK LEAD,



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