IV. 1. ORANGE OCHRE, called also Spanish ochre, &c. is a very bright yellow ochre burnt, by which operation it acquires warmth, colour, transparency, and depth. In colour it is moderately bright, dries and works well both in water and oil, and is a very durable and eligible pigment. It may be used in enamel-painting, and has all the properties of its original ochre in other respects. See Yellow Ochre.

2. JAUNE DE MARS is an artificial iron ochre, similar to the above, of which we formerly prepared a variety brighter, richer, and more transparent than the above.

3. DAMONICO, or Monicon, is also an iron ochre, being a compound of Terra di Sienna and Roman ochre burnt, and having all their qualities. It is rather more russet in hue than the above, has considerable transparency, is rich and durable in colour, and affords good flesh tints.

4. BURNT SIENNA EARTH is, as its name expresses, the Terra di Sienna burnt, and is of an orange russet colour. What has been said of orange ochre and Damonico may be repeated of burnt Sienna. It is richer in colour, deeper, and more transparent, and works better than raw Sienna earth; but, in other respects, has all the properties of its parent colour, and is permanent and eligible wherever it may be useful.

5. Light Red and Venetian Red, before treated of, are also to be considered as impure, but durable, orange colours; and several artificial preparations of iron afford excellent colours of this class.

V. ORANGE LEAD is an oxide of lead of a more vivid and warmer colour than red lead, but, in other respects, does not differ essentially from that pigment.

VI. ORANGE ORPIMENT, or Realgar, improperly called also Red Orpiment, since it is of a brilliant orange colour, inclining to yellow. There are two kinds of this pigment; the one, native, the other, factitious; the first of which is called sandarach, &c., and is of rather a redder colour than the factitious. They are the same in qualities as pigments, and differ not otherwise than in colour from yellow orpiment, to which the old painters gave the orange hue by heat, and then called it alchymy.

VII. GOLDEN SULPHUR OF ANTIMONY is a Hydro-sulphuret of

antimony, of an orange colour, which is destroyed by the action of strong light. It is a bad dryer in oil, injurious to many colours, and in no respect an eligible pigment either in oil or water.

VIII. MADDER ORANGE, or Orange Lake, is a madder lake of an orange hue, varying from yellow to rose-colour and brown. This variety of madder colours differs not essentially in other respects from those of which we have already spoken, except in a tendency toward redness in the course of time.

IX. ANOTTA, Arnotta, Annotto, Terra Orleana, Roucou, &c. are names of a vegetal substance brought from the West Indies, of an orange-red colour, soluble in water and spirit of wine, but very fugitive and changeable, and not fit for painting. It is principally used by the dyer, and in colouring cheese. It is also an ingredient in some lacquers. See Carucru, Ch. XIX.

art. II.

CHAP. XIII.

OF GREEN.

But where fair Isis rolls her purer wave

The partial muse delighted loves to lave;
On her green banks a greener wreath is wove,

To crown the bards that haunt her classic grove.

BYRON.

GREEN, which occupies the middle station in the natural scale of colours and in relation to light and shade, is the second of the secondary colours : it is composed of the extreme primaries, yellow and blue, and is most perfect in hue when constituted in the proportions of three of yellow to eight of blue of equal intensities; because such a green will perfectly neutralize and contrast a perfect red in the proportions of eleven to five, either of space or power, as adduced on our Scale of Chromatic Equivalents. Green, mixed with orange, converts it into the one extreme tertiary citrine; and, mixed with purple, it becomes the other extreme tertiary, olive; hence its relations and accordances are more general, and it contrasts more agreeably with all colours than any other individual colour. It has accordingly been adopted with perfect wisdom in nature as the general garb of the vegetal creation. It is indeed in every respect a central or medial colour, being the contrast, compensatory in the proportion of eleven to five, of the middle. primary, red, on the one hand, and of the middle tertiary, russet, on the other; and, unlike the other secondaries, all its hues, whether tending to blue or yellow, are of the same denomination.

These attributes of green, which render it so universally effective in contrasting of colours, cause it also to become the least useful in compounding them, and the most apt to defile other colours in mixture: nevertheless it

Q

forms valuable semi-neutrals of the olive class with black, for of such subdued tones are the greens, by which the more vivid hues of nature are contrasted; accordingly the various greens of foliage are always more or less semi-neutral in colour. As green is the most general colour of vegetal nature, and principal in foliage; so red, its harmonizing colour, and compounds of red, are most general and principal in flowers. Purple flowers are commonly contrasted with centres or variegations of bright yellow, as blue flowers are with like relievings of orange; and there is a prevailing hue, or character, in the green colour of the foliage of almost every plant, by which it is harmonized with the colours of its flowers; so also

No tree in all the grove but has its charms,
Though each its hue peculiar; paler some,
And of a warmish gray; the willow such,
And poplar, that with silver lines his leaf,
And ash, far stretching his umbrageous arms;
Of deeper green the elm; and deeper still,
Lord of the woods, the long-surviving oak.
Not unnoticed pass

The sycamore, capricious in attire;

Now green, now tawny, and, ere autumn yet

Have changed the woods, in scarlet honours bright.

COWPER.

These changes of the leaf may be attributed, like those of flowers, to the various action of the oxygenous principle in light and air upon the carbon, or hydrogenous principle of plants, to the colouring matter of which the chemico-botanist has given the name of chromule. The general hue of green, as employed by Nature in the vegetal world, is a compound of blue, or gray, and citrine, according to its situation in the fundamental scale of colours: the gayer compounds of blue and yellow she reserves for the decoration of the animal creation, as in birds, shells, insects, and fossils.

The principal discord of green is blue; and when they approximate or accompany each other, they require to be resolved by the apposition of warm colours; and it is in this way that the warmth of distance and the horizon reconcile the azure of the sky with the greenness of a landscape. Its less powerful discord is yellow, which requires to be similarly resolved by a purple-red, or its principles. In its tones green is cool or warm, sedate or gay, either as it inclines to blue or to yellow; yet it is in its general effects cool, calm, temperate, and refreshing; and, having little power in re

flecting light, is a retiring colour, and readily subdued by distance: for the same reasons it excites the retina less than most colours, and is cool and grateful to the eye. As a colour individually, green is eminently beautiful and agreeable, but it is more particularly so when contrasted with its compensating colour, red; and they are the most generally attractive of all colours in this respect. They are hence powerful and effective colours on the feelings and passions, and require therefore to be subdued or toned to prevent excitement and to preserve the balance of harmony in painting. The general powers of green, as a colour, associate it with the ideas of vigour and freshness; and it is hence symbolical of youth, the spring of life being analogous to the spring of the year, in which nature is surprisingly diffuse of this colour in all its freshness, luxuriance, and variety; soliciting the eye of taste, and well claiming the attention of the landscape-painter, according to the following judicious remarks of one of the most eminent of this distinguished class of British artists. "The autumn only is called the painter's season, from the great richness of the colours of the dead and decaying foliage, and the peculiar tone and beauty of the skies; but the spring has, perhaps, more than an equal claim to his notice and admiration, and from causes not wholly dissimilar,—the great variety of tints and colours of the living foliage, accompanied by their flowers and blossoms. The beautiful and tender hues of the young leaves and buds are rendered more lovely by being contrasted, as they now are, with the sober russet browns of the stems from which they shoot, and which still show the drear remains of the season that is past."-REMARKS ON LANDSCAPES CHARACTERistic of ENGLISH SCENERY, BY J. CONSTABLE, Esq. R.A.

Verdure is also the symbol of hope, which, like the animating greenness of plants, leaves us only with life: it is also emblematical of immortality, and the figure of old Saturn or Time is crowned with evergreen. This colour denotes also memory, and affords a great number of epithets and metaphors, colloquial as well as rhetorical. Plenty is personified in a mantle of green. In mythological subjects it distinguishes the draperies of Neptune, the Naiades, and the Dryades; and, from being a general garb of nature, perhaps, has been held to be a sacred or holy colour.

It is thus that colours lead ideas by association and analogy, and excite sentiments naturally in the manner we have so repeatedly alluded to already, in drawing attention to the powers of expression in colours; an attention of more importance than generally supposed in the practice of the