less change on this colour than on other bright vegetal yellows; but white lead and other metalline pigments injure, and terrene and alkaline substances redden it. It works remarkably well in water, with which it forms an opaque solution, without grinding or preparation, by means of its natural gum; but is with difficulty used in oil, &c. in a dry state. In its natural state it however dries well, and lasts in glazing when deprived of its gum. It is perfectly innocent with regard to other colours, and, though it is a strong medicine, is not dangerous or deleterious in use. Sir Joshua Reynolds and Wilson are said to have employed it, and so also we know did the amiable President West: the first of these used it softened into a paste with water, and the latter in a dry state precipitated upon whitening. It has also been employed as a yellow lake prepared upon an aluminous base; but a much better way than either is to dissolve it into a paste in water, and mix it with lemon-yellow, with which pigment being diffused it goes readily into oil or varnish. Glazed over other colours in water, its resin acts as a varnish which protects them; and under other colours its gum acts as a preparation which admits varnishing. It is injured by a less degree of heat than other pigments.

2. EXTRACT OF GAMBOGE is the colouring matter of gamboge separated from its greenish gum and impurities by solution in alcohol and

precipitation, by which means it acquires a powdery texture, rendering it miscible in oil, &c. and capable of use in glazing. It is at the same time improved in colour, and retains its original property of working well in water with gum.

XVI. GALL-STONE is an animal calculus formed in the gall-bladder, principally of oxen. This concretion varies a little in colour, but is in general of a beautiful golden yellow, more powerful than gamboge, and is highly reputed as a watercolour: nevertheless, its colour is soon changed and destroyed by strong light, though not subject to alteration by impure air.

It is rarely introduced in oil painting, and is by no means eligible therein; and, as a water-colour, is better substituted by platina yellow.

XVII. INDIAN YELLOW is a pigment long employed in India under the name Pwree, but has not many years been introduced generally into painting in Europe. It is imported in the form of balls, is of a fetid odour, and is produced from the urine of the camel. It has also been ascribed, in like manner, to the buffalo, or Indian cow, after feeding on mangos; but the latter statement is incorrect. However produced, it appears to be a urio-phosphate of lime, of a beautiful pure yellow colour, and light powdery texture; of greater body and depth than gamboge, but inferior in these

respects to gall-stone. Indian yellow resists the sun's rays with singular power in water-painting; yet in ordinary light and air, or even in a book or portfolio, the beauty of its colour is not lasting. It is not injured by foul air, and in oil is exceedingly fugitive, both alone and in tint. Owing probably to its alkaline nature, it has an injurious effect cochineal lakes and carmine when used with them. As lime does not injure this colour, it may be employed in fresco, according to its powers.

upon

XVIII. YELLOW LAKE. There are several pigments of this denomination, varying in colour and appearance according to the colouring substances used and modes of preparation. They are usually in the form of drops, and their colours are in general bright yellow, very transparent, and not liable to change in an impure atmosphere,- qualities which would render them very valuable pigments, were they not soon discoloured, and even destroyed, by the opposite influence of oxygen and light, both in water and oil; in which latter vehicle, like other lakes in general, they are bad dryers, and do not stand the action of white lead or metallic colours. If used, therefore, it should be as simple as possible. Of these lakes, the following are the best:—

1. QUERCITRON LAKE, or Quercitron yellow, is what its names imply. It is dark in substance, in grains of a glossy fracture, perfectly

transparent, and when ground is of a beautiful yellow colour, more durable than the common yellow lakes, although not perfectly permanent.

In painting it follows and adds richness and depth to gamboge in water, and goes well into varnish; but the lead used in rendering oils desiccative, browns it, and for the same reason it is useless in tints.

2. DUTCH PINK, ENGLISH and ITALIAN PINKS, are sufficiently absurd names of yellow colours prepared by impregnating whitening, &c. with vegetal yellow tinctures, in the manner of rose pink, from which they borrow their

name.

They are bright yellow colours, extensively used in distemper and for paper-staining, and other ordinary purposes; but are little deserving attention in the higher walks of art, being in every respect inferior even to the yellow lakes, except the best kinds of English and Italian pinks, which are, in fact, yellow lakes, and richer in colour than the pigments generally called yellow lake.

The pigment called Stil, or Stil de grain, is a similar preparation, and a very fugitive yellow, the darker kind of which is called brown-pink.

CHAPTER X.

OF RED.

"Celestial rosy red, Love's proper hue."

Milton: Paradise Lost.

RED is the second and intermediate of the primary colours, standing between yellow and blue; and in like intermediate relation also to white and black, or light and shade. Hence it is pre-eminent among colours, as well as the most positive of all, forming with yellow the secondary orange and its near relatives, scarlet, &c.; and with blue, the secondary purple and its allies, crimson, &c. It gives some degree of warmth to all colours, but most so to those which partake of yellow.

It is the archeus, or principal colour, in the tertiary russet; enters subordinately into the two other tertiaries, citrine and olive; goes largely into the composition of the various hues and shades of the semineutral marrone, or chocolate, and its relatives, puce, murrey, morello, mordore, pompadour, &c.; and more or less into browns, greys, and all broken colours. It is also the second power in harmonizing and contrasting other colours, and in compounding black and all neutrals,