Copyright}!^. 
 
 COPyRIGHT DEPOSm 
 
COLORS 
 
 What they are and what to 
 expect of them. 
 
 A Series of Practical Treatises 
 
 ON 
 DEVELOPMENT OF THE COLOR MAKING IN- 
 DUSTRY; PRELIMINARY STUDY OF COLORS; 
 NATURAL EARTH COLORS; CHEMICAL MADE 
 COLORS; VARIOUS DIVISIONS OF GROUPS OF 
 COLORS; BLACK GROUP OF COLORS; BROWN 
 GROUP OF PIGMENTS; RAW AND BURNT UMBER; 
 THE MINING OF EARTH COLORS; THE BLUE 
 GROUP OF PIGMENTS; ALSO THE GREEN; RED; 
 YELLOW AND WHITE; VEHICLES OR THINNESS 
 OF PIGMENTS; SYSTEM OF GRINDING. 
 
 Each Treatise is followed with Test Questions 
 : : : for the Student : : : 
 
 By F. MAIRE 
 
 Author of "Modern Painter's Cyclopedia" 
 "Exterior Painting" and "Interior Painting" 
 
 ILLUSTRATED 
 
 CHICAGO 
 
 Frederick J. Drake & Company 
 
 PUBLISHERS 
 
i \ _V\^ 
 
 COPYEIGHT 1910 
 BY 
 
 Fbedebick J. Dbakb & Co. 
 
 ^CI.A2750Li? 
 
PREFACE 
 
 The sul>ject matter of the third volume 
 of the red series of trade and industrial 
 school manuals is one of the greatest im- 
 portance to all painters engaged in any of 
 the branches of painting be they wood 
 finishers; plain outdoor painters; interior 
 painters and decorators; sign painters; 
 grainers and marblers; car and carriage 
 painters; to every man who handles a 
 brush and applies paint in no matter what 
 way or manner. 
 
 It is a vast subject to handle within the 
 prescribed limits, too vast to do it full jus- 
 tice in some of its aspects at least. The 
 method of manufacturing for one is only 
 of relative importance to the consumer. 
 'As all men who take sufficient interest to 
 go into the study of colors, wish to know 
 something at least about how the various 
 colors are made or procured, this side of 
 
 17 
 
18 COLOES 
 
 it will not be ignored by any means. The 
 provenance of all colors will be clearly in- 
 dicated and also of what their component 
 parts consist— bnt details which would be 
 of greater interest to color makers than to 
 color users will not be given the promi- 
 nence which properly belongs to that phase 
 of the subject matter which is of more in- 
 terest to the consumer of colors than that 
 is. 
 
 In short— colors will be considered 
 mainly from the practical end in view of 
 what can be expected of them and where 
 and why they should be used for certain 
 situations where one might otherwise be 
 tempted to use another of about the same 
 tone which is utterly unsuited for the pur- 
 pose. 
 
 While there are many things that each 
 color or pigment is adapted to there are 
 also many others for which they are not, it 
 is purposed to plainly state these defects, 
 if such deficiency can be called by that 
 name. 
 
COLORS 19 
 
 j^ great deal of the misliaps of paint 
 going wrong, fading, etc., is caused by the 
 ignorance of the painters who nse them. 
 It is true and beyond the possibility of 
 denial that fully ninety-five per cent, of 
 the men using paint have but a very hazy 
 notion as to what pigments are and but 
 very few can give an intelligent reply to 
 questions put to them concerning some of 
 the pigments they have been using daily 
 for years and years. 
 
 There is no explanation given for this 
 ignorance excepting that perhaps in large 
 city shops the mixing of paint is usually 
 done by men especially set apart for this 
 —but this ignorance is not altogether due 
 to this cause as in many of the smaller 
 shops and in country towns, there is but 
 very little more knowledge shown by either 
 contracting master painters or journeymen. 
 
 This manual is written more especially 
 for the use of students in manual or indus- 
 trial trade schools or for those who wish to 
 post themselves at home and become fa- 
 
20 COLOKS 
 
 miliar with the material they use— but 
 while primarily written for the benefit of 
 the persons described above there is room 
 for its use and perusal by thousands and 
 thousands of professional painters all over 
 the land who would be benefited by know- 
 ing considerable more than they do about 
 the pigments they use. 
 
 The same system and arrangement of 
 the subject matter and of its division into 
 lessons and paragraphs as was used in the 
 first and second volumes will be used in 
 this; as it facilitates the memorizing and 
 where the manual is used in class work in 
 trade schools, it will help the instructor as 
 well as the students to formulate proper 
 answers quickly, 
 
 F. Maire. 
 
COLORS 
 
 WHAT THEY ARE AND WHAT 
 TO EXPECT OF THEM 
 
 LESSON I 
 
 DEVELOPMENT OF THE COLOR MAKING 
 INDUSTRY 
 
 1. The history of the color making in- 
 dustry as such is rather of comparatively 
 recent origin. But the use of colors is 
 nearly as old as that of the existence of the 
 human race itself, at least in some forms 
 of it. All remains of ancient and decayed 
 civilizations show that colors were used in 
 adornment of objects and of persons so 
 that the love of it is inherent to the human 
 family. 
 
 Man having been created with a love of 
 the beautiful and of a keen sense of enjoy- 
 
 21 
 
22 COLOKS 
 
 ment in tlie harmonious display of color so 
 lavishly bestowed upon everything created 
 —it wonld have really been a wonder if it 
 had ever been otherwise. 
 
 2. In primitive times it is true that a 
 very crude use of coloring was made and 
 that the refinement of higher civilizations 
 tend to educate man into a better use of it ; 
 but there is no race of man known, no mat- 
 ter how low it may have been sunk by its 
 unfavorable environment into the lowest 
 depths of degradation, that do not use and 
 admire colors. The savage and uncivilized 
 of both hemispheres make use of it in the 
 beautifying of such articles as they use in 
 self-adornment or in rendering their other- 
 wise miserable hovels less desolate. 
 
 3. The records which have been handed 
 down to us of early civilisations either sa- 
 cred or profane, are full of allusions to the 
 use of colors. The Persians and Phoeni- 
 cians were expert dyers and manufacturers 
 of textile goods and the Egyptians were ac- 
 quainted with them, too, as the intricate 
 
COLOKS 23 
 
 tracings in color upon their sarcophagi, 
 etc., which are even preserved to this day 
 very convincingly prove them to have been 
 acquainted with many which are in use 
 to-day, especially the colored earths. 
 Some which were rare and difficult to pro- 
 cure were only used by the aristocracy and 
 even exclusively by royalty, as purple, for 
 instance. Even to this day, the color 
 named is associated with that idea and the 
 *^ royal purple'' has not entirely lost its 
 early signification to-day. 
 
 4. The later civilizations of the Gre- 
 cians and Eomans developed a still wider 
 use of colors and the bringing to light of 
 the buried cities of Pompeii and Hercula- 
 neum shows in a well-preserved state that 
 colors were not only well known then but 
 that there were artists in those early days 
 who knew how to use them to perfection, 
 not only in the form of mural decorations 
 but in the representation of the human 
 form and that of flowers, animals, etc., to 
 a degree of perfection that is surprising 
 
24 COLOKS 
 
 to those who may have thought that the 
 artistic use of color is of comparatively re- 
 cent origin. 
 
 That white lead was well Imown is 
 proved by the writings of Pliny, and he all 
 but describes the process in use to-day. 
 Besides the recent finds of small pots of it 
 in Pompeii confirms it fully. There were 
 no large factories of it then as now, how- 
 ever, and with the slow way of writing 
 everything, the very few who received lib- 
 eral educations, it is not to be wondered 
 at that when the Goths and Vandals had 
 overrun Europe and brought all these civ- 
 ilizations to an end, that colors which were 
 well known to the Romans in the height 
 of their better days were lost sight of until, 
 after many centuries of oblivion, they were 
 rediscovered. 
 
 5. During the so-called Dark Ages, when 
 a new civilization had to be worked out of 
 chaos, all but art was at a low ebb, but it 
 never became absolutely extinct. The mon- 
 asteries which sprang up all over Europe 
 
COLOES 
 
 25 
 
 were the centers which kept art alive. The 
 service of God was made attractive and the 
 churches beautiful. The work of the 
 monks in preserving and transcribing the 
 ancient literature preserved from the ruins 
 was of a very high character. They used 
 colors in their work in profusion and some 
 of their adorned manuscripts of missals, 
 chronicles and legends abound with orna- 
 mentation, some being very artistic and 
 held in high esteem by lovers of the beau- 
 tiful to-day. 
 
 6. During the renaissance period when 
 learning received a new impetus and a re- 
 newal of life as the name itself indicates, 
 there sprang into being a number of mas- 
 ters in the use of colors and from the four- 
 teenth century till the twentieth a gradual 
 but constant increased use of color is very 
 noticeable. The spread of universal 
 knowledge made possible by the discov- 
 ery of printing; the gradual development 
 and improvements made in the producing 
 of machinery to take* the place of manual 
 
26 COLORS 
 
 labor ; the betterment and enrichment of a 
 powerful mercantile middle class, after the 
 discovery of the New World, were all fac- 
 tors in bringing about the ability of pro- 
 ducing the present civilization which we 
 now enjoy. 
 
 7. During all this time here and there 
 some one made discoveries which produced 
 this or that color. But it is only within the 
 last two centuries that much progress was 
 made in the preparation of colors and the 
 last seventy-five years will show the great- 
 est progress of all. This is no doubt due to 
 the fact that the science of ^^ Chemistry '' 
 became positive and it is due to its devel- 
 opment that we have been given the many 
 pigments which are in use to-day. 
 
 It is not intended to give an historical 
 review of all the colors separately, as this 
 does not come within the scope of this 
 manual. The gradual development of 
 color noted in a general way will suffice for 
 this purpose and will show that '^modern- 
 ism," while it can lay claim to many new 
 
COLOKS 27 
 
 colors exclusively its own, is far from hav- 
 ing a monopoly of the love of it and even 
 of its artistic application, and that the 
 ancients had the same love for it as they 
 who enjoy it now, but in a more restricted 
 use of it. 
 
 QUESTIONS ON LESSON I 
 
 1. Was color used in primitive times? 
 
 2. Are colors used by uncivilized man 
 at the present time? 
 
 3. What colons were mostly used by 
 Persians, Phoenicians, etc.? 
 
 4. What use of colors were made by the 
 Greek and Roman civilizations? 
 
 5. Did artistic decoration perish dur- 
 ing the so-called Dark Ages? 
 
 6. What effect did the renaissance pe- 
 riod have upon artistic production? 
 
 7. What was the chief reason why so 
 many new colors were discovered in the 
 past century? 
 
28 COLOES 
 
 LESSON II 
 
 PEELIMINAEY STUDY OF COLOES 
 
 8. It was seen in tlie first lesson that 
 the use of colors is far from being of recent 
 origin, but the largely increased popular 
 use of them may be broadly stated so to be, 
 and the manufacture of chemically made 
 colors as well as the manipulations on a 
 large scale of natural coloring matter or 
 substances can be included in this same 
 statement 
 
 While in all ages since colors have been 
 in use by man there no doubt have been 
 men who made a specialty of their prep- 
 aration, it is not probable that there were 
 any collective producing of them by the 
 factory system of to-day. 
 
 Every man had his own empirical form- 
 ulas handed down and held as an heir- 
 loom to be transmitted in the same manner 
 to his descendants that he himself had re- 
 ceived them. 
 
COLOKS 29 
 
 In the long course of time there is a 
 great probability that many processes of 
 producing dyes and colors accidentally dis- 
 covered which became lost because of the 
 death of the discoverer before he had 
 parted with the knowledge of his find to 
 others, and it is a well-known fact that 
 
 to-day, with all the chemical knowledge to 
 help, some colors used in glass staining in 
 the Middle Ages cannot be reproduced; 
 the art of making them having become a 
 lost one. 
 
 9. All colors, no matter what they are, 
 can be classed into one of the two principal 
 divisions of pigments. 1. Those which are 
 
so COLORS 
 
 produced by nature itself. 2. Those whicli 
 are manufactured by the compounding to- 
 gether of various chemical substances 
 which may form new chemical combina- ' 
 tions or which simply combine togetheF 
 without assimilation. 
 
 THE NATURAL EARTH COLORS 
 
 10. The naturally produced colors form 
 a large division and are the ones which 
 were used mostly by ancient civilization, 
 although they were not exclusively con- 
 fined to them, as will be seen later; yet 
 such were their main-stay and their chief 
 resources. 
 
 This class of colors are nearly all earths 
 and ores of metals. As a rule they are 
 very permanent, and nearly all of them 
 unchangeable. They form an important- 
 part of the painter's palette to-day, not 
 alone for the artist and decorator, but for 
 the needs of much of the exterior and inte- 
 rior painting of all kinds of surfaces. 
 
 11. The principal component parts of 
 
COLOES 31 
 
 the colored and usually nearly the whole 
 of the earth whites are earths or decom- 
 : posed rock, the coloring matter of the 
 .' reds and yellows of all shades being due to 
 the admixture to the earth base of oxide 
 or peroxide of iron in the reds or of the 
 hydrate-oxide of iron in the yellows, much 
 of this being due to infiltrations upon the 
 earth layers from iron ore beds above them. 
 Manganese also plays an important part in 
 the coloring of these earths, especially in 
 the brown toned ones as the umbers. Lime, 
 either the carbonate or sulphate, is the chief 
 white coloring element of the earth whites. 
 It has taken thousands of years of infil- 
 trations to produce some of the beds of 
 earth colors which are used to-day, and 
 still the process is going on. It stands to 
 reason that if thousands of years in the 
 forming have been unable to change the 
 ^ coloring of these naturally made pigments 
 that they must be immune to the atmos- 
 pheric influences which play such havoc 
 
32 COLOES 
 
 [With the permanency of many of the 
 brighter hued pigments that are made arti- 
 ficially. 
 
 Iron oxide is by far the most important 
 factor in the producing of colored earths. 
 Its rnst in its natural state, when exposed 
 to moisture, is in the hydrated form or of 
 a yellowish tone. This by heating loses 
 its water of hydration and becomes red. 
 During prehistoric times when these beds 
 must have been subjected to great heat, 
 the hydrated oxide became changed into 
 the oxide and formed the red pigments. 
 
 When the word unchangeable is used in 
 connection with the oxides of iron, it is 
 only relatively so ; it applies fully only to 
 the yellows or hydrated oxides— the natu- 
 ral form of iron rust and hydrogen in the 
 form of moisture or water. 
 
 There is a constant tendency for oxide of 
 iron to become more and more hydrated 
 and to return to its first and natural condi- 
 tion. It is so slow that it would take many 
 hundred years to be completed, but the, 
 
COLORS 33 
 
 change is constantly going on and this 
 phenomenon will explain why red oxide of 
 iron paint becomes duller toned after years 
 of exposure in situations where moisture 
 affects them. But it is so slow that no one 
 need fear that the change will be greatly 
 noticed within an average life time, and 
 then it will be time for repainting sure. 
 
 12. Lime which in some form is the col- 
 oring matter of most of the white earths, 
 is also permanent and not subject to 
 change, so that one need not fear any pos- 
 sible variations from their use excepting 
 that of the pigments used with them in the 
 making of tints. 
 
 In their self color all earth whites are 
 perfectly permanent. 
 
 QUESTIONS ON LESSON II 
 
 8. Is the factory system of producing 
 pigments of recent origin? 
 
 9. What are the two general divisions 
 into which all colors may be classed! 
 
34 COLOES 
 
 10. What is said concerning tHe natu- 
 rally produced colors'? 
 
 11. Wliy is it that the naturally pro- 
 duced colors are so permanent ? 
 
 12. Why are the earth whites perma- 
 nent? 
 
COLORS 
 
 35 
 
 LESSON III 
 
 PRELIMINARY STUDY OF COLORS CONTINUED 
 THE CHEMICALLY MADE COLORS 
 
 13. The cliemically made colors consti- 
 tute a large section of the two principal 
 divisions of pigments. By new discoveries 
 it is becoming richer and more valuable 
 year by year, not alone by the addition of 
 some new color as in discoveries to make 
 those already on the list better than they 
 were; of fixing the coloring matter so that 
 there is less tendency of their fading, mak- 
 ing them more permanent and that much 
 more valuable to the trade. 
 
 14. While it is not possible to so manip- 
 ulate and combine certain colors as to ren- 
 der them relatively permanent, as they 
 must at some time and somewhere come in 
 contact with inimical substances which de- 
 stroy them by forming new chemical com- 
 pounds with them, it must have been no- 
 ticed by the careful observer in the trade 
 
36 COLORS 
 
 that many colors wHcli were considered so 
 fugitive as to be worthless a few years ago 
 are now much better made and compara- 
 tively permanent to what they used to be. 
 There is a possibility of their improve- 
 ment up to certain points only, however, 
 and the more durable ones of certain 
 shades and tones must be obtained, after 
 all, by new chemical discoveries. 
 
 15. The derivation of many colors or 
 dyes from coal tar has grown to be an im- 
 mense industry and may be said to be still 
 in its infancy. Many of the older men, 
 the writer among them, can well recollect 
 the time of the first placing upon the mar- 
 ket of the aniline dyes and of the great stir 
 it made at that time. The first attempts 
 have been very much improved since and 
 the crude efforts of the first discoverer 
 have given place to products which are 
 very far ahead of them. Thanks to their 
 betterment and new processes of extrac- 
 tion from a fugitive rose aniline about 
 worthless as dependable coloring matter. 
 
COLOKS 
 
 37 
 
 we have to-day coal tar colors wMcH rival 
 and, in fact, are identical with madder red. 
 This discovery has driven the real madder 
 red out of existence as the artificial is so 
 perfectly like it that a chemical analysis 
 would not detect it. It is therefore to be 
 expected that, however great the discov- 
 eries of the past few years have been, the 
 researches of science have not said their 
 last word in producing valuable colors 
 from that one source alone. 
 
 16. Some improvements in the making 
 of chemical colors as well as in the discov- 
 ery of several were the results of chance 
 and accident, especially at the time when 
 chemistry began to disentangle itself from 
 its swaddling clothes of empirical alchemy 
 to the exact science that it has developed 
 into. "While there have been but few new, 
 colors obtained by chance and accident in 
 the recent past, many improvements in 
 their making and preparation can be said 
 to be due to those causes. 
 
 No doubt many are not aware of the in- 
 
38 COLOKS 
 
 fluence of wliat it is usual to consider as 
 accessories in the making of colors. Chev- 
 reuil, the great color scientist, relates how 
 certain colors become obsolete in the great 
 government dye-works at the Gobelins in 
 Paris. The formulas were all right and 
 the same, but the colors were not, and no 
 matter how careful the operations, they 
 would not show up. He relates how a sur- 
 face brook used to run down the street 
 gutter and how this stream coming down 
 from the ^^ Abattoirs'' above was more or 
 less polluted with blood and other animal 
 offal, and it was further noted that since 
 the city had turned the stream into the 
 sewers the trouble had commenced with 
 the producing of the colors when the Gobe- 
 lin factory stopped the use of the water 
 from the brook in preparing its dyes. At 
 last, after many months of failure, the 
 right cause was hit upon— *4he water was 
 not the same." After artificially polluting 
 their good water they had no difficulty in 
 
COLORS 39 
 
 reproducing tlie old time colors in all their 
 beautiful shades. 
 
 The above instance is given in order to 
 show that some things which are not 
 counted upon as factors in the making of 
 colors exert a great influence in their prep- 
 aration and frequently in the fixing of 
 the coloring matter more firmly. Im- 
 provements thus obtained may be acci-* 
 dental and are not accounted for in any 
 other way. 
 
 QUESTIONS ON LESSON III 
 
 13. What is said in a general way of 
 the chemically made colors? 
 
 14. Can all colors in this class be made 
 absolutely permanent? 
 
 15. What is said of the discoveries in 
 the making of coal tar colors? 
 
 16. Are improvements in color making 
 always attributable to science? 
 
40 COLOKS 
 
 LESSON IV 
 
 THE VARIOUS DIVISIONS OR GROUPS OF COLOR 
 
 17. For tlie purpose of easier identifi- 
 cation and examination the colors have 
 been placed into seven general groups and 
 each color or pigment classified in it ac- 
 cording to its color as represented by the 
 general name of the group. In a very few 
 instances it is rather an arbitrary placing, 
 as where the color seems to really lean 
 more strongly to another than the one it is 
 placed in, but in such instances there are 
 very good reasons given for the deviation 
 as for instance: Chrome yellow belongs' 
 generically to the yellow group and all are 
 manufactured in nearly the same manner, 
 the slight variations producing their dif- 
 ference in color not changing the processes 
 much, but the orange chrome yellows, es- 
 pecially the deep shades of it, are nearly a 
 scarlet and would seem to have been much 
 more at home in the red group than in the 
 
COLOKS 
 
 41 
 
 yellow As tlie process of manufacturmg 
 them is given in the yellow class and their 
 variations for the orange at the same time 
 making it much easier to understand, it is 
 only proper that all chrome yellows should 
 be placed in the same group. 
 
 The above is given as an illustration that 
 where there is an apparent discrepancy in 
 the rule there was a very good reason for 
 it or it would not have been done. 
 
 18. These seven divisions contain all 
 the colors that will be reviewed in this 
 manual : 
 
 1\ The black group. 
 
 2\ The blue group. 
 
 3°. The brown group. 
 
 4. The green group. 
 
 5. The red group. 
 
 6. The white group. 
 
 7. The yellow group. 
 
 19. At the heading of each color named 
 will be given not only its official name, ix,, 
 the name which it is best known by in the 
 
42 COLORS 
 
 United States (it is called official only in 
 that sense), but all other names nsed to 
 designate the same color in certain coun- 
 tries or in certain localities, will also be 
 given in smaller type. Synonyms have 
 frequently caused much misapprehension 
 on the part of those who are imperfectly 
 informed regarding pigments, as they are 
 naturally led to think that they are not 
 using the right color when perhaps they 
 call for it under a name which they may 
 have read about in some English book, 
 where colors are sometimes designated 
 differently than is customary in the United 
 States. Even here some sections continue 
 to use the old English designation, while 
 in others another which is entirely differ- 
 ent is in use. 
 
 It is unfortunate that the nomenclature 
 of colors is not uniform the world over. It 
 is hoped that time will correct this unneces- 
 sary tangle. In the meantime the syn- 
 onyms given will give relief at least to 
 
COLORS 43 
 
 those who will take the trouble to familiar- 
 ize themselves with them. 
 
 20. It will be noticed that the groups of 
 colors are not given according to their im- 
 portance. They are arranged nearly so, 
 however, and more alphabetically. This is 
 done in order to facilitate the search for 
 them, when one does not care to turn to 
 the index. This is the only quick and 
 proper way, however, and as it has been 
 purposely made copious in order to save 
 the time of the students in looking up any 
 particular item they wish to see, they 
 should use it more frequently, as otherwise 
 the very thing they wish to know may slip 
 by unnoticed by them. 
 
 21. As far as possible the following 
 method will be used in the description of 
 pigments: Their origin; their chemical 
 composition when the same can be given 
 without going into too intricate details. 
 This will include the processes of manu- 
 facturing them when these are simple. The 
 pigments which are mostly used will re- 
 
44 COLOKS 
 
 ceive more attention and will be examined 
 at greater length than those which are sel- 
 dom used and of doubtful utility. This 
 will be followed up with the best uses that 
 €an be made of them practically in oil, 
 japan or water color work. 
 
 Many colors should never be used under 
 certain conditions, surroundings, or be 
 mixed with certain other colors. Such as 
 
 4 
 
 are adversely affected in that way will 
 have the same noted. Their defects as 
 well as their good qualities will be pointed 
 out. 
 
 QUESTIONS ON LESSON IV 
 
 17. Into how many groups have all the 
 various pigments been placed? 
 
 18. Name the various groups of colors. 
 
 19. Under the names here given to col- 
 ors what others will be added? 
 
 20. Why has the alphabetical arrange- 
 ment been adopted in naming the groups of 
 colors 1 
 
 21. Eelate the manner in which the ex- 
 amination of colors is to be made. 
 
COLORS 45 
 
 LESSON V 
 
 THE BLACK GROUP OF COLORS 
 
 22. The black group of pigments is of 
 great importance to all classes of painters. 
 The house painters use blacks in the pre- 
 paring of tints, as well as in its self color— 
 the same can be also said of interior and 
 exterior decorators. The grainers even 
 use it in the preparing of their colors. The 
 sign painter could hardly carry on his busi- 
 ness without the black, and to him it is 
 the one most important pigment on the list. 
 The car, and especially the locomotive 
 painter, the carriage and buggy painters 
 use it in enormous quantities and imple- 
 ment manufacturers as well as those of 
 iron specialties use it. There is no class of 
 painting done where some use of it is not 
 made. But that the quantity of it used 
 when compared to some other pigments 
 which are used as bases in preparing tints 
 and which are required in much greater 
 
46 COLOES 
 
 quantities than are the blacks, they might 
 well be entitled to first place in general 
 utility as well as first place on account of 
 their alphabetical order. 
 
 23. Lamp Black. Noir de fumee, Fr,—, 
 Buss, Ger. Lamp black has no synonyms 
 under which it is known in the English laur 
 guage. As it is in the shape of tube colors 
 it is sometimes to be found imported from 
 France and Germany, the name under 
 which they are sold is also given. 
 
 Lamp black has been well known and 
 used from time immemorial, having been 
 used uninterruptedly, from primitive times 
 to the present. It would have been a won- 
 der had it been otherwise as it is so easily 
 produced. 
 
 24. It is soot, pure and simple. Being 
 almost pure Carbon, it is perfectly inde- 
 structible and unalterable. It is produced 
 by the incomplete combustion of fats and 
 oils. Long hollow iron tubes, at one end 
 of which the burning takes place with an 
 insufficiency of air. This produces soot, 
 
COLiOKS 47 
 
 which is deposited inside of the iron cylin- 
 der. The best and finest particles are car- 
 ried the farthest away, while the poorest 
 and heaviest naturally settle the nearest to 
 the point of burning. When enough has 
 been burned the cylinders are cleaned and 
 scraped. According to the distance from 
 the burning point the product is separated 
 inta grades, the finest qualities being sepa- 
 rated from those of medium and these 
 again from those of inferior grade. 
 
 25. The lamp black as it is extracted 
 from the cylinders usually contains fatty 
 matter, which is anti-drying in linseed oil. 
 The finest qualities are more free from this 
 than the medium and especially the lowest 
 grades of it, but even for these it is better 
 that they should be calcined by being sub- 
 jected to a strong red heat which will burn 
 out this deleterious greasy matter which 
 otherwise renders it so very difficult to dry 
 in oil work. 
 
 26. Calcined lamp black is much more 
 satisfactory to use than are the other quali- 
 
48 COLrORS 
 
 ties, no matter how good they may be ; for, 
 after the burning out of the anti-drying oils 
 contained in it, it is easy enough to make it 
 dry within a reasonable time. The preju- 
 dices of a few painters against its use is 
 no doubt due to their lamp black ground in 
 oil being of poor quality and uncalcined. 
 
 27. The house painter uses it princi- 
 pally for the making of tints to which pur- 
 pose it is eminently adapted. Good lamp 
 black produces the cleanest, purest toned 
 grays of any of the blacks, without excep- 
 tion. All other blacks, no matter how 
 much more intensely jet black they may be, 
 and which when placed alongside of the 
 best lamp black make it appear of a dirty 
 gray as compared with their own intense 
 blackness, do not approach it in clearness 
 when it comes to the making of tints, the 
 nearest coming to it being the best quality 
 of ivory black and even it must be placed 
 as second. 
 
 It is also much used in tint making, not 
 alone in the making of grays, lead and slate 
 
COLOKS 49 
 
 tints, but for tlie deepening and tlie toning 
 up of an innumerable list of them. 
 
 Lamp black is one of the greatest absorb- 
 ents of linseed oil in the color list. It re- 
 quires about 220 lb. of linseed oil to grind 
 100 lbs of good calcined lamp black. It is 
 inert in oil, having no effect whatever upon 
 it one way or another. It was seen that 
 the uncalcined had an anti-drying effect 
 upon it, so that unless one is well ac- 
 quainted with the working qualities of the 
 lamp black that he may be using, he will be 
 on the safe side in using a liberal quantity 
 of dryers with it. 
 
 The above is its one weak point and to 
 that may also be added that it is not a jet 
 black, so that where an intense black is 
 wanted, this jetness must be supplied to it 
 by the addition of another black possessing 
 this quality or by its substitution alto- 
 gether. 
 
50 COLORS 
 
 QUESTIONS ON LESSON V 
 
 22. What is said about the general util- 
 ity of the black group of colors? 
 
 23. Has lamp black been long in use ? 
 
 24. "What is lamp black and how is it 
 obtained? 
 
 25. How are the various qualities of 
 lamp black separated? 
 
 26. What is said of calcined lamp 
 black? 
 
 27. What is lamp black chiefly used for 
 by house painters and what are its chief 
 defects t 
 
COLOKS 51 
 
 LESSON VI 
 
 THE BLACK GROUP CONTINUED 
 
 Gas or Carbon Black has also a good ar- 
 ray of proprietary names given it. 
 
 28. This black may be said to be a va- 
 riety of lamp black, as it is produced by a 
 similar process of incomplete combustion, 
 only that instead of fats or rosins being 
 used it is made from natural gas, hence its 
 name. It, too, is a pure carbon nearly, in 
 fact, nearly all the blacks are, therefore 
 unchangeable and unalterable. The proc- 
 ess of making it being similar to that of 
 lamp black, it need not be repeated. 
 
 29. While the method of producing gas 
 black is similar, and its chemical composi- 
 tion, '^carbon/' is about the same as lamp 
 black, the similarity ends there, for it is an 
 entirely different black in all other respects 
 nearly. It is a much more intensely jet 
 black than lamp black and when placed 
 side by side it makes the latter appear dull 
 
52 COLOES 
 
 and grajdsh, even the very best of it. For 
 solid black painting, therefore, the gas 
 black is much more desirable. 
 
 30. It is a great absorber of oil and 
 therefore a good pigment to use for out- 
 door painting. The steamships engaged in 
 the transatlantic trade, which are re- 
 painted at the end of every trip, use enor- 
 mous quantities of it, or at least of a black 
 paint into which it enters largely as a com- 
 ponent part in order to give it its jetness. 
 
 31. In the early days of its introduction 
 it received a backset in the estimation of 
 many users of paint in that it was found it 
 had the property of turning linseed oil into 
 a livered-like jelly which could not be ap- 
 plied with a brush. So the many painters 
 then who were attracted to it by its density 
 formed a very strong dislike to it. The 
 grinders soon found a remedy for this, so 
 that now there is no danger in using it on 
 that account; but the reputation for it 
 haying been made and the cost of it hav- 
 ing advanced from the earlier prices when 
 
, COLOKS 53 
 
 natural gas was very much cheaper than it 
 is now, it is now very seldom sold under its 
 proper name except in a dry state or mixed 
 up with other blacks in order to render 
 them more intense and better covering, es- 
 pecially in the blacks used by the carriage 
 trade. 
 
 32. Some of its good points may well 
 be inferred from what has been already 
 said. The first in order is its jettiness. It 
 is an intensively black black. Even the best 
 coach drop ivory blacks do not surpass it. 
 In addition to the above is its great opacity 
 which fully equals that of lamp black. 
 It is so great that one would be safe to say 
 that it would take at least 7 to 10 lbs of 
 the best of the ivory blacks to cover 
 over a white ground the same amount 
 of surface that 1 lb. of gas black would 
 cover fully as well. It is chiefly for its own 
 self color that it is useful, for in the making 
 of tints with a white base it produces rusty 
 tones of grays that cannot be compared to 
 those produced by lamp black and the bet- 
 
54 COLOES 
 
 ter sorts of ivory black. TMs dirty- 
 rusty-looks in its tint making with whites is 
 a pretty certain indication that it has been 
 used in preparing certain blacks that are 
 neither strong nor naturally very intense. 
 It is used much to bolster up those weak 
 colors. 
 
 Ivory Black,— Drop Black, Coach Black, 
 and under hundreds of fancy proprietary 
 names in coach colors ground in japan or 
 varnish. 
 
 Ivory black (?) is purely and simply 
 bone black of good quality, usually made 
 from selected hard bones, teeth, etc., prob- 
 ably at some time or other somebody may 
 have dropped in a handful of ivory dust 
 from the turning lathes, hence the name. 
 There would not be enough ivory shavings 
 and cast-off parts in the whole world to 
 last one week for use in the making of 
 ivory black for the United States alone, 
 let alone the immense use made of it by 
 Canadian and foreign industry. It is ani- 
 mal charcoal of good quality. 
 
COLORS 
 
 55 
 
 34. The bones are placed in a closed 
 vessel and subjected to heat in ovens built 
 especially for the purpose. There it is 
 converted into animal charcoal of an in- 
 tense black if made from the right mate- 
 rial. Its coloring is due to carbon ; it also 
 contains lime and phosphate, which are 
 elements contained in the bones. It is very 
 .permanent and unalterable. It is em- 
 ployed in interior decoration in either wa- 
 ter or oil color work, but is more desirable 
 in oil work. It is chiefly used for its self 
 color, as it does not produce as good, clean 
 tints as lamp black does, nor is it nearly 
 so strong. It would require several times 
 as much weight of it to produce a tint that 
 was made from lamp black. 
 
 QUESTIONS ON LESSON VI 
 
 28. What is said of gas black and of 
 its manufacture? 
 
 29. What are the characteristics of gas 
 black! 
 
 30. What else is said regarding these? 
 
56 COLOES 
 
 31. Is it possible to grind it so as not to 
 liver Tip the linseed oil 1 
 
 32. Wliat are its good points and de- 
 fects? 
 
 33. What is ivory black! 
 
 34. How is animal charcoal made ? 
 
coiiOES 57 
 
 LESSON VII 
 
 THE BLACK GKOUP CONTINUED 
 IVORY BLACK CONTINUED 
 
 35. Under the name of drop black it 
 was customarj^ in the past to grind bone or 
 ivory black finely and to wash it afterward 
 to remove any impurities. After the set- 
 tling, the pulp was picked up in spoons and 
 each dabbed on a metal sheet which took 
 the form of drops of about the same shape 
 as that of the ordinary chocolate drops, 
 which owe their shapes to a similar treat- 
 ment. This is what gave it its name. It 
 is still sold under that name and also un- 
 der that of coach black, which are all con- 
 vertible terms for the same thing. 
 
 36. It is sometimes mixed with a ^mall 
 portion of Prussian blue in order to in- 
 crease its jetness, but the good qualities 
 of it do not require this treatment, and it 
 is given mainly to those which are not of 
 a good enough quality to stand by them- 
 
58 COLOKS 
 
 selves in order to kill their gray appear- 
 ance, and such blacks should always be 
 looked upon with suspicion, as Prussian 
 blue is not nearly as permanent as carbon 
 black, so that there is a chance of their 
 losing their artificial jet and of showing 
 their natural inferiority. 
 
 37. As with the present demand for ma- 
 terial that is already prepared by pulveriz- 
 ing and grinding for immediate thinning 
 with varous vehicles for use, there is but 
 little if any drop black in that form for sale 
 and it is dried in pans in thin sheets, as 
 are all other colors in the color drying 
 houses, after which it is finely ground dry 
 and sold in that shape for such trade as 
 wish it for water color work. Even many 
 painters prefer to use it already ground in 
 water, especially the grainers. For oil 
 work it is seldom that a painter would wish 
 to buy it dry and grinc^ it himself, as it is 
 a very hard color to grind, ^nd he would 
 not care to try the experiment bnt once, so 
 
COLOKS , 59 
 
 it is ground in oil and sold in that shape for 
 the general paint trade. 
 
 38. The carriage trade consumes most 
 of the ivory blacks, as it is the one black 
 pigment they swear by and without which 
 they would hardly know how to get along 
 with their black work and that is the chief 
 color used in all carriage work and is com- 
 ing into favor more and more in the paint- 
 ing of automobiles. For this trade it is 
 ground in japan and varnish and put up in 
 5 to 10 lbs. press cans and in the usual 
 smaller tin cans for such trade as use 
 but little of it. It is made in many qual- 
 ities of the genuine and is also sold under 
 a great number of proprietary names, 
 where it is easier to disguise it and correct 
 its faults of covering by mixing it with gas 
 black. 
 
 39. Charcoal hlack— Blue black— Vine 
 black — Frankfort black — Frankfurter 
 Schwartz— GeY—noir de vigne, Fr. Char- 
 coal black is useful only to the decorator 
 and in water colors at that. Its tone of 
 
60 COLORS 
 
 a semi transparent character even in water 
 is a blmsh black and it is useful in glazing 
 principally. It is made from twigs of 
 trees, grapevine cuttings, etc; by being 
 placed in sheet iron cylinders and sub- 
 jected to heat in order to turn them into 
 charcoal after which it is pulverized and 
 comes in that shape to the trade. 
 
 40. GTEn^hlte— Plumbago— Blach lead. 
 Has been known from most ancient times. 
 As a material to be used in painting how- 
 ever it is of only recent origin — as the un- 
 attractiveness of its self tone did not ap- 
 peal to the imagination of our ancestors. 
 In this utilitarian age,, however, where 
 preservation is frequently the only reason 
 why surfaces are covered with paint it 
 has come into quite an extended use. It 
 is a pure natural carbon and is to be found 
 in many parts of the world. It has many 
 other economic uses which this manual 
 must ignore as being no part of its subject 
 matter. 
 
 41. In oil it is inert as are all paints 
 
COLOKS 61 
 
 consisting mainly of carbon and having no 
 foreign admixture to act injuriously upon 
 it. It is best used for irons and metallic 
 surface covering for which it is well 
 adapted. It can also be used to good ad- 
 vantage in the painting of wooden out- 
 houses and buildings of any kind. Its un- 
 attractive color can be improved by the 
 addition of some other strong colored pig- 
 ments which will change its tone sufficiently 
 to remedy this defect by the addition of but 
 a small quantity of it. The red oxide of 
 iron, the yellow oxide of iron for examples 
 —it will require but little of either to mate- 
 rially change it. 
 
 QUESTIONS ON LESSON YIL 
 
 35. What is said of drop black? 
 
 36. How is it prepared? 
 
 37. In what shape is it placed on the 
 market 1 
 
 38. How is ivory black prepared for 
 the carriage trade? 
 
62 COLORS 
 
 39. What is cliarcoal black and what 
 are its uses in painting? 
 
 40. What is graphite or plumbago? 
 
 41. What are the chief uses of graphite 
 as a paint? 
 
COLORS 63 
 
 LESSON VIII 
 
 THE BROWN GROUP OF PIGMENTS 
 
 42. The most of the pigments composing 
 the brown group are highly esteemed by 
 all classes of painters for either oil or 
 water color work and they are also very 
 much used by the carriage car and auto- 
 mobile trade, while the grainer would have 
 to quit his specialty, for the brown pig- 
 ments are those which with the exception 
 of ivory black compose his whole stock in 
 trade. 
 
 They are not used in such enormous 
 quantities as the blacks, it is true, but their 
 utility is as great and their range of use- 
 fulness is even greater. Unlike the black 
 group whose coloring matter is chiefly con- 
 fined to one element * ^ carbon. ' ' The brown 
 pigments are derived from various sources 
 and their original derivation are from all 
 kingdoms: animal, vegetable, metallic and 
 mineral. 
 
64 COLOKS 
 
 43. Tlie brown pigments, many of them 
 being derived from natural earths were 
 made use of by the earliest civilizations to 
 a large extent as well as many tints made 
 from them and whites in the form of gray 
 brown drabs. At the present time the list 
 has greatly increased in that, many valu- 
 able additions have been made to it; es- 
 pecially in the more transparent form of 
 brown lakes until there is hardly any 
 hue or shade of brown that is not repre- 
 sented in the brown pigments derived from 
 coal tar. Their nomenclature being mainly 
 proprietary names— this creates much con- 
 fusion and it is a hard matter to describe 
 them in other than general terms. It is 
 earnestly hoped that the near future may 
 bring order out of this chaotic condition. 
 
 44. The most useful of the browns which 
 are chiefly esteemed and used by painters 
 of all kinds, are those, which are derived 
 from natural beds or which are best known 
 as earth colors. The earths themselves 
 which form the base holding the coloring 
 
COLOKS 65 
 
 which is chiefly manganese or iron, or com- 
 binations of the two, may vary greatly 
 while the base does not always affect the 
 coloring matter it contains, it does do so 
 in some instances and its composition af- 
 fects the working qualities greatly. Those 
 browns which have a silicions earth base 
 being more transparent than those of an 
 aluminous one, being also brighter toned as 
 clay has a tendency to muddy their purity 
 of tone, as a rule it may be said to have an 
 injurious effect upon them. The composi- 
 tion of the base has an effect sufficiently 
 great as to influence the value of the prod- 
 uct of the same bed to the extent that on 
 account of this difference, the pigment is 
 mined in veins separately from the rest of 
 it which is not so good. 
 
 45. In paragraphs 47 to 52, of lesson IX, 
 is given the process usually employed in 
 mining the earth colors and as the system 
 applies to the mining of most of the other 
 earth colors, it is given there fully and the 
 student will be referred to it all through 
 
66 COLOES 
 
 tlie rest of this manual wherever there 
 will be occasion to do so. 
 
 KAW AND BUENT UMBEES. 
 
 46. These and the siennas form a group 
 which the whole family of painters are in- 
 timately familiar with. Both are widely 
 disseminated over the whole earth's sur- 
 face, but as stated before there is as wide 
 a difference in their quality as there is in 
 the wideness of their existence. Those 
 which have been found in the United 
 States so far unfortunately are not of such 
 a good quality as could be desired, far 
 from it even and they are sold at a price 
 which represents this difference better 
 than words, the American selling at Ic per 
 pound when the best Cyprus or Turkish is 
 worth 6 to 7c per pound. 
 
 It is barely possible that our western 
 mountains may contain valuable beds of 
 umbers and sienna earths, as that section 
 of our domain is its infancy and compara- 
 tively undeveloped, the future may bring 
 
COLOES 67 
 
 to light some more valuable deposits of 
 them than has been found in the better ex- 
 plored eastern portion. 
 
 The process of mining the umbers be- 
 ing the same as that used in obtaining the 
 Siennas, Ochres, earth whites, etc; it is 
 given below in lesson IX. 
 
 QUESTIONS ON LESSON VIII 
 
 42. What is said in general about the 
 brown groups of pigments? 
 
 43. What is said about the derivation of 
 the brown pigments ? 
 
 44. Which is the section of the brown 
 pigments which is the most esteemed? 
 
 45. What is said regarding the mining 
 of earth colors in general? 
 
 46. What is said concerning the distri- 
 bution of umbers and Siennas? 
 
68 COLOES 
 
 LESSON IX 
 
 THE BKOWN GROUP OF PIGMEN^TS CONTINUED 
 RAW AND BURNT UMBER 
 
 THE MINING OF EARTH COLOES 
 
 47. While we are considering the deri- 
 vation of the umbers and siennas, they be- 
 ing the first of the earth colors nnder ex- 
 amination, it is appropriate that the proc- 
 ess of mining the earth colors should be 
 here fully described. It will suffice with 
 slight variations for all othei" natural col- 
 ored earths obtained from the ground by 
 mining. 
 
 48. All mining is not done alike al- 
 though the product may be the same and 
 will be treated the same in the way of 
 cleaning, etc; to prepare it for market. 
 Some of these earth veins may lie close to 
 the stirface of the soil, others again may 
 be located upon the sides of hills either at 
 right angles or in layers with a clip or 
 slant. Some again may be located in .plains 
 
COLORS 69 
 
 at great depths. Each will require a very 
 much different system of mining in order 
 to reach them and to bring them to the 
 surface. It is not the purpose of this man- 
 ual to give a treatise on mining, as really 
 it is a matter of small importance as to the 
 how it is done. What it is purposed to do, 
 however, is to tell how the raw mined earth 
 is treated after it is brought to the surface 
 to be prepared for market. 
 
 49. It is now supposed that the earth 
 has been brought to the sheds where it is 
 to be treated in order to fit it for use. In 
 its raw condition it is usually full of im- 
 purities such as sand, roots of trees, etc; 
 which must be removed. This cleaning 
 process is called in paint vernacular ''Levi- 
 Ration/' or what the unitiated would call 
 a washing; for that is what levigating 
 means ; the dirt, sand and pebbles must be 
 washed out of the earth color whatever 
 its name may be for this process is applied 
 to all of them including whiting which is 
 made from ground chalk. 
 
70 COLORS 
 
 50. The usnal method employed in levi- 
 gating or washing impurities from earth 
 pigment is very simple and easily under- 
 stood. Pebbles, sand and most of the im- 
 purities they contain are heavier than the 
 colored earths are, consequently when 
 stirred up with water the heavy portions 
 will naturally sink first to the bottom. Now 
 if a series of tanks are built connecting with 
 each other through the ends by openings 
 which are meshed with wire cloth to pre- 
 vent the passage of roots and other light 
 impurities, the lighter portion of the stirred 
 up earth will flow on from one tank to the 
 others depositing along its course the 
 heavier parts they contain and which are 
 the impurities, the finer flowing onward 
 the longest before depositing. Therefore 
 each tank will contain a better quality of 
 the colored earth than the one immediately 
 behind them and the best quality will be 
 that found in the tank which is the farthest 
 away from the point where the raw mate- 
 
COLOKS 71 
 
 rial as mined is first started into the set- 
 tling tanks. 
 
 This description only gives the prin- 
 ciples governing the process of levigation. 
 These may be applied in many ways from 
 mere tubs to enormous settling pools. It 
 is a simple question of size and the more 
 or less ingenious arrangement made for 
 its proper performance. 
 
 51. When the clear water in the settling 
 tanks appears it is a sign that it has 
 parted with the particles of earth it carried 
 and it is withdrawn. This leaves a wet 
 pulpy mass which must be dried. In the 
 more valuable colored earths, this pulp is 
 pressed in filter presses. In most other in- 
 stances, it is put into low metal tanks when 
 it is exposed to heat in specially constructed 
 drying rooms or else simply given plenty 
 of time to drain and become air dried. The 
 latter methods being chiefly used for the 
 cheaper sorts. 
 
 52. After the drying, especially those 
 colors which have been dried bone hard in 
 
72 COLORS 
 
 the '^dry houses '* are broken up, crushed 
 and finely ground in the dry mills when 
 they are packed in barrels as a rule but in 
 some of the finer grades in boxes some- 
 times when they are ready for the market. 
 
 QUESTIONS ON LESSON IX 
 
 47. Some general remarks on mining 
 earth colors! 
 
 48. How are the lay of mine's strata? , 
 
 49. What is levigation? 
 
 50. How is the process of levigating 
 performed? 
 
 51. What is then done with the settled 
 earth colors! 
 
 52. How are they prepared for market. 
 
COLOKS 73 
 
 LESSON X 
 
 THE BROWN GROUP OF PIGMENTS CONTINUED 
 RAW AND BURNT UMBERS 
 
 Umhraufif G'er, Terre d' ombre, Fr. 
 
 53. The preceeding lesson interrupted 
 the examination of the umbers commenced 
 in lesson VIII, but it was necessary to de- 
 vote as much space as that in order that the 
 process of mining and preparing the col- 
 ored earth pigments be understood and as 
 the same system is used in the getting out 
 of all the others as well as in the mining 
 of the umbers the same will be better un- 
 derstood now when the other colored earths 
 are examined and a simple reference to 
 that lesson will be necessary. 
 
 54. It was seen in lesson VIII that um- 
 bers are pretty well disseminated all over 
 the earth. The best specimens are sold un- 
 der the name of Turkish umber and come 
 from the island of Cyprus. This possesses 
 a greenish hue in its raw state and is more 
 
74 COLORS 
 
 highly prized by artists and decorators 
 than any of the others. It stands to rea- 
 son that nmbers which are disseminated 
 over such a vast territory shonld vary con- 
 siderably in their chemical composition es- 
 pecially when it is a well known fact that 
 even specimens taken from the same mine 
 vary materially when taken from an up- 
 per instead of a lower strata. There is no 
 fixed standard possible under such condi- 
 tions, at least not a chemical one. The 
 coloring matter is due to dioxide of manga- 
 nese and brown ferric oxide. Some speci- 
 mens contains but little manganese oxides 
 being mostly iron. The American umber 
 being of this character. Again much um- 
 ber that is sold under the name is rotten 
 coal and the United States again is rich in 
 this variety also. 
 
 55. Eaw umber when ground in oil 
 should have a greenish brown tone which 
 when spread upon a piece of glass with 
 the palette knife will be of a clear tone 
 without any muddiness. It should be semi- 
 
COLOES 75 
 
 transparent. When thinned out much with 
 oil it should spread to a clear transparent 
 film over the glass, free of speckiness 
 which would indicate poor grinding and 
 possibly adulteration but not necessarily. 
 
 56. Burnt umber of good quality, say 
 one made from such a raw umber as that 
 above, can be more readily distinguished 
 than in its raw condition. It should be 
 free from redness — of a pleasing deep 
 clear brown tone which when spread out 
 upon the glass with the palette knife, will 
 show semi-transparent and which upon fur- 
 ther thinning will spread out to a uniform 
 clear transparent film over the glass as 
 stated for the raw umber in the former 
 paragraph. 
 
 57. Burnt umber as the name indicates 
 is made by heating raw umber. This, how- 
 ever, should not be carried too far espe- 
 cially with those which are mostly of iron 
 composition as when carried beyond a cer- 
 tain point the brown oxide becomes con- 
 
76 COLOKS 
 
 verted into a red oxide of iron and it would 
 greatly decrease its value. 
 
 The rotten ferruginous coal which is 
 sometimes sold as umber is very difficult in 
 the burning of it and has to be still further 
 sophisticated in order to reduce its red- 
 ness. The other American umbers are red- 
 dish in their burnt state and are doctored 
 up to hide it as much as possible. On ac- 
 count of their undesirable tones such um- 
 bers are mainly useful in preparing brown 
 tints for which purpose they can be used 
 advantageously on accou:nt of their low 
 cost. 
 
 58. Eaw and burnt umbers differing so 
 much in their composition are likewise sub- 
 ject to differ considerably in their peculiar- 
 ities. Therefore it is not very strange to 
 hear men who cannot praise them too 
 highly while others again will be as loud in 
 their denunciations. The raw umbers as 
 a rule are fairly permanent and should be 
 used more than they are as it is seldom that 
 one will be found to fade, but with the 
 
COLORS 77 
 
 burnt it is different. Good burnt umber 
 is not so likely to change as those specimen 
 ;which are toned up artificially, yet there 
 is a slow process going on in the best of 
 them which will slightly change them in 
 time. 
 
 Some have the peculiarity seemingly to 
 sink in, that is, tints made from them with 
 white lead are likely to spot from that 
 reason, the sinking in of the umber coloring 
 matter in the lead tint. It has not faded 
 as many erroneously suppose it has and 
 it will be easy to prove it by simply pass- 
 ing an oily rag over such spots, as that will 
 instantly bring it back to its orignal color 
 which it could not do if the color had really 
 faded. 
 
 QUESTIONS ON LESSON X 
 
 53. Eefers mostly to former lesson. 
 
 54. Are all umbers of the same chem- 
 ical composition? 
 
 55. How are good specimens of raw um- 
 ber to be distinguished ? 
 
78 COLOKS 
 
 56. How is good burnt umber to be 
 ascertained? 
 
 57. How are burnt umbers made 1 
 
 58. What are the peculiarities of raw 
 and burnt umber? 
 
COLORS 79 
 
 LESSON XI 
 
 THE BROWN GROUP OF COLORS CONTINUED 
 RAW AND BURNT SIENNA 
 
 Sienna erde^ Ger. Terre de Sienne, Fr. 
 
 59. Eaw and Burnt Siennas are placed 
 in the brown group by courtesy, a sort of 
 middle ground as neither are true browns, 
 the raw could be placed in the yellow group 
 and the burnt in the red; but then there 
 they would be divided from each other and 
 for the purpose of examination they should 
 both be grouped together. The burnt be- 
 ing of a dark reddish brown when ground 
 in oil gave the opportunity to place them 
 in the brown group especially as the raw 
 has a brownish yellow tone too which can 
 be strained into placing it there too, so 
 there they are although the relationship 
 as said, is a strained one. 
 
 60. Both raw and burnt Siennas were 
 well known to the ancient civilizations, 
 but more so to the Eomans than to the 
 
80 COLOES 
 
 Egyptians who used a very similar red but 
 which may have been a natural red earth 
 of about the same tone. Remains of paint- 
 ing done with it in ancient relics of Eoman 
 workmanship in Herculanum and Pompei, 
 show that painters of that day well under- 
 stood their value in artistic decoration. 
 From the most remote times to the present 
 there has been a continuous use made of 
 them by all users of paint for both plain 
 and decorative painting. 
 
 61. Italy that favored sunny nation of 
 southern Europe seems to have received 
 more than its share of concealed beauty in 
 the way of gems and hidden colored mar- 
 bles, onyxes, precious stones and colored 
 earths and some of its cities adjacent to 
 which these colored earths were to be 
 found have received additional honor by 
 having had these earths named after them 
 as the Venetian reds and the Siennas have. 
 
 The City of Sienna also gives its name 
 to a class of red veined marbles somewhat 
 allied in tone with its colored earths. 
 
COLORS 81 
 
 While colored earths similar to raw and 
 burnt Siennas are to be found in all parts 
 of the world, but few of them prove to be 
 of as high quality as that which is im- 
 ported from Italy. America has many beds 
 of earth of a general character which will 
 class them with Siennas, but, the tone 
 should not be mentioned nor examined 
 side and side on the same day. As with 
 the umbers the American day has not 
 dawned yet upon the find of a mine, that 
 will equal, or even come anyways near, as 
 good, as that imported from Italy. 
 
 62, Eaw sienna owes its coloring matter 
 to ferric oxide, that richest of all metals in 
 the great variety of tones and hues, of reds 
 and yellows, which it imparts to the vari- 
 ous bases which hold them up and are 
 known as colored earths. The composition 
 of these strata of earth beds is so varied 
 that it is impossible to find two specimens 
 which would analyze exactly alike, so that 
 there can be no chemical formula given 
 which would be recognized even approxi- 
 
82 COLORS 
 
 matively, for its constituent parts. The 
 proportion of ferric oxide is about the same 
 as in the umbers but that of manganese 
 dioxide is much less, less than 1 per cent 
 iwhile the umbers contain from 12 to 20 
 per cent. They should be free from alu- 
 mina, which would hurt their transparency. 
 
 63. Burnt Sienna owes its beautiful red 
 tone to heat. The raw Sienna owes its 
 yellow tone to ferric-oxide, which is hy- 
 drated. It has already been explained that 
 when hydrated oxide of iron becomes 
 heated that it looses its water of hydration 
 and becomes the red oxide of iron. It is 
 to this cause that this change is due. Other- 
 wise both the raw and the burnt Sienna 
 are identical in chemical composition, 
 
 64. Both are permanent and unchange- 
 able. Neither are affected by atmospheric 
 changes of any kind, nor are they affected 
 by sun or any artificial light. They can be 
 mixed with perfect safety with any other 
 pigments and will not be affected by them. 
 The burnt after a long time may dinge up 
 
OOLOKS S3 
 
 a trifle ; this is due to a double cause. It be- 
 ing an iron oxide, the tendency is for the 
 return to its more natural condition of an 
 hydrated oxide in presence of moisture, but 
 the process would require ages for its ter- 
 mination. The other cause is the gradual 
 darkening of the linseed oil which will 
 * make the most permanent and unfading 
 pigments look darker and dingy with time. 
 65. Siennas both the raw and the burnt 
 are seldom used for solid covering in their 
 self tones, because of their transparency. 
 In self painting they are used chiefly in 
 glazing and shading and in imparting rich- 
 ness of tone to colors of a yellow or red 
 tone. They are used by sign painters in 
 scroll work shading in gold and yellow. 
 On account of their transparency, grainers 
 and marblers prize them highly; in fact it 
 would be impossible to replace them by 
 any substitutes now known. Decorators in 
 either oil or water colors use them largely 
 and even house painters consume much of 
 it in preparing tints, but they are not as 
 
84 COLORS 
 
 indispensalble to tliem as to the other named 
 branches. Coach painters use them in 
 glazing and the wood finishers in stain- 
 ing and coloring fillers ; so that their range 
 of usefulness as stated is a wide one. 
 
 QUESTIONS ON LESSON X 
 
 59. "What is said in a general way about 
 Eaw and Burnt Siennas ? 
 
 60. What use if any was made of them 
 in antiquity! 
 
 61. Where are the Siennas obtained? 
 
 62. To what substances are due the col- 
 oring matter in Siennas, and what is their 
 chemical formula, if any? 
 
 63. To what c^use is due the change of 
 color in burnt Sienna? * 
 
 64. What are the chief characteristics 
 of the Siennas ? 
 
 65. To what uses are they best fitted 
 in painting? 
 
COLOKS ' 85 
 
 LESSON XI 
 
 THE BKOWN GROUP OF PIGMEITTS CONTINUED 
 
 Vandyke Brown— C asset earth, Cologne 
 earth, Collen earth, C asset erde, Ger. ; Brun 
 de Vandyke, Fr. 
 
 QiQ. The history of the past use of this 
 pigment is uncertain and strange to have 
 to say, even at this day, it is very doubt- 
 ful if color experts would all agree upon 
 what it really is. The reason of this is 
 that in many parts of the world, what is 
 sold as Vandyke brown is a ferruginous 
 earth, in others again it is that plus some 
 manganese and bituminous detritus, and 
 again it is pulverized lignite. Importing 
 it from various sections has only increased 
 this chaotic confusion as to what it really 
 is, so that it is impossible for it to have a 
 chemical formula. 
 
 • 67. It may be said of Vandyke brown, 
 that the color that is known under that 
 name, is a transparent brown of pleasing 
 
86 COLORS 
 
 tone. It is not very permanent in water 
 colors, but when protected by varnisb or 
 mixed with linseed oil, it is much more 
 durable. On account of its bituminous con- 
 stituents no doubt, it is an anti-drying pig- 
 ment to linseed oil and it should never be 
 used without some good liquid, manganese 
 drying japan added to it as otherwise, it 
 will be sure to cause trouble on account 
 of its anti-drying properties. 
 
 68, Its chief uses in painting are for 
 glazing mainly, being of a richer and more 
 subdued brown than burnt umber, and 
 much more transparent. It should never 
 be used in the making of tints, for all the 
 tones obtainable from it, can be supplied 
 by the use of more permanent pigments 
 To the grainer of walnut, it is a very valu- 
 able pigment and it is also of good use to 
 the hardwood finisher and to the sign 
 painter in shading gold in scroll work. 
 
 bistre— Bus shraun and Brauner lach, 
 Oer. ; Bistre^ Fr. 
 
 69. Some decorators occasionally use 
 
COLORS 87 
 
 bistre in water color work. It is unfit to 
 use in oil. It is prepared from the tarry 
 soot of various woods. As it is not very 
 permanent, its place can be supplied by 
 other browns better in this respect when 
 properly manipulated. So that it deserves 
 to be let alone by decorators who care to 
 have their work stand. 
 
 Asphaltum — Antwerp brown, Mummy 
 Asphalt braun, Ger. ; Asphalte, Fr. 
 
 70. Asphaltum is a mineral pitch which 
 varies greatly in its constituent parts. 
 Church defines it thus, ^^ Asphalt is rather 
 a mixture of minerals than a single min- 
 eral varying in the character and propor- 
 tion of its constituents. Essentially it con- 
 sists of a number of liquid, semi-solid and 
 solid colorless hydro-carbons (related to 
 the paraffins,) associated with certain ill 
 understood dark brown or black substances 
 which constitute the useful part of the pig- 
 ment 's raw material. ' ' 
 
 When it is well prepared it will not 
 crack, but, unfortunately it is not always 
 
88 COLOES 
 
 "Well prepared, especially in oil. Its form 
 best known is that of asphaltum varnisli 
 thinned with benzine or naphtha, or with 
 turpentine, the best of all. 
 
 71. Its chief use in painting is for glaz- 
 ing purposes being of a transparent red- 
 dish brown when used thin, which becomes 
 black by the addition of several coats su- 
 peradded. Sign painters frequently use it 
 in backing up gold work, but unless they 
 arfe very sure of its quality it should not 
 be depended upon for that purpose as it 
 may crack and of course crack the gold 
 with it and ruin it. 
 
 It is used in enormous quantities in 
 painting iron work, especially cast iron 
 and steel; artillery ammunition, grates, 
 tanks, registers; in fact most everything 
 made of iron can be painted or dipped in 
 it. It usually flows on well and runs to- 
 gether smoothly, freeing it from brush 
 marks and bakes into an enamel at a low 
 heat. It sets very quickly and the asphal- 
 tum when applied with a brush requires 
 
COLORS 89 
 
 speed in order not to double up. The brush 
 used should be frequently washed out in 
 benzine in order to cleanse it or it will keep 
 gathering dried asphaltum upon its surface 
 until it will be little better than a mop. 
 
 QUESTIONS ON LESSON XI 
 
 66. What is said in a general way con- 
 cerning Vandyke brown? 
 
 67. What are its chief characteristics? 
 
 68. What are its uses in painting! 
 
 69. What is said regarding bistre ? 
 
 70. What are the general characteris- 
 tics of asphaltum? 
 
 71. What are the chief uses made of 
 asphaltum in painting? 
 
90 COLOES ' 
 
 LESSON XII 
 
 THE BLUE GROUP OF PIGMENTS. 
 
 72. The "blue group of pigments is a 
 very important one to all classes of paint- 
 ers in oil, japan or water color work, witli 
 the exception of grainers, who are seldom 
 called upon to reproduce an imitation of 
 woods disguised in that color. While it is 
 of great use, it is composed of but very few 
 pigments. Ninety-nine per cent of all the 
 blue paint used by the trade being confined 
 to the two leading blue pigments first listed 
 and examined below. 
 
 73. The ancients were not lavish in 
 their use of the blues for the very good rea- 
 son that they did not have them to use, in 
 profusion at least. The few indigenous 
 plants which produced blue tints as Indigo 
 fwere in all probabilities unknown to them. 
 The Komans knew how to extract ultrama- 
 rine blue from its matrix. Lapis Lazuli; 
 which being regarded as a semi-precious 
 
COLOKS 91 
 
 stone made the extracted blue cost a small 
 fortune per pound. They had some blue 
 dyes, however, which were extracted from 
 vegetable matter and which was used in 
 their encaustic painting, none being of a 
 very bright tone. 
 
 74. The more general use of the blue 
 pigments in painting dates from the time 
 when chemistry became a positive science 
 which made possible the analysis of the 
 natural blues and enabled their reproduc- 
 tion by artificial means. Some again were 
 accidentally stumbled upon, but all within 
 the last two centuries. 
 
 Prussian Blue.-^^^., Turner's blue, 
 Antwerp Hue, Berlin blue, Prussiate of 
 iron, Saxon blue, Pariser blau, Ger.; Bleu 
 de Berlin, 
 
 75. This very useful color is of com- 
 paratively recent origin. It is due to an 
 accidental discovery by Diesbach in 1714, 
 who while seeking to obtain a precipitate 
 from an alum solution used potash rectified 
 with animal oil, obtaining a blue precipitate 
 
92 COLOES 
 
 instead of a wMte one. The process was 
 kept secret, but in 1724 Woodward dis-^ 
 covered it and mad^ it public. It would 
 take up too much space to give a full de- 
 scription of the manufacture of Prussian 
 blue. It will suffice to say that it is the 
 product of a double precipitation which 
 takes place at' the same moment: prussiate 
 of iron and alumina. There are several 
 systems used for the purpose of making it 
 and there is considerable difference in the 
 product. The better kind will be intensely 
 blue and clear toned and in its dry cake 
 condition shows a metallic bronze like re- 
 flection which disappears w:hen mixed with 
 foreign matter, therefore it is a pretty sure 
 indication of purity. Again the precipitate 
 may be of a muddy dirty blue of purplish 
 tone which is of no use whatever. 
 
 76. Prussian blue is very strong and 
 also very transparent. On account of its 
 strength of coloring matter it can be re- 
 duced greatly and still show up its coloring, 
 1 per cent of it mixed with 100 per cent of 
 
COLORS 93 
 
 white lead will make a tint of a decided 
 blue tone. If use by itself reduced to the 
 proper consistency for application it shows 
 up a very deep shade of blue black. To 
 produce good tones of its clear blue it 
 should be mixed with some white lead or 
 better still with some good French zinc. 
 
 77. Its usefulness is so great that it is 
 hard to say to what a purpose it may not 
 be used for wherever a blue is required in 
 painting. It is at its best in oil painting 
 however. In its soluble form of Chinese 
 blue it can also be used in water color work. 
 Being so very strong it is economical as a 
 very little of it goes a long ways in prepar- 
 ing tints. Agricultural implement manu- 
 facturers use it in coating over the polished 
 parts of steel in plows and other farming 
 machinery. It is mixed with varnish for 
 this purpose. The carriage trade use it 
 also ground in japan but not to the same 
 extent as other blues. As a glazing color, 
 it is perfect on account of its transparency. 
 
 78. With all its excellent qualities it 
 
94 COLOKS 
 
 has some faults, grave ones at that. In the 
 first place, sunlight hurts it so that it can- 
 not be said to be absolutely permanent. It 
 is turned into a greenish sickly blue by 
 long exposure to direct sun rays. Its tints 
 are also subject to the same trouble. Con- 
 tact with lime instantly destroys its color 
 
 also ; so its use upon fresh plastered walls 
 is out of the question. When the lime has 
 had some time allowed it to loose its caus- 
 ticity, it is comparatively safe to use Prus- 
 sian blue upon it, but why hazard doing 
 so when our next blue is so perfectly safe 
 upon it? 
 
coLoiis 95 
 
 QUESTIONS ON LESSON XII 
 
 q 72. What is said concerning the blue 
 I group of pigments in general! 
 i 73. Did the ancients use any of the 
 blues in use today 1 
 
 74. "When did the use of blue pigments 
 become general 1 
 
 75. What is Prussian blue f 
 
 76. What are its characteristics? 
 
 77. What are its uses! 
 
 78. When should it not be used? 
 
96 COLOKS 
 
 LESSON XIII 
 
 THE BLUE GEOUP OF PIGMENTS C0ITTI:N'UED 
 
 Ultramarine 'Blue— New blue; French 
 blue; Permanent blue; Gmelin's blue; Gui- 
 met's blue; Lapis Laeuli blau, Ger. ; Lazure- 
 stein blau^ Grer. ; bleu d'Azur, Fr. ; Bleu d' 
 Outremer, Fr. 
 
 79. Ultramarine blue has qnite a num- 
 ber of synonyms, which sometimes puzzle 
 many persons as they naturally think them 
 to be a different product when they really 
 are identically the same. In English 
 speaking countries the name of ultrama- 
 rine is now universal but in reading the 
 more ancient literature upon painting all 
 these synonyms are used more or less and 
 it is concerning these mainly that there 
 may be any cause of misunderstanding 
 arise. 
 
 Ultramarine blue is a natural product 
 and in the bygone ages was extracted 
 from the semi-precious stone known as 
 
COLOES 97 
 
 Lapis-Lazuli. Its cost therefore was very 
 great, as much as $2.50 to $10.00 per ounce, 
 and it is not to be wondered at that the 
 painters were so stingy in their use of it. 
 
 80. While chemistry has revealed the 
 constituent parts composing the genuine 
 ultramarine blue and has permitted its be- 
 ing manufactured cheaply, artificially, the 
 processes are very intricate, so that space 
 will not permit going into the details of 
 it. It is now manufactured in all parts 
 of the world and the United States manu- 
 factures an immense quantity of it, not a 
 bit inferior to any that is made anywhere. 
 As all the material which enters into its 
 composition is cheap, it is not to be won- 
 dered that its cost is so low. This consists 
 of kaolin or China clay, silica, sodium 
 sulphate, sodium carbonate, sulphur, rosin 
 and charcoal; calcined alum is sometimes 
 used instead of China clay. 
 
 81. Ultramarine blue is made in a vari- 
 ety of shades from the cleanest of true 
 blue to reddish tones of blue on the purple 
 
98 COLOKS 
 
 order. The former is of course that whicli 
 is most highly esteemed of any. Some 
 specimens have a decided greenish tone of 
 bine and are known as green ultramarine 
 and sold as such. Ultramarine is of fairly 
 good opacity as compared with Prussian 
 blue at least. It is useful in all kinds of ve- 
 hicles, oil, japan, varnish and water colors 
 and usually works well under the brush if it 
 has been properly ground, otherwise it is 
 coarse and specky. Owing to the base sub- 
 stance with which it is connected in its 
 preparation, it is possible to prepare it so 
 as to make it much more transparent than 
 it is usually manufactured. The carriage 
 trade uses such in glazing and obtain beau- 
 tiful effects from it in that kind of work. 
 None, no matter whether transparent or 
 opaque, has nearly the strength of coloring 
 matter that is obtainable from a similar 
 weight of Prussian, blue. Contrary to Prus- 
 sian blue it is unaffected by lime and it may 
 be mixed with it with impunity. It is af- 
 fected by vinegar or weak solution of acet- 
 
COLOKS 99 
 
 ic acid. A saturated cold solution of alum 
 affects its coloring also. It has not yet re- 
 ceived a chemical formula nor is it likely 
 to very soon on account of its great varia- 
 tion. 
 
 82. It is used in water color work by 
 calcimers, etc., much more than any other 
 blue. On account of its unchangeableness 
 except as noted, it is used in making blue 
 tints in oil for situations outside exposed to 
 sun light and inside also for the same rea- 
 son. Its tints with white lead are not as 
 good as those made with zinc white, the lat- 
 ter showing them much clearer. The use 
 of it made by the coach painters has al- 
 ready been explained. The wall paper 
 trade uses a great deal of it in printing and 
 the paper manufacturers themselves use 
 much of it in coloring their stock. 
 
 QUESTIONS ON LESSON XIII 
 
 79. What is said of Ultramarine blue in 
 general 1 
 
100 OOLOBS 
 
 80. What is the composition of Ultra- 
 marine blue ? 
 
 81. What are its leading characteris- 
 tics? 
 
 82. What uses are mainly made of it in 
 painting? 
 
COLOES 101 
 
 LESSON XIV 
 
 THE BLUE GROUP OF PIGMENTS CONTINUED 
 
 Chinese Blue — Soluble blue, 
 
 83. All that has been said of Prussian 
 blue can be fully applied to Chinese blue. 
 Its chemical composition being the same, 
 with the one exception that it is soluble in 
 water while Prussian blue is not. Its 
 use in painting is very restricted, being 
 used only in water colored work. It is 
 found ground in oil in some of the cata- 
 logues, but it is only to pad up a longer list 
 as Prussian blue being of the same color 
 and insoluble is better in that medium. Its 
 chief utility imder the name of soluble blue 
 is in the making of bluing for the washing 
 of clothes. 
 
 Cobalt Blue — Zinc blue; Kobalt blau, 
 Ger. ; Bleu de Cobalt, Fr. ; Bleu de Thenar d, 
 Fr. 
 
 84. Cobalt blue is of a soft pleasing 
 medium tone of blue ; not so deep as ultra- 
 
102 COLOKS 
 
 marine blue. That is that 's what it is when 
 pure. The possibility of finding it pure is 
 very slim, as it is usually prepared from a 
 good clear blue toned ultramarine to which 
 is added zinc white in order to reduce its 
 intensity and depth to that of the genuine 
 cobalt blue which it will then resemble so 
 closely, that experts will be fooled and are 
 not able to distinguish the genuine from 
 the other. 
 
 The properties of cobalt blue being about 
 the same as that of ultramarine blue which 
 has been described at length in the preced- 
 ing lesson the student is referred to that as 
 to the uses to which cobalt blue is best 
 adapted. 
 
 Ceruleun— (7oe/m; Cerulian.; Cerulean 
 blue; Coelin blau, Ger. ; Bleu celeste, Fr. 
 
 85. Ceruleun is an oxide of tin which 
 has been moistened up with a cobalt nitrate 
 solution to which a strong heat has been 
 applied. The residue is a greenish blue 
 mass which is crushed, washed and cleaned. 
 There are other methods in preparing it, 
 
COLOKS 103 
 
 the relating of which, must be dispensed 
 "with, as there is so little of it used in its 
 real self, as to be even a question why it 
 should be listed at all. In tone it is a green- 
 ish blue of about the same tone as much of 
 the green ultramarine is. In fact, about 
 all the coeruleum blue sold as artists ' color 
 in tube is compounded from greenish ultra- 
 marine and zinc white in the same manner 
 as related for cobalt blue. Any one can 
 prepare a tint of it to suit himself from the 
 ultramarines without paying a big price 
 for it under the name of Ceruleun in tubes. 
 
 Chessylite— -5/i^e verditer; Bice; Moun- 
 tain blue; Azurite; Berg hlau, Ger. ; Cen- 
 dres tleu, Fr. 
 
 SQ, This color is derived from copper 
 and is named from the locality in France, 
 Chessy from which it is chiefly obtained in 
 its natural state. It can be prepared arti- 
 ficially, but the artificial product is more 
 likely to change than the natural. Since 
 the introduction of the ultramarine blues, 
 it has been losing ground greatly, having 
 
104 COLOKS 
 
 become nearly unknown even by name to 
 most decorators, as all the tints and tones 
 obtainable from it are readily made from 
 ultramarine blue. 
 
 Many other blues differing but little from 
 tbe above but known locally in certain parts 
 of tbe world might be added to swell the 
 list. As may be inferred there are none of 
 real importance now as the great variations 
 in the tones of ultramarine enable the 
 painter to reproduce any of them and to 
 produce any shades and tints of blue pos- 
 sible to be made and what is not obtainable 
 from ultramarine can be made from Prus- 
 sian blue. It is therefore, recommended 
 to students to confine themselves to these 
 two stand-bys and not to worry over the 
 array of names he may see in some of the 
 catalogues of artists' tube colors, as he 
 does not need them, for most of them are 
 simply tints of the two blues mentioned to 
 which more or less white has been added. 
 
 Indigo and blues derived from vegetable 
 matter are usually fugitive and the shades 
 
COLORS 105 
 
 tliey represent can easily be made by com- 
 pounding the standard blues with black or 
 other colors. 
 
 QUESTIONS ON LESSON XIV 
 
 83. What is Chinese blue and what is 
 it best adapted to ! 
 
 84. What are the peculiarities of Cobalt 
 blue? 
 
 85. What is said regarding ceruleum? 
 
 86. What other blues are sometimes 
 used in decorative work? 
 
106 COLOES 
 
 LESSON XV 
 
 THE GREEN GROUP OF PIGMENTS 
 
 Chrome green in all shades ; Many fancy 
 proprietary names, 
 
 87. The green group of pigments con- 
 tains many more pigments than the blue 
 group, but when it comes to the use made 
 of them even among decorators the list is 
 cut down to but few, and of those one only 
 is used extensively as it is made in an 
 endless variety of shades and hues which 
 cover the whole field of greens fully. As 
 will be seen several of the greens are nat- 
 ural pigments but the most valuable ones 
 are made chemically and are the produo- 
 tion of the color maker. 
 
 88. The ancients made use of greens in 
 both print and dyes and many remains of 
 painted ornamentation may be seen upon 
 the Egyptian sarcophagi in the many 
 museums containing them. The remains 
 of Eoman mural paintings done at the time 
 
COLORS 107 
 
 just previous to tlie destruction of Pompeii 
 and Herculaneum show that at that period 
 they must have been well known and in 
 general use for that purpose. It was re- 
 served however for our more recent chem- 
 ical age to produce the ones which are now 
 used so profusely. 
 
 89. Some of the naturally produced 
 greens are very good, but rather costly and 
 difficult to handle. Most of them are of 
 metallic derivation combined with various 
 substances. Others again are colored 
 earths, none of which being of any great 
 value, as the tones are very dull and unat- 
 tractive and useful only in a very limited 
 way in water color work. Their total loss 
 would not be felt by the trade, as such tones 
 as they possess can be easily made from 
 other greens which are much easier to 
 handle. 
 
 Chrome Green— in many shades; also 
 sold under many proprietary names too 
 numerous to mention. 
 
 90. This green is of recent origin ; nat- 
 
108 , COLOES 
 
 Tirally it is more recent than Prussian blue 
 and Chrome yellow from which it is made, 
 either by compounding by trituration or by 
 using the chemical equivalents of the two 
 pigments mentioned and precipitating the 
 solutions of the chemical equivalents to- 
 gether. In other words, it is a compound 
 color due to the mixing together of blue and 
 yellow. 
 
 91. It stands to reason that anything 
 which is inimical to either one of the two 
 pigments which compose it but which do 
 not form a new combination with it must 
 act injuriously upon Chrome greens. So 
 that it has a double load to carry and to be 
 guarded against; all substances disagree- 
 ing with either one or the other will be 
 sure to act injuriously. This liability to 
 have something or another happen it has 
 prejudiced many people against its use in 
 the past. While it is admitted that 
 Chrome green is not nearly as permanent 
 a color as it could be wished to be, at the 
 same time, it cannot be spared. Many im- 
 
COLORS 109 
 
 provements have been made in tlie pro- 
 cesses of its manufacture and the coloring 
 matter fixed, at least better fixed than it 
 used to be, so that under ordinary circum- 
 stances and when not placed where its ene- 
 mies may have direct access to it, it is 
 fairly safe to use. The enormous use made 
 of it in wagon and agricultural implement 
 painting shows that it can be used success- 
 fully and that it will hold its color in ^ood 
 shape a long time. 
 
 92. According as to which of the two 
 colors — yellow and blue — which predomi- 
 nates in the green, its hue will be bluish or 
 yellowish, and these two divisions are well 
 understood to the color trade. 
 
 Again, the Chrome yellows are divided 
 into at least three gradations, to wit: 
 Light, which is of a grass green tone; 
 Medium, which is the usual tone, and Deep, 
 which is a dark shade of it. Many color 
 manufacturers make it up into six shades 
 for the trade, which make a more progres- 
 sive gamut up the scale of intensity. But 
 
110 COLOKS 
 
 it is not in six nor ten shades tliat it may be 
 found, bnt in that of many hundreds or 
 thousands, as the shades of Chrome yel- 
 lows themselves vary much and so does 
 that of the Prussian blue. It is no won- 
 der then that Chrome green has been made 
 to replace all other greens, and, as said be- 
 fore, that it cannot be spared no matter 
 what its faults may be. 
 
 QUESTIONS ON LESSON XV 
 
 87. What is said in a general way re- 
 garding the Green group of pigments 1 
 
 88. What did the ancient civilizations 
 know about greens? 
 
 89. Are natural green pigments derived 
 solely from metallic sources? 
 
 90. What is said about the composition 
 of Chrome green? 
 
 91. Have manufacturers discovered bet- 
 ter methods of fixing its coloring matter ? 
 
 92. What are the shades into which 
 Chrome greens are usually sold? 
 
COLOKS 111 
 
 LESSON XVI 
 
 THE GKEEN GROUP OF PIGMENTS — CONTINUED 
 CHROME GREENS — CONTINUED 
 
 93. The uses made of Chrome green by 
 the trade cover the whole field of painting 
 in oil, in japan by the car and carriage 
 trades, and in water colors by all classes 
 of decorators. It is hardly worth while 
 specializing the several uses that are made 
 of them, for it includes them all, to the 
 making of tints for the house painter for 
 adorning the outside of residences. 
 
 94. Chrome green, when pure, is an ex- 
 tremely strong color, partaking in this 
 respect of both its parents, which are very 
 strong in coloring matter. Chrome yellow 
 being very opaque corrects the transpar- 
 ency of the Prussian blue. It is so strong 
 that Chrome green is seldom found pure, 
 nor is it necessary that it should be, as it 
 is mostly used for painting in its self color, 
 when 25 per cent, of pure color plus 75 per 
 
112 COLOES 
 
 cent, of barytes or other reducer added 
 will make four times the weight of color 
 which will cover three times as much sur- 
 face solidly as the original amount of 
 Chrome green put in. So by mutual con- 
 sent of the trade, commercial Chrome green 
 consists only of that amount of pure color, 
 and so do all the proprietary greens made 
 from it. This is allowable, as it reduces 
 the cost to the purchaser. As lime is in- 
 imical to Prussian blue, so it is to Chrome 
 green and will completely kill the Prussian 
 blue in its composition, the Chrome yellow 
 remaining unchanged. On the other hand. 
 Chrome yellow being a combination of 
 chromate of potash and white lead or some 
 other lead salt is affected by sulphuretted 
 hydrogen gases and turned to a black sul- 
 phide of lead. Chrome green should not 
 be used under such adverse conditions. 
 
 Green Oxide of Claromiwoii— Chromium 
 sesquioxide — Opaque oxide of chromium', 
 Grunes chromoxyd, Ger. ; Vert de Chrome, 
 Fr. 
 
COLOKS 113 
 
 95. This is really tlie only green en- 
 titled to the name of Chrome green and in 
 Europe is the only one that is called by 
 that name. As it is seldom that any one 
 calls it by that name, here in the United 
 States at least, and as it was seen in the 
 description given of Chrome green that 
 the name is nsed here to designate an en- 
 tirely different pigment, so the scientific 
 name is used in order that there be no con- 
 fusion. 
 
 It is not likely to ever come into rivalry 
 iwith the other, as this genuine Chrome 
 green is a very expensive pigment owing 
 to the intricate processes of its manufac- 
 ture. It will suffice to say that it is made 
 by two different processes— the one wet 
 and the other dry. That made by the wet 
 process is the sesquioxide and is transpar- 
 ent; that made by the dry being opaque. 
 It is more permanent than what is Imown 
 as Chrome green here, but its cost is such 
 that artists only can afford its use. 
 
 Cobalt GYeei[k--Zinc Green; Pinhham's 
 
114 COLOES 
 
 green; Kohalt-grun, Ger. ; Vert de Cobalt, 
 Fr. ; Vert de Zinc, Fr. 
 
 96. Cobalt green is an excellent pig- 
 ment wMcli deserves to be used mncb more 
 tban it is. If it is being manufactured 
 here it must be a late occurrence, as the 
 author is not aware of it. As the name in- 
 dicates, it is a product of a combination of 
 cobalt and a salt of zinc which is made by 
 fusion and by various other methods. It 
 is very permanent. Its shades have a blu- 
 ish tinge in them and a softness hard to 
 match by toning and compounding other 
 blues. 
 
 It is unaffected by the enemies of Chrome 
 greens and has none of its own, therefore 
 should be used more than it is in interior 
 decorating in oil or water colors and should 
 have its place in carriage and automobile 
 work also. 
 
 Yiridiidin.— Emerald oxide of Chromium; 
 Mittler's Grun, Ger.; Vert Panettier, Fr. ; 
 Vert de Guimet, Fr. 
 
 97. Since this is a close relative chemi- 
 
COLOKS 115 
 
 cally at least of 'Hrue Chrome green," be- 
 ing an hydrated sesquioxide of chromium, 
 it is to be expected that it is also quite per- 
 manent. It is unaffected by sulphuretted 
 hydrogen gas, or by the action of sunlight. 
 It is an ideal pigment for glazing for the 
 carriage trade on account of its transpar- 
 ency and would no doubt be used more 
 than it is by decorators but for its greater 
 cost than Chrome green. 
 
 QUESTIONS ON LESSON XVI 
 
 93. What use of Chrome green is made 
 iby the trade? 
 
 94. What are its peculiarities? 
 
 95. What are the properties of green 
 'oxide of chromium? 
 
 96. What is Cobalt green and what are 
 its uses? 
 
 97. What is said regarding yiridian 
 and its properties? 
 
IIG COLOKS 
 
 LESSON XVII 
 
 THE GKEEN GROUP OF PIGMENTS— COiN^TINUED 
 
 Verdigris — Basic copper acetate; Gruns- 
 pan, Ger. ; Vert de gris, Fr. ; Vert de Mont- 
 pelliers, Fr. 
 
 98. A pigment mucli used in the past, 
 but which is seldom used now. It is a basic 
 acetate of copper and therefore a poison- 
 ous compound. It is very transparent and 
 as a glazing color it still has its uses in the 
 carriage trade. It is one of the main com- 
 ponent parts in all anti-fouling prepared 
 paints used in the painting of the hulls of 
 vessels and is supposed to kill the barna- 
 cles which attach themselves to it. It 
 is produced principally in southern France 
 from the grape pomace spread upon copper 
 sheets, and gradually corrodes them, and 
 after various manipulations, cleanings, 
 etc., it is ready for market. Its use has 
 dwindled down to such a low degree that 
 but few of the color manufacturers list it 
 
COLOKS 117 
 
 now, as the demand is too small for them to 
 pay for the listing. 
 
 Malachite — Green Verditer; Green 
 Bice, Mountain green; Green carbonate of 
 Copper; Berg grun, Ger.; Vert de mon- 
 tagne, Fr. ^ 
 
 99. But that this pigment is frequently 
 named in the older and a few of more re- 
 cent books on painting and that it is sold 
 under the several synonyms given above in 
 artists' tube colors, it certainly would not 
 have received any notice in this manual. 
 It is very poisonous and should have no 
 place in the decorator's palette. The 
 space given it will be therefore to warn 
 against its use, as it can well be spared. 
 
 Paris Green— Emerald green; Cupric 
 aceto-arsenite; ScJiweinfurtz grun, Ger.; 
 Yert Paul Verome, Fr. 
 
 100. Another very poisonous green 
 which should be shunned by every one who 
 values life and health. Some painters can- 
 not work with it at all and turn deadly sick 
 from the mere working with it, no matter 
 
118 COLOES 
 
 how careful they are not to absorb it 
 tbrongb the bare skin. 
 
 It is a pity that it is so, for it has a most 
 vividly beautiful transparent tone and it is 
 wonderful what effects are produced from 
 its use as a glaze over another green. It 
 enriches it to a remarkable degree. The 
 carriage trade use it for a glaze on fancy 
 wagon work, but it is being replaced now 
 by the use of specially prepared aniline 
 colors. 
 
 In England it is known only as Emerald 
 green, so that greens imported from there 
 under that name are nothing else but the 
 deadly Paris green. There should be a 
 law passed preventing its use for wagon 
 painting, as after the varnish which pro- 
 tects it is worn persons can easily be poi- 
 soned by merely rubbing their hands over 
 the unprotected paint, and children espe- 
 cially will touch and rub the beautiful color 
 and are likely to be poisoned by it. 
 
 Terre Yerte— Green earth; Grun erde, 
 Ger. ; Terre de Verone, Fr. 
 
COLOKS 119 
 
 101. Is a natural product to be found in 
 many parts of the Old and New World, but 
 not in as profuse a manner as the reds, 
 yellows and browns. These natural earths 
 vary greatly in tone and in composition. It 
 is not a new pigment, having been made use 
 of by all the older civilizations. None of 
 its tones are vivid, hardly decided Enough 
 to be placed in the tertiary color class. 
 Their constituent parts vary greatly, but 
 their chief ones consist of iron to which is 
 due the coloring (ferous oxide), and silica, 
 which is present in all samples in varying 
 quantities. 
 
 It could be readily dispensed with and 
 never missed, as any tones produced from 
 it can easily be reproduced by mixtures of 
 other earth colors of brown and yellows 
 with the addition of blues or Chrome green. 
 
 102. All other greens may be included 
 in the many new ones appearing under a 
 bewildering array of fancy names, which 
 are produced by the preparing and com- 
 pounding of the green anilines. Some are 
 
120 COLORS 
 
 very good and durable, while others are 
 not. Science has not said its last word rcr 
 garding the colors obtainable from coal tar, 
 and possibly as good greens and other col- 
 ors may be brought to light as the alizarin, 
 purpurin, and the madder lakes. 
 
 QUESTIONS ON LESSON XVII 
 
 98. What is verdigris and what are its 
 uses ? 
 
 99. What is said of Malachite and its 
 uses? 
 
 100. What is Paris green and what is 
 said regarding its uses? 
 
 101. What is said of terre verte? 
 
 102. What is said of other greens? 
 
COLORS 121 
 
 LESSON XVIII 
 
 THE RED GROUP OP PIGMENTS 
 
 YeYm.illion—Cinnehar; English Vermil- 
 lion; Quicksilver vermillion; Chinese Ver- 
 million; Zunoher, Ger. ; Vermilion, Fr. 
 
 103. When the word vermillion pure 
 and simple is now nsed, shorn of any extra 
 designations under which it is known 
 mainly locally, it means the pure quicksil- 
 ver product. It is either the Pale or the 
 Dark — the one being a nearly pure scarlet 
 tone, and the dark or deep that having a 
 magenta or amaranth tone, the pale being 
 very opaque, the dark less so but far from 
 being transparent. Vermillion is both a 
 natural and an artificially made product. 
 It has been known from times immemorial 
 in China and a certain middling deep tone 
 of it is still imported from China, or made 
 here and packed so as to resemble the im- 
 ported. Under the form of cinnabar it is 
 
122 COLOES 
 
 found in the quicksilver mines of both Eu- 
 rope and America. 
 
 104. Its manufacture is easily under- 
 stood, yet there is quite a lot of manipula- 
 tions of an intricate character connected 
 with its right preparation which require 
 skill and a good knowledge of its processes 
 in order to produce a perfect article. Cin- 
 nabar is the native sulphuret of mercury 
 and is found very pure in its native condi- 
 tion. Little of it finds it way to our mar- 
 ket, what is sold here being the manufac- 
 tured article. The manufacturer simply 
 follows out nature in his processes; he 
 turns the quicksilver into a sulphuret. This 
 is very easily done by placing together 21 
 parts of quicksilver to 4 parts of sulphur 
 and agitating them together in a revolving 
 cylinder until there is no more reaction. 
 
 This produces, however, anything but a 
 red pigment. On the contrary, it is black 
 —a black sulphuret of quicksilver, differ- 
 ent in no way from the red excepting that 
 it is black. Black is the natural condition 
 
COLOKS 123 
 
 of snlphuret of mercury, and to give it its 
 beautiful red tone, it has to be put through 
 a series of manipulations requiring skill 
 and knowledge of what is required. This 
 black sulphuret is sublimed in vertical cyl- 
 inders which are connected with receivers 
 and when sufficiently heated the quicksilver 
 condenses as cinnabar near the retorts' 
 heads. The various processes are too in- 
 tricate for this manual and really belong to 
 a treatise on color making. It will suffice 
 to know how it is prepared for the present 
 purpose and the process of its manufacture 
 indicates one of the causes why vermillion 
 darkens, i.e., that it is always trying to re- 
 turn to its more natural state of a black 
 sulphuret, which is its proper condition be- 
 fore sublimation. 
 
 105. Owing to its bright shades of red, 
 vermillion is very useful in painting, but 
 while it is of prime importance for situa- 
 tions where such bright shades can be 
 utilized, this very extreme brightness car- 
 ries its own limitations. Nature itself, 
 
124 COLORS 
 
 with, all its profusion of colors, confines 
 such bright reds to a few flowers, and their 
 chief object seems to be to enliven an other- 
 wise tame environment. This is really 
 where it is most useful in decorating. 
 For the painting of large Surfaces its use 
 is limited to that of the front of tea stores 
 and such, who have adopted it as a trade 
 mark color to designate their business. 
 The wagon and agricultural implement 
 trade use it largely, but usually it is the 
 imitations that they employ, of which more 
 will be said further on. The pale, having 
 more body or being more opaque than the 
 deeper shades, is used exclusively in the 
 striping of carriages. 
 
 106. Before the introduction of the imi- 
 tation Vermillion reds, it was used to a 
 much greater extent than it is now. This 
 is due to two causes : 1°. Its cost is much 
 greater than the others. 2°. Its tendency 
 to darken caused by its seeking to return 
 to its more natural black sulphuret form. 
 To the above must also be added that it is 
 
COLOKS 125 
 
 not desirable as a water color pigment, as 
 when left unprotected by varnish this dark- 
 ening process is greatly hastened. 
 
 107. Vermillion is a very heavy pig- 
 ment, therefore precipitates quickly. It 
 separates from the oil used in grinding it 
 in a short time, therefore it is best to buy it 
 in its dry state and to mix it as wanted. 
 Like all crystallic pigments, very fine 
 grinding has a tendency to reduce their 
 brightness by destroying the reflective 
 power of the prismatic crystals. It is usu- 
 ally safe to use with most all other pig- 
 ments. The lower qualities of it which 
 contain free sulphur sometimes are an ex- 
 ception, as pigments upon which that sub- 
 stance exerts a baneful influence would be 
 affected by it. 
 
 QUESTIONS ON LESSON XVIII 
 
 103. "What is said of vermilion in gen- 
 eral? 
 
 104. What are the methods used in its 
 preparation? 
 
126 COLOKS 
 
 105. What uses are made of vermilion 
 in painting? 
 
 106. Is it used now as mucJi as formerly 
 and why? 
 
 107. What aye its chief eharacteristies? 
 
COLORS 127 
 
 LESSON XIX 
 
 ! THE EED GEOUP OF PIGMENTS — CONTINUED 
 THE VERMILION REDS 
 
 108. The reds named: Vermilion reds 
 are of rather recent origin. They came in 
 the wake of the discovery! of the coal tar 
 colors. At the beginning they were very 
 inferior, as then the better colors derived 
 from coal tar were unknown and the ver- 
 milion reds which depended upon them for 
 their coloring matter could not be any bet- 
 ter than the source to which they owed 
 their existence. ^'-— - 
 
 109. All these reds are the product of 
 coal tar coloring matter added to a base 
 which may be of most any white substance 
 and in a few instances the base may be 
 orange mineral. These bases are dyed 
 with the coloring matter of the coal tar dye. 
 Some bases absorb more coloring than oth- 
 ers, hence the many variations in tone and 
 intensity. Again the same base may be 
 
128 COLORS 
 
 [made to produce various qualities of ver- 
 milion red. For instance, if the fugitive 
 red aniline is used, the vermilion red will 
 also be a short-lived one; if, on the con- 
 trary, a paraniline red of good quality is 
 used, or Alizarin, the red will be called, in 
 comparison, permanent. "White lead makes 
 a good base for the deeper tones of vermil- 
 lion reds that are opaque, while, strange as 
 it may sound, the orange mineral reds only 
 produce the lighter shades— the scarlet 
 ones. Again, if the base is a transparent 
 base, as the silicas or alum will produce 
 the transparent shades of the vermillion 
 reds and they could appropriately be called 
 lakes. It is not to be wondered at, then, 
 at the great variations in tone, quality, etc., 
 to be found among the vermilion reds and 
 of the many friends they have and at their 
 having almost supplanted it. 
 
 110. It has already been explained that 
 the vermilion reds were either good or 
 bad, according to the character of the red 
 dye employed in their coloring. They can 
 
COLORS 129 
 
 be no better than the source from which 
 they spring. We have also seen that they 
 are both opaque, semi-transparent or 
 transparent, according to their bases par- 
 taking of their characters. The good 
 qualities are excellent and have nearly dis- 
 placed the pure quicksilver vermilions. 
 This not only because of their lower cost^ 
 but also because they are in reality more 
 permanent and show no tendency to dark- 
 ening as true vermilions do. 
 
 111. For all uses but that of striping,, 
 where the pale true vermilion excels them 
 in opaqueness, enabling the striper to do 
 his lining in one single coat and cover per- 
 fectly over black, which these will not do. 
 The carriage painters, wagon and automo- 
 bile factories use it in immense quantities, 
 but probably the agricultural implement 
 trade uses larger quantities of it than any 
 other, as it seems to be the one color which 
 they must think surpasses all others in put- 
 ting their machinery upon its best footing 
 to sell. 
 
130 COLORS 
 
 It is useful to tliein in any form they de- 
 sire to have it : For dipping, a vermilion 
 ^ red is nsed with a light body that will be 
 held in suspension a long time ; for painting 
 ' out with a brush, the heavy opaque lead 
 based ones fill the requirements. 
 
 Decorators use them in all their many 
 shades and compound them with lakes to 
 produce many others suitable to their use 
 and the house painter uses them for the 
 painting of the exterior of the loud kind 
 in demand by tea and many grocery stores. 
 
 American Vermilion — Chromate of 
 lead, 
 
 112. The so-called American vermilion 
 is a chromate of lead. It is of crystallic 
 formation and to this is due of whatever 
 brilliancy it may possess, therefore it 
 should never be ground fine. Before the 
 introduction of the vermilion reds it was 
 extensively used in wagon painting and in 
 the painting of agricultural implements. 
 Alongside of the vermilion reds they look 
 like a brown, being very inferior in the 
 
COLORS 131 
 
 scarlet tone wMcli the others show to such* 
 a good degree ; therefore, like many others, 
 they belong to the class of the ^'have been'* 
 and are little nsed to-day. The above no- 
 tice will suffice for them, as they may be 
 said to have become obsolete. 
 
 QUESTIONS ON LESSON XIX 
 
 108. What is said of the vermilion reds 
 in general ? 
 
 109. How are they made? 
 
 110. What are their characteristics? 
 
 111. What nses are made of them in 
 painting? 
 
 112. What is said of American ver- 
 milion? 
 
132 COLOES 
 
 LESSON XX 
 
 THE RED GEOUP OF PIGMENTS — CONTINUED 
 
 Venetian Red — Rouge; Crocus; Colco- 
 thar; Burnt Ocre; Sinoper, Ger. ; Rouge de 
 Venice, Fr. ; Ochre rouge, Fr. 
 
 113. As the name would seem to indi- 
 cate, Venetian red is supposedly an earth- 
 colored red produced in the vicinity of that 
 city-upon-the-sea— Venice. None is, nor 
 probably has ever been, imported into 
 America from there in commercial quanti- 
 ties, at least— so much, then, for a name. 
 Red earths have been used from time im- 
 memorial in the painting and decorating of 
 surfaces by all past civilizations, with small 
 wonder at the fact, because of their univer- 
 sal distribution everywhere. All these 
 earth reds owe their coloring matter to fer- 
 ric oxide and, as must be supposed vary 
 greatly in the kinds of base holding up the 
 color and in the kind and quality of the 
 color itself. So much variation in fact as to 
 
COLOKS 133 
 
 make it impossible to give a definition of 
 what it really is. 
 
 114. Most persons naturally suppose 
 that the naturally produced Venetian reds 
 must be superior in quality to that which 
 is made artificially but in this they are 
 greatly mistaken. It was seen that the 
 natural product is an unknowable quantity ; 
 not so, however, with the artificially made 
 article. Its component parts can be guar- 
 anteed to be ^^ semper idem/' or about as 
 nearly alike as two peas are said to be to 
 each other. 
 
 115. Venetian red is made upon various 
 bases ; barytes, whiting and gypsum. The 
 last is the best, but the most difficult to 
 handle in the manufacture. The coloring 
 matter being ferric oxide produced in dif- 
 ferent ways by the concentration of pick- 
 ling fluids used in wire works and roasting 
 the precipitate sulphate of iron. Crocus 
 again the product of roasting iron pyrites, 
 etc., the processes are not difficult, but in 
 order to pay must be carried on upon a 
 
134 COLORS 
 
 large scale, as tlie Venetian red is sold at a 
 very low price wliich would not pay the ex- 
 pense of manufacturing it on a small scale. 
 
 By common consent and usage Venetian 
 red is supposed to contain from 20 to 25 
 per cent, of ferric oxide to 75 per cent, of its 
 base. That made from barytes is the poor- 
 est in quality. That made from whiting 
 works best and smoothest, but that made on 
 the gypsum base is the most durable. If 
 a mixture of 25 per cent, of whiting is 
 added to it to make it work smoothly it will 
 be better still. 
 
 116. The qualities are better known 
 here under the names of English, which 
 designates the best, and that of American, 
 which is used for the poorer grades. It 
 matters not that to-day but little if any 
 Venetian red is imported from England, 
 and that as good Venetian red is made here 
 as anywhere in the world, the name has 
 become a trade mark of quality and is put 
 upon the headings of the barrel at the 
 
COLOBS 135 
 
 iAmerican factory without a pang of re- 
 morse. So much for a name, again. 
 
 117. The artificially prepared Venetian 
 reds are perfectly reliable. Being uniform 
 in quality there is no trouble in duplicating 
 them again in any quality wanted. The 
 color is usually well fixed. Like all burnt 
 colors, however, which owe their origin to 
 iron, they are likely to dinge a trifle in 
 time, as the oxide has a tendency to imbibe 
 moisture and to become more or less hy- 
 drated. Some of this change is also due 
 to linseed oil darkening with time ; but all 
 colors, no matter how permanent they may 
 be, are affected by the latter cause. 
 
 118. Venetian red is used for a great 
 multitude of purposes, in oil, in japan and 
 in water color painting. This color in its 
 better shades are good self tones of red 
 subdued sufficiently so as to be used for 
 the exterior work of brick buildings in cit- 
 ies and in the country, of barns and out- 
 houses which are painted in its self color. 
 It is used for the preparation of a number 
 
136 COLORS 
 
 of tints, and is one of tlie indispensable 
 colors used by all painters, no matter in 
 what branch of painting they may be en- 
 gaged. Decorators and artists are not ex- 
 cepted from the list, as it is useful to them 
 in all kinds of medium. 
 
 QUESTIONS ON LESSON XX 
 
 113. What is said of Venetian red? 
 
 114. Are artificially made Venetian 
 reds much used? 
 
 115. How is Venetian red made? 
 
 116. What is understood by English 
 and American Venetian red? 
 
 117. What are the characteristics of 
 Venetian red? 
 
 118. What are its chief uses ? 
 
COLORS 137 
 
 LESSON XXI 
 
 THE EED GROUP OF PIGMENTS — CONTINUED 
 
 Eed OGhie—Red hematite; Red iron 
 ore; Ruddle; Scarlet Ochre; Red chalk; 
 Terra rosa; Miltos; Ruhrica; Sinopis; Sin- 
 oper; Ochre roth, Ger. ; Ochre rouge, Fr. 
 
 119. Here we have a red with enough 
 synonyms to swamp it, so this may be one 
 of the many reasons why it is as little used 
 as it is by the painting trade ; but as it is 
 still listed under its proper name and many 
 of its synonyms in artists' catalogues of 
 tube colors, it was necessary to give it the 
 short notice it receives in this manual. 
 
 120. Eed ochre is a natural earth which, 
 at some time or other in bygone ages, be- 
 came changed by heat from a yellow ochre 
 to its red tone by loosing its water of hy- 
 dration during this heating process in a 
 manner similar to that of a brick kiln where 
 the yellow clay is turned into a red brick by 
 the same agency. 
 
138 COLORS 
 
 121. All these natural red oelires are 
 very uncertain in their composition. What 
 was said in paragraphs 113 to 118 apply to 
 it and all its synonyms. In short, Venetian 
 reds of good quality, artificially made and 
 of uniform composition, are very much su- 
 perior and reliable. They are made in all 
 possible shades that any of the ochre natu- 
 ral earths might have and no one will or 
 can go wrong by substituting it every time 
 they may think that it should be used, as 
 it is practically one and the same thing. 
 
 Indian red— Persian red; Indian red 
 ochre; Indische roth, Ger. ; Rouge d'Inde, 
 Fr. 
 
 122. Is an old pigment; so old in fact 
 that its history dates back to prehistoric 
 times. Its traces are found in all remains 
 of ancient painting done by the older and 
 continuously to the present time. Its 
 names are many, but all apply to the same 
 article known under the present name in 
 America, these synonyms being merely 
 
COLOKS 139 
 
 those of certain localities from whence they 
 were shipped. 
 
 123. Indian red is a rich hematite iron 
 ore. None so far has been discovered 
 either in Europe or America that ap- 
 proaches the Asiatic product in the rich- 
 ness of its tones— that is, in its natural 
 state. The coloring matter is due to the 
 agency of peroxide of iron. Most of it is 
 made artificially, chemistry having enabled 
 the manufacturer to produce at will an ar- 
 ticle which is more uniform than the natu- 
 ral and he is able to obtain in an artificial 
 way what nature had not done in our west- 
 ern hemisphere. 
 
 124. Indian reds, especially the artifi- 
 cially made ones, are remarkably strong in 
 coloring matter. Unlike the natural, in 
 which there is a considerable variation in 
 its component parts it is perfectly uniform ; 
 so much so that none is recognized as pure 
 that does not analyze at least 95 per cent, 
 of pure peroxide of iron and much of it 
 will run up to 97 and 98 per cent. It is 
 
140 COLORS 
 
 made by roasting, mucli in the same way 
 that is nsed in preparing the crocus used in 
 the manufacture of Venetian red— the proc- 
 ess itself being a detail of more interest 
 to manufacturers than to the consumers, 
 besides too lengthy for a comprehensive 
 description, is dispensed with. Indian red 
 as all other ferric oxide red pigment has a 
 peculiarity which is common to all, that the 
 ligher its tone the stronger it is, the darker 
 being always deficient in this regard. All 
 shades are very durable, the slow change 
 to a darker tone being due to the darkening 
 of the linseed oil, but not to the pigment. 
 
 125. It is used by all classes of painters, 
 for oil, japan or water color work, with 
 good success. It is most useful in the pro- 
 ducing of tints with whites, however, as in 
 its self color it is surpassed by the Tuscan 
 reds, the pale Indian reds producing the 
 rose and pinkish shades, while the dark, 
 the violet or lilac shades. They make very 
 clean toned tints which would require a 
 lake to produce from any of the other fer- 
 
COLOES 141 
 
 rio oxide red pigments. It is also em- 
 ployed as a base in compounding tlie Tus- 
 can reds. The carriage trade uses it as a 
 ground to be glazed over with an enriching 
 color. 
 
 QUESTIONS ON LESSON XXI 
 
 119. What is said of red ochre 1 
 
 120. How are ochres changed to red? 
 
 121. What pigment is better substituted 
 for them? 
 
 122. Is Indian red a pigment of recent 
 origin? 
 
 123. What is Indian red and how is it 
 produced? 
 
 124. What are its characteristics? 
 
 125. What are its uses in painting? 
 
142 COLOKS 
 
 LESSON XXII 
 
 » 
 
 THE EED GROUP OF PIGMENTS — CONTINUED 
 
 Tuscan Eeds— 
 
 126. Tuscan red is a compounded color. 
 Its name would indicate an Italian origin, 
 and to a limited extent it has. It is not 
 a natural color, and its tone is due to cer- 
 tain lakes added to another and lesser rich 
 red. The Tuscans had a predilection for 
 that tone of red and it became a distinctive 
 color, as much so and no more than ' ' Terra 
 cotta ' ^ may be said to be a Chicago color. 
 
 127. The base used in manufacturing it 
 is Indian red, but as that is too strong in 
 coloring matter, which must be reduced in 
 order that it may absorb the enriching dye 
 or lake. This is done by the addition of 
 some white earth, whiting, china clay, or 
 some other. The dry component parts are 
 finely powdered and stirred up in a vat 
 containing water to which is added the dye 
 equivalent to the lake that the painters 
 
COLORS 143 
 
 would use in mixing it up. The agitation 
 is kept up for a time and then the com- 
 pound is allowed to settle, the water drawn 
 off and the pulp dried after filtering, when 
 it is dry ground to be either sold so or is 
 mixed with oil or japan and ground for the 
 use of the coach or house painters and dec- 
 orators in oil. Many shades are thus ob- 
 tained, some light, some dark. They are 
 usually averaged up in three shades : Light, 
 medium and dark. 
 
 128. It stands to reason that Tuscan 
 red may be either good or bad according to 
 the character of the substances which com- 
 pose it. If made from a poor Indian red 
 to which is added a cheap aniline red, its 
 tone will be fleeting, however rich it may 
 look when first applied. If made from 
 Alizarin, on the contrary, a permanent pig- 
 ment is produced which will stand sunlight 
 and over 350 degrees of heat without chang- 
 ing it, so that whatever of complaint may be 
 heard about its fading propensities must be 
 laid at the door of the manufacturer. 
 
144 COLORS 
 
 Change till you get a good one, tlien stich 
 to it. 
 
 129. Tuscan red, as was intimated in 
 the description of Indian red, is now used 
 almost exclusively in the solid painting of 
 surfaces instead of Indian red. It is not 
 nearly as strong in coloring matter, how- 
 ever, and is not used like that pigment in 
 the making of tints. It is strange but true 
 that it will not make near as rich tints as 
 Indian reds wiU when mixed with white. 
 One would naturally suppose the contrary 
 to be the case on account of their greater 
 richness of tone. The car trade uses great 
 quantities of it in the painting of railroad 
 cars, as it is the official color adopted by 
 several corporations. Many implement 
 manufacturers use it also. It can be used 
 to good advantage in any medium and in its 
 good qualities with safety in almost any 
 situation. 
 
 Eed Jjead— Minium; minium ruhrum, 
 
 130. Eed lead is the bioxide of lead. 
 In volume I of the red series an extended 
 
COLOES 145 
 
 notice of its uses is given in so far as its 
 application to iron and other metallic sur- 
 faces is concerned. It was known to the 
 older civilizations and used in the enamel- 
 ing of pottery, etc., and it is still well known 
 under its old Roman name of minium in 
 most parts of Europe. It is produced hj 
 the oxidation of massicot or litharge and 
 also of white lead and off colored white 
 lead usually finds its way to the red lead 
 retorts. 
 
 131. Red lead is a very heavy pigment 
 of crystallic formation, hence very fine 
 grinding is injurious to the brilliancy of its 
 tone. The grinding it receives is more of 
 a crushing of the dried cake into which it is 
 made after being taken out of the drying 
 pans. It possesses the property of saponi- 
 fying a certain amount of the linseed oil 
 necessary for its application, also that of 
 hardening up with the oil so saponified into 
 a metallic like hardness. This prevents its 
 being ground in oil, as most all other colors 
 are, as it would harden at the bottom of the 
 
146 COLORS 
 
 cans. It is always bouglit in its dry pow- 
 dered form and mixed with oil as needed. 
 132. Its nses are principally in connec- 
 tion with the painting of structural and 
 other iron and steel surfaces. For the 
 painting of floors it is invaluable on ac- 
 count of its drying into metallic hardness. 
 It is also very valuable as a ground for and 
 in a mixture for the painting of the run- 
 ning gears of wagons, trucks, etc. It is of 
 no use in water colors, and of but little for 
 other than the ones mentioned above. 
 
 QUESTIONS ON LESSON XXII 
 
 126. What is said about Tuscan reds ? 
 
 127. How are they manufactured? 
 
 128. What are their characteristics ? 
 
 129. What are its chief uses ? 
 manufacture ? 
 
 131. What are its characteristics? 
 
 130. What is said of red lead and its 
 
 132. What are its uses in painting? 
 
COLOKS 147 
 
 LESSON XXIII 
 
 THE BED GROUP OF PIGMENTS — CONTINUED 
 
 Madder Lakes— Pitz/c madder lake; Rose 
 madder lake; madder carmine; madder red; 
 Ruben's madder; madder purple; madder 
 lake; Krapp lack, Ger. ; Carmin de gar- 
 ance, Fr. ; Laque de garance, Fr . 
 
 133. All the above are now made from 
 the same coloring substance, Alizarin and 
 purpurin. The lakes are transparent or at 
 least semi-transparent, the coloring matter 
 being a dye of more or less permanency 
 which is absorbed by a base, usually an 
 alum base or some transparent earth white 
 or a combination of these and of alum. 
 Lakes are useful chiefly as glazing colors 
 over a ground color which they enrich or 
 in compounding tints with white or colored 
 pigments. 
 
 Madder lake originally was produced by 
 the extracted coloring matter of madder 
 root, which was thrown upon a base in 
 
148 COLOKS 
 
 mncli the same way as related above. Its 
 chemical reproduction from coal tar colors 
 has driven the genuine from the field at 
 present and there is no prospect of its ever 
 coming into use again as it cannot compete 
 in price with the artificial, and that is just 
 as good. 
 
 The various colors produced from a 
 maroon to the clearest reds and carmine 
 tones can all be put together in a bunch as 
 they differ chiefly in the amount of color- 
 ing matter contained and in a few instances 
 to the variation of the colors in the coal 
 tar colors themselves and to the kind of 
 base they are thrown upon; some absorbing 
 much more colors than others and again 
 some giving out a difference in the tones. 
 
 134. All the better class of the lakes 
 made today are of this character. The 
 cheaper ones made from rose aniline and 
 such fugitive stuff as the Eose Pink and 
 Rose Lake of that trade name are hardly 
 worth carrying home, for the work done 
 with them will have to be collected for in 
 
COLOKS 149 
 
 a hurry in order that the beautiful tones 
 they show when first put on may still be 
 present when the work is inspected. 
 
 Carmine hske— Crimson lake; Purple 
 lake; Carmine lack, Ger.; Carmin, Fr.; 
 Laque cramoisi, Fr. 
 
 135. Carmine as it is best known in 
 the United States is a beautiful red toned 
 lake, is of animal derivation extracted 
 from an insect known as cochineal which 
 is mainly imported from Central Amer- 
 ica. Its discovery was accidental; it was 
 made by a Florentine monk who was pre- 
 paring some medicine into which cochineal 
 was used. It formed a red precipitate and 
 this lead to its production as an article of 
 commerce. It is thrown upon an alum base 
 and it is said that the water used for the 
 boiling of it has a great deal to do with the 
 brightness of its coloring. 
 
 Many experiments have been made in 
 order to obtain this most beautiful of pig- 
 ments of a more stable character, but so 
 far without much success. It is a pity that 
 
150 COLORS 
 
 it is so, for tliere is no other red possessing 
 the same brilliancy and the carriage 
 painter knows how to obtain effects from 
 it in glazing over a vermillion ground that 
 makes an already beautiful finish look fit 
 for the gods. 
 
 136. Owing to its fugitive character in 
 sunlight, it has nearly become obsolete 
 and displaced by the use of the madder 
 lakes. These when first painted out are 
 not nearly so bright as carmine, but let the 
 student paint upon a piece of cardboard 
 two small squares side and side, one from 
 genuine carmine and the other from a mad- 
 der lake of similar tone; an exposure of 
 six weeks to sun rays will tell its own tale 
 better than words. The madder lake will 
 have retained its color and be very much 
 better toned, richer and deeper than its 
 more beautiful rival at the start. The re- 
 liance which can be put into the perma- 
 nency of the madder lakes have nearly 
 driven carmine out of market. It 's a pity 
 it is so, but usually painting is not done for 
 
COLOBS 151 
 
 the day, but is expected to look well for a 
 reasonable time. 
 
 Indian Lake— Lac lake; Lack, lack Ger. ; 
 Laque d*Inde, Fr. 
 
 137. At a time before tbe introduction 
 
 of the madder red lakes, there existed a 
 
 ; reason for its use by artists and decorators, 
 
 ' it was more stable than cochineal although 
 
 greatly inferior to it in coloring. Why it 
 
 ' is still being used by artists is a conundrum 
 
 which is hard to explain excepting that of 
 
 ignorance of the existence of the better far 
 
 better toned and more permanent pigments 
 
 of the madder class. It should be discarded 
 
 and replaced by the madder lakes. 
 
 The above finishes the list of useful reds. 
 After all, when the) group is cut down to 
 its right number of different pigments and 
 the many similar ones listed as syno- 
 nyms of some well known color, the number 
 is not so great as to cause a beginner any 
 trouble in selecting what he wants and re- 
 quires with but little hesitancy when he has 
 familiarized himself with them. 
 
152 COLORS 
 
 QUESTIONS ON LESSON XXHI 
 
 133. What is said regarding tlie manu- 
 facture of tlie madder lakes ? 
 
 134. What is- the character of the 
 cheaper red lakes such as Kose Pink and 
 Eose Lake? 
 
 135. What is said of carmine lake? 
 
 136. Why is the use of carmine lake de- 
 creasing today? 
 
 137. What is said of Indian lake? 
 
' COLOES 153 
 
 LESSON XXIV 
 
 THE YELLOW GROUP OF PIGMENTS 
 
 138. The yellow group of pigments is an 
 important one. The part played by yel- 
 lows and the tints made from them and by 
 their agency in combination with other pig- 
 ments is very great. Like many of the 
 other groups it has been made to carry un- 
 der various names, many separate ones so 
 nearly similar in tone and composition that 
 a Philadelphia lawyer would be puzzled to 
 tell one from which; this only creates con- 
 fusion. These are placed as synonyms on 
 the list and cuts the number of pigments 
 to its lowest limit. Again it will be found 
 that even among those that are given a 
 description of as separate pigments, that 
 some are very superior and that many 
 among those named can well be spared and 
 be replaced by the better ones, so that the 
 list can be still further reduced. 
 
 Ochie— Yellow ochre; French ochre; 
 
154 COLOKS 
 
 Roman ochre; Mineral yellow; Brown 
 ochre; American ochre; Oxford ochre; 
 Mars yellow; Mars orange; Artificial 
 ochre; Gelhen ochre, Ger. ; Mars geTb, Ger. ; 
 Ochre jaune, Fr. 
 
 139. Many of the above names are ac- 
 tual synonyms and a few are used to desig- 
 nate quality, so that as they all appertain 
 to the same general genus they are all 
 grouped together as all that is said of one 
 appertains to all the rest as well. 
 
 140. There is no time in the world's his- 
 tory when ochres have not been made use 
 of ; so that but little can be said concerning 
 this valuable pigment that is not well 
 known to the world. It has been dug out 
 of the hills and mined from the stratas con- 
 taining them continuously for periods end- 
 ing in the dim prehistoric times. As to the 
 methods used in mining them, the reader is 
 referred to paragraph 45 as to how this is 
 done. Ochres are to be found in all sec- 
 tions of the world and are more widely dis- 
 tributed than any other natural pigment. 
 
COLOKS 155 
 
 The United States forms no ex<3eption to 
 tlie rule. Some sections have it in greater 
 quantity than others ; again there is a wide 
 difference in the quality of the ochre itselt 
 This depending upon the conditions under 
 which it was made in the first place. The 
 strata of earth holding the coloring mat- 
 ter, the quality of the coloring agent are 
 ^ all factors in determining values and qual- 
 ities. 
 
 141. Ochres can be divided into two gen- 
 eral groups : 1st, are those where the base 
 holding up the coloring matter, which is 
 hydrated oxide of iron, is composed chiefly 
 of silicate earth (not sand) ; 2nd, are those 
 where the base consists chiefly of alumina, 
 the coloring matter being due to the same 
 agency as in No. 1. 
 
 142. There is a great deal of difference 
 in the quality of ochres; this difference is 
 due not only to the tone of its color, but to 
 its base also, as this fits it for certain pur- 
 poses to which the other is not fitted for 
 and vice-versa. There is much diversity of 
 
156 COLOES 
 
 opinion regarding their use simply because 
 the one was used where the other should 
 have been. Most causes of complaints are 
 traceable to this source. The ochres con- 
 taining a preponderance of silicate earth 
 in its base are safe to use for outdoor paint- 
 ing, even in its self color without being 
 compounded with other pigments. The 
 best French and English ochres are of this 
 character. There has been no similar 
 ochres found in the United States so far, 
 the nearest approach being those dug in 
 Eastern Virginia in the Appomatox river 
 section. Nearly all other American ochres 
 so called containing much silica are really 
 more of a Sienna character and are trans- 
 parent. 
 
 The American supply of opaque ochre 
 consists chiefly of such as contain a pre- 
 ponderance of alumina or clay in the base. 
 This makes it unsafe to use in its self color 
 alone for outside use and ninety per cent of 
 all the trouble complained of is due to its 
 use as a primer. On the other hand, the 
 
COLOKS 157 
 
 aluminous based oclires are best for water 
 color work, working more smootbly than 
 the other variety. 
 
 143. Ochres are used by house painters, 
 principally for the preparing of the myri- 
 ads of buffs and cream tints used so pro- 
 fusely for the painting of exteriors and 
 wall work in interiors of houses. They en- 
 ter also as an important addition in the 
 preparation of a number of other tints, as 
 in terra-cottas, drabs, etc. They have been 
 used in enormous quantities in priming 
 work on wooden buildings. The silicate 
 ochres are comparatively safe for this pur- 
 pose, but to make doubtly sure should be 
 compounded with white lead for that pur- 
 pose and should be finely ground 
 
 The wall paper printing trade uses large 
 quantities of it in its preparing of water 
 color tints. The coloring matter varies a 
 good deal in various samples in both qual- 
 ity and quantity, running from 15 per cent, 
 to 85 per cent., but quantity is of no value 
 without the quality is also present. Some 
 
158 COLOES 
 
 of these highly ferruginous samples being 
 fit only to be burned into mortar color reds. 
 
 QUESTIONS ON LESSON XXIV 
 
 138. What is said in general regarding 
 the yellow group of pigments I 
 
 139. What is said of ochres and their 
 synonyms f 
 
 140. What is said of ochres in general ? 
 
 141. How should ochres be classified! 
 
 142. What are the characteristics of the 
 silicate and aluminous based ochres ? 
 
 143. What are the chief uses made of 
 ochres in painting? 
 
COLOES 159 
 
 LESSON XXV 
 
 Chrome Yellow— Chrome; Chromate of 
 lead; Crom gelb, Ger. ; Chrome jaune, Fr. 
 
 144. Chrome yellow with all its defects 
 is of more importance to the painter than 
 all the rest of the yellows put together if 
 the ochres be excluded. It is a compara- 
 tively recent pigment, there being no trace 
 of them seen in the paintings of older civil- 
 izations. It comes in so many varied hues 
 and tones that some of them are pretty 
 sure to duplicate some ancient pigment 
 with twice as many faults as they have, 
 so that they have been able to put out of 
 use many other pigments which in the past 
 were used extensively in painting and deco- 
 rating. 
 
 146. Chrome yellow is basic chromate 
 of lead. This is true of only one of its many 
 shades, i e., medium chrome yellow. This is 
 the product of a double decomposition of a 
 bi-chromate of potash solution with a lead 
 
160 COLORS 
 
 salt solution, tlie precipitate resulting be- 
 ing chromate of lead. 
 
 The many variations in the shades of 
 chrome yellow are due to the addition of 
 either acid or alkaline substances before the 
 precipitation takes place, with the result 
 that if sulphuric acid is added the precipi- 
 tate will be lighter toned, and according 
 to the quantity added will be either a very 
 light canary yellow, running deeper in tone 
 to the lemons and gradually approaching 
 to the medium when lesser quantities of 
 sulphuric acid are employed. This com- 
 bines with the lead salt forming sulphate 
 of lead, the presence of which in light tones 
 of chrome yellow is not an adulteration 
 when not in excess. 
 
 On the other hand the reddish tones of 
 the orange chrome-yellows are due to the 
 addition of alkaline or caustic substances, 
 usually lime, to the solution before precipi- 
 tation. The more alkali added the deeper 
 will be the precipitate ranging through the 
 
COLOES 161 
 
 gamut of orange tones from tlie very 
 lightest to the deepest. 
 
 Chrome yellow is fairly permanent when 
 well made. It is affected by sunlight some- 
 what, and sulphuretted hydrogen gas effect 
 its lead component part by turning it into 
 a black sulphide of lead. The lightest 
 shades are least affected, as sulphate of 
 lead is not affected by those gases. 
 
 The medium and orange shades being 
 free from sulphate of lead if they are pure 
 are the ones mostly affected. 
 
 147. It is hard to place a limit upon the 
 uses of chrome yellow in painting for fear 
 of not half stating them. With proper care, 
 it being fairly it not quite permanent it, 
 can be used any where and for all purposes 
 desired. Its many tones can still further 
 be increased by the addition of whites to 
 lighten them up into an infinity of shades. 
 As a means of producing a great number 
 of tints it is invaluable and for the making 
 of greens could not be replaced by any other 
 yellow. 
 
162 COLORS 
 
 It is as useful in water color decoration 
 or plain work as it is in oil and japan. 
 The carriage trade, car and implement 
 manufacturers using large quantities of 
 it. 
 
 Baryta Lemon Yellow— Baryta yellow; 
 Barium chr ornate; Yellow ultramarine; 
 Permanent yellow, 
 
 148. This being a different pigment 
 from the lemon chrome yellow must be re- 
 viewed separately. There is no lead in its 
 composition, Baryta being the base. It does 
 not turn black when in contact with sul- 
 phuretted hydrogen. It is subject to the 
 same trouble that chrome yellows are, how- 
 ever, in that the chromic acid has a ten- 
 dency to turn greenish in tone with time. 
 Otherwise its use is indicated for situations 
 where the injurious gases so inimical to 
 lead chromates are likely to develop. 
 
 Naple Yellow— Neapel gelb, Ger. ; Jaune 
 de Naples J Fr. ; Jaune d'Antimoine, Fr. 
 
 149. Its origin is rather obscure. It is 
 a compound of oxide of lead antimony and 
 
COLORS 163 
 
 zinc, calcined in reverberatory furnaces, 
 where they are fused and the mass result- 
 ing finely powdered. While it is a com- 
 paratively new pigment, being first intro- 
 duced in the sixteenth century, it was 
 known to the ancients, who used it in the 
 enamelling of brick 700 years B. C. It is 
 still used by some artists and decorators, 
 but not nearly to the same extent that it 
 was before the introduction of chrome yel- 
 low, which has nearly displaced it. 
 
 Indian Yellow— Pi^in; Puree, Peori; In- 
 disch gelb, Ger. ; Jawne Indien, Fr. 
 
 150. Is a pigment of vegetable extrac- 
 tion obtained through animal agency how- 
 ever. It is derived from the urine of cows 
 fed with mango leaves. It usually has an 
 offensive smell. It undergoes several tedi- 
 ous processes in the preparing it for use. 
 It is useful in oil or water color but more 
 so to artists than to painters and decorators 
 even, who dispense with it without great 
 detriment. 
 
 Dutchl Vmii— Yellow lake; Brown pink; 
 
164 COLOKS 
 
 Citrine lake; Yellow madder; Italian pinJc; 
 Quercitron lake; Dunkelgelh lack, Ger. ; 
 Laque hrun jaune, Fr. 
 
 151. A great number of names for an 
 article of as little real value as Dutch Pink 
 is. But that nearly all color lists still carry 
 it and that in certain sections it is still used 
 in water color work of walls, its examina- 
 tion would not have been given as most of 
 its tints can be produced more cheaply by 
 the use of other pigments. It is a lake 
 thrown down upon a base to hold up the 
 coloring matter, which is chiefly extracted 
 from red, white and black oak bark also 
 from several other trees and bushes, such 
 as the buckthorn and the shrubs of the 
 Bhames family. 
 
 Aureolin— Cobalt yellow; Cobalt gelh, 
 Ger. ; Jaune de Cobalt^ Fr. 
 
 152. Much could be said concerning this 
 pigment. Its cost will prevent its use even 
 to decorators in any but very high grade 
 work. 'Artists esteem it. It is an anti-dry- 
 ing pigment in oil. The future may bring 
 
COLORS 165 
 
 about some discovery whereby it may be 
 made to loose its water of hydration and 
 render it anhydrous. In that condition 
 only would it be safe to use, and then its 
 cost would have to be reduced materially. 
 
 Cadmium Yellow— One^^ yelloiv; Au- 
 rora yellow; Orange cadmium; Sulphide of 
 cadmium; Cadmium gelh, Ger. ; Jaune de 
 cadmium, Fr. ; Jaune brilliant, Fr. 
 
 153. The painter will hardly ever be a 
 liberal user of cadmium, as its cost is high. 
 It is a fairly permanent pigment, running 
 through the gamut of yellows from the 
 lightest of orange to the deepest of its red 
 shades. To decorators and artists it will 
 appeal, in that it prevents the injurious ef- 
 fect of sulphuretted hydrogen gas upon 
 tints made from it and white lead. On the 
 other hand again, it being a sulphide it 
 becomes incompatible to all colors which 
 are not sympathetic with it. 
 
 Other yellows consist chiefly in ex- 
 tremely poisonous compound, as king's yel- 
 low, or pigment, etc., which are of no use 
 
166 coix)ES 
 
 to the trade, either in plain or artistic work, 
 and which on account of their dangerous 
 character should be let severely alone. 
 
 QUESTIONS ON LESSON XXV 
 
 144. "What is said of chrome yellow in 
 general I 
 
 145. How are chrome yellows manufac- 
 tured ? 
 
 146. What are the chief characteristics 
 of chrome yellows f 
 
 147. What are the chrome yellows of 
 best use for in painting! 
 
 148. What is the difference between 
 Baryta lemon yellow and the chrome yel- 
 lows? 
 
 149. What is said of Naple yellow? 
 
 150. What is Indian yellow ? 
 
 151. What is said of Dutch pink? 
 
 152. What is aureolin? 
 
 153. What is said of cadmium yellow? 
 
COLOBS 167 
 
 LESSON XXVI 
 
 THE WHITE GROUP OF PIGMENTS 
 
 154. The white group of pigments has 
 two general divisions : 1st, those pigments 
 which are derived from a metallic origin; 
 2nd, those which are natural products of 
 mineral origin, the earth whites. 
 
 Most all of the latter and white lead of 
 the other division have been known and 
 used a very long time, so that aside of im- 
 provements made in production none aside 
 of zinc white and sublimed lead in the met- 
 allic whites and none whatever in the earth 
 whites are of recent origin, if blanc ^xe or 
 baryta white is excepted and is classed 
 among the earth whites. 
 
 "White Jjesid— Flake ivMte; Cremnitz 
 white; Cerusa or ceruse; Cremser iveiss, 
 Ger. ; Blanc de plomh, Fr. 
 
 155. In the preceding paragraph it was 
 stated that white lead was known to the 
 ancients, and it was for some of their enam- 
 
168 COLOKS 
 
 ellings on brick and pottery was done witli 
 it and Pliny describes the process of mak- 
 ing it. It never took sucb a grip of the 
 painting business that it bas now, simply 
 because there was but little of it done aside 
 of the decoration and painting of churches 
 and palaces. The application of the cor- 
 rosive agents named by Pliny in the way 
 and manner that the Dutch Process uses 
 either in the stack or cylinder method of 
 corrosion are comparatively recent. The 
 renaissance period which advanced the 
 wellfare and standing of the middle classes 
 and created a demand for the adornment 
 of their dwellings created an activity in the 
 inventive genius of the world and spurred 
 every one with a mechanical turn to invent 
 methods of production on a scale large 
 enough to meet the greatly increased de- 
 mand. 
 
 156. The white lead of commerce is a 
 basic carbonate of lead or, to be miore cor- 
 rect, it is hydrate-carbonate of lead. Pure 
 carbonate of lead would chalk too readily, 
 
COLOKS 169 
 
 but it gives to white lead its body or 
 opaqueness ; the hydrate of lead it contains 
 corrects this, but when in excess of about 
 1/3 it affects its covering. The proper 
 proportion of hydrate of lead is from 25 
 per cent, to 30 per cent, of the total and of 
 the carbonate from 70 to 75 per cent. It is 
 made by two systems, the stack and the cyl- 
 inder, both too lengthy for a complete rela- 
 tion in this manual. By these processes 
 dilute acetic acid of about the strength of 
 vinegar is supplied to the lead in order to 
 attack it or corrode it. In the stack process 
 thin sheets or disks of metallic lead are 
 placed in pots, when these are filled vinegar 
 is put into the bottom of the pot layers 
 of pots are placed upon each other sepa- 
 rated by planks which hold a bed of manure 
 and tan bark, upon which another layer of 
 pots is placed and the same process re- 
 peated until it is filled to the desired height. 
 The heat generated by the manure sets the 
 acetic vapors to rise and gives out the car- 
 bonic acid required to turn the lead cor- 
 
170 COLOES 
 
 roded to a carbonate. It requires about 
 ninety days for the process to be complete. 
 
 157. Cylinder system of corroding lead 
 is by precisely the same agencies of acetic 
 acid vapors, carbonic acid and moisture to 
 produce the proper amount of hydration, 
 only it is an entirely different application 
 of them. Thel lead is very finely divided 
 and the fine lead sand is put into cylinders 
 which are connected with generators to 
 furnish it the acid vapors needed. These 
 cylinders revolving slowly present new 
 faces to the attack of the corroding agents, 
 and the process is greatly hastened 
 thereby. Both produce the same kind of 
 lead with such percentage of hydrate and 
 carbonate as entitle them to be called 
 strictly pure white lead as understood un- 
 der that term by the paint trade. 
 
 158. The same processes for cleaning 
 the manufactured white lead is used in 
 both systems. 1st, a thorough washing and 
 filtering to clean it from any dirt and any 
 possible free acetate of lead, which is 
 
COLOKS 171 
 
 soluble and wMcli is washed away. Then 
 the settling of the lead in vats, the pulp 
 of which is dried and afterwards either 
 mixed with oil and ground in the form best 
 known to the painters or dry ground and 
 barreled to sell to the paint grinders or for 
 use in a dry state. 
 
 159. White lead is a heavy pigment of 
 good opacity, being by far the most opaque 
 of the white pigments. It has a much bet- 
 ter affinity for linseed oil than it has for 
 water, so much so that the pulp lead as it 
 is called when it has settled in the vats 
 after being washed can be placed in a 
 chaser, oil added to it and in a few minutes 
 of trituration it will have parted with its 
 water and absorbed the linseed oil in its 
 stead. It saponifies a portion of the oil 
 used in its application so that it spreads 
 easily under the brush. It is affected by 
 sulphuretted hydrogen gas. Its particles 
 have no affinity for each other, so when the 
 linseed oil which holds it on gives out by 
 decay these lead particles which are loos- 
 
172 COLOKS 
 
 ened from each other fall or can be brushed 
 away. 
 
 160. The painters would be in a sorry 
 plight if all at once white lead should be 
 wiped out of existence. All classes of paint- 
 ers use it. The carriage painter to get up 
 his foundation coats. The house painter 
 for either solid white painting or for the 
 base upon which he mixes all the tints that 
 can be thought of nearly. It is not used 
 greatly in water colors for mural work, as 
 cheaper whites can be used there that are 
 preferable. 
 
 Flake White— Cremnitz white, 
 
 161. This is simply a selected white lead 
 of more than ordinary whiteness and opac- 
 ity. In short an extra good quality of it 
 and of good use to the decorative trade 
 mainly; also to the carriage trade for 
 strip eing. Sign painters too have fre- 
 quent use for a lead of more than ordi- 
 nary covering and to all such it is invalu- 
 able. It is in no wise different from any 
 other white lead and all that is said in the 
 preceding paragraphs apply to it fully. 
 
COLOKS 173 
 
 QUESTIONS ON LESSON XXVI 
 
 154. How should white pigments be di- 
 vided? 
 
 155. What is said of white lead in gen- 
 eral? 
 
 156. What is the method used in cor- 
 roding white lead by the Dutch stack proc- 
 ess? 
 
 157. What is the method of corroding 
 white lead by the cylinder Dutch process ? 
 
 158. How is lead prepared for market 
 after corrosion? 
 
 159. What are the peculiarities of white 
 lead? 
 
 160. What are its uses in painting? 
 
 161. What is flake white? 
 
174 COLORS 
 
 LESSON xxvn 
 
 WHITE PIGMENTS CONTINUED 
 
 Sublimed Lead— ^asic sulphate of lead. 
 
 162. Is a comparatively new pigment. 
 It is obtained from lead ore wbicb is sub- 
 limed and the metallic vapors are con- 
 densed in chambers in a manner similar to 
 that related of the manufacturing of zinc 
 white. It is a basic sulphate of lead con- 
 taining some 5 per cent, of zinc. It has a 
 much better body than sulphate of lead has 
 and its particles are extremely fine, so 
 much so as to almost float. This makes it 
 fine for dipping preparations. So far it 
 has been found most useful to the manufac- 
 turer of mixed paints and in compounding 
 with strictly pure white lead and other 
 pigments to correct some of their faults. 
 It is not so opaque as the white lead of 
 commerce and it is hoped that the two will 
 not be mixed together and sold as white 
 lead, because they are different, each good 
 
COLORS 175 
 
 in its place, but an imposition when passed 
 off for what they are not. 
 Dahl Process— TF/^i^e lead, 
 
 163. This lead, like Dutch process white 
 lead, is a basic carbonate of lead but dif- 
 fering from it in that instead of its atoms 
 having a crystalline formation it is amor- 
 phous in its particles, therefore it has less 
 opacity. It is a greater absorber of lin- 
 seed oil. It is too soon to pass an opinion 
 upon it, as to its better wearing quality, 
 etc.; its defective covering will probably 
 place it along side of sublimed lead which 
 has less opacity but infinitely better wear- 
 ing qualities than it has. 
 
 164. White oxide of lead as a pigment 
 bobs up under various names at intervals 
 and goes down after a few months as soon 
 as its character is established. It has the 
 fault of the other oxides of lead of harden- 
 ing in the packages with the linseed oil it 
 is ground with. As a pigment it would be 
 all right but for that, it kills it. 
 
 165. There have been at times many 
 
176 COLORS 
 
 various processes of making white lead in- 
 troduced, tried and found wanting. It is 
 well to let tlie other fellow do the experi- 
 menting and to stick to the time tried Dutch 
 process strictly pure white lead. 
 
 Zinc White— Chinese white; Oxide of 
 zinc; Zinc weiss, Ger. ; Blanc de zinc, Fr. 
 
 166. Zinc white is not an old pigment. 
 It has been known for some time ; but owing 
 to its anti drying propensity, it has not been 
 used as a pigment, only since the nineteenth 
 century was fairly well advanced. It is 
 chiefly through the use of it with a good 
 drying oil by L eclair e in France in the 
 forties that its use may be said to have be- 
 come universal. 
 
 167. The processes of making zinc white 
 is simple, yet to go through all the details 
 that would be of interest to a manufac- 
 turer would be too great for this manual 
 and only the leading features of it can be 
 given. Zinc white is made from the zinc 
 metal itself and also from the zinc ore. 
 When made from the metal it is called 
 
COLORS 177 
 
 French process zinc ; when made from the 
 ore it is called American process zinc. By; 
 either method, the spelter or the ore is 
 placed in retorts and vaporized ; the vapors 
 arise in an upper chamber where there is 
 a strong current of fresh air supplied. It 
 having a great affinity for oxygen, it com- 
 bines with it and at once assumes the form 
 of a flocculent flake, which arises into the 
 mouth of sacks hung with head open to re- 
 ceive them. The best and whitest is that 
 which forms farthest away from the open- 
 ings where the vapor enters the chamber. 
 168. The impurities which are present 
 in the ore are carried up in the chamber 
 along with the zinc vapor, and for this rea- 
 son the so called American zinc is not as 
 good as that made from the metal by the so 
 called French process. Zinc white is now 
 made by both processes in America, and 
 American made white zinc by French proc- 
 ess is as good as any imported. The pro- 
 duct is oxide of zinc and has to be com- 
 pressed into a compact form on account 
 
178 COLORS 
 
 of its feathery atomic form, after which it 
 is ground dry and in oil, etc., for the vari- 
 ous needs of the trade. 
 
 169. Zinc [white is a beautiful white 
 which stands well under the most adverse 
 conditions and is not affected by sulphur- 
 ous gases. It is an opaque pigment but not 
 nearly so as white lead. It is a great ab- 
 sorber of linseed oil, so much so that the 
 same weight of it as of lead cannot be 
 spread with the same amount of oil. This 
 will permit the spreading of a given num- 
 ber of pounds much farther than the same 
 weight of lead. If this extra quantity of 
 space which is covered with a given weight 
 of zinc white be taken into consideration, 
 it will be found that its real covering after 
 all is not much inferior to that of white 
 lead. Its atoms having a great affinity for 
 each other instead of chalking off after the 
 decay of the linseed oil, as white lead does, 
 seem to stick together until such time as 
 the decay of the oil has proceeded to the 
 
COLORS 179 
 
 point tliat it cannot hold them on longer, 
 .when they scale off. 
 
 170. Its best use for outside work is as 
 a corrective of white lead. This correction 
 is mutual, both being benefited by it. For 
 interior work, its freedom from changes 
 due to deleterious gases and its good 
 adaptation for the making of good enamel 
 work indicate its use for all sorts of in- 
 terior work. It is excellent in water color 
 work as well, and for the making of clean 
 toned tints it excels all other whites. When 
 using it with linseed oil, some good light 
 siccative should be used with it. 
 
 QUESTIONS ON LESSON XXVII 
 
 162. What is sublimed lead? 
 
 163. What is said of Dahl 's white lead 1 
 
 164. What is said of white lead oxide 1 
 
 165. Are there other whites obtained 
 from lead? 
 
 166 What is said of zinc white? 
 167. How is zinc white made?. 
 
180 COLORS 
 
 168. Wliy is French process made zinc 
 superior to the American? 
 
 169. What are the chief characteristics 
 of zinc white? 
 
 170. What are its chief uses in paint- 
 ing? 
 
COLORS 181 
 
 LESSON XXVIII 
 
 THE WHITE PIGMENTS CONTINUED 
 
 The earth whites, 
 
 171. The earth whites have been known 
 and used from time immemorial. Most of 
 them ase natural products as the name in- 
 dicates. According as to which of the chief 
 constituents in the base predominates, they 
 are known as : Aluminous, when clay is its 
 chief substance ; as, Cretaceous, when chalk 
 is in the lead and as Silicious, when silica 
 is its main constituent. Each class is better 
 adapted to certain purposes than others. In 
 oil they have but little opacity. They are 
 used mainly as correctives of other pig- 
 ments in oil. Their usefulness as bases for 
 water color work is great, being cheap and 
 well adapted to that work. 
 
 172. The Aluminous white : China clay; 
 Kaolin are the only ones worth consider- 
 ing. In oil they have more body and opac- 
 ity than the others, but not enough to be 
 
182 COLOKS 
 
 used alone, as tlie oil colors tliem to a dirty 
 yellow tone. They are used as correctives 
 sometimes. In water color work they are 
 considered inferior to the cretaceous 
 whites. 
 
 173a Under the heading of cretaceous 
 whites, to which both the carbonate of lime 
 and sulphate of lime belong, are two of 
 the most useful of water color pigments. 
 
 Whiting: Carbonate of lime is the one 
 pigment in universal use, and is excellent 
 for the purpose of a base for water color 
 work. In oil it is indifferent, excepting as 
 a corrective in various pigments. It should 
 be well cleaned and washed. The process 
 of levigating described in paragraphs 49 
 to 51 will do that well, and the resulting 
 cake when dry is broken up into small 
 chunks and sold as lump whiting or pow- 
 dered and sifted and sold as Gilder 's whit- 
 ing. 
 
 173b. In Vol II is given a full descrip- 
 tion of how to prepare tints from it in 
 water colors, but a shorter one is given here 
 
COLOES 183 
 
 in order to help out those who have not pro- 
 cured it : The whiting should be mixed in 
 cold .water until all lumps are dissolved 
 ' and the mass is of a smooth consistency. 
 The colors from which the tints are to be 
 made should be also thinned until all lumps 
 ! are dissolved, but they should be thinned 
 ; much thinner with water. This will enable 
 ,; one to pour them into the whiting base, 
 \ and it will be easier to stir them up toge- 
 ther to a homogeneous mass. As tints made 
 in water colors look deeper while wet than 
 when they have dried out they should be 
 tried by drying on a piece of paper and 
 then more color can be added if needed. 
 174. Gypsum or the sulphate of lime is 
 seldom used by painters in preparing 
 water color tints, although the large ala- 
 bastine and other so called anti-calcimine 
 products manufacturers used it in large 
 quantities, as they are better prepared to 
 handle it as it should be. 
 
 In the compounding of colors it is of 
 good value as a base in making Venetian 
 
184 COLOKS 
 
 reds, as was seen, and it is useful in the 
 preparing of other pigments also. It has 
 no body of its own to speak of in oil, and in 
 water colors does not work as smoothly as 
 whiting; that is one of the reasons why 
 painters do not use it and the dijfficulties 
 also of properly handling it spoken of. 
 
 175. The silicious ivhites are excellent 
 adjuncts for many purposes. Under the 
 name of silver white they are used as a 
 filler by hardwood finishers and as correct- 
 ers of faults in other pigments by many 
 grinders, and to a certain extent by paint- 
 ers. Some use them in all their mixtures 
 for flatting in oil on wall work. They 
 should be used more than they are. There 
 is no body in oil, and as a water color paint 
 they are inferior to whiting, as they can- 
 not be spread as smoothly nor will they 
 cover as evenly. 
 
 Baryta White— Barytes; 'Sulphate of 
 Barium; Heavy spar; Permanent white; 
 Permanent weiss, Ger. ; Blanc fixe, Fr. 
 
 176. This is best known as Barytes in 
 
COLORS 185 
 
 the Unitedl States and as heavy spar is a 
 natural product in many parts of Amer- 
 ica. It is very transparent in oil and in its 
 ordinary condition is chiefly useful as a 
 make weight for colors and as an adulter- 
 ant. That which is better known to deco- 
 rators as ^^ Permanent WMte^' or ^^ Blanc 
 Fixe'* is artificially prepared. This while 
 it cannot be called opaque ini oil is much 
 more so than barytes and is an excellent 
 pigment in water colors. 
 
 As to ordinary barytes, there is a legiti- 
 mate use for it, as an extender of very 
 strong colors used chiefly in their self col- 
 ors, as the chrome green, etc. Otherwise 
 it is to be classed as an adulterant. 
 
 QUESTIONS ON LESSON XXVIII 
 
 171. What is said generally of the earth 
 whites ? 
 
 172. What are the characteristics and 
 uses of the earth whites? 
 
 173a. What are the characteristics and 
 
186 COLORS 
 
 uses of tlie cretaceous whites ; especially of 
 whiting? 
 
 173b. How are tints made from wMting 
 as a base and colored pigments for water 
 colors ? 
 
 174. "What are the characteristics and 
 uses of gypsum? 
 
 175. What is said of the silicious 
 whites ? 
 
 176. What is barita white and its uses 
 in painting? 
 
COLORS 187 
 
 LESSON XXIX 
 
 VEHICLES OR THINNERS FOR PIGMENTS 
 
 177. Vehicles are of course required to 
 iiold the pigments in a liquid form in order 
 to apply them with a brush, and which will 
 so dry so that they will hold the pigment in 
 place over the surface over which they are 
 applied. 
 
 Some vehicles contain within themselves 
 the proper principles required to harden 
 them into a hard waterproof rubber like 
 gum. These are called the *^ fixed oils" be- 
 cause they do not evaporate nor sink in and 
 disappear. There are many vegetable oils 
 that are of this character, but of these only 
 two or three are ever used for the applica- 
 tion and mixing of paints, to wit : Linseed 
 oil, poppyseed oil and nut oil. [Another 
 class of thinners are used which of them- 
 selves have no binding properties, but are 
 used as correctives of the fixed oils for 
 certain specific purposes. They are called 
 
188 COLORS 
 
 volatile oils, to wit: Spirits of turpentine 
 and tlie lighter volatile oils of petroleum, 
 benzine and naphtha. Again for the water 
 color work water is used which would 
 evaporate and disappear, hut for the addi- 
 tion of other material which, when mixed 
 together, furnish the binding to the pig- 
 ment. 
 
 178. The ''fixed oils/' While three are 
 enumerated in the former paragraph, one 
 only is used very extensively : Linseed oil. 
 It is made by pressure from flaxseed 
 ground pressed out and allowed to settle 
 in tanks when it is fit for use. The raw 
 linseed oil loses its elasticity by boiling 
 and is the only form fit for outside paint- 
 ing. Boiled linseed oil dries like varnishes 
 without much penetration. 
 
 179. Poppyseed and nut oil are used by 
 artists mainly and are usually employed by 
 them because of their lighter color, which 
 in time, however, they too lose, so that 
 they are little better if any than linseed 
 oil and much more costly to procure. 
 
COLORS 189 
 
 180. Binding materials soluble in water 
 to give water color work stability, are ob- 
 tained from vegetable and animal sources. 
 Only one is of any real value that is de- 
 rived from vegetable matter, that is ''Gum 
 Arabic/' This being costly and unhandy 
 to prepare is but little used except by art- 
 ists. 
 
 Glues are obtained from the offals of 
 animals and fishes. The best glues are 
 made from skins, that made from bones 
 not being so strong. The thin glues which 
 are sold under the name of calcimine glues 
 are the best to use, that is the better qual- 
 ities of them as they soak up readily in 
 cold water and melt easily at a low heat. 
 A good glue will bind from 1% to 2 lbs. of 
 color to 1 oz. of glue, the former strongly 
 so they can be worked over with other coats, 
 the other for solid painting which is not 
 to be painted or ornamented cover. 
 
 181. Varnishes and japans are also used 
 in mixing and as vehicles of paints espe- 
 cially by the car and carriage trades and 
 
190 COLOKS 
 
 for all otlier purposes where linseed oil can- 
 not be used safely. Eadiators, heat reg- 
 isters, and all such work requires the use 
 of binders which will stand a great amount 
 of heat without softening. 
 
 QUESTIONS ON LESSON XXIX 
 
 177. What is said of vehicles or thin- 
 ners for paint in general f 
 
 178. What is said of the fixed oils and 
 especially of linseed oil ? 
 
 179. What is said of poppyseed oil and 
 of nut oil? 
 
 180. What are the principal binding 
 agents used in water color works 1 
 
 181. What other binding material is 
 used in carriage and other special work? 
 
COLOES 191 
 
 LESSON XXX 
 
 MODEEN FACTORY SYSTEM OF GRINDING 
 
 182. It is useless for consumers of paint 
 to try to grind their own colors, and if un- 
 dertaken by them it will be a rather dear 
 experiment to them. 
 
 The proper grinding of colors is a sci- 
 ence and the preservation of delicate tones 
 is easily lost by improper grinding. It is 
 possible to spoil the tone of a black pig- 
 ment, to say nothing of the others, by the 
 wrong kind of treatment in grinding. Some 
 of the silicate based pigments when burnt 
 like Burnt Sienna are very difficult to han- 
 dle. Sufficient force cannot be used at once 
 or they would be ruined, and such should 
 be ground gradually in water cooled jacket 
 mills. It frequently requires ten to fifteen 
 grindings in soap stone mills to reduce 
 them to the extreme fineness wanted with- 
 out injury. 
 
 !S few cuts of well arranged grinding 
 
192 coiiOES 
 
 rooms are shown in tlie "body of tlie boot. 
 They were kindly loaned for the purpose 
 of showing how modern np-to-date grinding 
 is done in factories. They represent a por- 
 tion of the grinding rooms of the Acme 
 White Lead and Color "Works of Detroit, 
 Mich. 
 
 ' FINIS. 
 
INDEX 
 
 Accident as a factor in color discovery 37 
 
 American vermillion — ^wliat it is and its uses 130 
 
 Animal charcoal — see Ivory Black 55 
 
 Artistic use of color in ancient civilizations 23 
 
 Asphaltum — wbat it is and its uses 87 
 
 Aureolin — whsit it is and its uses 164 
 
 Baryta lemon yellow — what it is and its uses 162 
 
 Baryta white — ^what it is and its uses 184 
 
 Benzine — its uses in painting 185 
 
 Bistre — ^what it is 86 
 
 Black group of pigments — general remarks on 45 
 
 Black Brunswick — see Charcoal black 59 
 
 Black Charcoal — ^what it is and its uses 59 
 
 Black gas or carbon — manufacture of 51 
 
 Black gas or carbon — characteristics of 51 
 
 Black gas or carbon — uses of 52 
 
 Black gas or carbon — defects of 52 
 
 Black graphite — what it is and its uses 60 
 
 Black ivory or coach or drop — general remarks on. 57 
 Black ivory or coach or drop — characteristics of . . . . 57 
 
 Black ivory or coach or drop — ^uses of 57 
 
 Black lamp — general remarks on 46 
 
 Black lamp — Calcination of 47 
 
 Black lamp — characteristics of 47 
 
 Black lamp — defects of 46 
 
 Black lamp — ^manufacture of 47 
 
 Black lamp — uses of 48 
 
 Blanc fixe — see Baryta white 184 
 
 Blue group of pigments — general remarks on 90 
 
 Blue ceruleum — ^what it is and its uses 102 
 
 iii 
 
iv INDEX 
 
 Blue Chinese — ^its varation from Prussian blue 101 
 
 Blue Chinese — its use in painting 101 
 
 Blue Cobalt — its artificial preparation 101 
 
 Blue Cobalt — its uses 101 
 
 Blue Prussian — general remarks on 91 
 
 Blue Prussian — ^its discovery 91 
 
 Blue Prussian — its manufacture 92 
 
 Blue Prussian — its characteristics 91 
 
 Blue Prussian — its defects 91 
 
 Blue Prussian — its uses 92 
 
 Blue ultramarine — ^general remarks on 96 
 
 Blue ultramarine — its characteristics 96 
 
 Blue ultramarine — its defects 98 
 
 Blue ultramarine — its manufacture 97 
 
 Blue ultramarine — its uses 97 
 
 Brown group of pigments — general remarks on ... . 63 
 Brown Raw and Burnt Siennas — ^general remarks 
 
 on 79 
 
 Brown Raw and Burnt Siennas — where obtained.. 79 
 Brown Raw and Burnt Siennas — characteristics of .80 
 Brown Raw and Burnt Siennas — test for quality. 80 
 
 Brown Raw and Burnt Siennas — ^uses of 80 
 
 Brown Raw and Burnt Umbers — general remarks 
 
 on 73 
 
 Brown Raw and Burnt Umbers — characteristics of 74 
 Brown Raw and Burnt Umbers — test for quality. . 74 
 
 Brown Raw and Burnt Umbers — uses of 74 
 
 Brown Raw and Burnt Umbers — ^where obtained. . 73 
 
 Brown Vandyke — ^general remarks on 85 
 
 Brown Vandyke — characteristics of 85 
 
 Brown Vandyke — defects of 86 
 
 Brown Vandyke — uses of 86 
 
 Brown Vandyke — what it is 86 
 
 Cadmium yellow — ^what it is and its uses 165 
 
 Carmine lake — what it is and its uses 149 
 
INDEX V 
 
 Cause of yellow pigments changed to red 137 
 
 Ceruleum blue — what it is and its uses. 102 
 
 Charcoal black — ^what it is and its uses 59 
 
 Chemistry — its effect upon color discovery 25 
 
 Chemically made colors — general remarks on 35 
 
 Chemically made colors — coal tar colors 36 
 
 Chemically made colors — their permanency as com- 
 pared with others 36 
 
 Chrome green — general remarks on 106 
 
 Chrome green — its characteristics 107 
 
 Chrome green — its defects 107 
 
 Chrome green — Its manufacture 107 
 
 Chrome green — its uses 107 
 
 Chrome yellow — general remarks on 159 
 
 Chrome yellow— its characteristics 159 
 
 Chrome yellow — its defects 160 
 
 Chrome yellow — lemon and the light shades of . . . .160 
 
 Chrome yellow — manufacture of 160 
 
 Chrome yellow — orange and dark shades of 160 
 
 Chrome yellow — its uses 160 
 
 Coach black — see ivory black 57 
 
 Cobalt blue — its preparation and uses 101 
 
 Cobalt green — its preparation and uses 114 
 
 Color in primitive times 124 
 
 Dahl's process white lead 175 
 
 Effect of the Renaissance period upon art and paint- 
 ing 28 
 
 Factory system of color making — of recent occur- 
 rence 191 
 
 Factory system of grinding of colors — the only 
 
 proper way 192 
 
 Fixed oils — ^what they are and their uses 190 
 
 Flake white — see white lead 168 
 
 Gas or carbon black — general remarks on 51 
 
 Gas or carbon black — its charactertlstics 51 
 
vi INDEX 
 
 Gas or carbon black — its defects ' 52 
 
 Gas or carbon black — its manufacture 52 
 
 Gas or carbon black — its uses 52 
 
 General remarks on black group of colors 45 
 
 General remarks on blue group of pigments 91 
 
 General remarks on brown group of pigments 63 
 
 General remarks on chemically made colors 35 
 
 General remarks on chrome greens 106 
 
 General remarks on chrome yellows 159 
 
 General remarks on earth colors 30 
 
 General remarks on green group of pigments 106 
 
 General remarks on Indian reds 138 
 
 General remarks on madder lakes 147 
 
 General remarks on ochers 154 
 
 General remarks on red group of pignments . . 154 
 
 General remarks on red lead 145 
 
 General remarks on Vermillion (quicksilver) ....121 
 
 General remarks on Vermillion reds 127 
 
 General remarks on white group of pigments ..... 166 
 
 General remarks on white lead 167 
 
 General remarks on yellow group of pigments. .. .153 
 
 General remarks on zinc white 176 
 
 Glues — their uses in water color painting 186 
 
 Graphite black — its characteristics 60 
 
 Graphite black — its uses 61 
 
 Green group of pigments — general remarks on 106 
 
 Green chrome — its characteristics 107 
 
 Green chrome — its defects 107 
 
 Green chrome — its manufacture 107 
 
 Green chrome — its uses 107 
 
 Green cobalt — its preparation and uses 114 
 
 Green malachite — its preparation and uses 117 
 
 Green oxide of chromium — its character and uses . . 115 
 
 Green, Paris — its dangerous character 117 
 
 Green, Paris — its uses H'^ 
 
INDEX vii 
 
 Green terre verte— what it is and its uses us 
 
 Green verdigris— what it is and its uses ! "117 
 
 Green viridian— what it is and its uses ! .'114 
 
 Grinding of colors in factories .* .191 
 
 Gum arable— its uses in water color painting. . * 188 
 
 . Gypsum— see earth whites ! . ! . .30 
 
 History of color making ...."* 20 
 
 How earth colors are mined " * Y5 
 
 How earth colors are levigated and prepared for 
 
 „"^^ 76 
 
 How to distmguish, quality in siennas 80 
 
 How to distinguish quality in umbers 74 
 
 IjDdian Lake— what it is and its nses .' .* .151 
 
 Indian Red— general remarks on 138 
 
 Indian Red— its charactertistics ,.139 
 
 Indian Red— its uses .'!..'....' .139 
 
 Indian yellow— what it is and its uses I63 
 
 Ivory black— general remarks on 57 
 
 Ivory black— its characteristics 58 
 
 Ivory black— its defects ^s 
 
 Ivory black— its uses 58 
 
 Lamp black— general remarks on 46 
 
 Lamp black— Calcination of ' * 47 
 
 Lamp black — characteristics of 47 
 
 Lamp black— defects V. V. ... 48 
 
 Lamp black — ^manufacture of 46 
 
 Lamp black— qualities of 4^ 
 
 Lamp black— uses of 48 
 
 Levigating the earth colors— what it means 76 
 
 Levigating the earth colors— how done 76 
 
 Linseed oil— general remarks on 199 
 
 Linseed oil, boiled— character and uses 189 
 
 Linseed oil, raw— character and uses 189 
 
 Madder red artificial .'147 
 
 Madder Lakes— general remarks on 147 
 
viii INDEX 
 
 Madder Lakes — how prepared 148 
 
 Madder Lakes — characteristics of 148 
 
 Madder Lakes — ^uses of 149 
 
 Malachite — what it is and its uses 117 
 
 Mining of earth colors 75 
 
 Natural earth colors — general remarks on 75 
 
 Natural white earths — see earth whites 181 
 
 Naples yellow — what it is and its uses 162 
 
 Naptha — its uses in painting 189 
 
 Nut oil — its uses In painting 189 
 
 Ocher yellow — general remarks on 153 
 
 Ocher yellow — argillaceous, general remarks on. . . .154 
 Ocher yellow — ^argillaceous, characteristics of and 
 
 uses 157 
 
 Ocher yellow — argillaceous, defects of 157 
 
 Ocher yellow — ^how produced • .154 
 
 Ocher yellow — silicious, general remarks on 154 
 
 Ocher yellow — silicious, characteristics and uses. ..154 
 
 Ocher yellow — silicious, defects of 155 
 
 Ocher red — ^what it is and its uses 153 
 
 Paris green — its dangerous character 117 
 
 Paris green — its uses 117 
 
 Plumbago — see graphite 60 
 
 Poppyseed oil — its uses in painting 189 
 
 Preparing earth colors for use 75 
 
 Red group of pigments — ^general remarks on 154 
 
 Red American vermillion — what it Is and its uses. .130 
 
 Red carmine lake and its uses 149 
 
 Red, Indian — general remarks on .138 
 
 Red, Indian — artificial preparation best 139 
 
 Red, Indian — characteristics of 139 
 
 Red, Indian — uses of j39 
 
 Red Indian lake — what it is and its uses 151 
 
 Red lead — what it is and its uses 145 
 
 Red ocher — what it is and its uses 154 
 
INDEX ix 
 
 Red, Venetian — general remarks on 132 
 
 Red, Venetian — artificial production of 133 
 
 Red, Venetian — charactertistics of 133 
 
 Red, Venetian — uses of 134 
 
 Red, Vermillion (quicksilver) — general remarks on.l21 
 
 Red, Vermillion — characteristics of 121 
 
 Red, Vermillion — defects of 123 
 
 Red, Vermillion — manufacture of 122 
 
 Red, Vermillion — its uses 123 
 
 Red Vermillion reds (imitation) — general remarks 
 
 on 127 
 
 Red Vermillion reds — characteristics of 127 
 
 Red Vermillion reds — ^manufacture of 128 
 
 Red Vermillion reds — ^uses of 128 
 
 Renaissance — its effect upon color development, ... 30 
 
 Seven groups of colors — what they are 41 
 
 Sublimed white lead — what it is and its uses 174 
 
 Synonims of colors — why given 42 
 
 The coloring agents in timbers 74 
 
 The coloring agents in siennas 79 
 
 The coloring agents in Indian reds 138 
 
 The coloring agents in ochers 154 
 
 The coloring agents in Venetian reds 133 
 
 Verdigris — what it is and its uses *. . . 117 
 
 Vermillion (American) — what it is and its uses... 130 
 
 Vermillion (quicksilver) — general remarks on 121 
 
 Vermillion (quicksilver) — its characteristics 122 
 
 Vermillion (quicksilver) — its defects 124 
 
 Vermillion (quicksilver) — its manufacture 123 
 
 Vermillion (quicksilver) — its uses 124 
 
 Vermillion reds (imitation) — general remarks on. 127 
 Vermillion reds (imitation) — Its characteristics ..128 
 
 Vermillion reds (Imitation) — its defects 129 
 
 Vermillion reds (imitation) — its manufacture 128 
 
 Vermillion reds (Imitation) — ^its uses 129 
 
X INDEX 
 
 Venetian red — general remarks upon 132 
 
 Venetian red — artificial preparation of 134 
 
 Venetian red — characteristics of 133 
 
 Venetian red — uses of 134 
 
 Volatile oils — their uses in painting 189 
 
 White earths — general remarks upon 181 
 
 White earths — argillaceous 182 
 
 White earths — ^vataceous 182 
 
 White earths — silicious 182 
 
 White earths — their several characteristics 183 
 
 White earths — their uses 184 
 
 White group of pigments — general remarks on 166 
 
 White lead — general remarks on 167 
 
 White lead — Dutch process — ^meaning of 168 
 
 White lead — how made by stack method 168 
 
 White lead — how made by cylinder method , . .169 
 
 White lead — its charactestics 170 
 
 White lead — its defects 170 
 
 White lead — its uses 171 
 
 White zinc — general remarks on 176 
 
 White zinc — its characteristics 177 
 
 White zinc — French and American methods of man- 
 ufacture 177 
 
 White zinc — its defects 178 
 
 White zinc — its uses 178 
 
 Whiting — its preparation from chalk 182 
 
 Whiting — its characteristics 182 
 
 Whiting — its uses • • 183 
 
 Yellow group of pigments — general remarks on. . . .153 
 
 Yellow aureolin — ^what it is and its uses 164 
 
 Yellow baryta lemon — what it is and its uses 162 
 
 Yellow cadmium — what it is and its uses 165 
 
 Yellow Dutch pink — ^what it is and its uses 167 
 
 Yellow Indian — ^what it is and its uses 168 
 
 Yellow Naples — ^what it is and its uses 168 
 
INDEX xi 
 
 Yellow chrome — general remarks on 159 
 
 Yellow chrome — manufacture of 160 
 
 Yellow chrome — manufacture of light tones 161 
 
 Yellow chrome — manufacture of orange tones 162 
 
 Yellow chrome — characteristics of 163 
 
 Yellow chrome — defects of 163 
 
 Yellow chrome — uses of 163 
 
 Yellow ocher — general remarks on 154 
 
 Yellow ocher — ^mining and preparing for market. . . 75 
 
 Yellow ocher — argillaceous — their character 157 
 
 Yellow ocher — argillaceous — their defects 158 
 
 Yellow ocher — argillaceous — their uses 158 
 
 Yellow ocher — silicious — their character 155 
 
 Yellow ocher — silicious — their defects 156 
 
 Yellow ocher — silicious — their uses 156 
 
 Zinc white — general remarks on 178 
 
 Zinc white — characteristics of 179 
 
 Zinc white — defects of 180 
 
 Zinc white — manufacture by the French method. . .180 
 Zinc white — manufacture by the American method. 180 
 Zinc white — uses of 1*^ 
 
NOV 
 
 mvQ 
 
One copy del. to Cat. Div. 
 
 X. ^mo