DOI Page / Citation link:
https://doi.org/10.11588/diglit.62783#0039
IN FRESCO PAINTING.
xxix
to the length of time it is exposed to the fire; and this agrees
with the statement of Dr. Lewis, inserted in the Encyc. Brit. Art.
colour-making.11
The fibrous red Hsematite of Ulverstone, has a finer grain than the
Cornish.
OF SINOPIA.
Besides the Amatito and Albin before mentioned, writers on art
mention other natural red pigments proper to be used in fresco,
namely, Rubrica, Sinopia, Cinabrese, Majorica, Terra Rossa d’lnghil-
terra, Terra Bruna d’ Inghilterra, Rouge Violet, Ferretta di Spagna,
Almagre, Pabonazo, Tierra Roxa, and Burnt Ochre, are all spoken of
by different authors as red colours, or used instead of red colours,
and are all ores of iron; and, excepting the last two, are merely
different names for the same pigment, differing merely in quality,
intensity of colour, or mode of preparation. That this pigment is in
fact the Haematite or red ochre of the mineralogists.—See Phillips,
Jameson, Tit. Red iron ore—Haematite.
Sinopia is mentioned or referred to as a red colour by most of the
several writers on colours and pigments. It is described by Pliny as
a natural pigment, which derived its name from Sinopia a city of
Pontus, it was also brought from Egypt; the Balearic Islands,
(Majorca, Minorca, &c.) and Africa; but the best was brought
from the Isle of Lemnos and Cappadocia, where it was found in cer-
tain caves and holes. That which adhered to the rocks was the best,
and the pieces of which on being broken, shewed the same colour
throughout. There were three sorts differing in colour. The first
deep red, the second paler, and the third browner. The Lemnian
a His words are as follow:—“ The oxides of iron may be made to appear pur-
plish, or inclining to the scarlet, according to the manner in which the calcina-
tion is performed. If the matter is perfectly deprived of its phlogiston, and
subjected to an intense fire, it always turns out red ; but the mixture of a small
quantity of inflammable matter, gives it a purplish cast.”
It is remarkable that the oxides of iron never shew their proper colour till
they are cold.
xxix
to the length of time it is exposed to the fire; and this agrees
with the statement of Dr. Lewis, inserted in the Encyc. Brit. Art.
colour-making.11
The fibrous red Hsematite of Ulverstone, has a finer grain than the
Cornish.
OF SINOPIA.
Besides the Amatito and Albin before mentioned, writers on art
mention other natural red pigments proper to be used in fresco,
namely, Rubrica, Sinopia, Cinabrese, Majorica, Terra Rossa d’lnghil-
terra, Terra Bruna d’ Inghilterra, Rouge Violet, Ferretta di Spagna,
Almagre, Pabonazo, Tierra Roxa, and Burnt Ochre, are all spoken of
by different authors as red colours, or used instead of red colours,
and are all ores of iron; and, excepting the last two, are merely
different names for the same pigment, differing merely in quality,
intensity of colour, or mode of preparation. That this pigment is in
fact the Haematite or red ochre of the mineralogists.—See Phillips,
Jameson, Tit. Red iron ore—Haematite.
Sinopia is mentioned or referred to as a red colour by most of the
several writers on colours and pigments. It is described by Pliny as
a natural pigment, which derived its name from Sinopia a city of
Pontus, it was also brought from Egypt; the Balearic Islands,
(Majorca, Minorca, &c.) and Africa; but the best was brought
from the Isle of Lemnos and Cappadocia, where it was found in cer-
tain caves and holes. That which adhered to the rocks was the best,
and the pieces of which on being broken, shewed the same colour
throughout. There were three sorts differing in colour. The first
deep red, the second paler, and the third browner. The Lemnian
a His words are as follow:—“ The oxides of iron may be made to appear pur-
plish, or inclining to the scarlet, according to the manner in which the calcina-
tion is performed. If the matter is perfectly deprived of its phlogiston, and
subjected to an intense fire, it always turns out red ; but the mixture of a small
quantity of inflammable matter, gives it a purplish cast.”
It is remarkable that the oxides of iron never shew their proper colour till
they are cold.