or _Burnt Terra di Sienna_, is calcined raw Sienna, of a rich transparent brown-orange or orange-russet colour, richer, deeper, and more transparent than the raw earth. It also works and dries better, has in other respects the qualities of its parent colour, and is a most permanent and serviceable pigment in painting generally. For the warm tints in rocks, mud banks, and buildings, this colour is excellent. When mixed with blue it makes a good green; furnishing a bright green with cobalt, and one much more intense with Prussian blue. For the foresea, whether calm or broken by waves, it may be employed with a little madder; while compounded with a small portion of the latter and lamp black, it meets the hues of old posts, boats, and a variety of near objects, as the tints may be varied by modifying the proportions of the component colours. Used with white, it yields a range of sunny tones; and with aureolin or French blue and aureolin will be found of service, the last compound giving a fine olive green. Similar but fugitive greens are afforded by admixture of burnt Sienna with indigo and yellow or Roman ochre, or raw Sienna; tints which may be saddened into olive neutrals by the addition of sepia, and rendered more durable by substituting for indigo Prussian blue and black. Mixed with viridian, it furnishes autumnal hues of the utmost richness, beauty, and permanence; and, alone, is valuable as a glaze over foliage and herbage. For the dark markings and divisions of stones a compound of Payne's gray and burnt Sienna will prove serviceable; while for red sails the Sienna, either by itself, with brown madder, or with Indian red, cannot be surpassed. For foregrounds, banks and roads, cattle and animals in general, burnt Sienna is equally eligible, both alone and compounded. It has a slight tendency to darken by time. 156. CADMIUM ORANGE