Field's Chromatography: or Treatise on Colours and Pigments as Used by ArtistsField, George
Science
Field's Chromatography: or Treatise on Colours and Pigments as Used by Artists
Field, George
Color; Colors; Painting -- Technique
Upon the lavish use of this dangerous pigment in colouring toys,
dresses, paper-hangings, artificial leaves, and even cheap
confectionery, it is not our province to enlarge: the constant-recurring
diseases and deaths, which, directly or indirectly, result from the
employment of arsenical pigments, are such every-day facts that they are
merely deplored and forgotten. With arsenic on our heads, our clothes,
our papers, our sweets, our children's playthings, we are so accustomed
to live--and die--in a world of poison, that familiarity with it has
bred contempt. Into the fatal popularity, therefore, of arsenical
colours for decorative purposes, we shall not further enter; but it
behoves us to deprecate their presence, and the presence of all
poisonous pigments, in colour-boxes for the young. It is one of the
pleasures of childhood to suck anything attractive that comes in its
way, openly if allowed, furtively otherwise: and as in early life we
have a preference for brilliancy, so vivid a pigment as Scheele's green
is an object of special attention. Artistically, it matters little
whether a pigment is noxious or not, but we hold that poison should not
be put into the hands of the young; and indeed are of opinion that a box
of colours is about the worst present a child can receive.
181. MALACHITE GREEN,
or _Mountain Green_, is met with in Cumberland, and is also found in the
mountains of Kernhausen, whence it is sometimes called _Hungary Green_.
It is prepared from malachite, a beautiful copper ore employed by
jewellers, and is a hydrated dicarbonate of copper, combined with a
white earth, and often striated with veins of mountain blue, to which it
bears the same relation that green verditer bears to blue verditer. The
colour, which may be extracted from the stone by the process followed
for native ultramarine, varies from emerald-green to grass-green, and
inclines to grey. It has been held in great esteem by some, and
considered strictly stable, on the assumption, probably, that a pigment
obtained from a stone like ultramarine, and by the same method, could
not be otherwise than permanent. That it is so, with respect to light
and air, there is no denying; but the green, when separated from the ore
and purified for artistic use, is merely a carbonate of copper, and
therefore subject to the influence of damp and impure air, in common
with other non-arsenical copper colours. As a pigment, native malachite
green has the same composition, or very nearly the same, as that which
can be artificially produced, and answers to the same tests. Water-rubs
of the two varieties which we exposed to an atmosphere of sulphuretted
hydrogen became equally blackened by the gas. Practically, there is
little or no difference between them: both preserve their colour if kept
from damp and foul air, both are injured by those agents, and both are
liable to darken in time, especially when secluded from light. The
Public-domain text, read in full here on John Shaqi.
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