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
sometimes called _China_ or _Chinese Ink_, is chiefly brought from
China in oblong cakes, of a musky scent, ready prepared for painting in
water. Varying considerably in body and colour, the best has a shining
black fracture, is finely compact, and homogeneous when rubbed with
water, in which, when largely diluted, it yields no precipitate. Without
the least appearance of particles, its dry surface is covered with a
pellicle of a metallic appearance. When dry on the paper, it resists the
action of water, yet it will give way at once to that action, when it
has been used and dried on marble or ivory, a fact which proves that the
alummed paper forms a strong combination with the ink; possibly a
compound of the latter on an aluminous base, might even be employed in
oil. Different accounts are given of the mode of making this ink, the
principal substance or colouring matter of which is a smoke black,
having all the properties of our lamp black; the variety of its hues and
texture seeming wholly to depend on the degree of burning and levigating
it receives. From certain Chinese documents, we learn that the ink of
Nan-king is the most esteemed; and among the many sorts imported into
this country, we find those of the best quality are prepared with lamp
black of the oil of Sesame; with which are combined camphor, and the
juice of a plant named _Houng hoa_ to give it brightness of tone.
According to an analysis by M. Proust, the better kinds contain about
two per cent. of camphor. By some, the pigment known as Sepia has been
supposed to enter into their composition.
_Liquid Indian Ink_ is a solution for architects, surveyors, &c.
293. IVORY BLACK
is ivory charred to blackness by strong heat in closed vessels.
Differing chiefly through want of care or skill in preparing, when well
made it is the richest and most transparent of all the blacks, a fine
neutral colour perfectly durable and eligible both in water and oil.
When insufficiently burnt, however, it is brown, and dries badly; or if
too much burnt, it becomes cineritious, opaque, and faint in hue. With a
slight tendency to brown in its pale washes, this full, silky black is
serviceable where the sooty density of lamp black would be out of place.
It is occasionally adulterated with bone black, a cheaper and inferior
product.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account