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
Like other blues of cobalt, coeruleum assumes a greenish obscurity in
time, but like them it resists for a lengthened period both the action
of light and impure air, although chemically it is more open to the
influence of the latter, owing to its tin base. In admixture it may
safely be employed, as well as in fresco or enamel. For stage skies,
&c., in high-art scenery, the blue is admirably adapted. Now that there
are so many scene-painters who are artists--and so many artists who are
scene-painters--in bringing Nature to the foot-lights the effect of gas
on colours is of importance.
124. COBALT BLUE,
to which the various appellations have been given of _Thénard's Blue_,
_Vienna Blue_, _Paris Blue_, _Azure_, _Cobalt-Ultramarine_, &c., is the
name now exclusively confined to that preparation of cobalt which has a
base of alumina. It may, therefore, be not improperly called a blue
lake, the colour of which is brought up by fire, in the manner of enamel
blues. The discovery of this important pigment was made in 1802 by M.
Thénard, who obtained it by calcining a well-combined mixture of alumina
and crystals of cobalt. There may be employed with the aluminous base,
either the arseniate, the borate, or the phosphate of cobalt; but the
latter in preference, as it produces the purest colour. The arseniate
has always a violet tinge, more visible by gas-light than by day; while,
on account of the arsenic, the blue is more apt to be greened by impure
air, by reason of the formation of yellow sulphide of arsenic. The
purity of the colour, however, does not altogether depend on the
compound of cobalt used; in a great measure--as with other pigments--it
rests on the purity of the materials. To obtain a perfect blue, neither
inclining to purple nor green, the cobalt and alumina should be freed
from iron, and the former, as much as possible, from nickel also. With
the absence of these and proper skill, a true and brilliant blue may be
produced, almost rivalling the finest ultramarine. Apart, too, from its
increased beauty, a cobalt blue containing no iron or nickel is of
greater permanence than the ordinary products, being less liable to that
greenness and obscurity which time confers.
Public-domain text, read in full here on John Shaqi.
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