ganese, said to have been first obtained from antient Ombria, now Spoleto, in Italy; it is found also in England, and in most parts of the world ; but that which is brought from Cyprus, under the name of Turkish umber, is the best. It is of a brown-citrine colour, semi-opaque, has all the properties of a good ochre, is perfectly durable both in water and oil, and one of the best drying colours we possess, and injures no other good pigment with which it may be mixed. See Cappagh Brown, some specimens of which are of a citrine hue. Although not so much employed as formerly, umber is perfectly eligible according to its colour and uses.

Several browns, and other ochrous earths, approach also to the character of citrines; such are the Terre de Cassel, Bistre, &c. But in the confusion of names, infinity of tones and tints, and variations of individual pigments, it is impossible to attain an unexceptionable or universally satisfactory arrangement; we have, therefore, followed a middle and general course in distributing pigments under their proper heads.

CHAPTER XVI.

OF RUSSET.

"'Tis sweet and sad the latest notes to hear
Of distant music dying on the ear;

'Tis sweet to hear expiring summer's sigh,
Thro' forests tinged with russet, wail and die."
Joanna Baillie.

The second or middle tertiary colour, Russet, like citrine, is constituted ultimately of the three primaries, red, yellow, and blue; but with this difference, that instead of yellow as in citrine, red is the archeus, or predominating colour in russet, to which yellow and blue are subordinates: for orange and purple being the immediate constituents of russet, and red being a component part of each of those colours, it enters doubly into their compound in russet, while yellow and blue enter it only singly; the proportions of its middle hue being eight blue, ten red, and three yellow, of equal intensities. It follows that russet takes the relations and powers of a subdued red; and many pigments and dyes of the latter denomination are in strictness of the class of russet colours: in fact, nominal distinction of colours is properly only relative; the gradation from hue to hue, as from

S

avail himself in producing these colours in the various ways of working: the one being that of combining two original secondaries,-e. g. green and orange in producing a citrine; the other, the uniting the three primaries in such a manner that yellow predominate in the case of citrine, and blue and red be subordinate in the compound.

These colours are, however, in many cases produced with best and most permanent effect, not by the intimate combination of pigments upon the palette, but by intermingling them, in the manner of nature, on the canvass, so as to produce the effect at a proper distance of a uniform colour. Such is the citrine colour of fruit and foliage; on inspecting the individuals of which we distinctly trace the stipplings of orange and green, or yellow, red, and green. Similar beautiful consonances are observable in the russet hues of foliage in the autumn, in which purple and orange have broken or superseded the uniform green of leaves; and also in the olive foliage of the rose-tree, produced in the individual leaf by the ramification of purple in green. Yet mixed citrines may be compounded safely and simply by slight additions, to an original brown pigment, of that primary or secondary tone which is requisite to give it the required hue.

II. BROWN PINK is a vegetal lake precipitated from the decoction of French berries, and dyeing woods, and is sometimes the residuum of

the dyer's vat. It is of a fine, rich, transparent colour, rarely of a true brown; but being in general of an orange broken by green, it falls into the class of citrine colours, sometimes inclining to greenness, and sometimes toward the warmth of orange. It works well both in water and oil, in the latter of which it is of great depth and transparency, but dries badly. Its tints with white lead are very fugitive, and in thin glazing it does not stand. Upon the whole, it is more beautiful than eligible.

III. CITRINE LAKE is a more durable and better drying species of brown pink, prepared from the quercitron bark. The citrine of the definitive scale, p. 39, is of this pigment.

IV. CASSIA FISTULA is a native vegetal pigment, though it is more commonly used as a medicinal drug. It is brought from the East and West Indies in a sort of cane, in which it is naturally produced. As a pigment it is deep, transparent, and of an imperfect citrine colour, inclining to dark green - diffusible in water, without grinding, like gamboge and sap-green; it is, however, little used as a pigment, and that only in water, as a sort of substitute for bistre: which see.

V. UMBER, commonly called Raw Umber, is a natural ochre, abounding with oxide of man

shade to shade, constituting an unlimited series, in which it is literally impossible to pronounce absolutely where any shade or colour ends and another begins; but which is capable nevertheless of being arbitrarily divided to infinity.

The harmonizing, neutralizing, or contrasting colour of russet, is a deep green;—when the russet inclines to orange, it is a gray, or subdued blue. These are often beautifully opposed in nature, being medial accordances, or in equal relation to light, shade, and other colours, and among the most agreeable to sense.

Russet, we have said, partakes of the relations of red, but moderated in every respect, and qualified for greater breadth of display in the colouring of nature and art; less so, perhaps, than its fellowtertiaries in proportion as it is individually more beautiful, the powers of beauty being ever most effective when least obtrusive; and its presence in colour should be principally evident to the eye that seeks it, not so much courting as courted.

Of the tertiary colours, it is that which has supplied most of the ornament of epithet and sentiment to the poet; and his application of it is remarkably analogous to its just uses in painting when applied for the purposes of expression, which in this colour is warm, complacent, solid, frank, and soothing; of which and of its accordances and contrasts, &c., the following may serve as illustrations from the poets, who often, according to a