common acceptation, substitute the term brown for russet :— "The Doric dialect has a sweetness in its clownishness; like a fair shepherdess in her country russet." Dryden. "By this white glove (how white the hand, God knows!) Shakspere. "But look—the morn, in russet mantle clad, "Straight mine eye hath caught new pleasures, Russet lawns, and fallows gray, Where the nibbling flocks do stray." Milton: L'Allegro. "Here, in full light, the russet plains extend; There, wrapt in clouds, the bluish hills ascend." "Around my ivied porch shall spring Each fragrant flower that drinks the dew; And Lucy, at her wheel, shall sing In russet gown and apron blue." Rogers. "The star that rules my luckless lot, Has blest me wi' a random shot O' contra' wit." BURNS. POPE. Of the tertiary colours, russet is the most important to the artist; and there are many pigments under the denominations of red, purple, &c. which are of russet hues. But there are few true russets, and one only which bears the name of these are the following:— I. MIXED RUSSET. What has been remarked in the preceding chapter upon the production of mixed citrine colours, is equally applicable in general to the mixed russets: we need not, therefore, repeat it. By the immediate method of producing it materially from its secondaries, orange vermilion and madder purple afford a compound russet pigment of a good and durable colour. Chrome-orange and purple-lake yield a similar but less permanent mixture. Many other less eligible duple and triple compounds of russet are obvious upon principle, and it may be produced by adding red in due predominance to some browns; but these, like most compounds, are inferior to original pig ments:— II. RUSSET RUBIATE, Madder Brown, or Field's Russet, is, as its names indicate, prepared from the rubia tinctoria, or madder-root. It is of a pure, rich, transparent, and deep russet colour; of a true middle hue between orange and purple ; not subject to change by the action of light, im pure air, time, or mixture of other pigments. It has supplied a great desideratum, and is indispens→ able in water-colour painting, both as a local and auxiliary colour, in compounding and producing with yellow the glowing hues of autumnal foliage, &c., and with blue the beautiful and endless variety of grays in skies, flesh, &c. There are three kinds of this pigment, distinguished by variety of hue: russet, or madder brown, orange russet, and purple russet, or intense madder brown; which differ not essentially in their qualities as pigments, but as warm or cool russets, and are all good glazing colours, thin washes of which afford pure fleshtints in water. The last dries best in oil, the others but indifferently. The russet of the Definitive Scale, Pl. I. fig. 3, is of the second kind. III. PRUSSIATE OF COPPER differs chemically from Prussian blue only in having copper instead of iron for its basis. It varies in colour from russet to brown, is transparent and deep, but, being very liable to change in colour by the action of light and by other pigments, has been very little employed by the artist. There are several other pigments which enter imperfectly into, or verge upon, the class of russet, which, having obtained the names of other classes to which they are allied, will be found under other heads; such are some of the ochres and Indian red. Burnt carmine and Cassius's precipitate are often of the russet hue, or convertible to it by due additions of yellow or orange; as burnt Sienna earth and various browns are, by like additions of lake or other reds. CHAPTER XVII. OF OLIVE. "Athens, the eye of Greece, mother of Arts And Eloquence, native to famous wits, Or hospitable; in her sweet recess, City or suburban, studious walks and shades. See there the olive grove of Academe, Plato's retirement, where the Attic bird Trills her thick-warbled notes the summer long." Olive is the third and last of the tertiary colours, and nearest in relation to shade. It is constituted, like its co-tertiaries, citrine and russet, of the three primaries, blue, red, and yellow, so subordinated, that blue prevails therein; but it is formed more immediately of the secondaries, purple and green : and, since blue enters as a component principle into each of these secondaries, it occurs twice in the latter mode of forming olive, while red and yellow occur therein singly and subordinately. Blue is, therefore, in every instance, the archeus, or predominating colour of olive; its perfect or middle hue comprehending sixteen of blue to five of red, and three of yellow; and it participates in a proportionate measure of the powers, |