Obs. The state of minute division in which the carbon exists in good lamp-black is such as cannot be given to any other matter, not even by grinding it on porphyry, or by ‘elutriation’ or ‘washing over’ with water. On this account it goes a great way in every kind of painting. It may be rendered drier and less oily by gentle calcination in close vessels, when it is called burnt lamp-black, and may then be used as a water-colour; or its greasiness may be removed by the alkali-treatment noticed under Indian ink. It is the basis of Indian ink, printer’s ink, and most black paints.
Russian lamp-black is the soot produced by burning the chips of resinous deal. It is objectionable chiefly from being liable to take fire spontaneously when left for some time moistened with oil.
Black, Manganese′ (-nēze′-). Native binoxide of manganese. Durable and dries well.
Black, New′castle. From the richer-looking varieties of pit-coal by grinding, and elutriation. Brown black or, in thin layers, deep brown. It is, perhaps, “the most useful brown the artist can place on his palette; being remarkably clear, not so warm as Vandyke-brown, and serving as a shadow for blues, reds, and yellows, when glazed over them. It seems almost certain that Titian made large use of this material.” See Blue-black (antè).
Black, Opor′to. Carbonised wine-lees.
Black, Pa′ris, Noir de Paris. From turner’s bone-dust, treated as for ivory-black. Works well both in oil and water. It is commonly sold for real ivory-black, and for burnt lamp-black.
Black, Peach-stone. From the stones or kernels of peaches, cherries, and other similar fruits, treated as for ivory-black. A bright, rich black; works well with oil; with white-lead and oil it makes old grey.
Black, Pit′coal. Newcastle-black.
Black, Prus′′sian (prŭsh′-ăn). Composition-black.
Black, Rice′. Rice-charcoal. Inferior.