Resembles in a great degree Roman ochre, but is clearer in its tints, and more transparent. It is also brighter and much less opaque than yellow ochre. It approaches somewhat the character of clear bright raw sienna, though more pure and brilliant, serving for strong semi-transparent greens and sunny effects.
45. OXFORD OCHRE
Is a native pigment from the neighbourhood of Oxford, semi-opaque, of a warm yellow colour and soft argillaceous texture, absorbent of water and oil, in both of which it may be safely employed. It is one of the best of yellow ochres.
46. STONE OCHRE
Has been confounded with the last variety, to which, as well as to Roman ochre, it is frequently similar. True stone ochres are found in balls or globular masses of various sizes in the solid body of stones, lying near the surface of rocks among the quarries of Gloucestershire and elsewhere. These balls are smooth and compact, in general free from grit, and of a powdery fracture. They vary exceedingly in colour, from yellow to brown, murrey, and gray, but otherwise do not differ from ordinary ochres.
In enamel they may be used for browns and dull reds.
47. DI PALITO
Is a light yellow ochre, with no special distinguishing quality, except that its tints are rather purer in colour than most ochres.
48. ORIENT YELLOW
Is an entirely new preparation of absolute permanence, and perfectly unexceptionable in all respects, both in water and oil. We can give it no higher praise than by saying it equals aureolin in stability, as well as in neither injuring, nor being injured by, other colours. Not possessed of the same amount of transparency, it is distinguished by greater richness and depth. Of a soft golden hue, lustrous and luminous, it resembles a brilliant and somewhat opaque Indian yellow. A gorgeous and durable substitute for that fugitive pigment is produced by compounding the orient with aureolin, or by using the latter as a glaze. Being more transparent than cadmiums and less obtrusive, the new yellow is adapted for mellow sunset and sunrise clouds, or for sunshine on distant mountains. With French blue it affords a beautiful sea green; and, mixed with aureolin, gives fine foliage tints. It is also eligible for draperies and illumination. For enamelling it is inadmissible, the colour being destroyed by great heat; but in fresco it may safely be employed.