All good indigo exhibits a copper-colour in its fracture, a circumstance attended to, as a known characteristic, in trade. Again, the indigo which has been acted on by sulphuric acid, if thickly laid on, or suffered to dry so that neither white paper nor the porcelain can appear through, exhibits a colour approaching to orange.
The bright red Spanish rouge, probably prepared from madder, exhibits on its surface a perfectly green, metallic shine. If this colour, or the blue before mentioned, is washed with a pencil on porcelain or paper, it is seen in its real state owing to the bright ground shining through.
Coloured liquids appear black when no light is transmitted through them, as we may easily see in cubic tin vessels with glass bottoms. In these every transparent-coloured infusion will appear black and colourless if we place a black surface under them.
If we contrive that the image of a flame be reflected from the bottom, the image will appear coloured. If we lift up the vessel and suffer the transmitted light to fall on white paper under it, the colour of the liquid appears on the paper. Every light ground seen through such a coloured medium exhibits the colour of the medium.
Thus every colour, in order to be seen, must have a light within or behind it. Hence the lighter and brighter the grounds are, the more brilliant the colours appear. If we pass lac-varnish over a shining white metal surface, as the so-called foils are prepared, the splendour of the colour is displayed by this internally reflected light as powerfully as in any prismatic experiment; nay, the force of the physical colours is owing principally to the circumstance that light is always acting with and behind them.