Decaux's Table Of Pigments

It may not be uninstructive if we cite in this place the classification of pigments as used in oil which M. Decaux has published. The order followed by this experimenter is that of stability; the figures prefixed to the names of the individual pigments indicate the degree of permanence, 1 marking out the materials which are quite unchangeable, while 45 is the most fugitive of all:

Decaux's Table Of Pigments For Oil-Painting

Class I

• 1. Zinc white
• 1. Flake white
• 1. Yellow ochre
• 1. Naples yellow
• 1. Cadmium (deep)
• 1. Raw sienna
• 1. Red ochre
• 1. Mars red
• 1. Venetian red
• 1. Burnt Italian earth
• 1. Green oxide of chromium
• 1. Ivory black
• 1. Terre verte
• 1. Green ultramarine
• 1. Cobalt blue
• 1. Artif. ultramarine
• 1. Ivory black
• 2. Mars brown
• 3. Burnt sienna
• 4. Cobalt green
• 5. Mars yellow
• 6. Mars orange
• 7. Burnt umber
• 8. Viridian
• 9. Indian red
• 10. Mars violet
• 11. Indian yellow
• 12. Emerald green

Class II

• 13. Malachite green
• 14. Scheele's green
• 15. Raw umber
• 16. Vandyke brown
• 17. Prussian blue
• 18 to 23. Various madder lakes
• 24. Madder carmine
• 26. Madder 'rose dorée'
• 27. Brown madder
• 29. Cassel earth

Class III

• 30. Pale chrome
• 31. Zinc chromate
• 32. Pale cadmium
• 33. Orange chrome
• 35. Asphalt
• 36. Brown pink
• 38. Vermilion
• 42. Burnt carmine
• 43. Yellow lake
• 44. Carmine
• 45. Crimson lake

On comparing this classified list with that previously given a general accordance will be perceived, the low position given to raw umber and to vermilion, as well as the very high place assigned to Indian yellow and to terre verte, constituting the chief exceptions.