Russet, the second or middle tertiary colour, is, like citrine, constituted ultimately of the three primaries, red, yellow, and blue; but with this difference—instead of yellow as in citrine, the archeus or predominating colour in russet is red, to which yellow and blue are subordinates. For orange and purple being the immediate constituents of russet, and red being a component part of each of those colours, it follows that red enters doubly into russet, while yellow and blue appear but once therein. The proportions of its middle hue are eight blue, ten red, and three yellow, of equal intensities. Thus composed, russet takes the relations and powers of a subdued red; and many pigments and dyes of the latter denomination are strictly of the class of russet colours. In fact, nominal distinction of colours is only relative; the gradation from hue to hue, as from tint to tint, and shade to shade, being of such unlimited extent, that it is impossible to pronounce absolutely where one hue, tint, or shade ends, and another begins.

The harmonizing, neutralizing, or contrasting colour of russet, is a deep green; or when the russet inclines to orange, a gray or subdued blue. These are often beautifully opposed in nature, being medial accordances or in equal relation to light, shade and other colours, and among the most agreeable to sense.

Russet, as we have said, partakes of the relations of red, but it is a hue moderated in every respect, and qualified for greater breadth of display in the colouring of nature and art; less so, perhaps, than its fellow-tertiaries in proportion as it is individually more beautiful. The powers of beauty are ever most effective when least obtrusive; and its presence in colour should be chiefly evident to the eye that seeks it—not so much courting as being courted.

Of the tertiary colours, russet is the most important to the artist; and there are many pigments classed as red, purple, &c., which are of russet hues. But there are few true russets, and only one original pigment of that colour is now known on the palette, to wit—

229. RUBENS' MADDER,

Orange Russet, Russet Rubiate, or Field's Russet. This is a very rich crimson russet with a flush of orange; pure, transparent, and of a middle hue between orange and purple. Prepared from the madder root, it is not subject to change by the action of light, time, or mixture of other pigments. Although not so much employed as the marrone Madder Brown, it is serviceable 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. A good glazing colour, its thin washes afford fine flesh tints in water: as an oil pigment it dries indifferently, and requires to be forced by the addition of a little gold size or varnish. Cappah brown and burnt umber sadden it to the rich tones adapted for general use in shadows. So saddened, this lake meets admirably the dark centres of the upper petals of certain fancy geraniums, while alone its pale washes are equally well suited to the lower leaves.

230. MIXED RUSSET.

What has been remarked in the preceding chapter upon the production of mixed citrine colours, is likewise applicable to mixed russet. By the immediate method of producing it materially from its secondaries, good and durable colours are obtained by compounding the following orange and purple pigments—

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 mixtures, are inferior to original pigments. To the orange colours there may be added cadmium red and the orange vermilions, pigments which were classed among the reds, but which contain sufficient yellow to render them adapted for either compound russets or compound citrines. And as of original purple pigments there are two only which are stable, such mixtures as madder red and French blue will help to swell the list of available permanent purples. Rubens' madder itself may be changed in hue by being first mixed with blue and then with orange.

231. Prussiate of Copper

differs chemically from Prussian blue only in having copper instead of iron for its basis. It varies in hue from russet to purple brown, is transparent and deep, but, being very liable to change in colour by the action of light and by other pigments, has never been much used, and is now obsolete. The compound has the objection of containing free prussiate of potash, not removable by continued washing—sometimes as much as five per cent.

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, as Indian red. Burnt carmine is often of the russet hue, or convertible to it by due additions of yellow or orange; as are burnt Sienna and various browns, by like additions of lake or other reds.

The one pigment in this chapter known to the modern palette, Rubens' madder, is permanent.