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“The rose colours of madder have justly been considered as supplying a desideratum, and as the most valuable acquisition of the palette in modern times, since perfectly permanent transparent reds and rose-colours were previously unknown to the art of painting.”
“Green...contrasts more agreeably with all colours than any other individual colour. It has accordingly been adopted with perfect wisdom in nature as the general garb of the vegetal creation.”
“Brown...is the rather indefinite appellation of a very extensive class of colours of warm or tawny hues....The term brown...properly denotes a warm broken colour, of which yellow is a principal constituent: hence brown is in some measure to shade what yellow is to light, and warm or ruddy browns follow yellows naturally as shading or deepening colours.”
“Brown is a sober and sedate colour, grave and solemn, but not dismal, and contributes to the expression of strength, stability, and solidity,—vigour, warmth, and rusticity,—and in minor degree to the serious, the sombre, and the sad; not with the painter only, but also with the rhetorician and poet, with whom, nevertheless, many of the broken colours are yet "airy nothings" and "without a name."”
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George Field (1777?–1854), was an English chemist. He was born in or about 1777 at Berkhamsted, Hertfordshire, of a family long settled in that town, and was educated at St. Peter's school there. When about eighteen years of age he came to London to seek a profession. He thought he saw an opening in the careful application of chemistry to pigments and dyes. War on the continent, by stopping the supply of madder from Holland, threatened to impede his progress. This obstacle, however, led him to consider the nature of its cultivation, and with a well-devised project he waited on Sir Joseph Banks for his advice, and, as he hoped, his co-operation. Sir Joseph, after unsuccessfully attempting to cultivate madder in Essex, had made up his mind that it could not be done in England.
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