* ST’’ 'i ‘ ■ i_,J'-'r .t"* ,f' t ^ ■•• '• S t.\.. 'v •■ ri.i?''' • '■ ■■ it' '>' ■>.' ■-'•V'-.l A. • . ■ . « M I S . /‘ S: y •» ■/ 1; “S. * ‘•t. sT< «. .. . ''i >s >. 4 V^, V • *k Jl , .» ■* . . - 4 • ..* I ^ » ♦'*»“_.}». ^ • .' /. v ■; :'v • (r j’ \'J"< * . , ' ' ' • ,. r/s '■ '■ . \ ' ' a, V I'S . - - A V’"' i'. I*'* f 'A ‘j ^ ^ ^ / • • I* k : il ' 'ii '■' StV*’ " '• ^■'^4 "'^ . «'- • * \ . \ i - ‘ 'i **. r ■ .'-*f *• ‘ .L •v'-- * r\ V \ S: . J y ? '■ * . -M'l ... 'JL*5 ■/ ■“' sws I . iT T ^ V *».V , ♦ * « ■ ■ . ' -fSB- J. • k'- '■’*■ vV 't. ^-4 k. itP'.; ■- ^■^T* ^ < ::.vii • '■ v^'" ••■'* *' •..'a. • \ .:^^ v.vV, .<■ » < , • ! ♦• j"r'- » ^ k 2 i 21 , k. / “ gk X V. :v ?.t Vi2M ..^^1 St.'.'' • .. •■ l.-.'.i'.L ;.jir’ ' lA'i ,^-v r ws HINTS ON TINTS AND HOW TO MIX THEM ILLrSTKATED DY ONB HUNDRED AND SEVENTY-FIVE SPECIMENS OF TINTS WITH AN INTRODUCTORY ESSAY COLOR AND COLORS HV HENRY LEIDEL AfTFJf)K AXn COMPU.KH OF 77ie Art <,f Pai^tcl Pdiuthw, rtc." " ITmv to thormiuhlu moMer Landscape Pavitiuj, etc." "Armtionical Aicxiliari/, a Key, etc." “ H'dlrr Otlor Album." FIRST KDITION. NEW YORK: HENRY LEIDEL 1MJI3. COPYRIGHT 1893 BY HENRY LEIDEL. PREFACE. This little book is the result of a constant inquiry for some information as to “ how to mix colors.” Beginners constantly find the want of such knowledge a serious stumbling block to their progress, and the object of this volume is therefore to assist them in the right direction, and help develop whatever ability or even genius they may naturally be endowed with. No claim is made that this manual contains the only or the ► best method, but, as it is, it is offered as the result of not only much study, but also practical experience ; and the author hopes that its readers who are undertaking the task of self- tuition will find its perusal profitable and invaluable. HENRY LEIDEL. CONTENTS PAGE Preface 3 Colors and Tints . - 5 Theory of Color 6 Character of Colors 7 Color 10 Colors . . lo Color Making ii Permanence of Colors i2 White Colors 13 Yellow Colors 14 Orange Colors 19 Red Colors 20 Purple Colors 25 Blue Colors 27 Green Colors. 30 Brown Colors 33 Grey Colors 37 Black Colors 38 Mixed Tints 39 Plates 45 Color Index Back of Plates COLORS AND TINTS. The proper mixing of tints and colors is a knowledge acquired largely through practical experience. Amateurs and even artists are sometimes at a loss to attain a required result from lack of this experience, and the object of this work is to aid the embarrassed novice by giving such detailed information as to thoroughly equip him to successfully cope with this per- plexing problem. Color mixtures are attained in very various ways, viz., by direct mixing of the colors upon the palette before applying ; by glazing, that is, by putting a transparent or semi-transparent color over another already applied tone. This effects a much more rich and brilliant result than bv direct mixture ; but it has one drawback, namely, that it is not so permanent, espe- cially in the lighter tints ; and by mixture in the dry state. This latter method is, however, only theoretically applied. Cold tints are those in which blue predominates, and warm tints are those in which yellow and red prevail. Yellow, how- ever, does not alw.ays effect warm tints: as, for instance, yellow green is no warm tone, but, by the addition of red, it at once actpiires warmth. White and neutral grey act similarly to blue, and produce cold tones, according to the quantity in which they preponderate The following characteristic of warm tints is of especial note : With increasing light, the luminosity of the warmer tints grows more rapid than that of the colder tones. In the brightest and strongest sunlight, all tints assume a whitish appearance, without losing their character of warmth or cold. Hv decreasing light, the warm tints lose their luminositv more rapidly than the cold tones ; by continued decreasing of the light, the luminosity of bright red will at a certain stage equal that of a cold violet, and from this down will appear darker than the latter. ,\11 warm tints approach, and all cold tones recede from, the eye. 6 thf;<)rv of color. An aid in the mixture of tints and the study of harmony and contrast is an understanding of the theory of color. THEORY OF COLOR. There are three distinct classes of colors, viz., Primary, Secondary and Tertiary. The Primary Colors are such as yield others by being com- pounded, but are not themselves capable of being produced by composition of other colors. They represent the natural clear prismatic colors, and are Yellow, Red, Blue. Their contrasts are purple, green, orange. The Secondary Colors are such as can only be composed of any two of the Primary Colors. They are also pure prismatic colors, and are Orange, Green, Purple ( yellow yellow red and are composed of { Their contrasts are blue, red, yellow. The Tertiary Colors are such as can only be composed of two Secondary or the three Primary Colors, and are Olive, Brown, Grey. ( orange orange green and are composed of ^ p^,j.p,^ Their contrasts are purple, green, orange. Black and white are extreme colors, comprehending all other colors synthetically, and affording them all by analysis. Pure white, as a ground tone, always takes a prominent place. Its greatest contrast is black. Both colors equally combined pro- duce a full grey. The same can, however, by effected by other contrasting colors, as, for instance, orange and blue or yellow and purple, or even red and green ; contrasting colors being so opposing that, when combined, they completely destroy one another. The power of colors in contrasting each other agrees with their correlative powers of light and shade, and is to be distin- guished from their power individually on the eye, which is one of light alone. Thus, although orange and blue — literally the colors of extreme heat and cold, and which are equal powers as CHARACTER OF COLORS. 7 rcgJircls each other— as respects the eye, they are totally differ- ent and opposed, for orange is a luminous color, and acts powerfully in irritating, while blue is a shadowy color, and acts contrarily in soothing that organ. The same occurs in various degrees with other colors. Transparency and opacity constitute another contrast of coloring. The first appertains to shade and blackness and the latter to light and wliiteness. Even contrast has its contrast, for graduation or intermediaries are antagonistic to contrast or extremes. Consequently upon the right management of con- trasts and graduation depend the harmony, the breaks, the tone, the effect and expression of a picture. These contrasts may be variously or totally conjoined. Thus, in contrasting any color, if w’e wish to have light or brilliancy, \vc degrade or cast its opposite into shade ; if it should be warm, we cool its antagonist, and if transparent, we oppose it by an opaque contrary, or vue versa. Indeed, in prac- tice, all this must be in some measure combined. CHARACTER OF COLORS. White, in a perfect state, should be natural in tone with regard to color, and absolutely opaque. Besides its use as a color, it is the instrument of light in painting, and compounds with all colors, without change but in tint, that is, it does not change or defile any color, though it is changed and defiled by all others. It is of great value as a ground to w'ork upon, as the weak- est application of color is not changed by it. While all other colors weaken and take neutral tones with distance, wdiite remains pure the longest. It is therefore ad vancing, that is, it brings the subject nearer to the eye. In combination with yellow, it possesses the same properties, but does not when mixed with red. With blue or blatk it retires, and gives to those colors the tones of the atmosphere. Used pure, it advances all other colors by its contrast Over- use of it, however, produces a chalky effect. Glaring lights are seldom of large dimensions, just as the deepest depths are always small. I’laced side by side, they form the strongest contrasts, and, with conscientious use, immense strength. The use of jiure white, theretore, reipiires due deliberation. 8 CHARACTER OF COLORS, In combination with all colors, except yellow, it forms cold tints, and is therefore to be particularly studied in regard to mixing tints. \ ELLow is nearest in relation to white, and forms in its palei tints the transition of light into color. It is a most ad- vancing color, and is but slightly changed by distance. It is a warm color, and in a painting where Avarm colors are required, it is, in connection with red, the principal means to achieve this. It is of use in almost all mixtures and is very sensitive against blue, the smallest quantitv of which immediately changes its color. Orange is a secondary color, and is composed of yellow and red. A perfect orange is such as will neutralize a pure blue of equal quantity either in intensity or surface. It is a warm color, and is discordant when standing alone with yellow or red, un- resolved by their contrasts, purple or green. It is an advancing color. In nature it is effective at a great distance. Like yellow, it is also affected by blue. Red is a very advancing color. It is increased in warmth by admixture with yellow, while with blue it becomes cool. As it is, however, more congenial with yellow, it therefore partakes more of the character of the same in its effects of warmth. As a color it is beautiful, powerful and cheering, and communicates these qualities to its secondary colors. Under the influence of light and distance, the action on the eye of the power of vision is diminished upon viewing red in strong sunlight, while on the other hand red appears to deepen rapidly in a declining light. These qualities give it great im- portance, rendering it difficult to manage and require it to be kept in general subordination in a painting. Purple is a secondary color, and is composed of red and blue. It is the coolest of the secondary colors, and the nearest, also, to black or shade. It is a retiring color which reflects but little light, and declines in proportion to the distance it is viewed. Blue is the third and last of the primary colors, and bears the same relation to shade that yellow bears to light. It is a retir- ing color, and is thrown back by all colors in greater or less degree. It is a cold color and of quiet disposition, and communicates these properties more or less to all colors it is compounded CHARACIKR OF COLORS. 9 with. It is pleasant to the eye, and where delicate, quiet tones are needed, or in the deep, dark shades, it is of much use. CiREE.N’ is composed of the extreme primaries— yellow and blue. It occupies the middle station in the natural scale of colors and in relation to light and shade. In its tones, green is either cool or warm, sedate or gay, as it inclines to blue or yel- low. Vet it is, in its general effects, cool, calm, temperate and refreshing. As a color individually, green is eminently beautiful and agreeable. It has little power in reflecting light, and therefore it is a retiring color and readily subdued by distance. Brown, in its widest conception, has been used to compre- hend every denomination of dark broken color, and, in a more limited sense, is the rather indefinite appellation of a very extensive class of warm or tawny shade of colors. There are browns of every shade except blue, as such a predominance of a cold color would immediately carry the compound into grey. Brown, properly, denotes a warm, broken color of which yel- low is the principal constituent. It is a sober, sedate color, grave and solemn but not dismal, and contributes to the expression of strength, stability and solidity, and in a minor degree to the serious and sad. Grey is the natural correlative of brown. It is the color of space, and has the property of diffusing breadth in a picture, while at the same time it furnishes good connecting tints for har- monizing the general coloring. Grey is, therefore, among the most essential colors, which, however, must not be suffered to injudiciousl V predominate in cases where the subject does not recpiire it. It is a sober, modest color, contributing to the expression of gloom, sadness and fear, bordering, in these respects, upon the powers of black. Black is the absence of light — the extreme opposite of white. To be perfect it must be neutral colors individually, and abso- lutely transparent or destitute of reflection in regard to light. Its use in painting being to represent shade or depth — of which it is the element — in colors or .a painting, as white is of light. All other colors are by admixture with black lowered in tone. Pure black is seldom used, .nnd a painting which in its general lO COLOR — COLORS. tones is ratlier dark can be lightened by the judicious use of a little black. To concentrate depth, white and black are often jdaccd side by side. COLOR. The word color comprises much in itself, as every shade, tone or tint, if primary, secondary or tertiary, is designated by the term of color. Primary colors, such as pure red or yellow or blue, are but little used in a picture, as colors are primary only when in their pure state, and undisturbed by glaring light, by shadows or reflections: these latter conditions at once effect a change of tone in any color ; as, for instance, if you place a red silk handkerchief upon a chair in the sunlight, marked changes in the tone of the same will immediately be noticed. The color indeed remains the same, but the action of the light and the reflections from various objects in its vicinity form remark- able changes in the tone of the same. This can also be readily noticed by the variation of the color of the woods in different lights and at different times of the year. Color is therefore dependent upon exterior circumstances, especially light ; and by carefully studying these various changes of color, color contrasts, purity and harmony, the eye is trained to distinguish the slightest variation ; for to be a good colorist it is necessarv to know the different relations of colors — their combinations and harmonies as well as their mutual oppositions and annihi- lations. COLORS. While in former times the artist was his own color-maker — that is, he ground them fine with oil and kept them in small bladders, out of which the color was squeezed through a small cross cut in the bottom of the same— this has been totally superseded by the collapsible tin tubes in which finelv ground colors can be bought at any art store in any quantity. These tube colors remain in a fresh and good condition for a long time, but eventually become dry, in which latter state they can be cut out of the tube and reground with a little oil and turpentine, though it is better to replace them with fresh colors. The quantity of oil needed by pigments in tlieir preparation as oil colors is astonishingly different, for the bodv colors, as white, the chromes, etc., need about 12-20 per cent., iron oxides 30, madders 6o, ochres 60-75, terre vert 100, Prussian blue, the blacks 112, cobalt 125, burnt sienna 180, and, what is more remarkable, raw sienna requires about 240 per cent. Those colors that require but a little oil in their preparation are also but little apt to cliange, while those which need larger quantities deepen more or less in tone. Indiscriminate use of oil as a thinning medium while painting will result in the changing of the colors, the cracking of the surface of the painting, and the reducing of the durability of the same. Beginners should be careful not to squeeze more color on their palettes than needed at one painting, as colors kept on a palette overnight are apt to dry a skin, thereby making them unfit for further use. A good plan for keeping colors, which are not all used, fresh, is to place them upon a small china palette and immerse the same in water until they are to be used again. COLOR-MAKING. A pigment is a prejiaration used to impart color to bodies. A pigment mixed with a medium constitutes a color, as oil- colors, water-colors, etc. The colors used by the ancients were mainly derived from native earths, and as these earths and substances had passed through the wear and tear of centuries, they were therefore ex- tremely permanent. With the advancement of the science (if chemistry, artificial colors were gradually discovered, and the function of the cohir- maker naturally sprang into existence. The colors in use at the present time are mostly all of them either partly or wholly artificial compounds. Color-making is an important branch of industry in Eurojic, and has been so specialized that some makers restrict themselves to the manufacture of a certain color in which they excel, and consetpiently enjciy a world-wide reputation. Skillful C(?lor- making requires great experience as well as a thorough knowl- edge of chemistry. Colors can be analyzed to some extent, but there is a vast difference between the analysis and the successful mantjfacture of a color. Mostly all colors are made by certain secret processes, which are jealously guarded by the manu- facturer. THE PERMANENCE OF COLORS. I 2 The above has reference to the making of dry colors only ; and the function of the manufacturer of colors for artists’ use, either in oil or water, is a distinct branch of its own. This is simply the adding of a certain amount of a binding medium lo the dry colors, and then thoroughly and finely grinding the same upon mills constructed especially for that purpose. 1 he erroneous idea prevalent among many amateurs, and, unhappily, also artists, that American colors are not reliable and fade, is a mistaken impression which does not rest on fact, but principally on unwarrantable prejudice. If those biased pre- tenders, who constantly laud their preference for certain European makes of colors for their reliability, etc., were obliged to substantiate their partiality with facts, they would quickly be at a loss to account for their prejudice. All dry colors used in the manufacture of artists’ colors are imported from Europe, for the simple reason that as yet no fine dry colors are being made in this country, and consequently, if, as above stated, the best quality of European dry colors are used and combined with a proper medium, so as to be suitable for either oil or water colors, as the case may be, and the same then thoroughly ground, so that they are fine, and either wash well for water or work buttery for oil colors, there should be no reason why such colors as these are not the equals of any other make. Accidental circumstances often injure the colors, the blame of which is then laid to the manufacturer ; of these, nothing is more to be guarded against than the presence of soap and alkali, too often left in the brushes after washing It is there- fore necessary, when washing brushes, that they are thoroughly cleaned and rinsed. THE PERMANENCE OF COLORS. No color is so permanent that nothing will alter it, and on the other hand, none is so fugacious but that it will remain lasting under favorable circumstances. Genuine ultramarine, which will endure for centuries under ordinary circumstances, may at once be destroyed by a drop of lemon juice ; and carmine, which is generally fugacious, will, when excluded from light and air, last fifty years or more. WHITK COLORS. •3 White lead will retain its freshness for ages in pure atmosphere, but is blackened by a few hours’ exposure to foul air. It is, therefore, durability under the ordinary conditions ol painting which entitles a color to the character of permanence WHITE COLORS. CREMNITZ WHITE is a white carbonate of lead which derives its name from Crern- nitz, in Austria, where it is manufactured It is made in small square cakes of a cubical form. It is the whitest and possesses the best body of all white leads. FLAKE WHITE is an English white lead in form of scales or plates, sometimes grey on the surface. It takes its name from its figure, is equal in body to Cremnitz white and is an oxidized carbonate of lead, not essentially differing from the abo\e. SILVER WHITE is brought from Paris in the form of drops, is sometimes pre- ferred for its exquisite white, though it has less body than either Cremnitz or flake white. These whites are all unfit for gen- eral use as water colors, but are good in oil. ZINC WHITE is an oxide of zinc lacking the body and brightness of the white leads, but perfectly durable both in oil and water. It is a very slow drier in oil, and is used instead of the white leads when it is desired to keep the color longer wet. It is very permanent CHINESE WHITE is a preparation of oxide of zinc, the discovery of which has proved an incalculable boon to water color artists, who for merly had no white which combined perfect permanence with good body in working. It is beautifully white, and possesses the desirable quality of density. CONSTANT WHITE is sulphate of barium. It has no body, and is not worth the consideration of the artist. M YfILLOW COLORS. CHINA WHITE is an earthy white pigment. It has no good qualities and is used but very little. YELLOW COLORS. NAPLES YELLOW is a compound of the oxides of lead and antimony. It was for- merly prepared at Naples, hence the name. It is perfectly dura- ble and trustworthy. It is opaque and in this sense of good body. It is not changed b}’’ sunlight and is a safe color to use in oil. It is not so reliable when in water, as it is apt to change even to black. It should not be mixed with a steel palette knife, but with a horn or ivory spatula. It is now made in five shades, viz., light, medium, deep, reddish and greenish. ANTIMONY YELLOW is an obsolete deep variety of Naples yellow. JAUNE BRILLIANT is a mixture of carbonate of lead and sulphate of potash, and is very near in color to Naples yellow. It is often used in place of white when mixing light tints. It is permanent both in oil and water. BRILLIANT YELLOW is but another name for jaune brilliant. AUREOLIN is a double nitrite of potassium and cobalt. It is the nearest approach to a perfect yellow in existence. A pure, brilliant, transparent color which in its palest tints is permanent. Its color is the nearest approaching the yellow of the solar spectrum known. In all mixtures and combinations, it imparts an un- common freshness, brilliancy and purity. It is permanent both as an oil and water color. COBALT YELLOW is synonymous with aureolin. CADMIUM is a sulphide of cadmium. It is a good drving color, manufac- tured in four shades, viz., lemon, pale, deep and orange, which latter is described in the orange colors. Cadmium deep, which is YELLOW COLORS *5 the pure color, is a lustrous and very intense orange yellow. It IS very permanent and mixes well with all colors. It is inval- uable both in oil and water. The lighter cadmiums contain more sulphur and are therefore less permanent. Cadmium deepens in the shade or when confined in the dark, but quickly regains its color when exposed to the light. AURORA YELLOW is a special preparation of cadmium. It is a brilliant normal yellow, tending neither to pale nor deep cadmium, but about between the two, with a remarkable quality of brightness and purity of color to it. It is very permanent, and works well in both water and oil. CITRON YELLOW is a chromate of zinc. It is of a pale lemon yellow color and but slightly soluble in water. It is not permanent and often changes to green. ZINC YELLOW is another variety of citron yellow. CHROME YELLOW is a chromate of lead. It possesses a good body, but is liable to fade. It is capable, however, of resisting the sun's rays for a long time. It is made in five shades and somewhat resembles the cadmiums in color ; the shades are lemon or light, medium, deep, orange and deep orange, the last two are described among the orange colors. The difference in shade depends upon the proportion of chromic acid to oxide of lead. They mix well both in oil and water, though they produce serious changes upon several colors, ultimately destroying Antwerp or Prussian blue when used tt> compound greens. LEMON YELLOW is a chromate of barium. It is perfectly permanent, and is the only chromate which can be called so. It is made intwoshades, the pale lemon and the lemon yellow. Lemon yellow is a beau tiful, liglit vivid color of a shade as its name implies; the pale lemon yellow is more of a primrose tone, but precisely the same in its properties. It is semi-opaque but possesses remarkable strength and works jileasantly, both as an oil and water color. YELLOW COLORS I 6 YELLOW ULTRAMARINE is another variety of chromate of barium, with much of the same properties as lemon yellow. PERFECT YELLOW is synonymous with yellow ultramarine. STRONTIAN YELLOW is, when pure, a chromate of strontian, which, however, is very fugacious. Strontian yellow, as now sold, is but a mixture re- sembling the original color and very permanent. It is of a del- icate primrose color, and is used in oil only. ORIENT YELLOW is of a delicate golden shade, bright and shining, resembling a lustrous and semi-opacjue Indian yellow. It is of great depth and richness, and is absolutely permanent. It is used in oil only. MARS YELl.OW is an artificial ochre of the character of raw sienna. It is more transparent as well as richer in color than the ochres, which it also resembles in its other qualities. It is absolutely perma- nent, is a good drier, and used both as an oil and water color. KINGS YELLOW is a sulphureted oxide of arsenic. It is also found native in China. In color, it is a bright and pure yellow, fairly perma nent, and used both in oil and water. It will not bear mixing with any of the lead colors, and is a deadly poison. ORPIMENT is but another name for kings yellow. RAW SIENNA IS a ferruginous native pigment of a dull warm yellow. It is \ ery transparent and is but little liable to change by the action of light, time or impure air. It will, however, deepen in tone in the dark. It is an invaluable color, both in oil and water. YELLOW OCHRE, as well as all other ochres, is a native earth, found in almost all countries, consisting of silica and alumina colored by sesqui- oxide of iron. It is an indispensable and permanent, bright but YKI.LOW C()Lf)RS. 17 not very vivid yellow, and is semi-opaque, both in oil and water, though somewhat former. It mixes well with all colors. It is very valuable, slow-drying in the OXFORD OCHRE is an English variety of yellow ochre. ROMAN OCHRE is deeper and cooler in shade and possesses more body, but in other respects it is similar to yellow ochre. BROWN OCHRE is a dark colored yellow ochre, not materially differing from the preceding. TRANSPARENT GOLD OCHRE possesses the most brilliant tone of all the ochres. Jt is a transparent, ]uire, clear yellow of the character of raw sienna. It is much employed, both as an oil and water color, affording useful and permanent tints. YELLOW MADDER is the most concentrated lake prepared from quercitron bark. It is a very bright, powerful and transparent yellow, but is a bad drier in oil. It is fairly permanent and should not be com])ounded with the metal colors. YELLOW LAKE is a simpler preparation of the quercitron bark. It is lemon in tone, but in other respects similar to the preceding, and is used both as an oil and water colot. ITALIAN PINK is another v.ariety of, but richer in color than, yelloM lake. It possesses the same properties, and finds use both in oil and water. The name is an absurdity, as there is nothing pink about it. DUTCH PINK is svnonvmous with the preceding. J * * GAUDE LAKE is a decoction of the plant “ Reseda luteola. It is a brownish yellow and not very permanent. It is almost obsolete and used only in oil. i8 YELLOW COLORS. OAMBOGE is a concrete vegetal substance of a gum-resinous nature, which exudes from the bruised leaves and young shoots of the “Yoka- thu ’ tree of Ceylon and Siam. In color it is a beautiful, bright and transparent yellow, but not of greit depth. It is fairly permanent, and especially so when used as a water color. It is lowered in tone to some extent by impure air, but is not easily discolored by the action of lead. It should not be mixed with the metal colors. EXTRACT OF GAMBOGE is tlie coloring matter of gamboge separated from its impurities and compounded with alumina. It is thereby improyed in color ; otherwise it possesses the same properties as the pre- ceding. INDIAN YELLOW consists of euxanthate of magnesia, and is produced from the urine of the camel. It is of a beautiful pure }x] low color and con- tains more depth and greater body than any gamboge. It is not affected by sunlight or foul air, but is not lasting in ordinary light and air. It works well in both water and oil, and should not be mixed with the cochineal colors. GALLSTONE is an animal calculus formed in the gall bladder of oxen. In color it is a beautiful, deep toned, golden yellow. It is highly reputed as a water color, but in oil it is not eligible. It is yery fugacious,- and the color sold under that name is an artificial compound resembling the original, but much more permanent MASSICOT is an oxide of lead of a pale yellow color. It has the same properties as white lead, and if used pure, is permanent in color ; otherwise it becomes white. It is only used in oil, and not much in that. JAPAN YELLOW is a decoction of a tree called “ Bixa orellana.” It is of an orange- yellow color and is fairly permanent in oil. It is not used in water. ORANGE COLORS. ^9 ORANGE COLORS in general. — Orange is a secondary color and is composed of yellow and red. A perfect orange is such as will neutralize a pure blue of equal quantity, either in intensity or surface. It is a warm color, and is discordant when standing alone with yellow or red, unresolved by their contrasts, purple or green. Orange is an advancing color. In nature it is effective at a great distance. There are but few orange colors, and these are on the wliole satisfactory, both in regard to permanency and color. BURNT SIENNA is, as its name implies, a calcined raw sienna. It is of a brown orange color, very rich, deep and transparent. It is an invalua- ble, permanent and well drying color. In other respects it possesses the properties of raw sienna and is used in oil and water. MARS ORANGE is an artificial oxide of iron, and in color is a subdued orange very similar to burnt sienna. It is of great purity and is semi- transparent. It is very permanent and dries well. It should not be compounded with colors affected by iron. It is used both as an oil and water color. ORANGE VERMILION is a sulphuret of mercury. Of a clear but not bright orange tone. It resembles chrome red in ajipearance, but is not subject to the changes of the same, being a perfectly durable color in both oil and water. It is somewhat slow drying and of great strength. In other respects it is like other vermilions, which are describeil among the red colors. field's ORANGE VERMILION is a similar preparation to the preceding. CADMIUM ORANGE is a sulphide of cadmium. It is an e.xceptionally brilliant and lustrous color, and is perfectly permanent, being unaffected by exposure to either light, air or damp. It is of great depth and power, and is of use both in oil and water. 20 Rl-.D COLORS. PERSIAN ORANGE is a rich, luminous orange of great strength. It is fairly per- manent, and works well in both oil and water. It is the most brilliant of all orange colors. NEUTRAL ORANGE is a compound of cadmium yellow and Venetian red. It finds use as a water color only and is permanent. CHROME ORANGE is a basic chromate of lead. It is a beautiful orangfe color and is one of the most durable of the chromates of lead. It is char- acterized by power and brilliancy and is loss liable to change than the chrome yellows. It is used both in oil and water, but should not be mixed with v'egetal or organic colors. CHROME ORANGE DEEP is more red in color, but does not otherwise differ from the preceding. RED COLORS in general. — Red is a very advancing color. It is increased in warmth by admixture with yellow, while with blue it becomes cool ; it is, however, more congenial with yellow and therefore partakes more of the character of the same in its effects of warmth, of the influence of light and distance and of the action on the eye, by which the power of vision is diminished upon viewing red in a strong light, while, on the other hand, red itself appears to deepen rapidly in a declining light. These qualities give it great importance, rendering it difficult to man- age and reqiure it to be kept in general subordination in a painting As a color red is beautiful, powerful and cheering, and com- municates these qualities to its secondary colors. Its contrasting color is green. The red colors, both in oil and water, are gen- erally good and leave almost nothing to be desired. VERMILION is a sulphide of mercury. It is found native, but as it is very scarce, it is in this state commercially obsolete. Vermilion as sold is an artificial compound. The best vermilions now made are of American make, though usually sold as English vermil- RED COLORS. 2 I ion. It is of deep bright red, and when well made is one of the most permaneni colors, being entirely unaffected by light, time or foul air. It possesses great body and weight and is a some- what slow drier. It may be safely mixed with other colors, but is apt to separate on account of its great weight ; it is there fore best to use it only with the heavier colors. It is used both as an oil and water color. SCARLET VERMILION is similar to vermilion, differing only in tone, being more scarlet. It is used both in oil and water and washes much better than the jireceding. EXTRACT OE VERMILION is identical with scarlet vermilion. CHINESE VERMILION inclines to crimson and is cooler than vermilion. It is found in China in so pure a state as to recpiire grinding only to become a perfect vermilion. FRENCH VERMILION is identical almost with vermilion. It is pale in lone and is used in oil only. Vermilions have the reputation of fading, but this is not so. A vermilion that is properly made is strictly perma- nent Ordinary vermilions are colored with lake or carmine, or with orange or scarlet, and these adulterations fade and become black, hence the ill-fame of vermilion. MADDER CARMINE is the coloring matter of the root of the madder plant, precipi- tated upon a base of alumina. The madder plant, “ Rubia tinctorium,” is largely grown in (iermany, France and Holland. The coloring matter obtained from the same is called “alizarin. ‘ Fresh madder roots do not contain any appreciable cpiantity of alizarin, Imt a large amount of a glucoside called “ rubian. After some time, however, the roots undergo a process of fer- mentation and the rubian is decomposed thereby into alizarin and glucose. The madders are in color from the deepest rose to light pink, and in tones both warm and cold. They are not liable to change by the action of either light or impure air nor 22 RED COLORS. by admixture witli other colors. They are, however, slow driers, work well in both oil and water and improve in tone in time. Madder carmine is the richest, deepest and most transparent of the madders. It is t.he only permanent carmine, either in oil or water. MADDER LAKE is less intense than the preceding and without its carmine tone. It is a rich color, tending neither to crimson nor scarlet. ROSE MADDER is another synonym for madder lake. PINK MADDER is a weaker preparation of madder lake ; in other respects it is the same. ROSE DORE (oil color) is a pink madder with a yellowish cast. Rembrandt’s madder is a madder lake with a yellowish tinge to it. It was much used by Rembrandt, hence the name. CAPUCINE madder is a madder lake, slightly brownish in tone. ROBERTS LAKE is synonymous with madder lake, and made in various shades, as brown, yellow, etc. CARMINE is the coloring matter extracted from the cochineal insect. Coccus cacti,’ a native of Mexico. The coloring matter is not in a free state, but exists in the form of a glucoside called “ car- minic acid, which is separated into carmine and glucose by the action of acids. Carmine is that preparation of cochineal which contains the most coloring matter and the least alumina base. It is a rich, deep and most intense color, which is fairly perma- nent under favorable conditions It has great power in its full touches, possesses considerable clearness in the pale washes and works admirably both in oil and water, though it dries slowly in the former. All cochineal preparations do not bear mixing with the lead colors. RED COLORS. 23 CAR.MINE NO. 2 is an inferior preparatio-n, somewhat similar to the above, but has not the power nor depth of the same. It is used only in oil and IS a bad drier. CRIMSON LAKE is a cochineal preparation, containing more aluminous base than carmine and is therefore weaker in color. It is hot so deep nor as brilliant as carmine, but possesses a certain bloom not perceptible in the latter. It is more generally useful than car- mine, but equally fugacious. It is affected by a strong light and ultimately destroyed. It is a bad drier, and is used both in oil and water. CARMINE LAKE is similar in all respects to crimson lake but that it contains more coloring matter. SCARLET LAKE is a crimson lake tinted with vermilion. It has less permanency than crimson lake, as vermilion has a destructive action on cochineal lakes. It is used both in oil and water. INDIAN LAKE is prepared from the “lac” or “ lacca ” of India— a resinous secretion found on the branches of certain plants. Its color is rich, transparent and deep, though less brilliant but more dura- ble than those of cochineal. Used thickly it is of great body and much permanency. It should not be compounded with the lead colors, and is used only in oil. CAI’UCINE LAKE i.s identical with the preceding, but has a brownish cast. PURE SCARLET is an iodide of mercury. It is a most vivid and beautiful scarlet color, exceeding the brilliancy of vermilion, to which it is equal in body but inferior in permanence. It is soon destroyed when compounded with the metal colors, and fades altogether when exposed to light and air. It is used in both oil and water. ROSE LAKE is a decoction of brazil wood. It is very fugacious under all circumstances, and is but little used and in oil onU. 24 RED COLORS. RED CHROME is a basic chromate of lead. It is of a scarlet color, very heavy and opaque in body. It is a good drier, but is very liable to blacken, and is used in oil only. MARS RED is an artificial iron ochre. In color it is between light and Indian red, and is very permanent. It is used in oil only, and should not be mixed with colors affected by iron. LIGHT RED is a calcined yellow ochre. In color it is an orange russet, used very much for flesh tints. It is very permanent, but should not be compounded with those colors affected by iron. It is an invaluable and very useful color, used both as an oil and water color. It has the general good properties of ochres and dries well. FLESH OCHRE is a German variety of light red, somewhat rriore orange in tone. In other respects it is the same, and is used in oil only. BRUN ROUGE is a French variety of light red. It is very rich and deep in color, and used in oil only. Otherwise it possesses the same properties as light red. BURNT ROMAN OCHRE is, as its name applies, a burnt or calcined Roman ochre. It is moderately bright, of good depth and transparency of color Is used as an oil color only and is very permanent. VENETIAN RED is prepared by calcining proto-sulphate of iron. It is redder and deeper in color than light red, and like it should not be com- pounded with colors affected by iron. It is used both in oil and water, and is very permanent. INDIAN RED is a peroxide of iron. It is a natural earth and is brought from Bengal. It is an anomalous red of a purple-russet shade, and highly valued for the pureness and laky tone of its tints. It has a tendency to deepen, but is nevertheless ]iermanent. It is PUKFLK COLORS. 25 opafjue and a c^ood drier, and is used both as an oil and water color. dragon’s blood is a resinous substance, brought from the East Indies. In color it is a rather dull, warm and semi-transparent red. It is affected by light and impure air, and is used as a water color only. GERANIUM LAKE is an aniline color. It is a brilliant scarlet red, of no stability. It is used to some extent in oil, but fades under the action of a strong light in a short time. rose GERANIUM is the same as the preceding, but as a water color, and is some- w'hat more permanent. ROSE CARTHAME is also an aniline color, tending to blue, and therefore cooler than the preceding. In other respects it is the same, and finds use as a water color only. ROSE DORE (water color) is the most brilliant of the aniline reds ; in fact, it is the bright- est and most dazzling of all reds, and would be invaluable if any mode securing it from change could be devised. PURPLE COLORS in general. - Purple is a secondary color and is composed of red and blue. It is the coolest of the secondar}' colors and the nearest also to black or shade. It is a retiring color, which reflects but little light and declines rapidly in proportion to the distance it is viewed Its contrasting color is yellow. Of the j)urple colors there is none which is both permanent and saturated in colt)r. Moderately good purples may be mixed with jiermanent reds and blues. rURFLE MADDER is a yeryrich and deep carmine, prepared from the madder root. TIu»ugh not a brilliant purple, its richness, transparency and permanence giye it the preference to burnt carmine. It works well in both oil and water, and, with the exception of Mars 26 PURPLE COLORS. \ioIet, is the only permanent purple. It combines well with all colors, and is altogether a most eligible color. PURNT CARMINE IS the cochineal carmine partially charred. It is a reddish purple of great depth, but is not more permanent than ordinary carmine. It is used both in oil and water, and will not bear mixing with the lead colors. PURPLE LAKE is a crimson lake with a purple cast. In its general properties it resembles the same, but is more permanent, and is used in both oil and water. BURNT LAKE IS a charred crimson lake which is rather fugacious and finds use in oil only. INDIAN PURPLE is prepared by precipitating cochineal extract with sulphate of copper. It is very deep toned but rather cold and subdued, and is very apt to blacken by exposure to light and air. It is used both in oil and water. VIOLET CARMINE IS a decoction from the root of the “Anchusa tinctoria,” and is a rich bluish purple of much brilliancy. It is used both in oil and water, but blackens when exposed to light and air. MARS VIOLET is an oxide of iron, resembling Indian red in body, opacity and general properties, but is somewhat darker in color. It dries well in oil and is very permanent. MAUVE is an aniline color of a very rich and brilliant purple of great intensity, but not much permanency. It fades in a strong light and is used both in oil and water. LIGHT VIOLET is a lighter variety of the preceding, with the same properties, and is used as a water color only. MAGENTA is an aniline color of a very weak kind. It fades very rapidly. BLUE COLORS. 27 BLUE COLORS in general, — Blue is the third and last of the primary colors, and bears the same relation to shade that yellow bears to light. It is a retiring color, and is thrown back by all colors in greater or less degree. Its contrasting color is orange. Blue is cold and quiet, and communicates this property, more or less, to all colors it is compounded with. It is pleasant to the eye, and where delicate, quiet tones are needed, and in the deep dark shades, blue is of use. The number of blues is somewhat limited in comparison to the reds and yellows, but they are almost all of them good. GENUINE ULTRAMARINE is prepared from the “ la{)is lazuli, ” a precious stone found principally in China and Persia. It is the most costly, most permanent and most celebrated of all colors. Ciiemical analysis has shown that tlie C(doring matter of lapis lazuli consists essentially of silica, alumina, sulphur and soda, and that the color is probably due to sodium sulphide and sodium thiosuljMiate. Genuine ultramarine is prepared from the stone by a curious mechanical process, wliicli, when well executed, sepa- rates tlie blue very perfectly from all extraneous matter, and yields, first a deep and ricir product, then a paler one, and lastly a bluish grey, which is known as ultramarine ash. In color genuine ultramarine is a most beautiful blue, ranging from the utmost depth of shadow to the highest bril- liancy of liglit. It is transparent and eminently durable; it dries well and works easily in oil, and may be safely mixed with other colors. It does not wash well as a water color. ULTRAMARINE ASH is a preparation of the refuse of “lapis lazuli,’’ as described in the preceding. It is a blue grey of a warm tone, which washes in water much better than genuine ultramarine. It is perma- nent, and is used in oil also. BRILLIANT ULTRAMARINE is an artificial ultramarine, and like them all is composed of silicate of alumina and silicate of soda, with sulphide of sodium. 28 BLUE Colors. In color it ])resents the nearest approach to the genuine ultra- marine as well as in transparency, purity of tone and other general characteristics. It is permanent and works well in both oil and water. FRENCH ULTRAMARINE is a deep, rich artificial ultramarine, less vivid and transparent, but in other respects the same as the brilliant ultramarine. It is a generally useful color, both in oil and water. FRENCH BLUE is synonymous with French ultramarine. NEW BLUE is an artificial ultramarine holding an intermediate position between French blue and permanent blue. It is used both as an oil and water color. PERMANENT BLUE is an artificial ultramarine of a cobalt shade. In other respects it is like new blue, and is used in oil only. COBALT is obtained by calcining a mixture of alumina and basic phos- phate of cobalt. It is a beautiful, delicate, pure blue, approach- ing in brilliancy the finest ultramarine, but is not as transparent. It dries well in oil, washes better than ultramarine in water and compounds easily with all other colors, and is permanent. CERULEAN BLUE is a compound of the oxides of tin and cobalt. It is a light pleasing blue of a greenish grey color. It possesses but little depth or richness, and a certain chalkiness detracts from its transparency and militates against its use in water. It is in oil and as a night color that cerulean blue becomes of service. PRUSSIAN BLUE is pi oduced by the combination of prussic or hydrocvanic acid and iron. It is a deep and powerful blue, of vast body and considerable transparency. It possesses a soft velvety richness, and its deepest washes are so intense as to appear black. It dries and glazes well in oil, but is not a verv permanent color, although it will last a long time under favorable circumstances. It fades under the action of strong light but regains its color in BLUK COLORS. 29 the dark, and ultimately destroys chr<.>me yellow when mi.xed with it. CHINESE BI.UE is identical with tlie preceding. ANTWERP BLUE is a somewdiat lighter colored Prussian blue, and having^all the other qualities of that color but its extreme depth. It is less permanent, and is used both in oil and water. leitch’s blue is a mixture of cobalt and Prussian blue. When exposed to the light it gradually assumes the color of the paler but more per- manent cobalt. It is only used in water. INDIGO is made from the leaves of several plants, but principally the “ indigofera,” found in India, Africa and America. Indigo does not exist as sucli in the living ])lant, but in the form of a glucoside called “ indican,” which is colorless When tlie leaves are jilucked and macerated in water a process of fermentation sets in and the indican is decomposed, forming indigo and gluccjse. Indigo is not as bright as Prussian blue but is extremely pow- erful and transparent, and possesses great body and works well in oil and water. It is more permanent than Prussian blue, but in tint with white lead it is decidedly fugitive. INTENSE BLUE is a refined indigo. It works and washes admirably in water, and has the common properties of indigo but is much more durable, powerful, transparent and deep. SMALT is a double silicate of cobalt and potassium. In color it is a vivid and gorgeous violet blue, and is used as a water color only, but it soon fades. BLUE VERIUTER is a blue oxide of copper. It is a beautiful, light blue color, which is but little affected by light ; but time, damp and impure air turn it green and ultimately blacken it. This ensues even more rapidly in oil than in water. 3 ° GREEN COLORS. BREMEN 15LUE is syu(jnymous to the preceding. AZURE BLUE is an artificially prepared carbonate of copper. It is not per- manent, and eventually turns black. It is used as a water color only. GREEN COLORS in general. — Green is composed of the extreme primaries, yellow and blue. It occupies the middle station in the natural scale of colors and in relation to light and shade. It contrasts with red. In its tones, green is cool or warm, sedate or gay, either as it inclines to blue or yellow. Yet it is in its general effects cool, calm, temperate and refreshing; and having little power in reflecting light, is a retiring color and readily subdued by dis- tance. As a color individually, green is eminently beautiful and agreeable. The green colors in ordinary use are not very numerous ; but these can be supplemented bv mixtures of permanent blues and yellows. TERRE VERTE is an ochre of a bluish-green color, not very bright and with a grey cast. It is very durable but seems to have a tendency to darken in time It is semi-transparent and dries well in oil. It combines safety with all colors and is very useful as a glazing color. It is used both in oil and water. OLIVE GREEN is a brighter variety of terre verte. CHROME GREEN is a compound of chrome yellow with Prussian blue, usually made in thiee shades, viz , light, medium and dark. They are fine bright colors, but as chromate of lead has a chemical effect on Prussian blue, ultimately destroying it, the yare therefore unfit for artists’ use. They are used in oil only. COBALT GREEN is a mixture of the oxides of zinc and cobalt. It is a moderatel v bright green and is very permanent. It mixes well with all GREEN COLORS. 3* colors, but is sadlv deficient in body and power. It is used in oil only. ZINC GREEN is identical to cobalt green. PERMANENT GREEN is a compound of cobalt and chrome yellow. It is a pure thougli not very powerful green, and durable both in water and oil ; in the latter it, dries well. It is made in two shades — light and dark EMERALD GREEN is an aceto-arsenite of co[)per. It is a very vivid and bright green, being rather opaque and powerfully reflective of light, and is very permanent. It is not affected to any appreciable e.xtent by damp or impure air, and works well in water but witli difficulty in oil, in wliich it also dries badly. MALACHITE GREEN is a native carbonate of copper combined with a white earth, but it can also be artificially prepared with cobalt and Indian yellow. In both forms it withstands the action of light and air, but is blackened by damp and impure air. It is only used as an oil color, but it cannot be recommended as such. VERDIGRIS is a subacetate of copper. It is a bright green color, inclining to blue. It is the least permanent of the copper greens, soon fading as a water color or by the action of light, and becoming first white and eventually black by damp or foul air. In oil it is durable with respect to light and air, but moist and impure air changes its color. It dries rapidly, but is not on the whole a safe color to use. OXIDE OF CHROMirM is an imj)ure native chrome ochre, but is always prepared arti- ficially for artists’ use. It is a cold, sober sage green, deep toned, opaijue, and although dull, is agreeable to the eve. Its tints witli white are very delicate and pleasing. It is very dense, powerful and jiermanent, and mixes well with all colors. It is used both as an oil ami water color, but does not work well in the latter. 32 GREEN COLORS. TRANSPARENT OXIDE OF CHROMIUM is a compound of (jxyt^cn and chromium. It is a very pale, yel- low-greyish green of some depth, but which is not very pure or clear. It is permanent and mixes well with all colors, and is used in oil only. VIRIDIAN is a hydrated sesquioxide of chromium, containing a small quan- tity of water. It is a bluish green of rich transparency and great depth. It is very permanent and used both in oil and water, and mixes well with all colors. FRENCH VERONESE GREEN is synonymous with the preceding. EMERAUDE GREEN is identical with viridian. HOOKERS GREEN is a mixture of Prussian blue and gamboge, which two colors, having the same degree of stability, are perfectly innocuous to each other. There are two shades made, light and dark, and they are used in water only. They are more durable and trans- parent than the chrome greens. PRUSSIAN GREEN is like the preceding, a mixture of Prussian blue and gamboge, but with the Prussian blue predominating. It is a bluish green of the utmost depth and transparency, verging on black in its deepest washes. It is equally permanent to Hookers green, and used both as an oil and water color. BRONZE GREEN is synonymous with Prussian green. SAP GREEN is of vegetal origin, and is prepared from the juice of the berries of the “buckthorn,” the green leaves of the “ woad,” etc. It is of a dark color, extremely transparent, and is a fine natural yellowish green. Though much employed as a water color it is a very imperfect color, disposed to attract the moist ure of the atmosphere and to mildew. It has but little perma- nency, and is used in water only. BROWN COLORS. 33 VFRONKSF. (;REEN is a compound of silica, oxide of iron, magnesia, potash and water. In color it is a bluish green, with a grey cast. It is semi-transparent, dries well in oil, and is useful for glazing. It is permanent and mixes well with all other colors. Slrong light and impure air have no effect upon it, though it has a ten- dency t(j darken in time. ULTRAMARINE GREEN is an unfinished artificial ultranTarine blue. Artificial ultrama- rine blue is made by calcining ultramarine green at a very low temperature, and slowly adding powdered sulphur until the proper shade of blue is obtained. Ultramarine green is of a rich bluish green color, very transjiarent and equally permanent to ultramarine blue. It is used as an oil color onl)r. (;reen lake is a mixture of Prussian blue and yellow lake. It is fairly per- manent and used both in oil and water. OLIVE LAKE is a mixture of a deep olive color. It is a rich, beautiful color, but is not very permanent. It is used both as an oil and ivater color. ZINOBER GREEN is a mixture of chrome yellow and Prussian blue, and is made in three shades, viz., light, medium or dark, which latter is very deep and bluish They are identical with the chrome greens except in tone, and the same applies to both in regard to their permanency. 1 hey are used both in oil and water. HKOWN COLORS in general.— Hrow'n in its widest conception has been used to comjirehend every denomination of dark, broken color, an I in a more limited sense is the rather indefinite appellation of a very extensive class of colors of warm or tawny shade. There are browns of every shade except blue, as such a predominance of a cold color would immediately carry the compound into grey llrown properly denotes a warm, broken color, of which yellow is the principal constituent. It is a sober, sedate color, grave and solemn but not dismal, and contributes to the ex- .u UROWN COLORS. prcssion of strcngtii, stability and solidity and in the minor de- gree to the serious and sad. Brown cohjrs are very numerous, and are almost without exception characterized by great durability. RAW UMIiKR is a natural ochre abounding with oxide of manganese, which comes principally from Cyprus and is called d iirkey umber. It is of a fine brownish-citrine color, semi-opaque, with all tlie properties of a good ochre, is perfectly permanent in both oil and water, and is one of the best drying colors It mixes well with all colors, and has a tendency to darken with age. BURNT Umbkr is prepared by calcining raw umber. It is much deeper and richer than the latter. It works and washes well in water, dries rapidly in oil, and is perfectly durable in either. It mixes well with all cohjrs. VANDYKE BROWN is a species of peat or bog earth, of a fine, deep, semi-trans- parent brown color. It dries tardily in oil, but is durable in both oil and water. CASSEL EARTH is an ochrous color similar to the preceding. It is used as an oil color only. COLOGNE EARTH is prepared by calcining Vandyke brown. It is similar in its general prcjperties to the latter, but much deeper in color, and is used both in oil and water. CALEDONIAN BROWN is a permanent native pigment, only used in oil painting. It is a magnificent orange, russet-brown, of considerable trans parency, and is marked by great richness and depth. CAPPAH BROWN is a species of bog earth, containing jicroxide of manganese, which is found at Cappah, near Cork. It varies considerably in tone, but always possesses much richness and transparency. It is used in oil only, and dries rapidly. liROWN COLORS. 35 VhkONA imOWN , is obtained by calcining Veronese green. It is a very service- able citrine-brown and is very permanent. Is used as an oil color only, and compounds well with all other colors. I5K0WN PINK is generally prepared from Avignon berries (Rhamnus infec- torius or Rhamnus amygdalinus), but is sometimes made also from quercitron bark. The latter is fairly permanent, while the kind produced from the berries is fugacious. It is used both in oil and water, drying badly in the former, however. It is of a rich trarjsparent color, rarely of a true brown, but in general of an orange broken by green, and is of great depth and works well. BURNT TERRE VERTE is, as the name implies, a calcined terre verte. In color it is of a deep, sometimes reddish, sometimes greenisli-brown color, which is very useful but of not much body, while it j)ossesses much warmth and transparency. It is used in oil only, but dries slowly and is permanent. BONE BROWN is obtained by charring ivory chips or dust until it becomes of a brown color. It is a very deep, ricli brown, whicli although much esteemed is not very eligible. It is not very permanent and is a bad drier. It is used in oil only. PRUSSIAN BROWN is prepared by calcining Prussian blue. It is an orange-brown of the nature and properties of burnt sienna, but not so rich nor powerful. It is oidy used in oil and mixes well with all colors. ROMAN BRt)WN is a mixture of Cologne earth and lake. It is a very rich, deep, semi-transparent red-brown. It is fairly permanent and is used only in oil. BROWN MADDER is [)repared from the madder root. It is of a p\ire, rich and transparent russ<*t brown, of great depth and intensity. It is very permanent, neither liglit nor impure air aflecting it, and it C(nnpreceding but more reddisli in tone. It is very pure, transparent and permanent, and is used as an oil color only. MARS BROWN is either a natural or an artificial ochre, containing iron, or iron and manganese In color it is similar to raw umber but more orange in tone. It is of much richness and absolute perma- nence, and is used in oil only, ASPHALTUM is a variety of pitch which rises to the surface of the Dead Sea. concretes by the action of the sun and atmosphere, and floating to the shore is gathered. It is also artificially prepared by dis- tilling resinous and bituminous matter obtained in the manu- facture of coal gas. In color it is of a rich brown, perfectly transparent and of powerful body. It has a strong tendency to darken, and changes in temperature and atmosphere cause it to contract and crack. It cannot, therefore, be recommended to the artist as an oil color. In water it is fairly permanent. BITUMEN is asphaltum ground in drying oil, as asphaltum is a very slow drier. MUMMY is a bituminous substance combined with animal remains, brought from the catacombs of Egypt, where liquid bitumen was used three thousand years ago for embalming, in which capacity it combined by a slow process or chemical change, during so many ages, with substances which give it a more solid and lasting texture than simple asphaltum. It resembles asphaltum in its general properties and is often substituted for it as being less liable to contract or crack. It cannot, however, be well recommended, and is used in oil only. BISTRE is a preparation from the soot of wood fires, extracted by n watery so'lution. It is a powerful citrine brown, with mucli clearness. It washes well in water, in which it is much used, r.RKY COl.ORS. 37 though it is iilso einphjycd in oil. It has, however, a tendenc} to attract moisture from the atmosphere, and is therefore liable to cause mildew. In oil it is a slow-drying color. It is very permanent. SEPIA is the product of the ink bag of the cuttle fish, ‘’Sepia officin- alis,” It is a very powerful, dusky brown, of fine texture, \er\ clear and transparent and permanent. It works admirably in water and combines cordially with other colors. It is but little used as an oil color, as it dries very slowly. WARM SEPIA is like the preceding, but warmed by admixture with browns of a red tone. It is used in water only. ROMAN SEPIA is a similar preparation, but with a yellow tendency. GREY COLORS in general.— Grevs are the natural correlatives of the browns. (Jrey is the color of space and has the property of diffusing breadth in a picture, while at the same time it furnishes good connecting tints for harmonizing the general coloring. 1 he greys are therefore among the most essential colors, which, however, must not be suffered injudiciously to predominate in cases where the subject or sentiment does not reipiire it. Greys are sober, modest colors contributing to the expression of gloom, sadness and fear, bordering in these respects upon the powers of black. There is hardly any necessity for grey colors, as they are so readily mixed, and there are therefore but few, and these are water colors. CHARCOAL GREY is, as its name infers, a ground charcoal. It is a cool grey and has the effect of a charcoal drawing in water color. In its deepest shades it is black. It washes with ease and is very permanent. NEUTRAL TINT is a compound shadow color of a cool character. It is perma- nent and works well in water. ni.ACK COl.OkS. 3-^ pavnk’s grky rescnil)lcs the {)rcceding-, but differs from it in bcin_ir more lilac in tone. It is a very useful color in water. Both neutral tint .ind 1 ayne s grey are to be had in oil and are used to some e.xtent. 1 hey, however, soon lose their character in the same, amd c:annot therefore be recommended. BLACK COLORS in general. Black is the absence of light — the oppcisite extreme of white. To be perfect it must be neutral to colors individually, and absolutely transparent or destitute of reflec- tion in regard to light. Its use in painting being to represent shade or depth, of which it is the element in a painting and ip colors, as white is of light. All other colors are by admixture with black lowered in tone. Pure black is seldom used, and a painting which in its general tone is rather dark, can be light- ened b) a judicious use of a little black. To concentrate depth, ^vhite and black are often placed beside one another 1 here are but few black colors, which are all permanent, both in oil and water, and are all derived from carbonaceous substances. IVORY IJLACK IS obtained by charring ivory to blackness by strong heat in closed retorts. It is the richest and most transparent of all blacks, and is perfectly permanent and eligible, both in oil and water. It is a full, silky black, which iias a tendency to brown in its pale washes. BONE BLACK IS similar to the preceding, but bone is substituted for ivory and it is more brownish in color. It is used in oil only. BLUE BLACK is prepared by burning grapevine twigs to charcoal. It is a bluish black of weak body, very clear and velvety. It has a preservative influence on white lead, and is very permanent. It is used both in oil and water. LAMP BLACK is a smoke black, being the soot of resinous woods, obtained in the manufacture of tar and tur{)entine. It is a pure carbona- MlXtl) TINT‘S. 39 ccmis substance of a fine texture, intensely black and perfectly permanent. It is not so intense nor transparent as ivory black, but less brown in its pale washes. It has a very strong body that covers readily every underlay of color, and it dries slowly in oil. CORK liLACK is a soft black obtained by charring cork. It is a blue but not velvety black, and should not be used where intensity is leipiired. It is an oil color only. RARER R.I.ACK is a greyish blue-black of fine tone, obtained by charring linen pajier. It is very similar to blue black and is used in oil onl). m.ACK READ is a species of plumbago or graphite, and contains traces of iron, silica and alumina It has a pure greyish lone and dries rapidly. It is not much used, and in oil only. MIXKl) TINTS. The following table of mixed tiuis has been very carefully prepared. Variations may be given according to the (piantity of each color used. Those printed in italics are to be but spar- ingly used. flic names given to these tints are such as are familiar to everybody. The mixtures apply about equally well to water as to oil. 1 Tea Rose Yellow 2 Ivory Yellow :t { ’berry Yellow . 4 Straw Yellow . r} Reed Yellow (» (^'iiiary Yellow 7 .lotKinil Yellow H Lemon Yellow . (’itrou Yellow I 1 Kru Yellow . . II Holland Yellow 12 Apineot Yellow 13 Wheat Yellow . 14 (’om Yellow 1.'". ( )ld (lold . . . 10 {’ream . . . . White, Lemon Chrome. White, Lemon Chrome, Hair Sinnia. White, Chrome Yellow, White, Chrome Yellow, Yrlloir Orhrr. White, Chrome Yellow. Viraliau. White. Li'inon Yellow. White. Lemon Yellow, Traiix. (iohl Ochre. Whit<>, Cadmium, pale. White, Citron Yellow. White, Cadmium Yellow, halian Vclloir. White. Yellow Ochre, No/>/c.<< Yrlloir. White, Yellow Ochre. White. Yellow Ochre, Hnl Xitjilrs Yrlloir. White. Trans. Oold Ochre, Imliaii Yrlloir. White. Trans. Oold Ochre, ({amhiHjc. White, Naples Yellow. 40 MIXF.l) TINTS 17 Huff 18 Terra Cotta Yellow 10 Corn Straw Yellow . 20 Orange 21 Chamois Yellow . . 22 Palm Fan Yellow 2o Rattan Yellow . . 24 Bamhoo Yellow . 25 Roan Yellow . . . 20 Salmon 27 Nastnrtioa Orange . 28 Sunset Orange . . . 20 Flamingo . . . . 30 Pompeian Orange . . 31 Pale Flesh . . . . 32 Light Flesh . . . . 33 Dark Flesh . . . . 34 Peach 35 Hazelnut 30 Japan Rose . . . . 37 Pink 38 Rose Pompadour . . 30 Wild Rose . , . . 40 Rose 41 Geranium Idnk , . 42 Claret 43 l^ompeian Red . . . 44 Rose Wood . . . . 45 Deep Cherry . . . 40 Geranium Rose . . 47 Strawberry , . . . 4H Blood 49 Jack Rose . . . . 50 Ruby 51 Grey Lilac . . . . 52 Red Lilac . . . . 53 Amethyst . . . . 54 Amaranth . . . . 55 Plum 50 Light Azure Blue . . 57 Azure Blue . . . . 58 Sky Blue 59 Faded Blue . . . . GO Italian Sky Blr.c . . G1 Light Sky Blue C2 Pearl Blue . . . . 63 Smoke Blue . . . . White, Najdes Yellow, Yelloir Ochre. White, Naples Yellow, Vermilion. White, Cadmium Yellow. White, Cadmium Orange. White, Kings Yellow, Indian Yellow. White, Kings Y^ellow, Raw Umber. White, Raw Umber, Trans. Gold Ochre. White, Italian Pink, Raw Umber. White, Italian Pink, Yellow Ochre, Light Red. White, Vermilion, Indian Y"ellow. White, Fr. Vermilion, Gamboge. White, Fr. Vermilion, Cadmium Orange. White, Cadmium Orange, Geranium Lake. AVhite, Fr. Vermilion, Perskui Orange. White, Light Red. White, Light Red, Y’ellow Ochre, White, Brun Rouge, Terre Verte. White, Brun Rouge, Indian Yellow. White, Brun Rouge, Raw Umber. White, Madder Lake, Gamboge. White, Madder Lake. White, Crimson Lake. White, Crimson Lake, Madder Lake. White, Madder Lake, Geranium Lake. White, Geraniirm Lake. White, Carmine. White, Carmine, Vermilion. White, Carmine, Brown Madder. Carmine, Brown Madder. Geranium Lake, Madder Lake. Geranium Lake, Crimson Lake. Geranium Lake, Madder Lake, Carmine. Geranium Lake, Bt. Carmine. Carmine, Geranium Lake. White, Purple Lake, Ivory Black. White, Purple Lake, Geranium Lake. White, Purple Lake, Crimson Lake. White, Purple Lake, Madder Lake. White, Purple Lake, Mauve. White, Antwerp Blue White, Antwerp Blue, Permanent Blue. White, Prussian Blue. White, Prussian Blue, Indigo. White, Cobalt, Viridian. White, New Bhie. White, New Blue, Blue Black. White, New Blue, Blue Black, Indigo. MlXKl) TINTS, 41 04 MiKiiouetU* . . . . 0'> Steel Blue . . . 00 Cornflower Blue . 07 Princess Blue 05 Rt)yjil Blue . . . 0!) Old Blue . . 70 Navy Blue . . . 71 Light Cerulean Blu 72 Cerulean Blue 73 Cold Blue . . . 74 Ttmjuoise Blue . 75 Bottle Green Blue 70 Pale Lavender 77 Lavender . . . 7S Wisteria , . 70 Forget Me-Not SO Victoria Blue , . K1 Opal 82 Lt. Tunpioise (4reei S3 Tuniuoise Green , s4 Water Green . . 85 Liglit Blue Green SO Pale Green . . . 87 Duck p]gg Green . SS Grey Green . . 80 Myrtle Green . . 00 Bhie Green . . , 01 Pea Green , . . 02 Sunlight (4reen 04 Foliage Green . , 04 Grass Gret>n . . 0.) Shadow (4reen 00 Light Apple (rreeu 07 Pistaeho (Treen . 05 Panuiuet Green . 0!> Ai)ple Green . . 1. ntron 10. F>r>r 1 Yellow. 1 Yellow. 1 Yellow. Yellow. 1 1 . TT«fllanhii Yi'llnw. i 8f>. Pule Green I 8 7. Duck Ekk I 8 8. Grey I Green. I Gn'cn. 89. Myrtle f (irecn, I 90. HlueGnH*n. { • , ' r--. 91. Pen Green. I 92. Sunliffht I 911. Foliatfe I Green. 1 Green. {) I. Grass Grt«en. 9.5. Shadow Green. 90. lii^ht I 97. Pistiiehe I 98. Paraqiiet I 99. Apple 1 GO. Emerald Ap|»le Gre«‘n. I Green. I Green. I On‘en. Green. 101. Nile Green. n: . .ro* ^ 'rt' - ‘V ‘ ' ‘ - r.' . I0‘2. Di8taiu« I I Oil. Copj)er I lOl. Maple Green. I Green. I Gri'cn. 10.5. Hottle Green. I OO. I.iehen 107. Din'k 108. IDinter' (IrtH'H Green. Gn'eii. 8 109. lA>li8ter I 1 1 O. Hnssian Green. I Green. III. Uitht |l 12. Id Grey Gn'«-n. J niin> ( nreiiieiil I I II. Ilremen III I. Ten Gn'eii.i 11.5. Snjre Gn'en. | nine tJrtM ii. | 1 Green. 1 1 6. I*hU‘ L ilac l 117. Grey 1 Lilac. 1 18. LiKht 1 Lavenfler. { 119. De<“p lai vender. 120. Blue Lavender r t A »> 1 1 1 ■ ' ■ -- ' 1 " ’■ * j -. / . 121. Pansy [l 22. Iris Violet Violet. 1 124. Pansy Purple. 1 125. Royal [ Purple V A 1 1<». Terra Cotta KchI. 14 8. Walnut. 1 149. ('hocola 50. Snuff t I r^: 1 1 1 161. Silver Grey. 1 52. Pearl Grey. | 1 5.3. Dove Grey. 154. Lavender Grey. 155. NileGreen Grey 1 * r 1 50. LiKht Skyj Grey. j 157. Sky Grey. 158. Blue 0 rey. 1 159. Violet 1 Grey. 100. Lilac G rey. s w-v Drab. 1 102. French 163. Brown 1 64. Green I 1 Drab. Drnb. 1 Brown Drab. | i 1 00. I.lKbt 107. Drnb. | 108. Green 170. Ix>a(l Grey. COLOR INDEX. PA(i E Antimony Yellow r4 I Antwerp Hluc 29 j Asplialtum 36 A u reel in 14 Aurora Yellow 15 Azure Blue 30 Bistre 36 Bitumen 36 Black Lead 39 • Blue Black 38 Blue Verditer 29 Bone Black 38 Bone Brown 35 Bremen Blue 30 Brilliant Ultramarine 27 Brilliant Yellow ... 14 Bronze Green 32 Brown Madder 35 Brown Ochre 17 Brown Pink 35 Briln Rouge 24 Burnt Carmine 26 Burnt Lake 26 Burnt Roman Ochre 24 Burnt Sienna 19 Burnt Terre Verte 35 Burnt Umber 34 Cadmium 14 Cadmium Orange 19 Caledonian Brown 34 Cappah Brown 34 Capucine Lake 23 Capucinc Madder 22 Carmine 22 Carmine Lake 23 ('arminc No. 2 23 ('asscl Earth 34 Cerulean Blue 28 Charcoal Grey 37 China White 14 Chinese Blue 29 Chinese V''ermilion 21 Chinese W’hUe 13 PACE Chrome Green 3> Chrome Orange 20 Chrome Orange, deep 20 Chrome Yellow 15 Citron Yellow ... 15 Cobalt 23 Cobalt Green 30 Cobalt Yell ow 14 Cologne Earth 34 Constant White 13 Cork Black 39 Cremnitz White 13 Crimson Lake 23 Dragons Blood 25 Dutch F^ink 17 Emerald Green 31 Emeraude Green . . 32 Extract of Gamboge 18 Extract of Vermilion 21 Field’s Orange Vermilion 19 Flake White 13 Flesh Ochre 24 French Blue 28 French Ultramarine 28 French Vermilion 21 French Veronese Green 32 Gallstone 18 Gamboge 18 Gaude Lake 17 Genuine Ultramarine 27 Geranium Lake 25 Green Lake 33 Hookers Green 32 Indian Lake . . 23 Indian Purple 26 Indian Red 24 Indian Yellow • 18 Indigo 29 Intense Blue 29 Italian Pink 17 Ivory Black . . 38 Japan Yellow 18 Jaune Brilliant 14 t COLOR INDEX. Kings Yellow Lamp Black Leitchs Blue PAGE Lemon Yellow 15 Light Red Light Violet Madder Carmine .... Madder Lake Magenta Malachite Green . . . Mars Brown Mars Orange Mars Red Mars Violet ... Mars Yellow . . . Massicot Mauve Mummy Naples Yellow. . . . Neutral Orange Neutral Tint New Blue ... Olive Green 00 Olive Lake Orange Vermilion. . . . Orient Yellow Orpiment Oxford Ochre. Oxide of Chromium Paper Black Paynes Grey Perfect Yellow Permanent Blue ... . Permanent Green Persian Orange Pink Madder Prussian Blue , . Prussian Brown Prussian Green ^2 Pure Scarlet 23 Purple Lake 26 Purple Madder. 25 Raw Sienna i5 I’AOE Raw Umber 34 Red Chrome 24 Rembrandts Madder 22 Roberts Lake 22 Roman Brown 35 Roman Ochre ij Roman Sepia 37 Rose Carthame 25 Rose Dore (oil color) 22 Rose Dore (water color) 25 Rose Geranium 25 Rose Lake 23 Rose Madder 22 Rubens Madder 36 Sap Green Scarlet Lake 23 Scarlet Vermilion 21 Sepia 3^ Silver White 13 Smalt 29 Strontian Yellow 16 Terre Verte 30 Transp. Gold Ochre 17 Transp. Oxide of Chromium ... 32 Ultramarine Ash 27 Ultramarine Green 33 \'andyke Brown 34 Venetian Red 24 Verdigris 31 Vermilion 20 Verona Brown 35 Veronese Green 33 Violet Carmine 26 Viridian 32 Warm Sepia 37 Yellow Lake 17 Yellow Madder 17 Yellow Ochre 15 Yellow Ultramarine 16 Zinc Green 31 Zinc White 13 Zinc Yellow ig Zinober Green 33 (1) Henry Leidel’s Finely Prepared Artists' Oil Colors IN COLLAPSIBLE TUBES. \Vli«‘ii or«l(‘rliiu, llio iiiiiiilter of ilie color iiccc iiicniioiie«l. (IN FOLK IN(’» Turns.) 1. Aiitwer]) Blue. 2. AHi)haltnm. H. Bistre. 4. Bitumen. 5. Blue Black. <) Bone Black. 7. Bone Brown. H. Brilliant Yellow. }>. Brown (krlire. 10. Brown Pink. 11. Brun Rou^e. 12. Burnt Roman Ochre. i:{. Burnt Sienna. 14. Burnt Terre Verte. IT). Burnt UmlH*r. 1(5. CMedonian Brown 17. Cai>i)ah Brown. IH. (,'assel Earth. 10. ( ’hinese Blue. 20. ( 'hrome Green, HkIR- 21. Chrome Green, medium. 22. CHirome (4reen, deep. 2:i. C’hrome Yellow, li^ht. 24. Chrome Yellow, medium. 25. Chrome Yellow, deep. 2(5. C’hrome ( )range. 27. Chrome OrauKc, deej). 2H. ( 'olo^ie Earth. 20. (!oi)al Mefjrilp. ;{(). Cork Black. 21. Cremuitz White. 22. Emerjild Green. 22. Flake White. 24. F’lesh ( )clm‘. 25. Greeji Naples Yellow. 2(5. Indian R«‘d. 27. Indigo. 2H. Italian Ihnk. (IN TWO .\NI> A II 7(5. (’armine Lake. 77. Crimson Lake. 7H. GamlM))fe. 70. Geranium Lake. No. 2. HO Indian Lake. HI. Mauve. H2. Olive Lake. 20. Ivory Black. 40. Kiiif^'s Yellow. 41 Lain]) Black. 42. Light Red. 42. M(*gil]). 44. Mummy. 45. Nai>les Yellow, light. 4(5. Naples Yellow, medium. 47. Najdes Yellow, deej). 48. New Blue. 40. Olive Gn*en. 50. PaiMU’ Bhwk. 51. Prussian Blue. 52. Prussian Brown. 52. Prussian Green. 54. Rjiw Sienna. 55. Raw Uml)er. 5(5. Red Najdes Yellow. 57. Ronmn Brown. 58. Roman Ochre. 50. Silver White. (50. Sugar (*f Lead. (51. Terre Verte. (52. Transj)arent Gold Oclire. (52. Ultramarine Green, light. (54. Ultramarine Green, deep. (55. Vandyke Brown. (5(5. Venetian Red. (57. Verona Brown. (5S. Yellow Lake. (50. Yellow Ochre. 70. Yellow Ultramarine. 71. Zinc White. 72. Zinc Yellow. 72. Zinoher (rn^en light. 74. ZinolM'r (4reen. medium 75. Zinol>er Green, deep. AI,F INCH TUOKS.) H2. Permanent Blue. S4. PermaiuMit Green. No. 1. 85. Permanent Green. No. 2. S(5. Purple Lake. 87. Scarlet Lake. 88. Verdigris. H5». Veronese Gre«*n. Henry Leidel's Finely Prepared Artists’ Oil Colors Contimu (1. IN COLLAPSIBLE TUBES. (IN DOUBLE TUBES.) 81 1 ). Crenmitz White. 38i). Flake White. 51(1), Silver White. I'i <'K>TS i<;acii. (IN HALF-POUND TUBES 81 0. Crenmitz White. 88o Flake White Silver White. 2 1 < i:\TS KA< II. (all the: followino colors are in two and a half inch tubes.) 90. Blue Verditer. 97. French Vermilion. 91. Brown Madder. 98. Geranium Lake (extra). 92. Capucine Lake. 99. Green Lake. 98 Carmine No. 2. 100. Japan Yellow 94. Cerulean Blue. i 100.1. Persian Orange. 95. C'hinese Vermilion 1 101. Sepia. 96. Citron Yellow. 1 102. Vermilion. 12 C'FNTS i:a< II. 103. Colialt Blue. i 115. Mars Yellow. 104 Emeraude Green. 116. Orange Vermilion. 105. Extract of Vermilion. ' 117. Oxide of Chromium. 106. French Ultramarine. 118. Oxide of Chromium, Trans. 107. Indian Yellow. 119. Pink Madder. 108. Lemon Yellow. 120. Remhrandt’s Madder, 109. Lemon Yellow, pale. 121. Rose Dore. IIO. Madder Lake. 122. Rose Madder. 111. Malachite Green. 128. Ruhens' Madder. 112 . Mars Brown. 124. Scarlet Vermilion 113. Mars Red. 125. Strontian Yellow. 114. Mars Violet. 126. Viridian. 20 C'KNTS K \< II • 127. Aurora Yellow. 135. Capu(“ine Madder. 128. Aureolin. 186. Cannine. 129. Brilliant Ultramarine. 187. INIadder Carmine. 180. Burnt Carmine. 188. Mars Orange. 181. Cadmium Lemon. 189. Purple Madder. 132. Cadmium Pale. 140. Violet Carmine. 183. Cadmium Yellow. 141. Yellow Madder. i:l4. Cadmium Orange. 2i> <'K1NTS I<:A<'II. ( 8 ) Henry Leidel’s Oils, Varnishes and Mediums. No. I. o k 4. 4 . Linsocd Oil, IdeacluMl cacli, !j:0 lo l*<>l>I'y < dl, ])urifi(‘(l Nut Oil Pale Drying? Oil Siccative frive a >;loss to same Can also Ih> used to Kliize Phuiues, etc. . . « 14. Autumn Leaf Varnish » 15 Bleached Shellac Varni.sh » Id. TH(juid iH'cora, to he used with Oil Colors for ])aintinfj: on Silk. Satin, or any kind of fabric, to pr(>v»‘nt the Oil from spreading. " 17. Milk of Wax ; a few dro])sof this jtrejtarafion used while i)aintin>; with Oil Colors, (h'adens the gloss, hut retains tin* full bril- liancy of tint ; of great use in church decoration, etc., where there are contlicting lights. , . . IM. Klxmy Licpiid, to ehonize any material • 111. (fold Paint Licpiid, to mix with any color •.JO. Japan (fold Size » 15 1*1 NT ♦o UO It 10 15 25 HO II 10 15 25 — It 10 15 25 HO II 10 15 25 HO - 10 15 25 HO II H l‘J 20 — " H. Fn*nch Retouching Varnish » Whiti* Picturt' (’o])al Varnish. . . -- — 20 — 1 ‘20 » 10. 15 — — 1 35 -'ll White Daniar Varnish « 15 — — 1 35 » 12 . i;{. Picturi* Mastic Vaniish « AmlH*r Varnish, to he mix(*d with 25 — — — 4 II II « 2 65 // 13 50 (16) Henry Leidel's German Twilled FIRST QUALITY LINEN. 27 inches wide per yard, |1 00 per roll, $5 75 " " II 1 20 ./ 6 75 " " II 1 50 // 8 00 43 ‘I II 1 80 // 10 50 ® l^irst Qiuility (Jeruian Cunvus is uianiiliK'tur^d in (Tcrmuny, on lx*st Knglisn Ijinou, cspocially lor him, und is wurnintod to bo o(iuul to the best iiiinort(.*d Canvas. * (17) Best Fi’ench Ordinary. 41 inches vride per yard. |! 15 per roll. 112 00 3H II II // 2 25 // 23 50 (18) Best French Ordinary, Fine. 41 inches Yude per yard. |1 60 per roll, |16 70 ^3 II II .. 3 15 /- 32 90 (19) Best French Demy Fine. 41 inches wide 82 II II per yard, $2 30 II 4 50 per roll, |24 00 II 47 00 (20) Best French Fine. 41 inches wide per yard. 13 60 per roll. $37 60 ‘"^3 II II /, 7 10 I, 74 -.0 (21) Best French Roman, Fine. 41 inches wnde per yard, |3 60 per roll, |37 C-O ^3 II II // 7 10 „ 74 2u The Freiicli Canvas contains II j’ards in tiie roll. (76) Henry Leidel’s Extra Fine Artists’ Bristle Brushes. Nos (5 n ! 3 I 0 THICK HAIR. KOl'Nl) AN1> FLAT. POUSHKI) CF.DAR H.\NI)LKS. No. 00 each, 04 » 0 . " 4 « 1 » 0 II 3 » () No 3 each, sfo 0f< II 4 » « 5 » Ih II . » Ih Assorted dozen, Nos. 1 to 0 sfo 00 Extra Large Sizes. ItOl'NI). FL No. 14.. II 10 .. II IH.. II 20 .. // 24. II 20 each, ifo 13 14 10 IH 20 '4 inch 7 1 1^8 1'4 1"b 1*2 \T. . each, ifO 13 « 14 » 10 » IH » 20 M 22 24 ( 77 ) Henry Leidel’s Extra Fine Bright’s Bristle Brushes. Nos. 6 No. 00 *’4 I, 0 4 // 1 " <1 „ •> 0 THIN HAIR. Fli.VT. POLISHKI) CF.DAR HANDLKS. No. 3 H 4 .■> « 0 .each, ^ OS • 8 » 10 10 Assorted dozen. Nos. 1 to 0 . . |0 00 Extra Large Sizes. No 7. 'h inch en<’h.!f0 14 « H. I - " 10 No. 10. 1^4 inch.. . each. |0 20 II 11. 1 • » 0 , 1 18 12. U 2 o > 24 ( 83 ) Henry LeidePs Extra Fine Red Sable Brushes. Pure Stock, Full Sizes. No. 1 each, |0 l(j " ^ » 18 " !> « 20 "10 ,/ 22 "11 /, 24 "12 // 26 Extra Large Sizes. No- each, .fO 35 » 14 -/ 45 " !■'> " 55 No. 16 each, .$0 75 " ly « 95 " 20 „ 1 15 Henry LeideTs Extra Fine Brig-ht’s Red Sable Brushes. Pure Stock. Full Sizes, 2 3 THIN HAIR « Z. No. 1. . . each, fO 12 » 14 " 17 » 20 " 25 " 3. « 4 « 5. 0 7 8 9 POLISHED CEI).\R HANDLES. No. 6 each, " 7 „ " 8 „ " 0 H Extra Large Sizes. No. 10. ^5^ inch wide. . each, |0 60 12. % « " .. // 85 " 14. ^4 " " . . » 1 10 No. 16. 5'^ inch -wnde. .each, « 18 . ^ II II . I, " 20 . % » II .. II .|0 30 35 ' 40 45 |1 50 2 00 2 75