FOOTNOTES:
[10] If a dark grey tint be mixed upon a white slab it will appear dark in contrast with the white, but if a small portion of this same grey is applied to black paper it will appear almost white.
[11] An equivalent of blue is 8, of red 5, of yellow 3.
[12] Real ultramarine is sold at £8 per ounce. The best imitation, or German ultramarine, is procurable at any oil-shop at about 3s. to 4s. per pound. The best carmine should be procurable at 6s. per ounce, but artists' colourmen often charge £1 1s., owing to the small demand for this pigment. The best chrome yellow (chrome yellow is kept in many shades) is about 1s. 6d. per pound.
[13] Some of these colours are not of a permanent character and could not be used in work intended to be lasting. I use them for patterns for our manufactures, where when the drawing is once copied in a fabric it is destroyed. Some of the brightest colours are unfortunately the most fleeting.
[14] Of all mediums in which colours can be mixed, paraffine is the safest; it is without chemical affinities, and is therefore well calculated to preserve pigments in their original condition.
[15] Cobalt, raw umber, and white make a magnificent grey, both in oil-colours, in tempera (powder-colours mixed with gum-water), and in distemper (powder-colours mixed with size).
[16] This museum is open free to the public.
[17] These will only be seen in very first-class shops.
[18] It may not be generally known, but nearly all our large manufacturing towns have, in connection with the Chamber of Commerce, a collection of Indian fabrics, filling several large volumes, which were prepared, at the expense of Government, under the superintendence of Dr. Forbes Watson, and which were given to the various towns on the condition that they be accessible to all persons who are trustworthy. Although these collections do not embrace the costly decorated fabrics, yet much can be learned from them, and the combinations of colour are always harmonious. A much larger collection is now in course of formation.
[19] The South Kensington Museum has a very interesting collection of art-works from China and Japan; but the latter are chiefly lent. It is a strange thing that the perfect works of the East are so poorly illustrated in this national collection, while costly, yea, very costly works of inferior character, illustrative of Renaissance art, swarm as thickly as flies in August. This can only be accounted for by the fact that the heads of the institution have a feeling for pictorial rather than decorative art, and the Renaissance ornament is that which has most of the pictorial element. To me, the style appears to owe its very weakness to this fact, for decorative art should be wholly ideal. Pictorial art is of necessity more or less imitative.
[20] Not the so-called colour or "chameleon" top sold in the toy-shops, but the more scientific toy procurable of opticians, together with the perforated discs of Mr. John Graham, M.R.C.S., of Tunbridge, Kent.