Yellow.—Aureolin, cadmium yellow, lemon yellow, Naples yellow, Mars yellow, raw sienna, yellow ochre, Roman ochre, transparent gold ochre, brown ochre, Indian yellow, Oxford ochre.
Green.—Oxide of chromium, transparent oxide of chromium, viridian, emerald green, malachite green, verdigris, terre verte, cobalt green, chrome green.
Blue.—Genuine ultramarine, artificial ultramarine, new blue, permanent blue, cobalt blue, cerulean blue, smalt.
Purple.—Purple madder, Mars violet.
Brown.—Bone brown, bistre, Prussian brown, burnt umber, Vienna brown, Vandyke brown, Cologne earth, asphaltum, Cassel earth, manganese brown.
Citrine.—Raw umber, Mars brown.
Blacks.—Ivory black, lamp black, blue black, charcoal black, Cork black, Indian ink, black lead, drop black, plumbago.
BRUSHES.
We think it well to include here some information concerning brushes, but may first give a brief description of the way in which they are made, taking the firm of G. B. Kent & Sons, Ltd., as an example, as the author had the pleasure of going over their factory some time since. The following is his account written for “The Decorators’ Magazine”:—
A superficial observer may be inclined to think there is no particular advantage to the painter and decorator in possessing a knowledge as to how the tools he uses are made. Yet such a knowledge may help him considerably in judging as to the quality of those tools, and it will be at once acknowledged that an ability to discriminate in this respect is of considerable value. For brushes vary greatly in quality, far more so, perhaps, than our readers may imagine possible. Everyone knows that there are good brushes that cost more than a trifle, and rubbishy goods, chiefly of foreign make, that can be bought for, perhaps, half the amount. Probably there is not a reader who does not fully understand that it is far better in the end to buy the best quality brushes, that is, that it is cheaper to pay a higher price, because the work with such brushes can be done quicker and better than it can by the inferior ones, and also because the superior quality lasts much longer. Those things are well understood among most painters, and even if some of them will use cheap stainers and lose money in consequence, they have, at least, learned the lesson of the necessity of using only best quality tools.