Purple grey.—Black and white and little cobalt.
Slate grey.—Black and white and little crimson lake, black and white and Indian red and cobalt.
Silvery grey.—Black and white and rose madder.
Clear warm neutrals for shading.—Orange vermilion and cobalt in various proportions. Various proportions of colors may be tried, particularly for the greys, neutrals, and quiet compounds, and the most pleasing and suitable should be carefully noted for use.
Scientific formulas are not to be condemned, but in the present state of the science of color, it is rash to say what is, and what is not right, by law. In delicate harmonies, considerable license must be allowed to what is called taste.
Whatever the numerical formulas may do in preventing us from utterly disgusting ourselves, excellence in coloring can only be attained by careful study of beautiful examples.
Reynolds’ maxim, of constant copying was practiced ages before by the Italian masters; and it is so still, as the hundreds and thousands of studies left by deceased artists testify.
Twenty good color studies, patiently copied, are worth all the numerical formulas in the world. Nevertheless, to those who are timid or inexperienced in judgment of color, a careful study of Chevreul or Hay will not be without advantage, and though it will not create the power to color harmoniously, it will aid in its development.
If any one should attempt to copy a manuscript of the fourteenth century or thereabouts, first cut the proper kind of Bristol board the size the page is to be, and prepare it by rubbing with pomice. Then, having sketched it out upon a board, rule very lightly the lines for the margin, type and initial letter. If the border be open, that is, upon a white ground, as most of this period were, the outer marginal line will have to be erased, so that it had better only be ruled in pencil. Next the type must be printed according to the date, sketching the capitals, which you will finish afterwards. The next thing to be done is to copy the large initial letter, which must be done with great care, testing its accuracy by tracing. If there is to be any picture, then that must be next sketched. Your outline cannot be too delicate. Last of all you will copy the border, and that in the following way: fix your eye upon some prominent portion of the border in the copy, and having ascertained its exact position and dimensions, proceed to mark it out upon the surface of your Bristol board. Measure again the distance from this to the next most prominent feature, and so on in like manner until you have all the most important parts fixed in their proper places.