Red: 50 parts of the said lake varnish are mixed with 8 parts of prepared baric sulphate, 2 parts of prepared madder lake, 6 parts of prepared realgar (diarsenious disulphide), and 34 parts of calcic sulphide in a luminous condition, and the mixture is worked in the same way as described for white.
Orange: 46 parts varnish are mixed with 17·5 parts prepared barium sulphate, 1 part prepared India yellow, 1·5 parts prepared madder lake, and 38 parts luminous calcium sulphide.
Yellow: 48 parts varnish are mixed with 10 parts prepared barium sulphate, 8 parts barium chromate, and 34 parts luminous calcium sulphide.
Green: 48 parts varnish are mixed with 10 parts prepared barium sulphate, 8 parts chromium oxide green, and 34 parts luminous calcium sulphide.
Blue: 42 parts varnish, 10·2 parts prepared barium sulphate, 6·4 parts ultramarine blue, 5·4 parts cobalt blue, and 46 parts luminous calcium sulphide.
Violet: 42 parts varnish, 10·2 parts prepared barium sulphate, 2·8 parts ultramarine violet, 9 parts cobalt arsenate, and 36 parts luminous calcium sulphide.
Grey: 45 parts of the varnish are mixed with 6 parts prepared barium sulphate, 6 parts prepared calcium carbonate, 0·5 part ultramarine blue, 6·5 parts grey zinc sulphide.
Yellowish-brown: 48 parts varnish, 10 parts precipitated barium sulphate, 8 parts auripigment, and 34 parts luminous calcium sulphide.
Luminous colours for artists’ use are prepared by using pure East India poppy oil, in the same quantity, instead of the varnish, and taking particular pains to grind the materials as fine as possible.
For luminous oil-colour paints, equal quantities of pure linseed oil are used in the place of the varnish. The linseed oil must be cold-pressed and thickened by heat.