These colours are selected from the list of water-colours made at the present day (upwards of eighty), and will, I think, be found to be all that can well be required for illuminating. The whole number is by no means indispensable, and I have therefore marked by different letters of the alphabet,—1st, A, those without which it would be useless to commence work; 2ndly, B, those which should first be added; 3rdly, C, those which are required for very great brilliancy in certain effects; and, 4thly, D, those which may be regarded as luxuries in the art. The C are really important; the D are much less so. Messrs. Winsor & Newton have arranged them into four different lists, which are placed in boxes (complete with colours and materials for working in water-colours), of the respective retail values of £1. 1s., £1. 11s. 6d., £2. 2s., and £3. 3s. Boxes corresponding with, or slightly varying from these, in selection of colours and materials, may be obtained from other artists' colourmen.
I now proceed to notice these colours seriatim, in reference to their tints, both when used alone and when mixed with other colours.
YELLOWS.
Lemon Yellow.—A vivid high-toned yellow, semi-opaque, is extremely telling upon gold. Mixed with cadmium yellow it furnishes a range of brilliant warm yellows. It mixes well with gamboge, orange vermilion, cobalt, emerald green, and oxide of chromium, and with any of these produces clean and useful tints.
Gamboge.—A bright transparent yellow of light tone; works freely, and is very useful for glazing purposes. In combination with lemon yellow it affords a range of clean tints. When mixed with a little Mars yellow it produces a clear, warm, transparent tone of colour.
Cadmium Yellow.—A rich glowing yellow, powerful in tint, and semi-transparent. This is a most effective colour for illuminating. When judiciously toned with white, it furnishes a series of useful shades. Mixed with lemon yellow it produces a range of clean vivid tints. It does not, however, make good greens—they are dingy. Mixed with carmine, or glazed with it, it gives a series of strong luminous shades.
Mars Yellow.—A semi-transparent warm yellow, of slightly russet tone, but clean and bright in tint. Useful where a quiet yellow is required; mixes well with gamboge; does not make good greens.
REDS.
Rose Madder.—A light transparent pink colour of extremely pure tone. It is delicate in tint, but very effective, on account of its purity. Mixed with cobalt, it affords clean, warm, and cold purples. The addition of a little carmine materially heightens the tone of this colour, though at the same time it somewhat impairs its purity.
Crimson Lake.—A rich crimson colour, clean and transparent; washes and mixes well. More generally useful than carmine, though wanting the intense depth and brilliancy of the latter colour.