that it is not absolutely
permanent, and as the quality that it gives, brilliant light green, is
the very one it will lose should it change, don't expect too much of
it.

_Terre verte_ is a very weak color. But it is most tender in its
quality, and is permanent to all intents and purposes. It may get
slightly darker in time, but will not lose the qualities for which it
will be used. It is very useful to use with ivory black or elsewhere,
to slightly modify a reddish tendency, and is a fine glazing color.

_The chrome greens_, by whatever name, Brunswick green, or the
better-known Cinnabar or Zinnober greens, are all bad. They are useful
colors as color, but they will not stand, and you will even get better
color by mixing certain yellows and blues than these will give you, so
you had better lay them aside, tempting as they are.

=Other Colors.=--You will notice that I have said nothing about the
various browns and olives and purples. It is simply because it is
better for you to make all these colors than to get them in the tubes.
The earths and the browns of madder are all good, and the mixing of
madders and good blues will make all the shades of violet and purple
you can possibly want in their purity.

=Palettes.=--We have, then, a number of pigments which are solid and
safe, of each of the primary colors, and of such variety of qualities
that the whole range of possible color is practicable with them in
combination. To recapitulate, let us make a list of them.

THE PERMANENT COLORS.

ZINC WHITE. (LEAD WHITE ENOUGH SO.)
CADMIUM YELLOW.
CADMIUM ORANGE.
CADMIUM YELLOW, PALE.
STRONTIAN YELLOW.
YELLOW OCHRE.
ROMAN OCHRE.
TRANSPARENT GOLD OCHRE.
RAW SIENNA.
BURNT SIENNA.
RAW UMBER.
AUREOLIN.
CHINESE VERMILION.
SCARLET VERMILION.
ORANGE VERMILION.
LIGHT RED.
ROSE MADDER.
PINK MADDER.
PURPLE MADDER.
MADDER CARMINE.
RUBENS MADDER.
ULTRAMARINE BLUE BRILLIANT.
ULTRAMARINE BLUE FRENCH.
PERMANENT BLUE.
COBALT.
CERULEAN BLUE.
IVORY BLACK.
BLUE BLACK.
VERIDIAN.
EMERALD GREEN.
TERRE VERTE.

Here is a list of colors which will work well together, and with which
you can do as much as is possible with colors as far as our present
materials go.

Most of these colors, I am aware, are among the more expensive ones.
This I am sorry for, but cannot help. The good colors are at times the
expensive ones, but as there are no