if not quite all the various colors used in painting may be
made from the five primitive colors, black, white, blue, red and
yellow, but for the Daguerrean artist it would be the best policy to
obtain such as are required by their art already prepared. In a
majority of cases, the following will be found sufficient, viz.

Carmine.
Prussian Blue.
White.
Chrome Yellow, Gamboge, Yellow Ochre; or all three.*
*Gamboge is best for drapery; Ochre for the face.
Light Red.
Indigo.
Burnt Sienna.
Bistre, or Burnt Umber.

If, in coloring any part of a lady's or gentleman's apparel, it is
found necessary to produce other tints and shades, the following
combinations may be used:

Orange--Mix yellow with red, making it darker or lighter by using more
or less red.

Purple--This is made with Prussian blue, or indigo and red. Carmine
and Prussian blue producing the richest color, which may be deepened in
the shadows by a slight addition of indigo or brown.

Greens--Prussian blue and gamboge makes a very fine green, which may be
varied to suit the taste of the sitter or operator, by larger portions
of either, or by adding white, burnt sienna, indigo, and red, as the
case may require. These combinations, under different modifications,
give almost endless varieties of green.

Brown--May be made of different shades of umber, carmine and lamp-black.

Neutral tint--Is composed of indigo and lamp-black.

Crimson--Mix carmine and white, deepening the shaded parts of the
picture with additional carmine.

Flesh Color--The best representative of flesh color is light red,
brightened in the more glowing or warmer parts, with carmine, softened
off in the lighter portions with white, and shaded with purple and
burnt sienna.

Lead Color--Mix indigo and white in proportions to suit.

Scarlet--Carmine and light red.

For Jewelry cups of gold and silver preparations accompany each box for
Daguerreotypists, or may be procured separately.

The method of laying colors on Daguerreotypes is one of considerable
difficulty, inasmuch as they are used in the form of perfectly dry
impalpable powder. The author of this little work is now
experimenting, in order, if possible, to discover some more easy,
artistic and unexceptionable method. If successful, the result will be
published in a future edition.

The rules we shall give for coloring Daguerreotypes depends, and are
founded, upon those observed in miniature paintin