to a certain point. But
the old conservative perfection of unadulterated colour has already
been done away with. The freedom of experimental art is chartered, and
mercantile interests now, as ever, govern the supply of materials.

Our normal bad taste and carelessness has been cast back on the lands
which were the cradle of art, and we receive, to our surprise, gaudy,
vulgar, and discordant combinations from the East, whence we drew our
first inspirations. For the future we shall have to study ancient
specimens, and correct our errors by the help of their teaching to the
eye and mind.

Gas colours are at present our worst snares. They are in general very
beautiful; but they are so evanescent, and fade into such unexpected
and contradictory tones, that we cannot reckon upon them. When
embroidering with the coloured materials of the day, we are in
constant dread of what disastrous effect may be produced by the first
shaft of sunshine that may fall from our moderately illuminated sky,
through the uncurtained window.

The trade in colours can hardly be an honest one, till the means of
fixing each tint permanently is ascertained.[315] At any rate,
something should be done towards grouping them, with respect to their
enduring qualities, so that when they fade, if fade they must, they
may do so harmoniously, and in sympathy with each other; and while
they are in their first glow they should be selected, as much as
possible, from what Pliny calls natural colours,[316] which recall the
exquisite effects of nature, searched out and displayed by every sunny
gleam, reflected on each other in lovely tones, and subdued and veiled
by passing shadows. It is said that Mr. Wardle, of Leek, is now
seeking for dyes of pure unadulterated colours, and mordants to fix
them. He deserves all success.

The reason I have entered, in even so cursory a manner, into the
history of colours is my desire to point out the great value placed,
long ago, on the careful preparation of those used in ancient textile
art; and to show how our forefathers sought them out in many lands
and waters; how they noted their varieties; how they classed and
prized them for their endurance as well as for their pristine beauty;
how they paid their weight in gold or silver for certain culminating
tints; and how they, therefore, produced works which became matters of
history and landmarks in civilization.

FOOTNOTES:

[283] "Seeing, they saw not, neither did t