ochres. They
should all rank among the yellows. The browns of umber and sienna will
make greens with blues.

_Indian yellow and yellow lake_ should both be avoided as fugitive.

_Aureolin_ is a rich, warm golden yellow of the greatest permanence,
and should be used when Indian yellow and yellow lake would be used if
they were permanent.

=Reds.=--The _vermilions_ are permanent when well made. They are of
great body and power, as well as delicacy. They are of two
kinds,--_Chinese_, which is bluish in tone, and _scarlet_ and _orange
vermilion_, which have the yellow quality. Both kinds are useful to
the palette because of the practical necessities of mixing.

_Light red_ is a deep, warm red earth, made by calcining ochre, and
has the same permanence as the other ochres. It is a fine color, of
especial value in painting flesh, and mixes with everything safely.

_The madders_--_rose_, _pink_, _purple_, and _madder carmine_--are the
only transparent reds which are permanent. Whatever the name given
them, they should not be confounded with the _lakes_, which are
absolutely untrustworthy. By reference to the plates you will see that
the madders are practically the same as the lakes in color when first
used. But the lakes fade and the madders do not. The madders cost
about twice as much as the lakes; but you must pay the difference, for
the lakes cannot be made to stand, and you must have the color. There
is nothing for it but to pay twice as much and buy the madders.

_The lakes_--_scarlet_, _geranium_, _crimson_, and _purple_--are all
bad. The madders and lakes are all slow dryers; but unless carelessly
used with other colors which are not yet dry they need not have a bad
effect on the picture from cracking.

Distinguish the so-called _madder lakes_ and the _lakes_; and between
_carmine_, which is a lake, and _madder carmine_, which is a madder.

=Blues.=--The _ultramarine_ of the old masters is practically unused
to-day because of its cost. But the artificial ultramarines, while not
quite of the same purity of color, are equally permanent, and are in
every respect worthy to be used. Of these the _brilliant ultramarine_
is the nearest in color to the real lapis lazuli. The _French
ultramarine_ is less clear and vivid, but is a splendid deep blue, and
most useful. The so-called _permanent blue_ is not quite so permanent
as its name implies, but permanent enough for practical purposes.

_Cobalt blue_ and _cerulean blu