cheaper ones which are permanent
to take their places, it would be the falsest of economy to use
others.

=Palette Principles.=--In making up your palette, you must so arrange
it that you can get pure color when you want it. There is never any
trouble to get the color negative; to get richness and balance is
another matter. If you will refer to the color plates, you will see
that in each of the three primary colors there are pigments which lean
towards one or the other of the other two. The scarlet red is a yellow
red. The Chinese vermilion and the rose madder are blue reds. The same
holds with yellows and blues, as orange cadmium is a red yellow, and
strontian yellow is a greenish yellow. This is, in practice, of the
utmost importance in the absence of the ideal color, for when we deal
with the practical side of pigment, we deal with very imperfect
materials which will not follow in the lines of the scientific theory
of color. If we would have the purest and richest secondary color, we
must take two primaries, each of which partakes of the quality of the
other. To make a pure orange, for instance, we must use a yellow red
and a red yellow. If we used a bluish red and a bluish (greenish)
yellow, the blue in both would give us a sort of tertiary in the form
of a negative secondary instead of the pure rich orange we wanted.
This latter fact is quite as useful in keeping colors gray without too
much mixing when we want them so, but nevertheless we must know how to
get pure color also.

These characteristics have a bearing on the setting of our palette,
for we must have at least two of each of the three primary
colors--red, yellow, and blue--and white. There may be as many more as
you want, but there must be at least that number.

But the character of the work you are doing will also have an
influence on the colors you use. You may not need the same palette for
one sort of picture that is essential to another. You can have a
palette which will do all sorts of work, but a change in the
combinations may often be called for in accordance with the different
color characteristics of your picture.

I will suggest several palettes of different combinations which will
give you an idea of how you may compose a palette to suit an occasion.
I do not say that you should confine yourself to any or all of these
palettes, nor that they are the best possible. But they are safe and
practical, and you may use them until you can find or