compose one
better suited to your purposes. They will all be made up from the
colors we have in our list, and will all have the arrangement I called
your attention to as to the use of two of each primary.

It would be well if you were to compare each of the colors with the
corresponding one in the plates at the end of the book, and get
acquainted with its characteristic look.

[Illustration: =No. 1.= =No. 2.= =No. 3.=]

=Expense.=--I have several times referred to the relative expense of
colors, and stated that when the good color was of greater cost than
others, there was nothing for it but to get the best. I cannot modify
that statement, but it is well to say that as a rule the expensive
colors are not those that you use the most of, although some are used
constantly. Vermilion is so strong a color that the cost hardly
matters. Of the deep blues the same is true. But the light yellows,
and the madders and cobalt, will often make you groan at the rapidity
of their disappearance. But you can get more tubes of them, and their
work remains, while were you to use the cheaper paints, the flight of
the color from the canvas would make you groan more, and that
disappearance could never be made good except by doing the work all
over.

=Sizes.=--The cheapest colors come in the largest tubes. In the
illustration, No. 3 represents the full size of the ordinary tube of
the average cost. Some of the most commonly used colors come in larger
tubes at corresponding price. Only professionals get these large sizes
except in the case of white. You use so much of this color that it
hardly pays to bother at all with the ordinary tube of it. Get the
quadruple tube, which is nominally four times as large, but contains
nearly five times as much.

No. 2 represents the actual size of the second size of tubes in which
a few regular-priced colors come; while the smallest tube is the size
of No. 1. In this sized tube all the high-priced colors are put up;
the cadmiums, the madders, vermilions, and ultramarines and cobalts.
The cheap colors are the ordinary earths, such as the ochres, umbers,
siennas, the blacks and whites, and all sorts of greens and blues and
lakes, which you had better have nothing to do with.

=Arrangement.=--In the following palettes I shall give the names of
the colors, as you would look down upon them on your palette. The
arrangement is that of a good many painters, and is a convenient one.
It is as well to arrange t