E.

=A Landscape Palette.=--Landscape calls for pitch and vibration. You
must have pure color and great luminosity, yet a range of color which
will permit of all sorts of effects. The following will serve for
everything out-of-doors, and I have seen it with practically no change
in the hands of very powerful and exquisite painters. There are no
browns and blacks in it because the colors which they would give are
to be made by mixing the purer pigments, so as to give more life and
vibration to the color. The blackest note may be gotten with
ultramarine and rose madder with a little veridian if too purple; the
result will be blacker than black, and have daylight in it. The ochre
is needed more particularly to warm the veridian.

WHITE. STRONTIAN YELLOW.
ORANGE VERMILION. CADMIUM YELLOW.
PINK MADDER. ORANGE CADMIUM.
ROSE MADDER. YELLOW OCHRE.
COBALT.
ULTRAMARINE.
VERIDIAN.
EMERALD GREEN.

If you paint figures out-of-doors you will need this same palette.
Madder carmine or purple madder, and cerulean blue may also usefully
added to this list.

=A Flower Palette.=--For painting flowers the colors should be capable
of the most exquisite and delicate of tints. There should be no color
on the palette which cannot be used in any part of the picture. The
range need not be so great in some respects as in others, but the
richness should be unlimited. In the matter of greens, it is true
though hard to convince the amateur of, that if there were no green
tube in your box, and you mixed all your greens from the yellows and
blues, the picture would be the better. As to the browns, they will
put your whole picture out of key. In this palette I am sure you will
find every color which is needed. There are few greens, but those
given can be used to gray a petal as well as to paint a leaf;
therefore there is no likelihood of your using a color in a leaf which
is not in tone with the flower.

I am calculating on your using all your ability in studying the
influence of color on color, and in mixing pure colors to make gray.
Here as elsewhere in these palettes I have in mind their use according
to the principles of color and light and effect as laid down in the
other parts of the book, which deal specially with those principles.
If you do not understand just why I arrange these palettes as I do,
turn to the chapters on color,