BOOK XXXV. XI. 29-xii. 30 



nients called nionochromes from the class of painting 



for which they are used. Subsequent ° inventions 



and their authors and dates we shall specify in §§ 353 sq^/. 



enumerating the artists, because a prior motive 



for the work now in hand is to indicate the nature of 



colours. Eventually art differentiated itself, and 



discovered light and shade, contrast of colours 



heightening their eftect reciprocally. Then came 



the final adjunct of shine, quite a dift^erent thing from 



iight. The opposition between shine and light on the 



onc hand and shade on the other was called contrast, 



while the juxtaposition of colours and their passage 



one into another was termed attunement.^ 



XII. Some colours are sombre and some brilliant, 

 the diff^erence being due to the nature of the sub- 

 stances or to their mixture. The brilliant colours, 

 which the patron supplies at his own expense to the 

 painter, are cinnabar,^ Armenium,^ dragon's blood,* 

 gold-solder,/ indigo, bright purple^'; the rest are 

 sombre. Of the whole list some are natural colours 

 and some artificial. Natural colours are sinopis,^ 

 ruddle, Paraetonium,^ Melinum,^ Eretrian earth^" and 

 orpiment ; all the rest are artificia], and first of all 

 those which we specified among minerals, and xxx, 111, 

 moreover among the commoner kinds yellow ochre, ^^' ^^^' 

 burnt lead acetate, realgar, sandyx,^ Syrian colour "* 

 and black." 



* A brown-red ochre or red oxide of iron from Sinoi^e. 



* From a white chalk or calcium carbonate, and perliaps 

 also steatite, of Paraetonium in N. Africa; see note " on § :}0. 



^ A white marl from ^Melos. 



* From Eretria in Euboea ; perhaps magnesite. 

 ' Mixed oxide of lead and oxide of iron. 



'" See § 40. 



"See XXXIV, 112, 123. 



283 



