32 A NOMENCLATURE OF COLORS. 
Azure-blue, by combinations of Italian ultra or permanent blue 
and Chinese white. 
Turquoise-blue, celestial blue (colinblau of Schoenfeld), rock- 
blue (bergblau of Schoenfeld), cerulean blue, and blue oxide, by 
mixture of Antwerp blue and Chinese white. 
Blue-verditer and green-blue oxide, by Antwerp blue, light cad- 
mium,, and Chinese white. 
Green-lake, by viridian and lamp-black. 
The foregoing are only a few examples, and the list 
might be increased almost indefinitely; but these will 
suffice. 
Eegarding the selection of colors by an artist, an au- 
thority in the " Art Union " says : — ■ 
"Among the pigments prepared by the modern colormen, 
many of the most attractive are utterly untrustworthy. We 
will say nothing of the brilliant aniline colors which are so 
showy and yet will scarcely last a day, but we will select three 
colors which are in constant use, and which it seems almost 
impossible to get along without. These are chrome-yellow, 
carmine-red, and Prussian blue. Samples of these hung in a 
strong light will within a year completely lose their color, 
turning green and black." 
With very few exceptions, all of the colors depicted on 
the plates of this work can be produced from a palette of 
five pigments, — black, white, red, yellow, and blue. For 
convenience, however, the primary colors should be com- 
bined into secondaries (orange, green, and purple), while 
a gray and a brown should be added, the first produced by 
mixture of black and white, the second by combination 
of red and green, — making all together ten elements, as 
follows : — 
