16 
A NOMENCLATURE OF COLORS. 
procured the finest prepared colors known to modern 
art, including those of all the best manufacturers, — as 
Winsor & Newton, George Bowney & Co., and Acker- 
mann, of London, England ; Dr. Fr. Schoenfeld & Co., Diis- 
seldorf ; Chenal, Burgeois, Binant, and Lefranc, of Paris ; 
Osborne of Philadelphia, and others. He has, besides, con- 
sulted all the authorities accessible to him. 
In determining the standard for those arbitrary or 
conventional tints and shades (as chestnut, hair-brown, 
ash-color, lilac, etc.) whose names are taken from some 
familiar substance or object, which itself varies so much 
in color that the name without such fixed standard would 
be practically valueless, care has been taken to select a 
characteristic example. 
The selection of appropriate names for the colors de- 
picted on the plates has been in some cases a matter of 
considerable difficulty. With regard to certain ones it 
may appear that the names adopted are not entirely satis- 
factory; but, to forestall such criticism, it may be ex- 
plained that the purpose of these plates is not to show the 
color of the particular objects or substances which the names 
suggest, but to provide for the colors tvhich it has seemed de- 
sirable to represent, appropriate, or at least approximately 
appropriate, names. In other words, certain colors are 
selected for illustration, for which names must be pro- 
vided ; and when names that are exclusively pertinent 
or otherwise entirely satisfactory are not at hand, they 
must be looked up or invented. It should also be borne 
in mind that almost any object or substance varies more 
or less in color ; and that therefore if the " orange," 
" lemon," or " chestnut " of the plates does not match 
exactly in color the particular orange, lemon, or chestnut 
which one may compare it with, it may (or in fact does) 
correspond with other specimens. It is, in fact, only in 
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