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Title: Color Standards and Color Nomenclature

Author: Robert Ridgway

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Language: English

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*** START OF THE PROJECT GUTENBERG EBOOK COLOR STANDARDS AND COLOR NOMENCLATURE ***

COLOR STANDARDS

AND

COLOR NOMENCLATURE

RIDGWAY

FIFTY-THREE COLORED PLATES

ELEVEN HUNDRED AND FIFTEEN NAMED COLORS

COLOR STANDARDS

AND

COLOR NOMENCLATURE

BY

ROBERT RIDGWAY, M.S., C.M.Z.S., ETC.

Curator of the Division of Birds, United States

National Museum.

With Fifty-three Colored Plates

and

Eleven Hundred and Fifteen Named Colors.

WASHINGTON. D. C.

1912.

Published by the Author.

Copyright, 1912

by

Robert Ridgway

PRESS OF

A. HOEN & COMPANY

BALTIMORE, MD

TO

Señor Don JOSÉ C. ZELEDÓN

OF

SAN JOSÉ, COSTA RICA

True and steadfast friend for more than two-score years; host, guide, and companion on excursions among the glorious forests, magnificent mountains, and lovely plains of his native land; whose encouragement made possible the completion of a seemingly hopeless task, this book is affectionately and gratefully dedicated.

PREFACE

The motive of this work is THE STANDARDIZATION OF COLORS AND COLOR NAMES.

The terminology of Science, the Arts, and various Industries has been a most important factor in the development of their present high efficiency. Measurements, weights, mathematical and chemical formulæ, and terms which clearly designate practically every variation of form and structure have long been standardized; but the nomenclature of colors remains vague and, for practical purposes, meaningless, thereby seriously impeding progress in almost every branch of industry and research.

Many works on the subject of color have been published, but most of them are purely technical, and pertain to the physics of color, the painter's needs, or to some particular art or industry alone, or in other ways are unsuited for the use of the zoologist, the botanist, the pathologist, or the mineralogist; and the comparatively few works on color intended specially for naturalists have all failed to meet the requirements, either because of an insufficient number of color samples, lack of names or other means of easy identification or designation, or faulty selection and classification of the colors chosen for illustration. More than twenty years ago the author of the present work attempted to supply the deficiency by the publication of a book[1] containing 186 samples of named colors, but the effort was successful only to the extent that it was an improvement on its predecessors; and, although still the standard of color nomenclature among zoologists and many other naturalists, it nevertheless is seriously defective in the altogether inadequate number of colors represented, and in their unscientific arrangement. Fully realizing his failure, the author, some two or three years later, began to devise plans, gather materials, and acquire special knowledge of the subject, in the hope that he might some day be able to prepare a new work which would fully meet the needs of all who have use for it. Unfortunately, his time has been so fully occupied with other matters that progress has necessarily been slow; but after more than twenty years of sporadic effort it has at last been completed.

Acknowledgments are due to so many friends for helpful suggestions that it is hardly possible to name them all, or to specify the extent or kind of help which each has rendered; but special mention should be made of Mr. LEWIS E. JEWELL, of Johns Hopkins University; Dr. R. M. STRONG, of the University of Chicago; Prof. W. J. SPILLMAN, of the U. S. Department of Agriculture; Mr. WILLIAMS WELCH, of the U. S. Signal Service; Mr. MILTON BRADLEY, of Springfield, Mass.; Dr. P. G. NUTTING, of the U. S. Bureau of Standards; Mr. P. L. RICKER, of the Bureau of Plant Industry, U. S. Department of Agriculture; and Mr. J. L. RIDGWAY, of the U. S. Geological Survey. The late Professor S. P. LANGLEY, then Secretary of the Smithsonian Institution, was good enough to take a kindly interest in this undertaking and gave the author assistance for which he is glad to make acknowledgment. More than to all others, however, is the author deeply indebted to Mr. JOHN E. THAYER, of Lancaster, Mass., and Señor Don JOSÉ C. ZELEDÓN, of San José, Costa Rica, for aid so indispensible that without it the work could not have been completed.

To Dr. G. GRÜBLER & CO., of Leipzig, Germany, the author is under obligations for the gift of a nearly complete set of their celebrated coal-tar dyes, which have proven quite necessary to the work, especially in the coloring of the Maxwell disks on which the color scheme is based.

The reproduction of the plates has been a difficult matter, involving not only expensive experimentation, but more than three years of unremitting labor. Vastly different from the ordinary lines of commercial color work, the correct copying of each one of the 1115 colors of the original plates developed many perplexing and often discouraging problems, which were finally solved through Mr. A. B. HOEN'S expert knowledge of chemistry and pigments; the skill, industry, and patience of the firm's head colorist, Mr. FRANK PORTUGAL, and the personal interest of both these gentlemen. It is, therefore, with the greatest pleasure that the author's grateful acknowledgment is made to the firm of A. HOEN & COMPANY for the satisfactory manner in which they have fulfilled their contract.

CONTENTS

PAGE

PREFACE

i

PROLOGUE

1

Plan

1

Color Names

9

Color Terms

15

Table of percentages of Component Colors in Spectrum Hues

21

Table of percentages of White and Black in Tone Scales

23

Table of percentages of Neutral Gray in Broken Colors

25

Table of percentages of Black and White in tones of Carbon Gray

25

Dyes and Pigments used in Coloring of Maxwell Disks

26

Alphabetical List of Colors represented on Plates

29

Colors of old edition Not Represented on Plates

41

List of Useful Books on Color

42

PLATES

44

PROLOGUE

As stated in the Preface, the purpose of this work is the standardization of colors and color nomenclature, so that naturalists or others who may have occasion to write or speak of colors may do so with the certainty that there need be no question as to what particular tint, shade, or degree of grayness, of any color or hue is meant. Therefore, it is unnecessary to treat of the subject from any other point of view; it will be sufficient to say that this work is based on a thorough study of the subject from every standpoint, and that practically all authoritative works on the subject of color have been carefully consulted.[2]

PLAN.—The scientific arrangement of colors in this work is based essentially on the suggestions of Professor J. H. Pillsbury for a scheme of color standards,[3] which have also been the basis of several other efforts toward the same end, as the plates in Milton Bradley's "Elementary Color" and educational colored papers, Prang's charts of standard colors, Klinkseick and Valette's "Code des Couleurs," etc.; but while all these present a scientifically arranged color-scheme and more or less adequate number of colors they all fail to supply a ready or convenient means of identifying and designating the colors—the principal utility of a work of this kind. It is in the latter respect that the present work is believed to meet, more nearly than any other at least, this essential requirement, and in this consists whatever originality may be claimed for it.

The "key" to the classification or arrangement herewith presented is, of course, the solar spectrum, with its six fundamental colors and intermediate hues, augmented by the series of hues connecting violet with red, which the spectrum fails to show. If, with the red-violets and violet-reds thus added to the spectrum hues, the band forming this scale be joined end to end a circle is formed in which there is continuously a gradual change of hue, step by step, from red through orange-red and red-orange to orange; orange through yellow-orange and orange-yellow to yellow; yellow through green-yellow and yellow-green to green; green through blue-green and green-blue to blue; blue through violet-blue and blue-violet to violet; and violet through red-violet and violet-red to red—the starting-point—with intermediate connecting hues. In the solar spectrum, both prismatic and grating, but especially the former, the spaces between the adjoining distinct colors are very unequal; therefore for the present purpose an ideal scale must be constructed, so that an approximately equal number of equally distinct connecting hues shall be shown. Distinctions of hue appreciable to the normal eye are so very numerous[4] that the criterion of convenience or practicability must determine the number of segments into which the ideal chromatic scale or circle may be divided in order to best serve the purpose in view. Careful experiment seems to have demonstrated that thirty-six is the practicable limit, and accordingly that number has been adopted.[5] If the number of intermediate hues were equal in all cases there would, in this scheme, be five between each two adjacent fundamental colors of the spectrum; but a greater number of recognizably distinct hues is obviously necessary in some cases than in others; for example, spectrum orange is decidedly nearer in hue to red than to yellow, and therefore the number of intermediates required on each side of the orange is different, being in the proportion of four for the red-orange series to five for the orange-yellow, and similarly six are required for the violet-red series, while four suffice for the blue-violet hues.

There is no known means by which we can measure the proportion of two or more pigments in any given mixture, "because color-effect cannot be measured by the pint of mixed paint or the ounce of dry pigment;"[6] but, fortunately, we have a very exact method, in the color-wheel and Maxwell disks, by which the relative proportions of two or more colors in any mixture may be precisely measured. This method has been used in the painting of every one of the 1115 colors of the present work, by means of one disk to represent each one of the thirty-six colors (both pure and "broken"), together with a black, a white, and a neutral gray disk, the last being a match in color to the gray resulting from the mixture of red, green and violet on the color-wheel;[7] the neutral gray disk, however, being used only for the making of disks for the broken series of colors (′, ′′, ′′′, ′′′′, and ′′′′′) and for the scale of neutral grays (Plate LIII.) These colored disks are slit on one side from center to circumference, and therefore by interlocking two or more they may be adjusted so that either occupies any desired percentage of the whole area, which may be very precisely determined by a scale of 100 segments shown on the outer edge of a larger disk on which the colored disks are superimposed. When connected with the color-wheel and adjusted as may be desired, and then rapidly revolved, the two or more distinct colors resolve themselves into a single uniform composite color, whose elements are shown, in their relative proportion, by the scale surrounding the disks.[8]

The scales (both horizontal and vertical) of the present work are all prepared directly from definite color-wheel formulæ, based on carefully calculated curves; the thirty-six pure spectrum hues, represented by the middle horizontal line of color-squares on Plates I-XII (together with an equal number of intermediates represented by blank spaces), requiring a separate curve and consequently different relative proportions of the two component colors for each series of hues—that is, the series from red to orange, orange to yellow, yellow to green, green to blue, blue to violet, and violet to red, respectively; but the progressive increments of white in the scales of tints, black in those of shades, and neutral gray in the several series of broken colors are exactly the same in every case. The first series of Plates (I-XII) shows the pure, full spectrum colors and intermediate hues (middle horizontal line, nos. 1-72),[9] each with its vertical scale of tints (upward, a-g) and shades (downward, h-n), the increments of white for the tints being 9.5, 22.5, and 45 per cent., respectively, those of black in the shades being 45, 70.5, and 87.5 per cent. The remaining Plates show these same thirty-six colors or hues in exactly the same order and similarly modified (vertically) by precisely the same progressive increments of white (upward) and black (downward), but all the colors are dulled by admixture of neutral gray; the first series (1′-72′, Plates XIII-XXVI) containing 32 per cent. of neutral gray, the second (1′′-72′′, Plates XXVII-XXXVIII) 58 per cent., the third (1′′′-72′′′, Plates XXXIX-XLIV) 77 per cent., and the fourth (1′′′′-72′′′′, Plates XLV-L) 90 per cent. The last three Plates (LI-LIII) show the six spectrum colors[10] (also purple, the intermediate between violet and red) still further dulled by admixture of 95.5 per cent. of neutral gray, these being in reality colored grays; to which are added a scale of neutral gray and one of carbon gray, the former being the gray resulting from mixture of the three primary colors (red 32, green 42, violet 26 per cent., which in relative darkness equals black 79.5, white 20.5 per cent.); the latter being the gray produced by mixture of lamp black and Chinese white, and the scale a reproduction of that in the author's first "Nomenclature of Colors" (1886, Plate II, nos. 2-10). It should be emphasized that in all cases except the scale of carbon grays, only the disks representing the middle horizontal series of colors (both pure and broken) have been used, in combination with a black and a white disk, respectively, to make the colors of the vertical scales of tints and shades.

The coloring of a satisfactory set of disks to represent the thirty-six pure spectrum colors and hues was a matter of extreme difficulty, many hundreds having been painted and discarded before the desired result was achieved. Several serious problems were involved, the matter of change of hue through chemical reaction of the combined pigments or dyes[11] (especially the latter) being almost as troublesome as that of securing the proper degree of difference between each adjoining pair of hues. The method by which satisfactory results were finally secured was as follows: First, six disks were colored to represent each of the fundamental spectrum colors, according to the author's conception of them.[12] These six disks were then placed against a suitable background (a neutral gray), in spectrum sequence, with wide intervals for the accommodation of connecting series of disks, which were then colored so as to represent an apparently even transition from one to the other. When this very difficult task had been done as well as the eye alone could judge, each intermediate was then measured on the color-wheel and the relative proportions (in percentages) of its two component colors recorded. After this had been done for all the intermediate hues each series (the red-orange, orange-yellow, yellow-green, green-blue, blue-violet, and violet-red) was taken separately and a curve constructed on cross-section paper from the recorded ratios. These curves were found to be in all cases more or less irregular or unsymmetrical, but nevertheless were sufficiently near correct to serve as a basis for a symmetrical curve; and after the points out of proper line were suitably relocated the two component colors were correspondingly readjusted on the color-wheel and each faulty disk corrected (or a new one painted) until it exactly matched the required combination. The scales representing the tints and shades of each color, and also the gray or broken colors were similarly determined by corrected curves.[13]

By the method adopted of running each of the thirty-six spectrum hues through a scale of tints and shades, and repeating the combination through several series modified by increasing increments of neutral gray, practically the entire possible range of color variation is covered,[14] rendering it an easy matter to locate in the plates, either among the colors actually shown or in an intermediate space, any color which it is desired to match; and where short distinctive names have not been found (their place being, tentatively, supplied by compound names), as, necessarily, must often be the case, any color or intermediate between any two colors, either as to hue, tint, or shade, may be readily designated by the very simple system of symbols (numerals and letters) employed.[15]

In order to designate any color for which a satisfactory name cannot be found, or one not represented on the plates, it is only necessary to proceed as follows: Suppose the color in question is nearest 1 on Plate I; say, for example, is intermediate in hue between 1 (spectrum red) and 3 (scarlet-red), or in other words if represented in color its position would be in the uncolored space designated as no. 2; and in tone between the full color (middle horizontal line) and tint b. Its designation, therefore, is 2a. Exactly the same method applies to any of the other blank spaces, as well as to the colors themselves, except that in case of the broken colors the "primes" (′, ′′, ′′′, ′′′′, or ′′′′′) are to be affixed to the hue number. First locate the hue, designated by number, then the tone, designated by lower case letter, the full, pure colors of the middle horizontal row being designated by number alone.

COLOR NAMES.—While it is true that the naming of colors as usually employed has so little to do with the purely technical aspects of chromatology or color-physics that, as Von Bezold remarks[16] "we are in reality dealing with the peculiarities of language," it is equally true that a collection of color standards designed expressly for the purpose of identifying and designating particular colors can best attain this object by the use of a carefully selected nomenclature. In other words, the prime necessity is to standardize both colors and color names, by elimination of the element of "personal equation" in the matter. In no other way can agreement be reached as to the distinction between "violet" and "purple," two color names quite generally used interchangeably or synonymously but in reality belonging to quite distinct hues, or that any other color name can be definitely fixed. Various methods of handling the matter of color in zoological and botanical descriptions, etc., by the avoidance of color names and substitution therefor of symbols, numerals, or mechanical contrivances (as color-wheel and spectrum analyses, color-spheres, etc.) have been devised but all have been found impracticable or unsatisfactory. The author has taken the trouble to get an expression of opinion in this matter from many naturalists and others, and the preference for color-names very greatly predominates; consequently, whenever it has been possible to find a name which seems suitable for any color in this work it has been done, leaving as few as possible unnamed, and for these some other means must be devised for their designation. (See page 8). The selection of appropriate names for the colors depicted 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 satisfactory; but, to forestall such criticism, it may be explained 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 appropriate, or at least approximately appropriate, names for the colors which it has seemed desirable to represent. In other words, certain colors are selected for illustration, for which names must be provided; 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," "chestnut" or "lilac" of the Plates does not exactly match in color the particular orange, lemon, chestnut or lilac which one may compare it with, it may (in fact does) correspond with other specimens. Without standardization, even if arbitrary, color nomenclature must, necessarily, remain in its present condition of absolute chaos. Even the standard pigments are not constant in color, practically every one of them being subject to more or less variation in hue or tone, different samples from the same manufacturer sometimes varying to the extent of several tones or hues of the present work; indeed, in every case where two or more samples of the same color have been compared it has been found that no two are exactly alike, the difference often being very great. For example: Of five samples of "vandyke brown" only two are approximately similar, each of the other three being widely different, not only from one another but from the other two, one being a blackish brown, another reddish brown, the third a yellowish orange-brown. Of eleven samples of "olive" no two are closely similar, the color ranging from a shade of dull (grayish) blue-green to orange-brown, dark brownish gray, and light yellowish olive; and the same or nearly the same degree of variation is seen in absolutely every color examined, showing very clearly the utter worthlessness of color names unless fixed or standardized.

In order to obtain as many color names as possible for standardization it has been necessary to draw from all available sources. Several thousand samples of named colors have therefore been collected, and for convenience of reference and comparison gummed to card catalogue cards, with the name, source, and other data thereon. These include the colors from many standard works, among them Werner's "Nomenclature of Colours" (Syme's edition, 1821), Hay's "Nomenclature of Colours" (1846), Ridgway's "Nomenclature of Colors" (1886), Saccardo's "Chromataxia" (1891), Mathews' "Chart of Correct Colors of Flowers" (American Florist, 1891), Willson and Calkins' "Familiar Colors," Oberthur and Dauthenay's "Repertoire des Couleurs" (1905), Leidel's "Hints on Tints" (1893), "Lefévré's Matieres Colorantes Artificiales" (1896), the Standard Dictionary chart of "typical colors," the educational colored papers of Milton Bradley and Prang, and many others; and besides these practically all of the artists' oil, water, and dry colors, manufactured by Winsor and Newton, F. Schoenfeld and Co., Charles Roberson and Co., George Rowney and Co., Madderton and Co., R. Ackermann and Co., Bourgeois, Binant, Chenal, Le Franc, Devoe, Raynolds, Osborne, Bradley, Hatfield and others; also the coal-tar or aniline dyes of Dr. G. Grübler & Co., Continental Color and Chemical Co., and Henry Heil Chemical Co., and the well known Diamond Dyes; chromo-lithographic inks, embroidery silks, etc., etc.

The material from which to select suitable color names was greatly augmented, almost at the last moment, from two sources, as follows: (1) A very large collection of color-samples (unfortunately mostly unnamed) collected and mounted on cards by Mr. Frederick A. Wampole, a talented young artist, to whom was delegated, by a Committee of the American Mycological Society, the task of preparing a nomenclature of colors based upon spectroscopic determinations, but which, unfortunately, the untimely death of Mr. Wampole prevented from progressing beyond the accumulation of this collection. For the use of this material I am indebted to the courtesy of Dr. Frederick V. Coville, Botanist of the U. S. Department of Agriculture, and Mr. P. L. Ricker, Assistant Botanist, Bureau of Plant Industry, in the same Department. (2) A splendid collection of colored Japanese silks, taffetas, velvets, and other dress goods, kindly sent me by Mr. C. H. Hospital, of the silk department of the firm of Woodward and Lothrop, Washington, D. C. The very large number of colors represented in this collection are all named and have afforded a considerable number of the names adopted in the present work.

For obvious reasons it has, of course, been necessary to ignore many trade names, through which the popular nomenclature of colors has become involved in really chaotic confusion rendered more confounded by the continual coinage of new names, many of them synonymous and most of them vague and variable in their application. Most of them are invented, apparently without care or judgment, by the dyer or manufacturer of fabrics, and are as capricious in their meaning as in their origin; for example: Such fanciful names as "zulu," "serpent green," "baby blue," "new old rose," "London smoke," etc., and such nonsensical names as "ashes of roses" and "elephant's breath." An inspection of the sample books of manufacturers of fancy goods (such as embroidery silks and crewels, ribbons, velvets, and other dress- and upholstery-goods) is sufficient not only to illustrate the above observations, but to show also the absolute want of system or classification and the general unavailability of these trade names for adoption in a practical color nomenclature. This is very unfortunate, since many of these trade names have the merit of brevity and euphony and lack only the quality of stability.

It has been difficult for the author to decide whether the standards of his original "Nomenclature of Colors" (1886) should be retained in the present work. Some of them are admittedly wrong (indeed, certain ones are not as they were intended to be); besides, owing to the method of reproducing the originals (hand stenciling) there is considerable variation in different copies of the book, one or more reprints, necessitating new mixtures of pigments, adding to this lack of uniformity.[17] Many persons, however, have urged the retention of the old standards, on the ground that they have been used by so many zoologists and botanists in their writings during the last twenty-five years that they have become established through common usage. This very important consideration has induced the author to retain such of the old standards as can be matched in the present work, even though some of them do not agree strictly with either his own or the usual conception of the colors in question. An asterisk (*) preceding a color name indicates that the name in question is adopted from the older work, the variation between different copies of the work requiring the selection, in the new one, of a color representing as nearly as possible an average of the former.

In any systematically arranged scheme, unless the number of colors shown is practically unlimited, it will, necessarily, be impossible to find represented thereon a certain proportion of colors comprised among even a very limited number selected at random, or only roughly classified. Hence many (thirty-six, or more than five per cent.) of the colors shown in the old "Nomenclature of Colors" fall into the blank intervals of the present work, being intermediate either in hue or tone, or chroma, sometimes all. It is necessary of course to provide some means for the correlation of these with the present scheme, which is done by the list on page 41, where the position of each is shown.

The question of giving representations of metallic colors in this work was at one time considered; but the idea was abandoned for the reason that these are in reality only ordinary colors reflected from a metallic or burnished surface, or appearing as if so reflected; the actual hue is precisely the same, though often changeable according to angle of impact of the light rays, and relative position of the eye, this changeableness being sometimes due to interference.[18] Colors again vary, without actual difference of hue, in regard to quality of texture or surface; that is to say, the color may be quite lustreless, appearing on a dull, sometimes velvety surface, while again it may be more or less glossy, even to the degree of appearing as if varnished. To deal with these variations, however, requires simply the use of suitable adjectives. For example: To indicate a color which has no lustre or brightness, the adjective matt (or mat) may be used, in preference to dull, which implies reduction in purity or chroma; other adjectives, appropriate in special cases, being velvety, glossy, burnished metallic, matt-metallic, etc.

COLOR TERMS.—No other person has presented so forcibly the urgent need for reform in popular nomenclature nor stated so clearly and concisely its shortcomings and the simple remedy, as Mr. Milton Bradley, from one of whose educational pamphlets on the subject[19] the following is quoted: "The list of words now employed to express qualities or degrees of color is very small, in fact a half dozen comprise the more common terms, and these are pressed into service on all occasions, and in such varied relations that they not only fail to express anything definite but constantly contradict themselves.... Tint, Hue and Shade are employed so loosely by the public generally, even by those people who claim to use English correctly, that neither word has a very definite meaning, although each is capable of being as accurately used as any other word in our every day vocabulary"....

Certainly one would expect that men of learning, at least, would employ the broader color terms correctly; but some of the highest authorities on color-physics habitually use them interchangeably, as if they were quite synonymous; and even the dictionaries, with few exceptions, give incorrect or "hazy" definitions of these terms. It is not strictly correct to say a "dark tint" or "light shade" of any color, because a tint implies a color paler than the full color, while a shade means exactly the opposite; and to say an "orange shade (or tint) of red," a "greenish shade (or tint) of blue," a "bluish shade (or tint) of violet," etc., is an absurdity, for the term hue, which specifically and alone refers to relative position in the spectrum scale, without reference to lightness or darkness, is the only one which can correctly be used in such cases.

Indeed the standardization of color terms is almost if not quite as important, in the interest of educational progress, as that of the colors themselves and their names; therefore, to make easy a clear understanding of the specific meaning of each, the following definitions are given:—

Color.—The term of widest application, being the only one which can be used to cover the entire range of chromatic manifestation; that is to say, the spectrum colors (together with those between violet and red, not shown in the spectrum) with all their innumerable variations of luminosity, mixture, etc. In a more restricted sense, applied to the six distinct spectrum colors (red, orange, yellow, green, blue, and violet), which are sometimes distinguished as fundamental colors or spectrum colors.

Hue.—While often used interchangeably or synonymously with color, the term hue is more properly restricted by special application to those lying between any contiguous pair of spectrum colors (also between violet and purple and between purple and red); as an orange hue (not shade or tint, as so often incorrectly said) of red; a yellow hue of orange; a greenish hue of yellow; a bluish hue of green; a violet hue of blue, etc.

Tint.—Any color (pure or broken) weakened by high illumination or (in the case of pigments) by admixture of white, or (in the case of dyes or washes) by excess of aqueous or other liquid medium; as, a deep, medium, light, pale or delicate (pallid) tint of red. The term cannot correctly be used in any other sense.

Shade.—Any color (pure or broken) darkened by shadow or (in the case of pigments) by admixture of black; exactly the opposite of tint; as a medium, dark, or very dark (dusky) shade of red.

Tone.—"Each step in a color scale is a tone of that color."[20] The term tone cannot, however, be properly applied to a step in the spectrum scale, in which each contiguous pair of the six distinct spectrum or "fundamental" colors are connected by hues. Hence tone[21] is exclusively applicable to the steps in a scale of a single color or hue, comprising the full color (in the center) and graduated tints and shades leading off therefrom in opposite directions; or of neutral gray similarly graduated in tone from the darkest shade to the palest tint. Each one of the colored blocks in the vertical scales of the plates in this work represents a separate tone of that color.

Scale.—A linear series of colors showing a gradual transition from one to another, or a similar series of tones of one color. The first is a chromatic scale[22] (or scale of colors and hues) and in the plates of this work is represented by each horizontal series; the second is a tone scale, on the plates running vertically, growing from the full color, in the center, to a pale tint (at the top) and a dark shade (at the bottom). For clearer comprehension of these two distinct scales, each plate of this work may be compared to a sheet of woven fabric; the chromatic scale (horizontal) representing the warp, the luminosity or tone scale (vertical) the woof. A third kind of color scale is represented by adding progressive increments of neutral gray to any color. This is shown by the several series of Plates, of which the first (Plates I-XII, with colors numbered 1-71) represents each step in the spectrum scale unmixed with gray, followed by five other series in which the same colors[23] are shown dulled by gradually increasing increments of neutral gray, the first (Plates XIII-XXVI, colors 1′-71′) containing 32 per cent., the second (Plates XXVII-XXXVIII, colors 1′′-71′′) 58 per cent., the third (Plates XXXIX-XLIV, colors 1′′′-69′′′) 77 per cent., the fourth (Plates XLV-L, colors 1′′′′-69′′′′) 90 per cent., and the fifth (Plates LI-LIII, colors 1′′′′′, 15′′′′′, 23′′′′′, 35′′′′′, 49′′′′′, 59′′′′′ and 67′′′′′) 95.5 per cent. of gray, the last being in reality colored grays. Finally scales are shown (on Plate LIII) of neutral gray (in which all trace of color is wanting), and of carbon gray, a simple mixture of lamp-black and chinese white. It is not easy to find a suitable name for these scales of reduced or "broken" colors, but they may, for present convenience, be termed reduced or broken scales.

Full Color.—A color corresponding in intensity with its manifestation in the solar spectrum.

Pure Color.—A color corresponding in purity with (or, in the case of material colors, closely approximating to) one of the spectrum colors.

Broken Color.—Any one of the spectrum colors or hues dulled or reduced in purity by admixture (in any proportion) of neutral gray, or varying relative proportions of both black and white; also produced by admixture of certain spectrum colors, as red with green, orange with blue, yellow with violet, etc. These broken colors are far more numerous in Nature than the pure spectrum colors, and include the almost infinite variations of brown, russet, citrine, olive, drab, etc. They are often called dull or neutral colors.

Fundamental Colors.—The six psychologically distinct colors of the solar spectrum; Red, Orange, Yellow, Green, Blue, and Violet.

Primary Colors.—Theoretically, any of the spectrum colors which cannot be made by mixture of two other colors. According to the generally accepted Young-Helmholtz theory, the primary colors are red, green, and violet: orange and yellow resulting from a mixture of red and green, and blue from a mixture of green and violet. There is considerable difference of opinion, however, as to this question, and further investigation of the subject seems to be required; at any rate, authorities fail to explain why red may be exactly reproduced (except as to the degree of luminosity) by a mixture of orange and violet, exactly as yellow results from mixture of red and green or blue from green or violet, green being, in fact, the only spectrum color that cannot be made by mixture of other colors.[24]

Chroma.—Degree of freedom from white light; purity, intensity or fullness of color.

Luminosity.—Degree of brightness or clearness. The relative luminosity of the spectrum colors is as follows: [Yellow (brightest)?], orange yellow; orange; greenish-yellow, yellow-green, and green; orange-red; red and blue (equal); violet-blue, blue-violet, violet.[25]

Warm Colors.—The colors nearer the red end of the spectrum or those of longer wave-lengths (red, orange, and yellow, and connecting hues) "and combinations in which they predominate."[26]

Cool, or Cold, Colors.—The colors nearer the violet end of the spectrum or those of shorter wave-length, especially blue and green-blue. "But it is, perhaps, questionable whether green and violet may be termed either warm or cool."

Complementary Color.—"As white light is the sum of all color, if we take from white light a given color the remaining color is the complement of the given color." When any two colors or hues which when combined in proper proportion on the color-wheel produce, by rotation, neutral gray, these two colors each represent the complementary of the other.

Constants of Color.—The constants of color are numbers which measure (1) the wave-length, (2) the chroma, and (3) the luminosity.

In addition to the terms defined above there are many others, for which the reader is referred to the chapter on "Color Definitions" on pages 23-30 of Milton Bradley's excellent and most useful book "Elementary Color."

TABLE OF PERCENTAGES OF COMPONENT COLORS IN THE CONNECTING HUES OF THE CHROMATIC SCALE.

The following table shows the relative percentages, in color-wheel measurement, of the two components in each of the hues connecting adjacent pairs of the six spectrum colors as represented on the original Plates of this work; together with an equal number of exact intermediates (not shown on the Plates), the latter in lower-case type and not indicated by symbols.

Number.

Color.

Red.

Orange.

Yellow.

Green.

Blue.

Violet.

Wavelength.[27]

1

Red

100

644

2

90

10

3

O-R

80

20

4

70

30

5

OO-R

60

40

6

50

50

7

R-O

40

60

8

30

70

9

OR-O

20

80

10

10

90

11

Orange

100

598

12

96

4

13

OY-O

91

9

14

86

14

15

Y-O

80

20

16

73.5

26.5

17

O-Y

65

35

18

56.5

43.5

19

YO-Y

47

53

20

36.5

63.5

21

O-YY

25

75

22

13.5

86.5

23

Yellow

100

577

24

87

13

25

YG-Y

75

25

26

64

36

27

G-Y

55

45

28

46

54

29

GG-Y

39

61

30

31

69

31

Y-G

24

76

32

17

83

33

GY-G

11

89

34

6

94

35

Green

100

520

36

96.5

3.5

37

GB-G

93

7

38

90

10

39

B-G

85

15

40

81

19

41

BB-G

75

25

42

69

31

43

G-B

61

39

44

54

46

45

BG-B

45

55

46

36

64

47

G-BB

25

75

48

13

87

49

Blue

100

473

50

84

16

51

BV-B

72

28

52

64

36

53

V-B

54

46

54

47

53

55

B-V

40

60

56

32

68

57

VB-V

22

78

58

12

88

59

Violet

100

410

60

3

97

61

VR-V

7

93

62

11

89

63

R-V

18

82

64

24

76

65

RR-V

33

67

66

41

59

67

V-R

52

48

68

64

36

69

RV-R

74

26

70

83

17

71

V-RR

90

10

72

95.5

4.5

TABLE SHOWING PERCENTAGE OF WHITE AND BLACK, RESPECTIVELY, IN EACH TONE OF THE TONE OR LUMINOSITY SCALES.

All of the vertical scales in the original Plates of this work (the scale of carbon grays alone excepted) contain the following percentages by color-wheel measurement:

T ONE.

P ERCENTAGES.

White.

Color.

Black.

(White )

100

(g)

70

30

f

45

55

(e)

32

68

d

22.5

77.5

(c)

15

85

b

9.5

90.5

(a)

5

95

(Full Color )

100

(h)

64

26

i

55

45

(j)

41

59

k

29.5

70.5

(l)

20

80

m

12.5

87.5

(n)

6

94

(Black )

100

One of the most serious difficulties encountered in the preparation of the Plates of this work was the apparent impracticability of reproducing satisfactory shades of pure colors. This originated in the fact that there seems to be no substance (pigment, dye, or fabric) which represents a true black, all reflecting more or less of white light, and consequently producing shades which are dull or broken. The difficulty is increased by the additional fact that any black pigment mixed with almost any color falls short of even the color-wheel mixture in purity of hue in the resulting shades, owing to the very considerable amount of gray in all black pigments. Chromolithography can be made to produce clearer and better shades of the pure colors, but is distinctly objectionable for the purpose of a work of this kind owing to eventual oxidation of the oil or varnish with which the pigments are combined in lithographic inks, causing a change of hue; reds becoming more orange, blues more greenish, etc., in course of time.

While the absence (in large part) of pure chromatic shades is much to be regretted, the defect is not so serious, from the standpoint of utility, as might appear at first sight; for while saturated or darkened pure colors are not uncommon in the animal, vegetable, and mineral kingdoms, more or less broken dark colors are infinitely more so; and since the latter are greatly increased in number by the defect mentioned the actual result is rather an advantage than otherwise.

It will doubtless be noticed that there is a conspicuous difference in relative darkness between shades of yellow and contiguous hues on the one hand and corresponding ones of violet and adjacent hues on the other, as if the percentage of black in each were very different. This, however, is entirely the result of difference of luminosity of the two sets of colors, that of yellow being between 7000 and 8000 while that of violet is only about 13;[28] for the percentage of black in corresponding tones of the vertical scales is precisely the same for each color throughout the chromatic scale of this work.

TABLE SHOWING PERCENTAGES OF NEUTRAL GRAY IN THE BROKEN COLOR SCALES.

Every Plate in each series of broken colors (′ to ′′′′′) contains exactly the same percentage of neutral gray in each color, the relative amount increasing progressively in the several series, as shown in the following table. The percentages of white in the tints and of black in the shades of the tone scales are in all cases exactly the same as in the tone scales of pure colors.

S ERIES.

P ERCENTAGES.

Color.

Neutral Gray.

Pure Colors

100

(′)

68

32

(′′)

42

58

(′′′)

23

77

(′′′′)

10

90

(′′′′′)

4.5

95.5

Neutral Gray

100

TABLE OF PERCENTAGE OF BLACK AND WHITE IN THE DIFFERENT TONES OF CARBON GRAY.

T ONE NUMBER.

P ERCENTAGES.

Black.

White.

1

100

2

98

2

3

94.5

5.5

4

89.5

10.5

5

83

17

6

75

25

7

67.5

32.5

8

58.5

41.5

9

47

53

10

30

70

Note.—The percentages given in the preceding tables may not in all cases be precisely those actually contained in the colors on the Plates, since absolute precision in reproduction is hardly possible. All that can be claimed is a reasonably close approximation to the ideal.

DYES AND PIGMENTS USED IN THE PREPARATION OF THE MAXWELL DISKS, REPRESENTING THE THIRTY-SIX COLORS OF THE PURE SPECTRUM SCALE, FORMING THE BASIS OF THE COLOR-SCHEME OF THIS WORK.[29]

Red.—Devoe's geranium lake (dry), its orange hue neutralized by a wash of rhodamin b. (Crocein scarlet b. washed with rhodamin b. produces practically the same fine red.)

Hues between red and orange.—Crocein scarlet b. with gold orange.

Orange.—Gold orange with orange g.

Hues between orange and yellow.—Orange g. with auramin.

Yellow.—Auramin, rather dilute. (The best substitute among pigments is a fine quality of zinc yellow, as Hatfield's.)

Hues between yellow and green.—Auramin washed with light green.

Green.—Auramin (very dilute) washed with light green. (The auramin should be applied first, because it "sets" or becomes fast quickly, while the light green does not, but is largely removed by overwashes of the yellow, thus rendering it very difficult to get the desired hue.)

Hues between green and blue.—Methyl green; the same washed with light blue (Diamond Dye); for the hues nearer blue, light blue washed with Winsor and Newton's permanent blue or new blue (the least violet-hued of the artificial ultramarines).

Blue.—Light blue washed with permanent blue or new blue. (Although the color is nearer that of the artificial ultramarines named, it is useless to apply the latter first, for overwashes of the light blue merely sink through and darken the color without improving the hue. A moderately saturated solution of the light blue should be applied first, and when this is dry covered with one or more rather thin washes of the permanent blue or new blue).

Hues between blue and violet.—Winsor and Newton's permanent blue and some of the more violet-hued artificial ultramarines, the hues nearer violet washed with crystal violet or gentian violet.

Violet.—Crystal violet.

Hues between violet and red.—Methyl violet 1b. washed with rhodamin b.; for hues nearer red, rhodamin b. with Devoe's geranium red (dry) or crocein scarlet b.

While more or less similar in hue to rhodamin b., several other aniline dyes, as acid fuchsin, rubin s., rosein, magenta, etc., do not combine satisfactorily with the violets, the mixture soon becoming dark or dull and none of them are quite as pure a purple or red-violet.

It is most important to remember that disks thus colored must be carefully protected from light when not in actual use and never exposed to direct sunlight. The artificial ultramarines are, of course, permanent, and so, practically, are crocein scarlet, gold orange, orange g., and auramin—that is to say, are not materially affected by the action of light except after very prolonged exposure, though the last named undergoes a change of hue; but the green and violet aniline dyes are all very evanescent, rapidly fading and eventually disappearing; light blue and rhodamin, while sensitive to light, are far less so than the greens and violets.

ALPHABETICAL LIST OF COLORS REPRESENTED ON PLATES OF THIS WORK

COLOR NAME.

Plate.

Color

or hue

Number.

Tone.

Absinthe Green

XXXI

29′′

—

Acajou Red

XIII

1′

i

Acetin Blue

XXXV

49′′

k

Ackermann's Green

XVIII

35′

k

Aconite Violet

XXXVII

63′′

—

Ageratum Violet

XXXVII

63′′

b

Alice Blue

XXXIV

45′′

b

Alizarine Blue

XXI

51′

m

Alizarine Pink

XIII

1′

d

Amaranth Pink

XII

69

d

Amaranth Purple

XII

69

i

Amber Brown

III

13

k

Amber Yellow

XVI

21′

b

American Green

XLI

33′′′

i

Amethyst Violet

XI

61

—

Amparo Blue

IX

51

b

Amparo Purple

XI

63

b

Andover Green

XLVII

25′′′′

i

Aniline Black

L

69′′′′

m

Aniline Lilac

XXXV

53′′

d

Aniline Yellow

IV

19

i

Anthracene Green

VII

39

m

Anthracene Purple

XLIV

69′′′

k

Anthracene Violet

XXV

61′

k

Antimony Yellow

XV

17′

b

Antique Brown

III

17

k

Antique Green

VI

35

m

*Antwerp Blue

VIII

45

k

*Apple Green

XVII

29′

—

Apricot Buff

XIV

11′

b

Apricot Orange

XIV

11′

—

Apricot Yellow

IV

19

b

Argus Brown

III

13

m

Argyle Purple

XXXVII

65′′

b

Army Brown

XL

13′′′

i

Artemisia Green

XLVII

33′′′′

—

Asphodel Green

XLI

29′′′

—

*Aster Purple

XII

67

i

Auburn

II

11

m

*Auricula Purple

XXVI

69′

k

Avellaneous

XL

17′′′

b

Azurite Blue

IX

53

m

Barium Yellow

XVI

23′

d

Baryta Yellow

IV

21

f

*Bay

II

7

m

Begonia Rose

I

1

b

Benzo Brown

XLVI

13′′′′

i

Benzol Green

VII

41

—

*Berlin Blue

VIII

47

m

Beryl Blue

VIII

43

f

*Beryl Green

XIX

41′

b

*Bice Green

XVII

29′

k

Biscay Green

XVII

27′

i

Bishop's Purple

XXXVII

65′′

—

*Bister

XXIX

15′′

m

Bittersweet Orange

II

9

b

Bittersweet Pink

II

9

d

*Black

LIII

73

(1)

Blackish Brown (1)

XLV

1′′′′

m

Blackish Brown (2)

XLV

5′′′′

m

Blackish Brown (3)

XLV

9′′′′

m

Blackish Green-Blue

VIII

43

m

Blackish Green-Gray

LII

35′′′′′

m

Blackish Mouse Gray

LI

15′′′′′

m

Blackish Plumbeous

LII

49′′′′′

k

Blackish Purple

XI

65

m

Blackish Red-Purple

XII

67

m

*Blackish Slate

LIII

75

(3)

Blackish Violet

X

59

m

Blackish Violet-Gray

LII

59′′′′′

m

Blanc's Blue

XX

47′

k

Blanc's Violet

XXIII

59′

k

Blue-Violet

X

55

—

Blue-Violet Black

XLIX

57′′′′

m

Bluish Black

XLIX

49′′′′

m

Bluish Glaucous

XLII

37′′′

f

Bluish Gray-Green

XLII

41′′′

—

Bluish Lavender

XXXVI

57′′

d

Bluish Slate-Black

XLVIII

45′′′′

m

Bluish Violet

X

57

—

Bone Brown

XL

13′′′

m

Bordeaux

XII

71

k

*Bottle Green

XIX

37′

m

Bradley's Blue

IX

51

—

Bradley's Violet

XXIII

59′

—

Brazil Red

I

5

i

Bremen Blue

XX

43′

b

*Brick Red

XIII

5′

k

Bright Chalcedony Yellow

XVII

25′

—

Bright Green-Yellow

V

27

—

Brownish Drab

XLV

9′′′′

—

Brownish Olive

XXX

19′′

m

Brownish Vinaceous

XXXIX

5′′′

b

Brussels Brown

III

15

m

Buckthorn Brown

XV

17′

i

*Buff-Pink

XXVIII

11′′

d

*Buff-Yellow

IV

19

d

Buffy Brown

XL

17′′′

i

Buffy Citrine

XVI

19′

k

Buffy Olive

XXX

21′′

k

Burn Blue

XXXIV

47′′

f

Burnt Lake

XII

71

m

*Burnt Sienna

II

9

k

*Burnt Umber

XXVIII

9′′

m

Cacao Brown

XXVIII

9′′

i

Cadet Blue

XXI

49′

i

Cadet Gray

XLII

45′′′

b

*Cadmium Orange

III

13

—

*Cadmium Yellow

III

17

—

Calamine Blue

VIII

43

d

Calla Green

V

25

m

Calliste Green

VI

31

i

Cameo Brown

XXVIII

7′′

k

Cameo Pink

XXVI

71′

f

*Campanula Blue

XXIV

55*

b

Capri Blue

XX

43′

i

Capucine Buff

III

13

f

Capucine Orange

III

13

d

Capucine Yellow

III

15

b

*Carmine

I

1

i

Carnelian Red

XIV

7′

—

Carob Brown

XIV

9′

m

Carrot Red

XIV

7′

b

Cartridge Buff

XXX

19′′

f

Castor Gray

LII

35′′′′′

i

Cedar Green

VI

31

m

Celandine Green

XLVII

33′′′′

b

Cendre Blue

VIII

43

b

Cendre Green

VI

35

b

Cerro Green

V

27

m

*Cerulean Blue

VIII

45

—

Chaetura Black

XLVI

17′′′′

m

Chaetura Drab

XLVI

17′′′′

k

Chalcedony Yellow

XVII

25′

b

Chamois

XXX

19′′

b

Chapman's Blue

XXII

49*

i

Chartreuse Yellow

XXXI

25′′

d

Chatenay Pink

XIII

3′

f

Chessylite Blue

XX

45′

k

*Chestnut

II

9

m

Chestnut-Brown

XIV

11′

m

Chicory Blue

XXIV

57*

d

*China Blue

XX

45′

i

Chinese Violet

XXV

65′

b

*Chocolate

XXVIII

7′′

m

*Chromium Green

XXXII

31′′

i

Chrysolite Green

XXXI

27′′

b

Chrysoprase Green

VII

37

b

*Cinereous

LII

49′′′′′

d

*Cinnamon

XXIX

15′′

—

Cinnamon-Brown

XV

15′

k

Cinnamon-Buff

XXIX

17′′

b

Cinnamon-Drab

XLVI

13′′′′

—

*Cinnamon-Rufous

XIV

11′

i

Citrine

IV

21

k

Citrine-Drab

XL

21′′′

i

Citron Green

XXXI

25′′

b

*Citron Yellow

XVI

23′

b

Civette Green

XVIII

31′

k

*Claret Brown

I

5

m

*Clay Color

XXIX

17′′

—

Clear Cadet Blue

XXI

49′

—

Clear Dull Green Yellow

XVII

27′

b

Clear Fluorite Green

XXXII

33′′

b

Clear Green-Blue Gray

XLVIII

45′′′′

d

Clear Payne's Gray

XLIX

49′′′′

b

Clear Windsor Blue

XXXV

49′′

—

Clear Yellow-Green

VI

31

b

*Clove Brown

XL

17′′′

m

Cobalt Green

XIX

37′

b

Colonial Buff

XXX

21′′

d

Columbia Blue

XXXIV

47′′

b

Commelina Blue

XXI

51′

—

Congo Pink

XXVIII

7′′

b

Coral Pink

XIII

5′

d

*Coral Red

XIII

5′

—

Corinthian Pink

XXVII

3′′

d

Corinthian Purple

XXXVIII

69′′

k

Corinthian Red

XXVII

3′′

—

Cornflower Blue

XXI

53′

—

Corydalis Green

XLI

29′′′

d

Cossack Green

VI

33

m

Cosse Green

V

29

i

Cotinga Purple

XI

63

k

Courge Green

XVII

25′

i

Court Gray

XLVII

29′′′′

f

*Cream Color

XVI

19′

f

*Cream-Buff

XXX

19′′

d

Cress Green

XXXI

29′′

k

*Cyanine Blue

IX

51

m

Dahlia Carmine

XXVI

71′

k

*Dahlia Purple

XII

67

k

Danube Green

XXXII

35′′

m

Daphne Pink

XXXVIII

69′′

b

Daphne Red

XXXVIII

69′′

—

Dark American Green

XLI

33′′′

k

Dark Aniline Blue

X

55

m

Dark Anthracene Violet

XXV

61′

m

Dark Bluish Glaucous

XLII

37′′′

b

Dark Bluish Gray-Green

XLII

41′′′

k

Dark Bluish Violet

X

57

m

Dark Cadet Blue

XXI

49′

m

Dark Chessylite Blue

XX

45′

m

Dark Cinnabar Green

XIX

39′

k

Dark Citrine

IV

21

m

Dark Corinthian Purple

XXXVIII

69′′

m

Dark Cress Green

XXXI

29′′

m

Dark Delft Blue

XLII

45′′′

m

Dark Diva Blue

XXI

51′

k

Dark Dull Bluish Violet (1)

XXIV

57*

k

Dark Dull Bluish Violet (2)

XXXV

51′′

k

Dark Dull Bluish Violet (3)

XXXVI

57′′

k

Dark Dull Violet-Blue

XXIV

53*

k

Dark Dull Violet-Blue

XXXV

53′′

k

Dark Dull Yellow-Green

XXXII

31′′

m

Dark Glaucous-Gray

XLVIII

37′′′′

b

Dark Gobelin Blue

XXXIV

43′′

k

Dark Grayish Blue-Green

XLVIII

37′′′′

k

Dark Grayish Blue-Violet

XXIV

55*

k

Dark Grayish Brown

XLV

5′′′′

k

Dark Grayish Lavender

XLIII

57′′′

b

Dark Grayish Olive

XLVI

21′′′′

k

Dark Green

XVIII

35′

m

Dark Green-Blue Gray

XLVIII

45′′′′

—

Dark Green-Blue Slate

XLVIII

45′′′′

k

Dark Greenish Glaucous

XLI

33′′′

b

Dark Greenish Olive

XXX

23′′

m

Dark Gull Gray

LIII

75

(6)

Dark Heliotrope Gray

L

65′′′′

—

Dark Heliotrope Slate

L

65′′′′

k

Dark Hyssop Violet

XXXVI

59′′

k

Dark Indian Red

XXVII

3′′

m

Dark Ivy Green

XLVII

25′′′′

k

Dark Lavender

XLIV

61′′′

b

Dark Livid Brown

XXXIX

1′′′

k

Dark Livid Purple

XXXVII

63′′

m

Dark Madder Blue

XLIII

53′′′

k

Dark Madder Violet

XXV

63′

m

Dark Maroon Purple

XXVI

71′

m

Dark Medici Blue

XLVIII

41′′′′

i

Dark Mineral Red

XXVII

1′′

m

Dark Mouse Gray

LI

15′′′′′

k

Dark Naphthalene Violet

XXXVII

61′′

m

Dark Neutral Gray

LIII

73

k

Dark Nigrosin Violet

XXV

65′

m

Dark Olive

XL

21′′′

m

Dark Olive-Buff

XL

21′′′

—

Dark Olive-Gray

LI

23′′′′′

i

Dark Orient Blue

XXXIV

45′′

k

Dark Payne's Gray

XLIX

49′′′′

k

Dark Perilla Purple

XXXVII

65′′

m

Dark Plumbago Blue

XLIII

53′′′

b

Dark Plumbago Gray

L

61′′′′

—

Dark Plumbago Slate

L

61′′′′

k

Dark Plumbeous

LII

49′′′′′

i

Dark Porcelain Green

XXXIII

39′′

k

Dark Purple-Drab

XLV

1′′′′

i

Dark Purplish Gray

LIII

67′′′′′

k

Dark Quaker Drab

LI

1′′′′′

k

Dark Russian Green

XLII

37′′′

k

Dark Slate-Purple

XLIV

65′′′

k

Dark Slate-Violet (1)

XLIII

57′′′

k

Dark Slate-Violet (2)

XLIV

61′′′

k

Dark Soft Blue-Violet

XXIII

55′

k

Dark Soft Bluish Violet

XXIII

57′

k

Dark Sulphate Green

XIX

39′

i

Dark Terre Verte

XXXIII

41′′

k

Dark Tyrian Blue

XXXIV

47′′

k

Dark Varley's Gray

XLIX

57′′′′

k

Dark Vinaceous

XXVII

1′′

—

Dark Vinaceous-Brown

XXXIX

5′′′

k

Dark Vinaceous-Drab

XLV

5′′′′

i

Dark Vinaceous-Gray

L

69′′′′

—

Dark Vinaceous-Purple

XXXVIII

67′′

k

Dark Violet

X

59

k

Dark Violet-Gray

LII

59′′′′′

k

Dark Violet-Slate

XLIX

53′′′′

k

Dark Viridian Green

VII

37

k

Dark Yellowish Green

XVIII

33′

m

Dark Yvette Violet

XXXVI

55′′

m

Dark Zinc Green

XIX

37′

k

Dauphin's Violet

XXIII

59′

i

Dawn Gray

LII

35′′′′′

d

Deep Aniline Lilac

XXXV

53′′

b

Deep Blue-Violet

X

55

i

Deep Bluish Glaucous

XLII

37′′′

d

Deep Bluish Gray-Green

XLII

41′′′

i

Deep Brownish Drab

XLV

9′′′′

i

Deep Brownish Vinaceous

XXXIX

5′′′

—

Deep Cadet Blue

XXI

49′

k

Deep Chicory Blue

XXIV

57*

b

*Deep Chrome

III

17

b

Deep Chrysolite Green

XXXI

27′′

—

Deep Colonial Buff

XXX

21′′

b

Deep Corinthian Red

XXVII

3′′

i

Deep Delft Blue

XLII

45′′′

k

Deep Dull Bluish Violet (1)

XXIV

57*

i

Deep Dull Bluish Violet (2)

XXXV

51′′

i

Deep Dull Bluish Violet (3)

XXXVI

57′′

i

Deep Dull Lavender

XLIV

61′′′

d

Deep Dull Violaceous Blue

XXII

51*

k

Deep Dull Violet-Blue

XXXV

53′′

i

Deep Dull Yellow-Green (1)

XXXII

31′′

k

Deep Dull Yellow-Green (2)

XXXII

33′′

k

Deep Dutch Blue

XLIII

49′′′

—

Deep Glaucous-Gray

XLVIII

37′′′′

d

Deep Glaucous-Green

XXXIII

39′′

b

Deep Grape Green

XLI

25′′′

i

Deep Grayish Blue-Green

XLVIII

37′′′′

i

Deep Grayish Lavender

XLIII

57′′′

d

Deep Grayish Olive

XLVI

21′′′′

i

Deep Green-Blue Gray

XLVIII

45′′′′

b

Deep Greenish Glaucous

XLI

33′′′

d

Deep Gull Gray

LIII

75

(7)

Deep Heliotrope Gray

L

65′′′′

b

Deep Hellebore Red

XXXVIII

71′′

i

Deep Hyssop Violet

XXXVI

59′′

i

Deep Lavender

XXXVI

59′′

d

Deep Lavender-Blue

XXI

53′

b

Deep Lichen Green

XXXIII

37′′

d

Deep Livid Brown

XXXIX

1′′′

i

Deep Livid Purple

XXXVII

63′′

k

Deep Madder Blue

XLIII

53′′′

i

Deep Malachite Green

XXXII

35′′

—

Deep Medici Blue

XLVIII

41′′′′

—

Deep Mouse Gray

LI

15′′′′′

i

Deep Neutral Gray

LIII

73

i

Deep Olive

XL

21′′′

k

Deep Olive-Buff

XL

21′′′

b

Deep Olive-Gray

LI

23′′′′′

—

Deep Orient Blue

XXXIV

45′′

i

Deep Payne's Gray

XLIX

49′′′′

i

Deep Plumbago Blue

XLIII

53′′′

d

Deep Plumbago Gray

L

61′′′′

b

Deep Plumbeous

LII

49′′′′′

—

Deep Purplish Gray

LIII

67′′′′′

i

Deep Purplish Vinaceous

XLIV

69′′′

—

Deep Quaker Drab

LI

1′′′′′

i

Deep Rose-Pink

XII

71

d

Deep Seafoam Green

XXXI

27′′

d

Deep Slate-Blue

XLIII

49′′′

k

Deep Slate-Green

XLVII

33′′′′

k

Deep Slate-Olive

XLVII

29′′′′

k

Deep Slate-Violet

XLIV

61′′′

i

Deep Slaty Brown

L

69′′′′

k

Deep Soft Blue-Violet

XXIII

55′

i

Deep Soft Bluish Violet

XXIII

57′

i

Deep Turtle Green

XXXII

31′′

—

Deep Varley's Gray

XLIX

57′′′′

i

Deep Vinaceous

XXVII

1′′

b

Deep Vinaceous-Gray

L

69′′′′

b

Deep Vinaceous-Lavender

XLIV

65′′′

d

Deep Violet-Gray

LII

59′′′′′

i

Deep Violet-Plumbeous

XLIX

53′′′′

—

Deep Wedgewood Blue

XXI

51′

d

Delft Blue

XLII

45′′′

i

Diamin-Azo Blue

XXXV

51′′

m

Diamine Brown

XIII

3′

m

Diamine Green

VII

37

m

Diva Blue

XXI

51′

i

*Drab

XLVI

17′′′′

—

*Drab-Gray

XLVI

17′′′′

d

*Dragon's-blood Red

XIII

5′

i

Dresden Brown

XV

17′

k

Duck Green

XIX

39′

m

Dull Blackish Green

XLI

33′′′

m

Dull Blue-Green Black

XLVIII

41′′′′

m

Dull Blue-Violet (1)

XXIV

55*

—

Dull Blue-Violet (2)

XXXVI

55′′

i

Dull Bluish Violet (1)

XXIV

57*

—

Dull Bluish Violet (2)

XXXV

51′′

—

Dull Bluish Violet (3)

XXXVI

57′′

—

Dull Citrine

XVI

21′

k

Dull Dark Purple

XXVI

67′

k

Dull Dusky Purple

XXVI

67′

m

Dull Green-Yellow

XVII

27′

—

Dull Greenish Black (1)

XLVII

29′′′′

m

Dull Greenish Black (2)

XLVII

33′′′′

m

Dull Indian Purple

XLIV

69′′′

i

Dull Lavender

XLIV

61′′′

f

Dull Magenta Purple

XXVI

67′

i

Dull Opaline Green

XIX

37′

f

Dull Purplish Black

L

65′′′′

m

Dull Violaceous Blue

XXII

51*

—

Dull Violet-Black (1)

XLIV

61′′′

m

Dull Violet-Black (2)

XLIX

53′′′′

m

Dull Violet-Black (3)

L

61′′′′

m

Dull Violet-Blue

XXIV

53*

—

Dull Violet-Blue

XXXV

53′′

—

Dusky Auricula Purple

XXVI

69′

m

Dusky Blue

XXII

49*

m

Dusky Blue-Green

XXXIII

39′′

m

Dusky Blue-Violet (1)

XXIII

57′

m

Dusky Blue-Violet (2)

XXIV

55*

m

Dusky Bluish Green

XXXIII

41′′

m

Dusky Brown

XLV

1′′′′

k

Dusky Drab

XLV

9′′′′

k

Dusky Dull Bluish Green

XLII

41′′′

m

Dusky Dull Green

XLII

37′′′

m

Dusky Dull Violet (1)

XXXVI

57′′

m

Dusky Dull Violet (2)

XXXVI

59′′

m

Dusky Dull Violet-Blue

XXXV

53′′

m

Dusky Green

XXXIII

37′′

m

Dusky Green-Blue (1)

XX

43′

m

Dusky Green-Blue (2)

XXXIV

43′′

m

Dusky Green-Gray

LII

35′′′′′

k

Dusky Greenish Blue

XX

47′

m

Dusky Neutral Gray

LIII

73

m

Dusky Olive-Green

XLI

25′′′

m

Dusky Orient Blue

XXXIV

45′′

m

Dusky Purplish Gray

LIII

67′′′′′

m

Dusky Slate-Blue

XLIII

49′′′

m

Dusky Slate-Violet

XLIII

57′′′

m

Dusky Violet

XXIII

59′

m

Dusky Violet-Blue (1)

XXIII

55′

m

Dusky Violet-Blue (2)

XLIII

53′′′

m

Dusky Yellowish Green

XLI

29′′′

m

Dutch Blue

XLIII

49′′′

b

*Ecru-Drab

XLVI

13′′′′

d

Ecru-Olive

XXX

21′′

i

Elm Green

XVII

27′

m

*Emerald Green

VI

35

—

Empire Green

XXXII

33′′

m

Empire Yellow

IV

21

b

Endive Blue

XLIII

49′′′

d

English Red

II

7

i

Eosine Pink

I

1

d

Etain Blue

XX

43′

f

Ethyl Green

VII

41

i

Eton Blue

XXII

49*

k

Etruscan Red

XXVII

5′′

—

Eugenia Red

XIII

1′

—

Eupatorium Purple

XXXVIII

67′′

—

*Fawn Color

XL

13′′′

—

*Ferruginous

XIV

9′

i

*Flame Scarlet

II

9

—

*Flax-flower Blue

XXI

51′

b

*Flesh Color

XIV

7′

d

Flesh Ocher

XIV

9′

b

Flesh Pink

XIII

5′

f

Fluorite Green

XXXII

33′′

—

Fluorite Violet

XI

61

m

Forest Green

XVII

29′

m

Forget-me-not Blue

XXII

51*

b

*French Gray

LII

49′′′′′

f

*French Green

XXXII

35′′

i

Fuscous

XLVI

13′′′′

k

Fuscous-Black

XLVI

13′′′′

m

Garnet Brown

I

3

k

Gendarme Blue

XXII

47*

k

Gentian Blue

XXI

53′

i

*Geranium Pink

I

3

d

Glass Green

XXXI

29′′

d

Glaucous

XLI

29′′′

f

*Glaucous-Blue

XXXIV

43′′

b

Glaucous-Gray

XLVIII

37′′′′

f

*Glaucous-Green

XXXIII

39′′

d

Gnaphalium Green

XLVII

29′′′′

d

Gobelin Blue

XXXIV

43′′

i

Grape Green

XLI

25′′′

—

*Grass Green

VI

33

k

Grayish Blue-Green

XLVIII

37′′′′

—

Grayish Blue-Violet (1)

XXIV

55*

i

Grayish Blue-Violet (2)

XXXV

51′′

b

Grayish Lavender

XLIII

57′′′

f

Grayish Olive

XLVI

21′′′′

—

Grayish Violaceous Blue

XXII

51*

i

Grayish Violet-Blue

XXIV

53*

i

Green-Blue Slate

XLVIII

45′′′′

i

Green-Yellow

V

27

b

Greenish Glaucous

XLI

33′′′

f

Greenish Glaucous-Blue

XLII

41′′′

b

Greenish Slate-Black

XLVIII

37′′′′

m

Greenish Yellow

V

25

—

Grenadine

II

7

b

Grenadine Pink

II

7

d

Grenadine Red

II

7

—

Guinea Green

VII

39

i

Gull Gray

LIII

75

(8)

Haematite Red

XXVII

5′′

m

Haematoxylin Violet

XXV

61′

i

*Hair Brown

XLVI

17′′′′

i

Hathi Gray

LII

35′′′′′

b

Hay's Blue

IX

53

k

Hay's Brown

XXXIX

9′′′

k

Hay's Green

XVIII

33′

k

Hay's Lilac

XXXVII

63′′

d

Hay's Maroon

XIII

1′

m

Hay's Russet

XIV

7′

k

*Hazel

XIV

11′

k

Heliotrope-Gray

L

65′′′′

d

Heliotrope-Slate

L

65′′′′

i

Hellebore Green

XVII

25′

m

Hellebore Red

XXXVIII

71′′

—

Helvetia Blue

IX

51

k

Hermosa Pink

I

1

f

Hessian Brown

XIII

5′

m

Honey Yellow

XXX

19′′

—

Hortense Blue

XXII

47*

m

Hortense Violet

XI

61

b

*Hyacinth Blue

X

55

k

Hyacinth Violet

XI

61

i

Hydrangea Pink

XXVII

5′′

f

Hydrangea Red

XXVII

1′′

i

Hyssop Violet

XXXVI

59′′

—

Indian Lake

XXVI

71′

i

*Indian Purple

XXXVIII

67′′

m

Indian Red

XXVII

3′′

k

*Indigo Blue

XXXIV

47′′

m

Indulin Blue

XXII

51*

m

Invisible Green

XIX

41′

m

Iron Gray

LI

23′′′′′

k

*Isabella Color

XXX

19′′

i

Italian Blue

VIII

43

—

Ivory Yellow

XXX

21′′

f

Ivy Green

XXXI

25′′

m

Jade Green

XXXI

27′′

k

Japan Rose

XXVIII

9′′

b

Jasper Green

XXXIII

37′′

i

Jasper Pink

XIII

3′

d

Jasper Red

XIII

3′

—

Javel Green

V

27

i

Jay Blue

XXII

47*

i

Jouvence Blue

XX

43′

k

Kaiser Brown

XIV

9′

k

Kildare Green

XXXI

29′′

b

Killarney Green

XVIII

35′

i

King's Blue

XXII

47*

b

Kronberg's Green

XXXI

25′′

k

La France Pink

I

3

f

Laelia Pink

XXXVIII

67′′

d

*Lavender

XXXVI

59′′

f

Lavender-Blue

XXI

53′

d

*Lavender-Gray

XLIII

49′′′

f

Lavender-Violet

XXV

61′

b

Leaf Green

XLI

29′′′

k

Leitch's Blue

VIII

47

i

Lemon Chrome

IV

21

—

*Lemon Yellow

IV

23

—

Lettuce Green

V

29

k

Lichen Green

XXXIII

37′′

f

Light Alice Blue

XXXIV

45′′

d

Light Amparo Blue

IX

51

d

Light Amparo Purple

XI

63

d

Light Bice Green

XVII

29′

i

Light Blue-Green

VII

39

d

Light Blue-Violet

X

55

b

Light Bluish Violet

X

57

b

Light Brownish Drab

XLV

9′′′′

b

Light Brownish Olive

XXX

19′′

k

Light Brownish Vinaceous

XXXIX

5′′′

d

Light Buff

XV

17′

f

Light Cadet Blue

XXI

49′

b

Light Cadmium

IV

19

—

Light Campanula Blue

XXIV

55*

d

Light Celandine Green

XLVII

33′′′′

d

Light Cendre Green

VI

35

d

Light Cerulean Blue

VIII

45

b

Light Chalcedony Yellow

XVII

25′

d

Light Chicory Blue

XXIV

57*

f

Light Cinnamon-Drab

XLVI

13′′′′

b

Light Columbia Blue

XXXIV

47′′

d

Light Congo Pink

XXVIII

7′′

d

Light Coral Red

XIII

5′

b

Light Corinthian Red

XXVII

3′′

b

Light Cress Green

XXXI

29′′

i

Light Danube Green

XXXII

35′′

k

Light Drab

XLVI

17′′′′

b

Light Dull Bluish Violet

XXXVI

57′′

b

Light Dull Glaucous-Blue

XLII

41′′′

d

Light Dull Green-Yellow

XVII

27′

d

Light Elm Green

XVII

27′

k

Light Fluorite Green

XXXII

33′′

d

Light Forget-me-not Blue

XXII

51*

d

Light Glaucous-Blue

XXXIV

43′′

d

Light Grape Green

XLI

25′′′

b

Light Grayish Blue-Violet

XXXV

51′′

d

Light Grayish Olive

XLVI

21′′′′

b

Light Grayish Vinaceous

XXXIX

9′′′

d

Light Grayish Violet-Blue

XXIV

53*

b

Light Green-Yellow

V

27

d

Light Greenish Yellow

V

25

b

Light Gull Gray

LIII

75

(9)

Light Heliotrope-Gray

L

65′′′′

f

Light Hellebore Green

XVII

25′

k

Light Hortense Violet

XI

61

d

Light Hyssop Violet

XXXVI

59′′

b

Light Jasper Red

XIII

3′

b

Light King's Blue

XXII

47*

d

Light Lavender-Blue

XXI

53′

f

Light Lavender-Violet

XXV

61′

d

Light Lobelia Violet

XXXVII

61′′

d

Light Lumiere Green

XVII

29′

d

Light Mallow Purple

XII

67

d

Light Mauve

XXV

63′

d

Light Medici Blue

XLVIII

41′′′′

d

Light Methyl Blue

VIII

47

b

Light Mineral Gray

XLVII

25′′′′

f

Light Mouse Gray

LI

15′′′′′

b

Light Neropalin Blue

XXII

49*

d

Light Neutral Gray

LIII

73

b

Light Niagara Green

XXXIII

41′′

d

Light Ochraceous-Buff

XV

15′

d

Light Ochraceous-Salmon

XV

13′

d

Light Olive-Gray

LI

23′′′′′

d

Light Orange-Yellow

III

17

d

Light Oriental Green

XVIII

33′

b

Light Paris Green

XVIII

35′

d

Light Payne's Gray

XLIX

49′′′′

d

Light Perilla Purple

XXXVII

65′′

i

Light Phlox Purple

XI

65

d

Light Pinkish Cinnamon

XXIX

15′′

d

Light Pinkish Lilac

XXXVII

65′′

f

Light Plumbago Gray

L

61′′′′

f

Light Porcelain Green

XXXIII

39′′

—

Light Purple-Drab

XLV

1′′′′

b

Light Purplish Gray

LIII

67′′′′′

b

Light Purplish Vinaceous

XXXIX

1′′′

d

Light Quaker Drab

LI

1′′′′′

b

Light Rosolane Purple

XXVI

69′

b

Light Russet-Vinaceous

XXXIX

9′′′

b

Light Salmon-Orange

II

11

d

Light Seal Brown

XXXIX

9′′′

m

Light Sky Blue

XX

47′

f

Light Soft Blue-Violet

XXIII

55′

b

Light Squill Blue

XX

45′

d

Light Sulphate Green

XIX

39′

b

Light Terre Verte

XXXIII

41′′

—

Light Turtle Green

XXXII

31′′

d

Light Tyrian Blue

XXXIV

47′′

—

Light Varley's Gray

XLIX

57′′′′

b

Light Vinaceous-Cinnamon

XXIX

13′′

d

Light Vinaceous-Drab

XLV

5′′′′

b

Light Vinaceous-Fawn

XL

13′′′

d

Light Vinaceous-Gray

L

69′′′′

f

Light Vinaceous-Lilac

XLIV

69′′′

d

Light Vinaceous-Purple

XLIV

65′′′

b

Light Violet

X

59

b

Light Violet-Blue

IX

53

b

Light Violet-Gray

LII

59′′′′′

b

Light Violet-Plumbeous

XLIX

53′′′′

d

Light Viridine Green

VI

33

f

Light Viridine Yellow

V

29

d

Light Windsor Blue

XXXV

49′′

b

Light Wistaria Blue

XXIII

57′

d

Light Wistaria Violet

XXIII

59′

d

Light Yellow-Green

VI

31

d

Light Yellowish Olive

XXX

23′′

i

*Lilac

XXV

65′

d

*Lilac-Gray

LII

59′′′′′

f

Lily Green

XLVII

33′′′′

i

Lime Green

XXXI

25′′

—

Lincoln Green

XLI

25′′′

k

Liseran Purple

XXVI

67′

b

Litho Purple

XXV

63′

i

*Liver Brown

XIV

7′

m

Livid Brown

XXXIX

1′′′

—

Livid Pink

XXVII

3′′

f

Livid Purple

XXXVII

63′′

i

Livid Violet

XXXVII

61′′

i

Lobelia Violet

XXXVII

61′′

b

Lumiere Blue

XX

43′

d

Lumiere Green

XVII

29′

b

Lyons Blue

IX

51

i

Madder Blue

XLIII

53′′′

—

*Madder Brown

XIII

3′

k

Madder Violet

XXV

63′

k

*Magenta

XXVI

67′

—

Mahogany Red

II

7

k

*Maize Yellow

IV

19

f

*Malachite Green

XXXII

35′′

b

Mallow Pink

XII

67

f

Mallow Purple

XII

67

b

Manganese Violet

XXV

63′

—

Marguerite Yellow

XXX

23′′

f

*Marine Blue

VIII

45

m

*Maroon

I

3

m

*Mars Brown

XV

13′

m

Mars Orange

II

9

i

Mars Violet

XXXVIII

71′′

m

Mars Yellow

III

15

i

Martius Yellow

IV

23

f

Massicot Yellow

XVI

21′

f

Mathews' Blue

XX

45′

—

Mathews' Purple

XXV

65′

—

*Mauve

XXV

63′

b

Mauvette

XXV

65′

f

Mazarine Blue

IX

49

d

Meadow Green

VI

35

k

Medal Bronze

IV

19

m

Medici Blue

XLVIII

41′′′′

b

Methyl Blue

VIII

47

—

Methyl Green

XIX

41′

—

Microcline Green

XIX

39′

f

Mignonette Green

XXXI

25′′

i

Mikado Brown

XXIX

13′′

i

Mikado Orange

III

13

b

Mineral Gray

XLVII

25′′′′

d

Mineral Green

XVIII

31′

—

Mineral Red

XXVII

1′′

k

Montpellier Green

XXXIII

37′′

—

Morocco Red

I

5

k

Motmot Blue

XX

43′

—

Motmot Green

XVIII

35′

—

*Mouse Gray

LI

15′′′′′

—

Mulberry Purple

XI

61

k

*Mummy Brown

XV

17′

m

Mustard Yellow

XVI

19′

b

*Myrtle Green

VII

41

m

Mytho Green

XLI

29′′′

b

Naphthalene Violet

XXXVII

61′′

k

Naphthalene Yellow

XVI

23′

f

*Naples Yellow

XVI

19′

d

Natal Brown

XL

13′′′

k

Navy Blue

XXI

53′

m

Neropalin Blue

XXII

49*

b

Neutral Gray

LIII

73

—

Neutral Red

XXXVIII

71′′

k

Neuvider Green

VII

37

d

Neva Green

V

29

—

Niagara Green

XXXIII

41′′

b

Nickel Green

XXXIII

37′′

k

Night Green

VI

33

—

Nigrosin Blue

XXXV

49′′

m

Nigrosin Violet

XXV

65′

k

*Nile Blue

XIX

41′

d

Nopal Red

I

3

i

Ocher Red

XXVII

5′′

i

*Ochraceous-Buff

XV

15′

b

Ochraceous-Orange

XV

15′

—

Ochraceous-Salmon

XV

13′

b

Ochraceous-Tawny

XV

15′

i

*Oil Green

V

27

k

Oil Yellow

V

25

i

Old Gold

XVI

19′

i

Old Rose

XIII

1′

b

Olivaceous Black (1)

XLVI

21′′′′

m

Olivaceous Black (2)

XLVII

25′′′′

m

Olivaceous Black (3)

LI

23′′′′′

m

*Olive

XXX

21′′

m

Olive Lake

XVI

21′

i

Olive-Brown

XL

17′′′

k

*Olive-Buff

XL

21′′′

d

Olive-Citrine

XVI

21′

m

*Olive-Gray

LI

23′′′′′

b

*Olive-Green

IV

23

m

Olive-Ocher

XXX

21′′

—

*Olive-Yellow

XXX

23′′

—

Olivine

XXXII

35′′

d

Olympic Blue

XX

47′

—

Onion-skin Pink

XXVIII

11′′

b

Ontario Violet

XXXVI

55′′

b

Opaline Green

VII

37

f

*Orange

III

15

—

*Orange Chrome

II

11

—

*Orange-Buff

III

15

d

Orange-Cinnamon

XXIX

13′′

—

Orange-Citrine

IV

19

k

Orange-Pink

II

11

f

*Orange-Rufous

II

11

i

Orange-Vinaceous

XXVII

5′′

b

Orient Blue

XXXIV

45′′

—

Orient Pink

II

9

f

Oriental Green

XVIII

33′

—

Oural Green

XVIII

35′

f

Ox-blood Red

I

1

k

Oxide Blue

VIII

45

i

Pale Amaranth Pink

XII

69

f

Pale Amparo Blue

IX

51

f

Pale Amparo Purple

XI

63

f

Pale Aniline Lilac

XXXV

53′′

f

*Pale Blue (Ethyl Blue)

VIII

45

f

Pale Blue-Green

VII

39

f

Pale Blue-Violet

X

55

d

Pale Bluish Lavender

XXXVI

57′′

f

Pale Bluish Violet

X

57

d

Pale Brownish Drab

XLV

9′′′′

d

Pale Brownish Vinaceous

XXXIX

5′′′

f

Pale Cadet Blue

XXI

49′

d

Pale Campanula Blue

XXIV

55*

f

Pale Cendre Green

VI

35

f

Pale Cerulean Blue

VIII

45

d

Pale Chalcedony Yellow

XVII

25′

f

Pale Cinnamon-Pink

XXIX

13′′

f

Pale Congo Pink

XXVIII

7′′

f

Pale Drab-Gray

XLVI

17′′′′

f

Pale Dull Glaucous-Blue

XLII

41′′′

f

Pale Dull Green-Yellow

XVII

27′

f

Pale Ecru-Drab

XLVI

13′′′′

f

Pale Flesh Color

XIV

7′

f

Pale Fluorite Green

XXXII

33′′

f

Pale Forget-me-not Blue

XXII

51*

f

Pale Glass Green

XXXI

29′′

f

Pale Glaucous-Blue

XXXIV

43′′

f

Pale Glaucous-Green

XXXIII

39′′

f

Pale Grayish Blue

XXI

49′

f

Pale Grayish Blue-Violet

XXXV

51′′

f

Pale Grayish Vinaceous

XXXIX

9′′′

f

Pale Grayish Violet-Blue

XXIV

53*

d

Pale Green-Blue Gray

XLVIII

45′′′′

f

Pale Green-Yellow

V

27

f

Pale Greenish Yellow

V

25

d

Pale Gull Gray

LIII

75

(10)

Pale Hortense Violet

XI

61

f

Pale King's Blue

XXII

47*

f

Pale Laelia Pink

XXXVIII

67′′

f

Pale Lavender-Violet

XXV

61′

f

Pale Lemon Yellow

IV

23

b

Pale Lilac

XXXVII

63′′

f

Pale Lobelia Violet

XXXVII

61′′

f

Pale Lumiere Green

XVII

29′

f

Pale Mauve

XXV

63′

f

Pale Mazarine Blue

IX

49

f

Pale Medici Blue

XLVIII

41′′′′

f

Pale Methyl Blue

VIII

47

d

Pale Mouse Gray

LI

15′′′′′

d

Pale Neropalin Blue

XXII

49*

f

Pale Neutral Gray

LIII

73

d

Pale Niagara Green

XXXIII

41′′

f

Pale Nile Blue

XIX

41′

f

Pale Ochraceous-Buff

XV

15′

f

Pale Ochraceous-Salmon

XV

13′

f

Pale Olive-Buff

XL

21′′′

f

Pale Olive-Gray

LI

23′′′′′

f

Pale Olivine

XXXII

35′′

f

Pale Orange-Yellow

III

17

f

Pale Payne's Gray

XLIX

49′′′′

f

Pale Persian Lilac

XXXVIII

69′′

f

Pale Pinkish Buff

XXIX

17′′

f

Pale Pinkish Cinnamon

XXIX

15′′

f

Pale Purple-Drab

XLV

1′′′′

d

Pale Purplish Gray

LIII

67′′′′′

d

Pale Purplish Vinaceous

XXXIX

1′′′

f

Pale Quaker Drab

LI

1′′′′′

d

Pale Rhodonite Pink

XXXVIII

71′′

f

Pale Rose-Purple

XXVI

67′

f

Pale Rosolane Purple

XXVI

69′

d

Pale Russian Blue

XLII

45′′′

f

Pale Salmon Color

XIV

9′

f

Pale Smoke Gray

XLVI

21′′′′

f

Pale Soft Blue-Violet

XXIII

55′

d

Pale Sulphate Green

XIX

39′

d

Pale Tiber Green

XVIII

33′

f

Pale Turquoise Green

VII

41

f

Pale Turtle Green

XXXII

31′′

f

Pale Varley's Gray

XLIX

57′′′′

d

Pale Verbena Violet

XXXVI

55′′

f

Pale Veronese Green

XVIII

31′

f

Pale Vinaceous

XXVII

1′′

f

Pale Vinaceous-Drab

XLV

5′′′′

d

Pale Vinaceous-Fawn

XL

13′′′

f

Pale Vinaceous-Lilac

XLIV

69′′′

f

Pale Vinaceous-Pink

XXVIII

9′′

f

Pale Violet

X

59

d

Pale Violet-Blue

IX

53

d

Pale Violet-Gray

LII

59′′′′′

d

Pale Violet-Plumbeous

XLIX

53′′′′

f

Pale Viridine Yellow

V

29

f

Pale Windsor Blue

XXXV

49′′

d

Pale Wistaria Blue

XXIII

57′

f

Pale Wistaria Violet

XXIII

59′

f

Pale Yellow-Green

VI

31

f

Pale Yellow-Orange

III

15

f

Pallid Blue-Violet

X

55

f

Pallid Bluish Violet

X

57

f

Pallid Brownish Drab

XLV

9′′′′

f

Pallid Grayish Violet-Blue

XXIV

53*

f

Pallid Methyl Blue

VIII

47

f

Pallid Mouse Gray

LI

15′′′′′

f

Pallid Neutral Gray

LIII

73

f

Pallid Purple-Drab

XLV

1′′′′

f

Pallid Purplish Gray

LIII

67′′′′′

f

Pallid Quaker Drab

LI

1′′′′′

f

Pallid Soft Blue-Violet

XXIII

55′

f

Pallid Vinaceous-Drab

XLV

5′′′′

f

Pallid Violet

X

59

f

Pallid Violet-Blue

IX

53

f

*Pansy Purple

XII

69

k

Pansy Violet

XI

63

i

*Paris Blue

VIII

47

k

*Paris Green

XVIII

35′

b

*Parrot Green

VI

31

k

Parula Blue

XLII

45′′′

—

Patent Blue

VIII

43

k

Payne's Gray

XLIX

49′′′′

—

*Pea Green

XLVII

29′′′′

b

Peach Red

I

5

b

Peacock Blue

VIII

43

i

Peacock Green

VI

35

i

*Pearl Blue

XXXV

49′′

f

*Pearl Gray

LII

35′′′′′

f

Pecan Brown

XXVIII

11′′

i

Perilla Purple

XXXVII

65′′

k

Persian Blue

XX

45′

f

Persian Lilac

XXXVIII

69′′

d

Petunia Violet

XXV

65′

i

Phenyl Blue

IX

53

—

Phlox Pink

XI

65

f

*Phlox Purple

XI

65

b

Picnic Yellow

IV

23

d

Pinard Yellow

IV

21

d

*Pinkish Buff

XXIX

17′′

d

Pinkish Cinnamon

XXIX

15′′

b

*Pinkish Vinaceous

XXVII

5′′

d

Pistachio Green

XLI

33′′′

—

Pleroma Violet

XXV

61′

—

*Plum Purple

XXIV

57*

m

Plumbago Blue

XLIII

53′′′

f

Plumbago Gray

L

61′′′′

d

Plumbago Slate

L

61′′′′

i

*Plumbeous

LII

49′′′′′

b

Plumbeous-Black

LII

49′′′′′

m

Pois Green

XLI

29′′′

i

*Pomegranate Purple

XII

71

i

Pompeian Red

XIII

3′

i

Porcelain Blue

XXXIV

43′′

—

Porcelain Green

XXXIII

39′′

i

*Primrose Yellow

XXX

23′′

d

Primuline Yellow

XVI

19′

—

*Prout's Brown

XV

15′

m

*Prune Purple

XI

63

m

Prussian Blue

IX

49

m

Prussian Green

XIX

41′

k

Prussian Red

XXVII

5′′

k

Puritan Gray

XLVII

33′′′′

f

Purple (true)

XI

65

—

Purple-Drab

XLV

1′′′′

—

Purplish Gray

LIII

67′′′′′

—

Purplish Lilac

XXXVII

65′′

d

Purplish Vinaceous

XXXIX

1′′′

b

Pyrite Yellow

IV

23

i

Quaker Drab

LI

1′′′′′

—

Rainette Green

XXXI

27′′

i

Raisin Black

XLIV

65′′′

m

Raisin Purple

XI

65

k

Ramier Blue

XLIII

57′′′

—

*Raw Sienna

III

17

i

*Raw Umber

III

17

m

Reed Yellow

XXX

23′′

b

Rejane Green

XXXIII

37′′

b

Rhodamine Purple

XII

67

—

Rhodonite Pink

XXXVIII

71′′

d

Rinnemann's Green

XVIII

31′

i

Rivage Green

XVIII

31′

b

Rocellin Purple

XXXVIII

71′′

b

Roman Green

XVI

23′

m

Rood's Blue

IX

49

k

Rood's Brown

XXVIII

11′′

k

Rood's Lavender

XLIX

57′′′′

f

Rood's Violet

XI

65

i

Rose Color

XII

71

b

Rose Doree

I

3

b

*Rose Pink

XII

71

f

*Rose Red

XII

71

—

*Rose-Purple

XXVI

67′

d

Roslyn Blue

X

57

k

Rosolane Pink

XXVI

69′

f

Rosolane Purple

XXVI

69′

—

*Royal Purple

X

59

i

*Rufous

XIV

9′

—

*Russet

XV

13′

k

Russet-Vinaceous

XXXIX

9′′′

—

Russian Blue

XLII

45′′′

d

Russian Green

XLII

37′′′

i

Saccardo's Olive

XVI

19′

m

Saccardo's Slate

XLVIII

41′′′′

k

Saccardo's Umber

XXIX

17′′

k

Saccardo's Violet

XXXVII

61′′

—

Safrano Pink

II

7

f

*Sage Green

XLVII

29′′′′

—

Sailor Blue

XXI

53′

k

*Salmon Color

XIV

9′

d

*Salmon-Buff

XIV

11′

d

Salmon-Orange

II

11

b

Salvia Blue

IX

49

b

Sanford's Brown

II

11

k

Sayal Brown

XXIX

15′′

i

*Scarlet

I

5

—

Scarlet-Red

I

3

—

Scheele's Green

VI

33

i

Schoenfeld's Purple

XXVI

69′

i

*Sea Green

XIX

41′

i

Seafoam Green

XXXI

27′′

f

Seafoam Yellow

XXXI

25′′

f

*Seal Brown

XXXIX

5′′′

m

Seashell Pink

XIV

11′

f

*Sepia

XXIX

17′′

m

Serpentine Green

XVI

23′

k

Shamrock Green

XXXII

33′′

i

Shell Pink

XXVIII

11′′

f

Shrimp Pink

I

5

f

Skobeloff Green

VII

39

—

Sky Blue

XX

47′

d

Sky Gray

XXXIV

45′′

f

*Slate Color

LIII

75

(4)

*Slate-Black

LIII

75

(2)

Slate-Blue

XLIII

49′′′

i

*Slate-Gray

LIII

75

(5)

Slate-Olive

XLVII

29′′′′

i

Slate-Purple

XLIV

65′′′

i

Slate-Violet (1)

XLIII

57′′′

i

Slate-Violet (2)

XLIV

61′′′

—

*Smalt Blue

IX

53

i

*Smoke Gray

XLVI

21′′′′

d

Snuff Brown

XXIX

15′′

k

Soft Blue-Violet

XXIII

55′

—

Soft Bluish Violet

XXIII

57′

—

Sooty Black

LI

1′′′′′

m

Sorghum Brown

XXXIX

9′′′

i

Sorrento Green

VII

41

k

Spectrum Blue

IX

49

—

Spectrum Red

I

1

—

Spectrum Violet

X

59

—

Spinach Green

V

29

m

Spinel Pink

XXVI

71′

b

Spinel Red

XXVI

71′

—

Squill Blue

XX

45′

b

Stone Green

XLII

37′′′

—

Storm Gray

LII

35′′′′′

—

*Straw Yellow

XVI

21′

d

Strawberry Pink

I

5

d

Strontian Yellow

XVI

23′

—

Sudan Brown

III

15

k

Sulphate Green

XIX

39′

—

Sulphine Yellow

IV

21

i

*Sulphur Yellow

V

25

f

Taupe Brown

XLIV

69′′′

m

*Tawny

XV

13′

i

*Tawny-Olive

XXIX

17′′

i

Tea Green

XLVII

25′′′′

b

Terra Cotta

XXVIII

7′′

—

*Terre Verte

XXXIII

41′′

i

Testaceous

XXVIII

9′′

—

Thulite Pink

XXVI

71′

d

Tiber Green

XVIII

33′

d

Tilleul Buff

XL

17′′′

f

Tourmaline Pink

XXXVIII

67′′

b

Turquoise Green

VII

41

d

Turtle Green

XXXII

31′′

b

Tyrian Blue

XXXIV

47′′

i

Tyrian Pink

XII

69

b

Tyrian Rose

XII

69

—

Tyrolite Green

VII

39

b

Ultramarine Ash

XXII

49*

—

*Ultramarine Blue

IX

49

i

Urania Blue

XXIV

53*

m

Vanderpoel's Blue

XX

47′

i

Vanderpoel's Green

VI

33

b

Vanderpoel's Violet

XXXVI

55′′

—

*Vandyke Brown

XXVIII

11′′

m

Vandyke Red

XIII

1′

k

Variscite Green

XIX

37′

d

Varley's Gray

XLIX

57′′′′

—

Varley's Green

XVIII

31′

m

Venetian Blue

XXII

47*

—

Venetian Pink

XIII

1′

f

Venice Green

VII

41

b

Verbena Violet

XXXVI

55′′

d

*Verdigris Green

XIX

37′

—

Vernonia Purple

XXXVIII

69′′

i

Verona Brown

XXIX

13′′

k

Veronese Green

XVIII

31′

d

Vetiver Green

XLVII

25′′′′

—

Victoria Lake

I

1

m

*Vinaceous

XXVII

1′′

d

Vinaceous-Brown

XXXIX

5′′′

i

*Vinaceous-Buff

XL

17′′′

d

*Vinaceous-Cinnamon

XXIX

13′′

b

Vinaceous-Drab

XLV

5′′′′

—

Vinaceous-Fawn

XL

13′′′

b

Vinaceous-Gray

L

69′′′′

d

Vinaceous-Lavender

XLIV

65′′′

f

Vinaceous-Lilac

XLIV

69′′′

b

*Vinaceous-Pink

XXVIII

9′′

d

Vinaceous-Purple (1)

XXXVIII

67′′

i

Vinaceous-Purple (2)

XLIV

65′′′

—

*Vinaceous-Rufous

XIV

7′

i

Vinaceous-Russet

XXVIII

7′′

i

Vinaceous-Slate

L

69′′′′

i

Vinaceous-Tawny

XXVIII

11′′

—

Violet Carmine

XII

69

m

Violet Ultramarine

X

57

i

Violet-Gray

LII

59′′′′′

—

Violet-Plumbeous

XLIX

53′′′′

b

Violet-Purple

XI

63

—

Violet-Slate

XLIX

53′′′′

i

*Viridian Green

VII

37

i

Viridine Green

VI

33

d

Viridine Yellow

V

29

b

Vivid Green

VII

37

—

Wall Green

VII

39

k

*Walnut Brown

XXVIII

9′′

k

Warbler Green

IV

23

k

Warm Blackish Brown

XXXIX

1′′′

m

Warm Buff

XV

17′

d

Warm Sepia

XXIX

13′′

m

Water Green

XLI

25′′′

d

*Wax Yellow

XVI

21′

—

Wedgewood Blue

XXI

51′

f

White

LIII

73

(10)

Windsor Blue

XXXV

49′′

i

Winter Green

XVIII

33′

i

Wistaria Blue

XXIII

57′

b

Wistaria Violet

XXIII

59′

b

*Wood Brown

XL

17′′′

—

Xanthine Orange

III

13

i

Yale Blue

XX

47′

b

Yellow Ocher

XV

17′

—

Yellow-Green

VI

31

—

Yellowish Citrine

XVI

23′

i

Yellowish Glaucous

XLI

25′′′

f

Yellowish Oil Green

V

25

k

Yellowish Olive

XXX

23′′

k

Yew Green

XXXI

27′′

m

Yvette Violet

XXXVI

55′′

k

Zinc Green

XIX

37′

i

Zinc Orange

XV

13′

—

THE FOLLOWING COLORS REPRESENTED IN THE OLD "NOMENCLATURE OF COLORS" (1886) CANNOT BE MATCHED BY COLORS IN THE PRESENT WORK. THEY ARE INTERMEDIATES, EITHER AS TO HUE OR TONE (SOMETIMES BOTH), AND WOULD FALL IN UNCOLORED SPACES, AS INDICATED BY THE NUMERALS AND LETTERS APPENDED TO EACH:—

Azure Blue = 48 a (see Plates VIII and IX).

Broccoli Brown: Between 17′′′ k and 17′′′′ i (see Plates XL and XLVI).

Buff = 18′′ d (see Plates III and IV).

Burnt Carmine = 71 i (Plate XII).

Canary Yellow: Between 23 b and 21′ b (see Plates IV and XVI).

Chinese Orange = 12 h (see Plates II and III).

Chrome Yellow = 20 a (Plate IV).

Cobalt Blue = 48 slightly dull (see Plates VIII and IX).

Crimson = 1 j (Plate I).

French Blue = 52 h (Plate IX).

Gallstone Yellow = 19′ h (Plate XVI).

Gamboge Yellow = 20, slightly dull, or 21, slightly dull (Plate IV).

Geranium Red = 3 a (Plate I).

Heliotrope Purple: Between 65′′′ b and 65′′′′ b (see Plates XLIV and L).

Indian Yellow = 18 h or 18 slightly dull (Plate III). This color and Saffron Yellow

are practically identical in many copies of the old "Nomenclature."

Lake Red = 72 h (Plate XII).

Maroon Purple = 72′ i (Plate XXVI).

Ochraceous = 16′ h (Plate XV).

Ochraceous-Rufous = 12′ h (see Plates XIV and XV).

Ochre Yellow = 18′ (see Plates XV and XVI).

Orange-Ochraceous = 16 h (Plate III).

Orange Vermilion = 4, dull (Plate I).

Orpiment Orange = 11 h (Plate II).

Peach-blossom Pink = 1 e (Plate I).

Poppy Red: between 3 and 5 h (Plate I).

Saffron Yellow = 18 (see Plates III and IV).

Saturn Red = 11 a (Plate II).

Scarlet Vermilion = 4, dull (Plate I).

Sevres Blue = 46 h (Plate VIII).

Solferino = 67 h (Plate XII).

Tawny-Ochraceous = 14′ h (Plate XV).

Turquoise Blue = 44 b (Plate XX).

Verditer Blue: Between 43′ and 43′′ b (see Plates XX and XXXIV).

Vermilion: Between 3 and 3′ (see Plates I and XIII).

Violet = 61 h (Plate XI).

Wine Purple = 70 h (Plate XXVI).

A FEW OF THE MODERN BOOKS ON THE SUBJECT OF COLOR WHICH THE AUTHOR OF THIS WORK HAS FOUND MOST USEFUL

Bradley, Milton, author of "Color in the Schoolroom" and "Color in the Kindergarden."—Elementary Color. With an Introduction by Henry Lafavour, Ph. D., Professor of Physics, Williams College. Milton Bradley and Co., Springfield, Mass. [1895]. Small 8vo., pp. [i]-iv, [1]-128; colored frontispiece ("miniature color charts made from the Bradley educational colored papers," showing 126 unnamed colors) and numerous figures in text.

The present writer frankly and gratefully acknowledges that he has learned more, and learned it more easily, from this little book, which is a model of conciseness and perspicuity, than from careful study of more elaborate and authoritative works on the subject. It is therefore most heartily recommended to the student as a preliminary, at least, to the study of more technical works on color.

Bradley, Milton.—The Evolution of a Practical System of Color Education based on Spectrum Standards. Milton Bradley Co., Springfield, Mass. Pamphlet, 8vo., pp. 8.

Bradley, Milton.—A Few Practical Suggestions relating to Color Standards and the Present Status of Elementary Color Instruction in the United States. Milton Bradley Co., Springfield, Mass. Pamphlet, small 8vo., pp. 16.

Bradley, Milton.—Some Criticisms of Popular Color Definitions, and Suggestions for a Better Color Nomenclature. Milton Bradley Co., Springfield, Mass., 1898. Pamphlet, 12mo., pp. 15.

Bradley, Milton.—The Bradley Color Scheme, with Suggestions to Teachers. Milton Bradley Co., Springfield, Mass. Pamphlet, 12mo., pp. 45.

Church, A. H., F. R. S., etc., Professor of Chemistry in the Royal Academy of Arts in London.—The Chemistry of Paints and Painting. Third edition, revised and enlarged. London: Seeley and Co. Small 8vo., pp. [i-vii] viii-xx, 1-355. An invaluable work which should be consulted by every painter.

Hurst, George H., F. C. S., etc.—Colour: A Handbook of the Theory of Colour. With ten coloured plates and seventy-two illustrations. London: Scott, Greenwood & Co., 1900., 8vo., 160 pp.

Rood, Ogden N.—Students' Text-book of Color; or Modern Chromatics, with applications to Art and Industry. New York: D. Appleton and Company, 1903. Small 8vo., pp. [i-v] vi-viii, [9] 10-329; 1 colored plate (frontispiece) and 130 original illustrations.

(One of the best technical works on the physics of color.)

Vanderpoel, Emily Noyes.—Color Problems. A Practical Manual for the Lay Student of Color. With one hundred and seventeen colored plates. Longmans, Green and Co., New York, London and Bombay. 1903. Small 8vo., pp., [i-vi] vii-xv, [1-2] 3-137.

The colored plates of this excellent work illustrate the physics and psychology of color, color harmonies, and kindred subjects, but have no relation to color nomenclature.

Jorgensen, Charles Julius.—The Mastery of Color. A simple and perfect color system, based upon the spectral colors, for educational and practical use in the Arts and Crafts. Published by the Author. Milwaukee, 1906. 8vo., 2 vols., one of text, the other of 22 loose colored plates contained in double box.

An exceedingly useful work for artists and decorators, but not adapted to the needs of science. The technical execution of the plates is exquisite and the colors very fine.

FOOTNOTES

[1] A | Nomenclature of Colors | for Naturalists, | and | Compendium of Useful Knowledge | for Ornithologists. | By | Robert Ridgway, | Curator, Department of Birds, United States National Museum. | With ten colored plates and seven plates | of outline illustrations. | Boston: | Little, Brown, and Company. | 1886. | (12mo., pp. 129, pls. 17.)

The subject of color and color nomenclature discussed on pages 15-58. Plates i-x, inclusive, represent 186 named colors, hand-painted (stencilled).

[2] Titles of several books on the subject which are especially recommended to the lay student of chromatology are given at the end of this text.

[3] See Science, June 9, 1893, and Nature, Vol. LII, No. 1347, Aug. 22, 1895, pp. 390-392.

[4] According to Aubert more than 1000 hues are distinguishable in the spectrum, though among them all the hues between violet and red are wanting.

[5] That is to say, the practical limit for pictorial representation of the colors in their various modifications.

[6] Milton Bradley: Elementary Color, p. 18.

[7] See colored figure on frontispiece.

[8] See the colored figure on the frontispiece of this work, which clearly illustrates this method of color measurement. Larger disks of spectrum red, green, and violet are interlocked and adjusted so that they present, respectively, 32, 42, and 26 per cent. of the circumference; superimposed on these is a single smaller disk of neutral gray, and on this two still smaller disks of black and white, the former occupying 79, the latter 21, per cent. of the area. The result of this combination of colors, when the disks are rapidly revolved, is that the entire surface becomes a uniform neutral gray precisely like the middle disk, which blends so completely with the color inside and outside its limits that no trace of division can be detected. Hence, neutral gray equals a combination of red 32, green 42, and violet 26 per cent., and also equals a combination of black 79 and white 21 per cent. As further illustrating the point, it may be mentioned that not only does the above-mentioned combination of the three primary colors equal neutral gray but so also does the combination of any color ("secondary" or "tertiary" as well as primary) with its complementary, though the darkness or lightness of the gray varies somewhat, as the following table shows:

S PECTRUM COLOR.

C OMPLEMENTARY COLOR.

E QUIVALENT GRAY.

Name.

Per Cent.

Per Cent.

Composition.

Black.

White.

Red

44

56

Blue 41 + Green 59.

72.5

27.5

Orange

28.5

71.5

Blue 51.5 + Green 48.5.

69

31

Yellow

33

67

Blue 60.5 + Violet 39.5.

64

36

Green

51

49

Red 57.5 + Violet 42.5.

73

27

Blue

64

36

Yellow 82 + Orange 18.

62

37

Violet

62.5

37.5

Yellow 69 + Green 31.

61.5

38.5

[9] The number is doubled so that every other one represents an intermediate hue not shown in color.

[10] Owing to the circumstance that spectrum orange does not, at least when mixed with gray, fairly represent a medium hue between red and orange, being much nearer the former, a hue much near to yellow (yellow-orange, No. 15) has been selected.

[11] For satisfactory color-wheel work it is necessary to discard practically all the so-called artists' colors, as being much too dull to even approximately represent the colors of the spectrum, and to substitute carefully selected aniline or coal-tar dyes, of which, fortunately, there is a very large number of remarkable purity of hue. Indeed, the work of most color-physicists is vitiated by their use of such crude colors as vermilion, carmine, scarlet-lake, chrome yellow, emerald green, Prussian blue, etc. (For a list of dyes and pigments used in preparing the Maxwell disks representing the thirty-six colors of the chromatic scale, see pages 26, 27.)

[12] In fixing the exact position or wave-length of the spectrum colors considerable latitude is allowable, the element of "personal equation"—that is, difference in the conception of different persons as to just where the reddest red, greenest green, etc., are located, accounting for the considerable disagreement among chromatologists as to the wave-lengths. The following table, showing the average, mean, and extreme wave-length of each of the spectrum colors as given by nine or more authorities together with those of the present work (as determined by Dr. P. G. Nutting, Associate Physicist of the U. S. Bureau of Standards) is of interest in this connection:

This work.

Average of 9-12 authorities.

Extremes of 9-12 authorities.

Mean of 9-12 authorities.

Red

644

6770

6440-7028

6734 (10)

Orange

598 ± 2

6074

5892-6300

6096 (9)

Yellow

577 ± 1

5786

5640-5850

5745 (10)

Green

520 ± 10

5235

5050-5335

5193 (11)

Blue

473 ± 3

4738

4520-4861

4680 (12)

Violet

410

4176

4050-4330

4190 (10)

From this table it will be seen that the red of this work is appreciably more orange than that of others, the orange slightly more yellowish, and the violet a little less bluish than the average; but the author is assured by Dr. Nutting that these standards are exceptionally accurate.

[13] The percentages are given in tables on pages 23 and 25.

[14] That is to say, theoretically. Unfortunately it seems to be beyond the colorists' skill to reproduce true shades of the pure colors, all showing a more or less decided admixture of gray, resulting in a series of broken or dull shades. (See pages 23 and 24.)

[15] Although only 1115 different colors are actually shown on the plates the system is really equivalent to the presentation of considerably more than 4000 distinguishable and designatable colors.

[16] The Theory of Color (American edition, 1876), p. 99.

[17] In the present work the possibility of variation between different copies is wholly eliminated by a very different process of reproduction. Each color, for the entire edition, is painted uniformly on large sheets of paper from a single mixture of pigments, these sheets being then cut into the small squares which represent the colors on the plates.

[18] See Rood: Modern Chromatics, pages 50-52.

[19] Some criticisms of Popular Color Definitions and Suggestions for a better Color Nomenclature. Milton Bradley Co., Springfield, Mass. (Small pamphlet of 15 pages).

[20] Milton Bradley: Elementary Color, p. 25.

[21] Exception has been taken in a recent work ("A Color Notation," by A. H. Munsell) to the use of the term tone in this connection, on the ground that its proper use belongs to music, and the term value is substituted. The same line of reasoning would, however, certainly require the discarding of chromatic scale as a term of music nomenclature, since its derivation is clearly from color (chroma). Furthermore, the word "value" is even more elastic in its application than tone, and, all things considered, the present writer, at least, fails to see that any improvement is made by the proposed change.

[22] The term chromatic scale has unfortunately been appropriated for a very different use (in music); nevertheless it is strictly correct in the present sense while in the other it is not, though firmly established by long usage. The term spectrum scale is not adequate, as a substitute, because the spectrum series of colors is incomplete through absence of the hues connecting violet with red, which are necessary to show the full scale of pure colors and hues.

[23] The distinctions of color or hue diminishing in proportion to the increased admixture of gray, each alternate color or hue, with its scale (vertical) of tones, is omitted from the third and fourth series; while in the fifth the color differentiation is so greatly reduced that only the six spectrum colors (dulled by admixture of 95.5 per cent. of neutral gray), together with purple (the intermediate between violet and red) are given; a yellow orange hue being substituted for spectrum orange because it is more exactly intermediate in hue between red and yellow.

[24] J. J. Müller found that a mixture of the orange and violet rays of the spectrum produced a whitish red (Rood, "Modern Chromatics," p. 129). The author of the present work, without being at the time aware of this, produced an absolutely pure red (but of reduced intensity) by mixture of either orange and violet (orange 63.5, violet 36.5 per cent. = red 85 + white 15 per cent.), or from orange and the violet-red which is complementary to green (violet-red 51, orange 49 per cent.), the latter equaling red 89 + white 11 per cent; the mixtures being made on a color-wheel with Maxwell disks representing the pure colors of the present work. The red resulting from either of these mixtures on the color-wheel is far purer than the blue resulting from mixture of green and violet, and incomparably more so than the yellow resulting from mixture of either red and green or orange and green. Consequently, if the same results would come from mixing orange and violet light, it is difficult to understand how red can be a primary color according to the accepted definition.

[25] Rood: Modern Chromatics, p. 34.

With the single exception of Vanderpoel (Color Problems, p. 28, plates 3, 4, where yellow is given first in order of luminosity) all authorities on color-physics that I have been able to consult very singularly ignore yellow entirely in their treatment of the subject of luminosity.

[26] All quotations here are from Milton Bradley's "Elementary Color," except where otherwise noted.

[27] As determined by Dr. P. G. Nutting, Associate Physicist, U. S. Bureau of Standards.

[28] See Rood, Modern Chromatics, pages 34, 35.

[29] The aniline or coal-tar dyes named are all of the manufacture of Dr. G. Grübler and Co., Leipzig, Germany, unless otherwise stated. (See Preface, page ii.)

CAUTION!!!

DO NOT EXPOSE THESE PLATES TO THE LIGHT FOR A LONGER TIME THAN IS NECESSARY.

The pigments used in the preparation of these Plates are the most durable known, those which have been proven unstable having been, as far as possible, discarded. The latter include carmine and other cochineal lakes, colors of vegetable origin (as gamboge, violet carmine, indigo, etc.), and most of the aniline or coal tar dyes, though among the last are a considerable number which are really more permanent than several colors habitually used by artists. Certain colors in this work could not, however, possibly be reproduced except by the employment of pigments which are more or less sensitive to prolonged exposure to light, and hence this caution not to expose the plates unnecessarily.

(See Church: "The Chemistry of Paints and Painting," third edition, pages 257-263.)

Plate I

1 RED

3 O-R.

5 OO-R.

f

Hermosa Pink

La France Pink

Shrimp Pink

d

Eosine Pink

*Geranium Pink

Strawberry Pink

b

Begonia Rose

Rose Doree

Peach Red

Spectrum Red

Scarlet-Red

*Scarlet

i

*Carmine

Nopal Red

Brazil Red

k

Ox-blood Red

Garnet Brown

Morocco Red

m

Victoria Lake

*Maroon

*Claret Brown

Plate II

7 R-O.

9 OR-O.

11 ORANGE

f

Safrano Pink

Orient Pink

Orange-Pink

d

Grenadine Pink

Bittersweet Pink

Light Salmon-Orange

b

Grenadine

Bittersweet Orange

Salmon-Orange

Grenadine Red

*Flame Scarlet

*Orange Chrome

i

English Red

Mars Orange

*Orange-Rufous

k

Mahogany Red

*Burnt Sienna

Sanford's Brown

m

*Bay

*Chestnut

Auburn

Plate III

13 OY-O.

15 Y-O.

17 O-Y.

f

Capucine Buff

Pale Yellow-Orange

Pale Orange-Yellow

d

Capucine Orange

*Orange-Buff

Light Orange-Yellow

b

Mikado Orange

Capucine Yellow

*Deep Chrome

*Cadmium Orange

*Orange

*Cadmium Yellow

i

Xanthine Orange

Mars Yellow

*Raw Sienna

k

Amber Brown

Sudan Brown

Antique Brown

m

Argus Brown

Brussels Brown

*Raw Umber

Plate IV

19 YO-Y.

21 O-YY.

23 YELLOW

f

*Maize Yellow

Baryta Yellow

Martius Yellow

d

*Buff-Yellow

Pinard Yellow

Picnic Yellow

b

Apricot Yellow

Empire Yellow

Pale Lemon Yellow

Light Cadmium

Lemon Chrome

*Lemon Yellow

i

Aniline Yellow

Sulphine Yellow

Pyrite Yellow

k

Orange-Citrine

Citrine

Warbler Green

m

Medal Bronze

Dark Citrine

*Olive-Green

Plate V

25 YG-Y.

27 G-Y.

29 GG-Y.

f

*Sulphur Yellow

Pale Green-Yellow

Pale Viridine Yellow

d

Pale Greenish Yellow

Light Green-Yellow

Light Viridine Yellow

b

Light Greenish Yellow

Green-Yellow

Viridine Yellow

Greenish Yellow

Bright Green-Yellow

Neva Green

i

Oil Yellow

Javel Green

Cosse Green

k

Yellowish Oil Green

*Oil Green

Lettuce Green

m

Calla Green

Cerro Green

Spinach Green

Plate VI

31 Y-G.

33 GY-G.

35 GREEN

f

Pale Yellow-Green

Light Viridine Green

Pale Cendre Green

d

Light Yellow-Green

Viridine Green

Light Cendre Green

b

Clear Yellow-Green

Vanderpoel's Green

Cendre Green

Yellow-Green

Night Green

*Emerald Green

i

Calliste Green

Scheele's Green

Peacock Green

k

*Parrot Green

*Grass Green

Meadow Green

m

Cedar Green

Cossack Green

Antique Green

Plate VII

37 GB-G.

39 B-G.

41 BB-G.

f

Opaline Green

Pale Blue-Green

Pale Turquoise Green

d

Neuvider Green

Light Blue-Green

Turquoise Green

b

Chrysoprase Green

Tyrolite Green

Venice Green

Vivid Green

Skobeloff Green

Benzol Green

i

*Viridian Green

Guinea Green

Ethyl Green

k

Dark Viridian Green

Wall Green

Sorrento Green

m

Diamine Green

Anthracene Green

*Myrtle Green

Plate VIII

43 G-B.

45 BG-B.

47 G-BB.

f

Beryl Blue

*Pale Blue (Ethyl Blue)

Pallid Methyl Blue

d

Calamine Blue

Pale Cerulean Blue

Pale Methyl Blue

b

Cendre Blue

Light Cerulean Blue

Light Methyl Blue

Italian Blue

*Cerulean Blue

Methyl Blue

i

Peacock Blue

Oxide Blue

Leitch's Blue

k

Patent Blue

*Antwerp Blue

*Paris Blue

m

Blackish Green-Blue

*Marine Blue

*Berlin Blue

Plate IX

49 BLUE

51 BV-B.

53 V-B.

f

Pale Mazarine Blue

Pale Amparo Blue

Pallid Violet-Blue

d

Mazarine Blue

Light Amparo Blue

Pale Violet-Blue

b

Salvia Blue

Amparo Blue

Light Violet-Blue

Spectrum Blue

Bradley's Blue

Phenyl Blue

i

*Ultramarine Blue

Lyons Blue

*Smalt Blue

k

Rood's Blue

Helvetia Blue

Hay's Blue

m

Prussian Blue

*Cyanine Blue

Azurite Blue

Plate X

55 B-V.

57 VB-V.

59 VIOLET

f

Pallid Blue-Violet

Pallid Bluish Violet

Pallid Violet

d

Pale Blue-Violet

Pale Bluish Violet

Pale Violet

b

Light Blue-Violet

Light Bluish Violet

Light Violet

Blue-Violet

Bluish Violet

Spectrum Violet

i

Deep Blue-Violet

Violet Ultramarine

*Royal Purple

k

Hyacinth Blue

Roslyn Blue

Dark Violet

m

Dark Aniline Blue

Dark Bluish Violet

Blackish Violet

Plate XI

61 VR-V.

63 R-V.

65 RR-V.

f

Pale Hortense Violet

Pale Amparo Purple

Phlox Pink

d

Light Hortense Violet

Light Amparo Purple

Light Phlox Purple

b

Hortense Violet

Amparo Purple

*Phlox Purple

Amethyst Violet

Violet-Purple

Purple (true)

i

Hyacinth Violet

Pansy Violet

Rood's Violet

k

Mulberry Purple

Cotinga Purple

Raisin Purple

m

Fluorite Violet

*Prune Purple

Blackish Purple

Plate XII

67 V-R.

69 RV-R.

71 V-RR.

f

Mallow Pink

Pale Amaranth Pink

*Rose Pink

d

Light Mallow Purple

Amaranth Pink

Deep Rose-Pink

b

Mallow Purple

Tyrian Pink

Rose Color

Rhodamine Purple

Tyrian Rose

*Rose Red

i

*Aster Purple

Amaranth Purple

*Pomegranate Purple

k

*Dahlia Purple

*Pansy Purple

Bordeaux

m

Blackish Red-Purple

Violet Carmine

Burnt Lake

Plate XIII

1′ RED

3′ O-R.

5′ OO-R.

f

Venetian Pink

Chatenay Pink

Flesh Pink

d

Alizarine Pink

Jasper Pink

*Coral Pink

b

Old Rose

Light Jasper Red

Light Coral Red

Eugenia Red

Jasper Red

*Coral Red

i

Acajou Red

Pompeian Red

*Dragon's-blood Red

k

Vandyke Red

*Madder Brown

*Brick Red

m

Hay's Maroon

Diamine Brown

Hessian Brown

Plate XIV

7′ R-O.

9′ OR-O.

11′ ORANGE

f

Pale Flesh Color

Pale Salmon Color

Seashell Pink

d

*Flesh Color

*Salmon Color

*Salmon-Buff

b

Carrot Red

Flesh Ocher

Apricot Buff

Carnelian Red

*Rufous

Apricot Orange

i

*Vinaceous-Rufous

*Ferruginous

*Cinnamon-Rufous

k

Hay's Russet

Kaiser Brown

*Hazel

m

*Liver Brown

Carob Brown

Chestnut-Brown

Plate XV

13′ OY-O.

15′ Y-O.

17′ O-Y.

f

Pale Ochraceous-Salmon

Pale Ochraceous-Buff

Light Buff

d

Light Ochraceous-Salmon

Light Ochraceous-Buff

Warm Buff

b

Ochraceous-Salmon

Ochraceous-Buff

Antimony Yellow

Zinc Orange

Ochraceous-Orange

Yellow Ocher

i

*Tawny

Ochraceous-Tawny

Buckthorn Brown

k

*Russet

Cinnamon-Brown

Dresden Brown

m

*Mars Brown

*Prout's Brown

*Mummy Brown

Plate XVI

19′ YO-Y.

21′ O-YY.

23′ YELLOW

f

*Cream Color

Massicot Yellow

Naphthalene Yellow

d

*Naples Yellow

*Straw Yellow

Barium Yellow

b

Mustard Yellow

Amber Yellow

*Citron Yellow

Primuline Yellow

*Wax Yellow

Strontian Yellow

i

Old Gold

Olive Lake

Yellowish Citrine

k

Buffy Citrine

Dull Citrine

Serpentine Green

m

Saccardo's Olive

Olive-Citrine

Roman Green

Plate XVII

25′ YG-Y.

27′ G-Y.

29′ GG-Y.

f

Pale Chalcedony Yellow

Pale Dull Green-Yellow

Pale Lumiere Green

d

Light Chalcedony Yellow

Light Dull Green-Yellow

Light Lumiere Green

b

Chalcedony Yellow

Clear Dull Green Yellow

Lumiere Green

Bright Chalcedony Yellow

Dull Green-Yellow

*Apple Green

i

Courge Green

Biscay Green

Light Bice Green

k

Light Hellebore Green

Light Elm Green

*Bice Green

m

Hellebore Green

Elm Green

Forest Green

Plate XVIII

31′ Y-G.

33′ GY-G.

35′ GREEN

f

Pale Veronese Green

Pale Tiber Green

Oural Green

d

Veronese Green

Tiber Green

Light Paris Green

b

Rivage Green

Light Oriental Green

*Paris Green

Mineral Green

Oriental Green

Motmot Green

i

Rinnemann's Green

Winter Green

Killarney Green

k

Civette Green

Hay's Green

Ackermann's Green

m

Varley's Green

Dark Yellowish Green

Dark Green

Plate XIX

37′ GB-G.

39′ B-G.

41′ BB-G.

f

Dull Opaline Green

Microcline Green

Pale Nile Blue

d

Variscite Green

Pale Sulphate Green

*Nile Blue

b

Cobalt Green

Light Sulphate Green

*Beryl Green

*Verdigris Green

Sulphate Green

Methyl Green

i

Zinc Green

Dark Sulphate Green

*Sea Green

k

Dark Zinc Green

Dark Cinnabar Green

Prussian Green

m

*Bottle Green

Duck Green

Invisible Green

Plate XX

43′ G-B.

45′ BG-B.

47′ G-BB.

f

Etain Blue

Persian Blue

Light Sky Blue

d

Lumiere Blue

Light Squill Blue

Sky Blue

b

Bremen Blue

Squill Blue

Yale Blue

Motmot Blue

Mathews' Blue

Olympic Blue

i

Capri Blue

*China Blue

Vanderpoel's Blue

k

Jouvence Blue

Chessylite Blue

Blanc's Blue

m

Dusky Green-Blue (1)

Dark Chessylite Blue

Dusky Greenish Blue

Plate XXI

49′ BLUE

51′ BV-B.

53′ V-B.

f

Pale Grayish Blue

Wedgewood Blue

Light Lavender-Blue

d

Pale Cadet Blue

Deep Wedgewood Blue

Lavender-Blue

b

Light Cadet Blue

*Flax-flower Blue

Deep Lavender-Blue

Clear Cadet Blue

Commelina Blue

Cornflower Blue

i

Cadet Blue

Diva Blue

Gentian Blue

k

Deep Cadet Blue

Dark Diva Blue

Sailor Blue

m

Dark Cadet Blue

Alizarine Blue

Navy Blue

Plate XXII

47* G-BB.

49* BLUE

51* BV-B.

f

Pale King's Blue

Pale Neropalin Blue

Pale Forget-me-not Blue

d

Light King's Blue

Light Neropalin Blue

Light Forget-me-not Blue

b

King's Blue

Neropalin Blue

Forget-me-not Blue

Venetian Blue

Ultramarine Ash

Dull Violaceous Blue

i

Jay Blue

Chapman's Blue

Grayish Violaceous Blue

k

Gendarme Blue

Eton Blue

Deep Dull Violaceous Blue

m

Hortense Blue

Dusky Blue

Indulin Blue

Plate XXIII

55′ B-V.

57′ VB-V.

59′ VIOLET

f

Pallid Soft Blue-Violet

Pale Wistaria Blue

Pale Wistaria Violet

d

Pale Soft Blue-Violet

Light Wistaria Blue

Light Wistaria Violet

b

Light Soft Blue-Violet

Wistaria Blue

Wistaria Violet

Soft Blue-Violet

Soft Bluish Violet

Bradley's Violet

i

Deep Soft Blue-Violet

Deep Soft Bluish Violet

Dauphin's Violet

k

Dark Soft Blue-Violet

Dark Soft Bluish Violet

Blanc's Violet

m

Dusky Violet-Blue (1)

Dusky Blue-Violet (1)

Dusky Violet

Plate XXIV

53* V-B.

55* B-V.

57* VB-V.

f

Pallid Grayish Violet-Blue

Pale Campanula Blue

Light Chicory Blue

d

Pale Grayish Violet-Blue

Light Campanula Blue

Chicory Blue

b

Light Grayish Violet-Blue

*Campanula Blue

Deep Chicory Blue

Dull Violet-Blue

Dull Blue-Violet (1)

Dull Bluish Violet (1)

i

Grayish Violet-Blue

Grayish Blue-Violet (1)

Deep Dull Bluish Violet (1)

k

Dark Dull Violet-Blue

Dark Grayish Blue-Violet

Dark Dull Bluish Violet (1)

m

Urania Blue

Dusky Blue-Violet (2)

*Plum Purple

Plate XXV

61′ VR-V.

63′ R-V.

65′ RR-V.

f

Pale Lavender-Violet

Pale Mauve

Mauvette

d

Light Lavender-Violet

Light Mauve

*Lilac

b

Lavender-Violet

*Mauve

Chinese Violet

Pleroma Violet

Manganese Violet

Mathews' Purple

i

Haematoxylin Violet

Litho Purple

Petunia Violet

k

Anthracene Violet

Madder Violet

Nigrosin Violet

m

Dark Anthracene Violet

Dark Madder Violet

Dark Nigrosin Violet

Plate XXVI

67′ V-R.

69′ RV-R.

71′ V-RR.

f

Pale Rose-Purple

Rosolane Pink

Cameo Pink

d

*Rose-Purple

Pale Rosolane Purple

Thulite Pink

b

Liseran Purple

Light Rosolane Purple

Spinel Pink

*Magenta

Rosolane Purple

Spinel Red

i

Dull Magenta Purple

Schoenfeld's Purple

Indian Lake

k

Dull Dark Purple

*Auricula Purple

Dahlia Carmine

m

Dull Dusky Purple

Dusky Auricula Purple

Dark Maroon Purple

Plate XXVII

1′′ RED

3′′ O-R.

5′′ OO-R.

f

Pale Vinaceous

Livid Pink

Hydrangea Pink

d

*Vinaceous

Corinthian Pink

Pinkish Vinaceous

b

Deep Vinaceous

Light Corinthian Red

Orange-Vinaceous

Dark Vinaceous

Corinthian Red

Etruscan Red

i

Hydrangea Red

Deep Corinthian Red

Ocher Red

k

Mineral Red

Indian Red

Prussian Red

m

Dark Mineral Red

Dark Indian Red

Haematite Red

Plate XXVIII

7′′ R-O.

9′′ OR-O.

11′′ ORANGE

f

Pale Congo Pink

Pale Vinaceous-Pink

Shell Pink

d

Light Congo Pink

*Vinaceous-Pink

*Buff-Pink

b

Congo Pink

Japan Rose

Onion-skin Pink

Terra Cotta

Testaceous

Vinaceous-Tawny

i

Vinaceous-Russet

Cacao Brown

Pecan Brown

k

Cameo Brown

*Walnut Brown

Rood's Brown

m

*Chocolate

*Burnt Umber

*Vandyke Brown

Plate XXIX

13′′ OY-O.

15′′ Y-O.

17′′ O-Y.

f

Pale Cinnamon-Pink

Pale Pinkish Cinnamon

Pale Pinkish Buff

d

Light Vinaceous-Cinnamon

Light Pinkish Cinnamon

*Pinkish Buff

b

*Vinaceous-Cinnamon

Pinkish Cinnamon

Cinnamon-Buff

Orange-Cinnamon

*Cinnamon

*Clay Color

i

Mikado Brown

Sayal Brown

*Tawny-Olive

k

Verona Brown

Snuff Brown

Saccardo's Umber

m

Warm Sepia

*Bister

*Sepia

Plate XXX

19′′ YO-Y.

21′′ O-YY.

23′′ YELLOW

f

Cartridge Buff

Ivory Yellow

Marguerite Yellow

d

Cream-Buff

Colonial Buff

*Primrose Yellow

b

Chamois

Deep Colonial Buff

Reed Yellow

Honey Yellow

Olive-Ocher

*Olive-Yellow

i

Isabella Color

Ecru-Olive

Light Yellowish Olive

k

Light Brownish Olive

Buffy Olive

Yellowish Olive

m

Brownish Olive

*Olive

Dark Greenish Olive

Plate XXXI

25′′ YG-Y.

27′′ G-Y.

29′′ GG-Y.

f

Seafoam Yellow

Seafoam Green

Pale Glass Green

d

Chartreuse Yellow

Deep Seafoam Green

Glass Green

b

Citron Green

Chrysolite Green

Kildare Green

Lime Green

Deep Chrysolite Green

Absinthe Green

i

Mignonette Green

Rainette Green

Light Cress Green

k

Kronberg's Green

Jade Green

Cress Green

m

Ivy Green

Yew Green

Dark Cress Green

Plate XXXII

31′′ Y-G.

33′′ GY-G.

35′′ GREEN

f

Pale Turtle Green

Pale Fluorite Green

Pale Olivine

d

Light Turtle Green

Light Fluorite Green

Olivine

b

Turtle Green

Clear Fluorite Green

*Malachite Green

Deep Turtle Green

Fluorite Green

Deep Malachite Green

i

*Chromium Green

Shamrock Green

*French Green

k

Deep Dull Yellow-Green (1)

Deep Dull Yellow-Green (2)

Light Danube Green

m

Dark Dull Yellow-Green

Empire Green

Danube Green

Plate XXXIII

37′′ GB-G.

39′′ B-G.

41′′ BB-G.

f

Lichen Green

Pale Glaucous-Green

Pale Niagara Green

d

Deep Lichen Green

*Glaucous-Green

Light Niagara Green

b

Rejane Green

Deep Glaucous-Green

Niagara Green

Montpellier Green

Light Porcelain Green

Light Terre Verte

i

Jasper Green

Porcelain Green

*Terre Verte

k

Nickel Green

Dark Porcelain Green

Dark Terre Verte

m

Dusky Green

Dusky Blue-Green

Dusky Bluish Green

Plate XXXIV

43′′ G-B.

45′′ BG-B.

47′′ G-BB.

f

Pale Glaucous-Blue

Sky Gray

Burn Blue

d

Light Glaucous-Blue

Light Alice Blue

Light Columbia Blue

b

*Glaucous-Blue

Alice Blue

Columbia Blue

Porcelain Blue

Orient Blue

Light Tyrian Blue

i

Gobelin Blue

Deep Orient Blue

Tyrian Blue

k

Dark Gobelin Blue

Dark Orient Blue

Dark Tyrian Blue

m

Dusky Green-Blue (2)

Dusky Orient Blue

*Indigo Blue

Plate XXXV

49′′ BLUE

51′′ BV-B.

53′′ V-B.

f

*Pearl Blue

Pale Grayish Blue-Violet

Pale Aniline Lilac

d

Pale Windsor Blue

Light Grayish Blue-Violet

Aniline Lilac

b

Light Windsor Blue

Grayish Blue-Violet (2)

Deep Aniline Lilac

Clear Windsor Blue

Dull Bluish Violet (2)

Dull Violet-Blue

i

Windsor Blue

Deep Dull Bluish Violet (2)

Deep Dull Violet-Blue

k

Acetin Blue

Dark Dull Bluish Violet (2)

Dark Dull Violet-Blue

m

Nigrosin Blue

Diamin-Azo Blue

Dusky Dull Violet-Blue

Plate XXXVI

55′′ B-V.

57′′ VB-V.

59′′ VIOLET

f

Pale Verbena Violet

Pale Bluish Lavender

*Lavender

d

Verbena Violet

Bluish Lavender

Deep Lavender

b

Ontario Violet

Light Dull Bluish Violet

Light Hyssop Violet

Vanderpoel's Violet

Dull Bluish Violet (3)

Hyssop Violet

i

Dull Blue-Violet (2)

Deep Dull Bluish Violet (3)

Deep Hyssop Violet

k

Yvette Violet

Dark Dull Bluish Violet (3)

Dark Hyssop Violet

m

Dark Yvette Violet

Dusky Dull Violet (1)

Dusky Dull Violet (2)

Plate XXXVII

61′′ VR-V.

63′′ R-V.

65′′ RR-V.

f

Pale Lobelia Violet

Pale Lilac

Light Pinkish Lilac

d

Light Lobelia Violet

Hay's Lilac

Purplish Lilac

b

Lobelia Violet

Ageratum Violet

Argyle Purple

Saccardo's Violet

Aconite Violet

Bishop's Purple

i

Livid Violet

Livid Purple

Light Perilla Purple

k

Naphthalene Violet

Deep Livid Purple

Perilla Purple

m

Dark Naphthalene Violet

Dark Livid Purple

Dark Perilla Purple

Plate XXXVIII

67′′ V-R.

69′′ RV-R.

71′′ V-RR.

f

Pale Laelia Pink

Pale Persian Lilac

Pale Rhodonite Pink

d

Laelia Pink

Persian Lilac

Rhodonite Pink

b

Tourmaline Pink

Daphne Pink

Rocellin Purple

Eupatorium Purple

Daphne Red

Hellebore Red

i

Vinaceous-Purple (1)

Vernonia Purple

Deep Hellebore Red

k

Dark Vinaceous-Purple

Corinthian Purple

Neutral Red

m

*Indian Purple

Dark Corinthian Purple

Mars Violet

Plate XXXIX

1′′′ RED

5′′′ OO-R.

9′′′ OR-O.

f

Pale Purplish Vinaceous

Pale Brownish Vinaceous

Pale Grayish Vinaceous

d

Light Purplish Vinaceous

Light Brownish Vinaceous

Light Grayish Vinaceous

b

Purplish Vinaceous

Brownish Vinaceous

Light Russet-Vinaceous

Livid Brown

Deep Brownish Vinaceous

Russet-Vinaceous

i

Deep Livid Brown

Vinaceous-Brown

Sorghum Brown

k

Dark Livid Brown

Dark Vinaceous-Brown

Hay's Brown

m

Warm Blackish Brown

*Seal Brown

Light Seal Brown

Plate XL

13′′′ OY-O.

17′′′ O-Y.

21′′′ O-YY.

f

Pale Vinaceous-Fawn

Tilleul Buff

Pale Olive-Buff

d

Light Vinaceous-Fawn

*Vinaceous-Buff

*Olive-Buff

b

Vinaceous-Fawn

Avellaneous

Deep Olive-Buff

*Fawn Color

*Wood Brown

Dark Olive-Buff

i

Army Brown

Buffy Brown

Citrine-Drab

k

Natal Brown

Olive-Brown

Deep Olive

m

Bone Brown

*Clove Brown

Dark Olive

Plate XLI

25′′′ YG-Y.

29′′′ GG-Y.

33′′′ GY-G.

f

Yellowish Glaucous

Glaucous

Greenish Glaucous

d

Water Green

Corydalis Green

Deep Greenish Glaucous

b

Light Grape Green

Mytho Green

Dark Greenish Glaucous

Grape Green

Asphodel Green

Pistachio Green

i

Deep Grape Green

Pois Green

American Green

k

Lincoln Green

Leaf Green

Dark American Green

m

Dusky Olive-Green

Dusky Yellowish Green

Dull Blackish Green

Plate XLII

37′′′ GB-G.

41′′′ BB-G.

45′′′ BG-B.

f

Bluish Glaucous

Pale Dull Glaucous-Blue

Pale Russian Blue

d

Deep Bluish Glaucous

Light Dull Glaucous-Blue

Russian Blue

b

Dark Bluish Glaucous

Greenish Glaucous-Blue

Cadet Gray

Stone Green

Bluish Gray-Green

Parula Blue

i

Russian Green

Deep Bluish Gray-Green

Delft Blue

k

Dark Russian Green

Dark Bluish Gray-Green

Deep Delft Blue

m

Dusky Dull Green

Dusky Dull Bluish Green

Dark Delft Blue

Plate XLIII

49′′′ BLUE

53′′′ V-B.

57′′′ VB-V.

f

*Lavender-Gray

Plumbago Blue

Grayish Lavender

d

Endive Blue

Deep Plumbago Blue

Deep Grayish Lavender

b

Dutch Blue

Dark Plumbago Blue

Dark Grayish Lavender

Deep Dutch Blue

Madder Blue

Ramier Blue

i

Slate-Blue

Deep Madder Blue

Slate-Violet (1)

k

Deep Slate-Blue

Dark Madder Blue

Dark Slate-Violet (1)

m

Dusky Slate-Blue

Dusky Violet-Blue (2)

Dusky Slate-Violet

Plate XLIV

61′′′ VR-V.

65′′′ RR-V.

69′′′ RV-R.

f

Dull Lavender

Vinaceous-Lavender

Pale Vinaceous-Lilac

d

Deep Dull Lavender

Deep Vinaceous-Lavender

Light Vinaceous-Lilac

b

Dark Lavender

Light Vinaceous-Purple

Vinaceous-Lilac

Slate-Violet (2)

Vinaceous-Purple (2)

Deep Purplish Vinaceous

i

Deep Slate-Violet

Slate-Purple

Dull Indian Purple

k

Dark Slate-Violet (2)

Dark Slate-Purple

Anthracene Purple

m

Dull Violet-Black (1)

Raisin Black

Taupe Brown

Plate XLV

1′′′′ RED

5′′′′ OO-R.

9′′′′ OR-O.

f

Pallid Purple-Drab

Pallid Vinaceous-Drab

Pallid Brownish Drab

d

Pale Purple-Drab

Pale Vinaceous-Drab

Pale Brownish Drab

b

Light Purple-Drab

Light Vinaceous-Drab

Light Brownish Drab

Purple-Drab

Vinaceous-Drab

Brownish Drab

i

Dark Purple-Drab

Dark Vinaceous-Drab

Deep Brownish Drab

k

Dusky Brown

Dark Grayish Brown

Dusky Drab

m

Blackish Brown (1)

Blackish Brown (2)

Blackish Brown (3)

Plate XLVI

13′′′′ OY-O.

17′′′′ O-Y.

21′′′′ O-YY.

f

Pale Ecru-Drab

Pale Drab-Gray

Pale Smoke Gray

d

*Ecru-Drab

*Drab-Gray

*Smoke Gray

b

Light Cinnamon-Drab

Light Drab

Light Grayish Olive

Cinnamon-Drab

*Drab

Grayish Olive

i

Benzo Brown

Hair Brown

Deep Grayish Olive

k

Fuscous

Chaetura Drab

Dark Grayish Olive

m

Fuscous-Black

Chaetura Black

Olivaceous Black (1)

Plate XLVII

25′′′′ YG-Y.

29′′′′ GG-Y.

33′′′′ GY-G.

f

Light Mineral Gray

Court Gray

Puritan Gray

d

Mineral Gray

Gnaphalium Green

Light Celandine Green

b

Tea Green

*Pea Green

Celandine Green

Vetiver Green

*Sage Green

Artemisia Green

i

Andover Green

Slate-Olive

Lily Green

k

Dark Ivy Green

Deep Slate-Olive

Deep Slate-Green

m

Olivaceous Black (2)

Dull Greenish Black (1)

Dull Greenish Black (2)

Plate XLVIII

37′′′′ GB-G.

41′′′′ BB-G.

45′′′′ BG-B.

f

Glaucous-Gray

Pale Medici Blue

Pale Green-Blue Gray

d

Deep Glaucous-Gray

Light Medici Blue

Clear Green-Blue Gray

b

Dark Glaucous-Gray

Medici Blue

Deep Green-Blue Gray

Grayish Blue-Green

Deep Medici Blue

Dark Green-Blue Gray

i

Deep Grayish Blue-Green

Dark Medici Blue

Green-Blue Slate

k

Dark Grayish Blue-Green

Saccardo's Slate

Dark Green-Blue Slate

m

Greenish Slate-Black

Dull Blue-Green Black

Bluish Slate-Black

Plate XLIX

49′′′′ BLUE

53′′′′ V-B.

57′′′′ VB-V.

f

Pale Payne's Gray

Pale Violet-Plumbeous

Rood's Lavender

d

Light Payne's Gray

Light Violet-Plumbeous

Pale Varley's Gray

b

Clear Payne's Gray

Violet-Plumbeous

Light Varley's Gray

Payne's Gray

Deep Violet-Plumbeous

Varley's Gray

i

Deep Payne's Gray

Violet-Slate

Deep Varley's Gray

k

Dark Payne's Gray

Dark Violet-Slate

Dark Varley's Gray

m

Bluish Black

Dull Violet-Black (2)

Blue-Violet Black

Plate L

61′′′′ VR-V.

65′′′′ RR-V.

69′′′′ RV-R.

f

Light Plumbago Gray

Light Heliotrope-Gray

Light Vinaceous-Gray

d

Plumbago Gray

Heliotrope-Gray

Vinaceous-Gray

b

Deep Plumbago Gray

Deep Heliotrope Gray

Deep Vinaceous-Gray

Dark Plumbago Gray

Dark Heliotrope Gray

Dark Vinaceous-Gray

i

Plumbago Slate

Heliotrope-Slate

Vinaceous-Slate

k

Dark Plumbago Slate

Dark Heliotrope Slate

Deep Slaty Brown

m

Dull Violet-Black (3)

Dull Purplish Black

Aniline Black

Plate LI

1′′′′′ RED

15′′′′′ Y-O.

23′′′′′ YELLOW

f

Pallid Quaker Drab

Pallid Mouse Gray

Pale Olive-Gray

d

Pale Quaker Drab

Pale Mouse Gray

Light Olive-Gray

b

Light Quaker Drab

Light Mouse Gray

*Olive-Gray

Quaker Drab

*Mouse Gray

Deep Olive-Gray

i

Deep Quaker Drab

Deep Mouse Gray

Dark Olive-Gray

k

Dark Quaker Drab

Dark Mouse Gray

Iron Gray

m

Sooty Black

Blackish Mouse Gray

Olivaceous Black (3)

Plate LII

35′′′′′ GREEN

49′′′′′ BLUE

59′′′′′ VIOLET

f

*Pearl Gray

*French Gray

*Lilac-Gray

d

Dawn Gray

*Cinereous

Pale Violet-Gray

b

Hathi Gray

*Plumbeous

Light Violet-Gray

Storm Gray

Deep Plumbeous

Violet-Gray

i

Castor Gray

Dark Plumbeous

Deep Violet-Gray

k

Dusky Green-Gray

Blackish Plumbeous

Dark Violet-Gray

m

Blackish Green-Gray

Plumbeous-Black

Blackish Violet-Gray

Plate LIII

67′′′′′ V-R.

NEUTRAL GRAY

CARBON GRAY

White

White

*10. Gray. (Pale Gull Gray)

f

Pallid Purplish Gray

Pallid Neutral Gray

*9. Gray. (Light Gull Gray)

d

Pale Purplish Gray

Pale Neutral Gray

*8. Gray. (Gull Gray)

b

Light Purplish Gray

Light Neutral Gray

*7. Gray. (Deep Gull Gray)

Purplish Gray

Neutral Gray

*6. Gray. (Dark Gull Gray)

i

Deep Purplish Gray

Deep Neutral Gray

*5. Slate-Gray

k

Dark Purplish Gray

Dark Neutral Gray

*4. Slate Color

m

Dusky Purplish Gray

Dusky Neutral Gray

*3. Blackish Slate

Black

*1. Black

*2. Slate-Black

EXPLANATION OF PLATES XXII AND XXIV.

Reference to these plates was unfortunately overlooked when the text was going through the press.

These plates are simply _extras_. They were made at an early stage in the preparation of the work and discarded; but were finally inserted, merely to add to the number of colors represented.

TRANSCRIBER'S NOTE

The color sample for Light Corinthian Red on plate VVXII is missing from the original book.

The entry PLATES in the Table of Contents was added by the transcriber.

*** END OF THE PROJECT GUTENBERG EBOOK COLOR STANDARDS AND COLOR NOMENCLATURE ***

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Table of Contents

COLOR STANDARDS AND COLOR NOMENCLATURE

PREFACE

CONTENTS

PROLOGUE

Plan

Color Names

Color Terms

Table of percentages of Component Colors in Spectrum Hues

Table of percentages of White and Black in Tone Scales

Table of percentages of Neutral Gray in Broken Colors

Table of percentages of Black and White in tones of Carbon Gray

Dyes and Pigments used in Coloring of Maxwell Disks

Alphabetical List of Colors represented on Plates

Colors of old edition Not Represented on Plates

List of Useful Books on Color

FOOTNOTES

PLATES

EXPLANATION OF PLATES XXII AND XXIV.

TRANSCRIBER'S NOTE

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