Color Standards and Color Nomenclature - With fifty-three colored plates and eleven hundred and fifteen named colors

*** START OF THE PROJECT GUTENBERG EBOOK 63087 *** COLOR STANDARDS AND COLOR NOMENCLATURE RIDGWAY [Illustration: Color Wheel] 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 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: TONE. PERCENTAGES. 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. SERIES. PERCENTAGES. 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. TONE NUMBER. PERCENTAGES. 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: Spectrum Color. Complementary Color. Equivalent 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: Average Extremes Mean This work. of 9-12 of 9-12 of 9-12 authorities. authorities. 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 Underscores are used to mark _italic text_. Equal signs are used to mark =bold text=. Capital letters are used to represent SMALL CAPS. The color sample for Light Corinthian Red on plate VVXII is missing from the original book. End of the Project Gutenberg EBook of Color Standards and Color Nomenclature, by Robert Ridgway *** END OF THE PROJECT GUTENBERG EBOOK 63087 ***