Real And Lasting Benefit To Pictorial Art In General The


permanence and unaltered purity of its lightest and faintest

tints we are assured may be confidently relied upon, inasmuch as

they have been fully established by the most severe tests to

which colour can be subjected, by several of our ablest and most

talented chemists. It is, therefore, needless to enlarge upon

its merits, other than that I, for one, feel grateful for its

introduction. Its uses
are manifold, and may be considered

available for every purpose requiring a Yellow of its character.

As to Gray--perhaps it is not possible to obtain more delicately

pure and transparent aerial tints than are to be produced from

a combination of Cobalt, Rose Madder and Aureolin; all of which

are of a light description and well suited for the

representation of soft and thin effects of the atmosphere. These

colours are each of them beautiful, and yield a most exquisite

range of tones, which, as they mix together most kindly, render

them desirable where purity and delicacy are sought. As to

Foliage.--In speaking of Aureolin as adapted for the colouring

of foliage and herbage, it is impossible to say too much in its

praise. It imparts the vividness and freshness of nature to

every colour with which it is combined--a quality of the highest

order. As a colour for drapery it has no equal, and may be

employed with perfect success, either by itself or with any of

the other pigments.

"The following table of compound tints will be found extremely


Aureolin. Aureolin. Aureolin. Aureolin.

Burnt Sienna. Vandyke Brown. Sepia. Sepia, or Rose

Indigo, or Indigo, or French Madder.

French Blue. Blue. Cobalt.

Aureolin. Aureolin. Aureolin. Aureolin.

Indigo. Oxide of Chromium. Emerald Light Red.

Green. Cobalt, or


Aureolin. Aureolin. Aureolin. Aureolin.

Burnt Sienna. Burnt Umber. Brown Madder. Rose Madder.

"Aureolin, in combination with Cobalt and Sepia, or Rose Madder,

gives most agreeable and delicate tints for distant trees, when

under the influence of a soft light, or hazy state of the

atmosphere. Having most impartially and diligently tested the

qualities of the Aureolin, I can and do most conscientiously

recommend its adoption by all who practise water-colour


The foregoing sufficiently proves the value of aureolin in water, and

similar flattering notices have been given of the colour in oil. Both in

a chemical and artistic sense, therefore, this new primitive yellow

merits the highest regard, and justly claims a foremost place among that

little band of pigments which are without fear and without reproach.

For mural decoration, aureolin is admirably adapted, but it cannot be

used in enamel, the colour being destroyed by great heat.