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Title: Color Standards and Color Nomenclature

Author: Robert Ridgway

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Language: English

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COLOR STANDARDS
AND
COLOR NOMENCLATURE

RIDGWAY

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 [ii]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 [iii]years of unremitting labor. Vastly different from the ordinary lines of commercial color work, the correct copying of each one of the 1115 colors of the original plates developed many perplexing and often discouraging problems, which were finally solved through Mr. A. B. Hoen's expert knowledge of chemistry and pigments; the skill, industry, and patience of the firm's head colorist, Mr. Frank Portugal, and the personal interest of both these gentlemen. It is, therefore, with the greatest pleasure that the author's grateful acknowledgment is made to the firm of A. Hoen & Company for the satisfactory manner in which they have fulfilled their contract.


CONTENTS


  PAGE
Preface i
Prologue 1
Plan 1
Color Names 9
Color Terms 15
Table of percentages of Component Colors in Spectrum Hues 21
Table of percentages of White and Black in Tone Scales 23
Table of percentages of Neutral Gray in Broken Colors 25
Table of percentages of Black and White in tones of Carbon Gray 25
Dyes and Pigments used in Coloring of Maxwell Disks 26
Alphabetical List of Colors represented on Plates 29
Colors of old edition Not Represented on Plates 41
List of Useful Books on Color 42
Plates 44

PROLOGUE


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

Plan.—The scientific arrangement of colors in this work is based essentially on the suggestions of Professor J. H. Pillsbury for a scheme of color standards,[3] which have also been the basis of several other efforts toward the same end, as the plates in Milton Bradley's "Elementary Color" and educational colored papers, Prang's charts of standard colors, Klinkseick and Valette's "Code des Couleurs," etc.; but while all these present a scientifically arranged color-scheme and more or less adequate [2]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 [3]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 [4]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 [5]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 [6]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, [7]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 [8]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 [9]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 [10]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 [11]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., [12]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 [13]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 [14]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 [15]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 [16]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 [17]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 [18]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.

[19]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]

[20]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."


[21]

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      
[22] 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  

[23]

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 [24]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.


[25]

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.


[26]

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, [27]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.


[29]

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
[30]   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
[31]   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
[32] *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
[33]   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
[34]   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
[35]   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
[36]   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
[37]   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
[38]   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
[39]   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
[40] *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′

[41]

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).

[42]

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.

[43]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:

This work. Average of 9-12 authorities. Extremes of 9-12 authorities. Mean of 9-12 authorities.
Red 644 6770 6440-7028 6734 (10)
Orange 598 ± 2 6074 5892-6300 6096 (9)
Yellow 577 ± 1 5786 5640-5850 5745 (10)
Green 520 ± 10 5235 5050-5335 5193 (11)
Blue 473 ± 3 4738 4520-4861 4680 (12)
Violet 410 4176 4050-4330 4190 (10)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


CAUTION!!!

Do Not Expose These Plates to the Light for a Longer Time Than Is Necessary.

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

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


          Plate I  
  1 RED   3 O-R.   5 OO-R.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f I_1_f_Hermosa_Pink   I_3_f_La_France_Pink   I_5_f_Shrimp_Pink    
  Hermosa Pink   La France Pink   Shrimp Pink  
d I_1_d_Eosine_Pink   I_3_d_Geranium_Pink   I_5_d_Strawberry_Pink    
  Eosine Pink   *Geranium Pink   Strawberry Pink  
b I_1_b_Begonia_Rose   I_3_b_Rose_Doree   I_5_b_Peach_Red    
  Begonia Rose   Rose Doree   Peach Red  
I_1___Spectrum_Red   I_3___Scarlet-Red   I_5___Scarlet    
  Spectrum Red   Scarlet-Red   *Scarlet  
i I_1_i_Carmine   I_3_i_Nopal_Red   I_5_i_Brazil_Red    
  *Carmine   Nopal Red   Brazil Red  
k I_1_k_Ox-blood_Red   I_3_k_Garnet_Brown   I_5_k_Morocco_Red    
  Ox-blood Red   Garnet Brown   Morocco Red  
m I_1_m_Victoria_Lake   I_3_m_Maroon   I_5_m_Claret_Brown    
  Victoria Lake   *Maroon   *Claret Brown  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate II  
  7 R-O.   9 OR-O.   11 ORANGE  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f II_7_f_Safrano_Pink   II_9_f_Orient_Pink   II_11_f_Orange-Pink    
  Safrano Pink   Orient Pink   Orange-Pink  
d II_7_d_Grenadine_Pink   II_9_d_Bittersweet_Pink   II_11_d_Light_Salmon-Orange    
  Grenadine Pink   Bittersweet Pink   Light Salmon-Orange  
b II_7_b_Grenadine   II_9_b_Bittersweet_Orange   II_11_b_Salmon-Orange    
  Grenadine   Bittersweet Orange   Salmon-Orange  
II_7___Grenadine_Red   II_9___Flame_Scarlet   II_11___Orange_Chrome    
  Grenadine Red   *Flame Scarlet   *Orange Chrome  
i II_7_i_English_Red   II_9_i_Mars_Orange   II_11_i_Orange-Rufous    
  English Red   Mars Orange   *Orange-Rufous  
k II_7_k_Mahogany_Red   II_9_k_Burnt_Sienna   II_11_k_Sanford's_Brown    
  Mahogany Red   *Burnt Sienna   Sanford's Brown  
m II_7_m_Bay   II_9_m_Chestnut   II_11_m_Auburn    
  *Bay   *Chestnut   Auburn  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate III  
  13 OY-O.   15 Y-O.   17 O-Y.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f III_13_f_Capucine_Buff   III_15_f_Pale_Yellow-Orange   III_17_f_Pale_Orange-Yellow    
  Capucine Buff   Pale Yellow-Orange   Pale Orange-Yellow  
d III_13_d_Capucine_Orange   III_15_d_Orange-Buff   III_17_d_Light_Orange-Yellow    
  Capucine Orange   *Orange-Buff   Light Orange-Yellow  
b III_13_b_Mikado_Orange   III_15_b_Capucine_Yellow   III_17_b_Deep_Chrome    
  Mikado Orange   Capucine Yellow   *Deep Chrome  
III_13___Cadmium_Orange   III_15___Orange   III_17___Cadmium_Yellow    
  *Cadmium Orange   *Orange   *Cadmium Yellow  
i III_13_i_Xanthine_Orange   III_15_i_Mars_Yellow   III_17_i_Raw_Sienna    
  Xanthine Orange   Mars Yellow   *Raw Sienna  
k III_13_k_Amber_Brown   III_15_k_Sudan_Brown   III_17_k_Antique_Brown    
  Amber Brown   Sudan Brown   Antique Brown  
m III_13_m_Argus_Brown   III_15_m_Brussels_Brown   III_17_m_Raw_Umber    
  Argus Brown   Brussels Brown   *Raw Umber  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate IV  
  19 YO-Y.   21 O-YY.   23 YELLOW  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f IV_19_f_Maize_Yellow   IV_21_f_Baryta_Yellow   IV_23_f_Martius_Yellow    
  *Maize Yellow   Baryta Yellow   Martius Yellow  
d IV_19_d_Buff-Yellow   IV_21_d_Pinard_Yellow   IV_23_d_Picnic_Yellow    
  *Buff-Yellow   Pinard Yellow   Picnic Yellow  
b IV_19_b_Apricot_Yellow   IV_21_b_Empire_Yellow   IV_23_b_Pale_Lemon_Yellow    
  Apricot Yellow   Empire Yellow   Pale Lemon Yellow  
IV_19___Light_Cadmium   IV_21___Lemon_Chrome   IV_23___Lemon_Yellow    
  Light Cadmium   Lemon Chrome   *Lemon Yellow  
i IV_19_i_Aniline_Yellow   IV_21_i_Sulphine_Yellow   IV_23_i_Pyrite_Yellow    
  Aniline Yellow   Sulphine Yellow   Pyrite Yellow  
k IV_19_k_Orange-Citrine   IV_21_k_Citrine   IV_23_k_Warbler_Green    
  Orange-Citrine   Citrine   Warbler Green  
m IV_19_m_Medal_Bronze   IV_21_m_Dark_Citrine   IV_23_m_Olive-Green    
  Medal Bronze   Dark Citrine   *Olive-Green  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate V  
  25 YG-Y.   27 G-Y.   29 GG-Y.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f V_25_f_Sulphur_Yellow   V_27_f_Pale_Green-Yellow   V_29_f_Pale_Viridine_Yellow    
  *Sulphur Yellow   Pale Green-Yellow   Pale Viridine Yellow  
d V_25_d_Pale_Greenish_Yellow   V_27_d_Light_Green-Yellow   V_29_d_Light_Viridine_Yellow    
  Pale Greenish Yellow   Light Green-Yellow   Light Viridine Yellow  
b V_25_b_Light_Greenish_Yellow   V_27_b_Green-Yellow   V_29_b_Viridine_Yellow    
  Light Greenish Yellow   Green-Yellow   Viridine Yellow  
V_25___Greenish_Yellow   V_27___Bright_Green-Yellow   V_29___Neva_Green    
  Greenish Yellow   Bright Green-Yellow   Neva Green  
i V_25_i_Oil_Yellow   V_27_i_Javel_Green   V_29_i_Cosse_Green    
  Oil Yellow   Javel Green   Cosse Green  
k V_25_k_Yellowish_Oil_Green   V_27_k_Oil_Green   V_29_k_Lettuce_Green    
  Yellowish Oil Green   *Oil Green   Lettuce Green  
m V_25_m_Calla_Green   V_27_m_Cerro_Green   V_29_m_Spinach_Green    
  Calla Green   Cerro Green   Spinach Green  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate VI  
  31 Y-G.   33 GY-G.   35 GREEN  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f VI_31_f_Pale_Yellow-Green   VI_33_f_Light_Viridine_Green   VI_35_f_Pale_Cendre_Green    
  Pale Yellow-Green   Light Viridine Green   Pale Cendre Green  
d VI_31_d_Light_Yellow-Green   VI_33_d_Viridine_Green   VI_35_d_Light_Cendre_Green    
  Light Yellow-Green   Viridine Green   Light Cendre Green  
b VI_31_b_Clear_Yellow-Green   VI_33_b_Vanderpoel's_Green   VI_35_b_Cendre_Green    
  Clear Yellow-Green   Vanderpoel's Green   Cendre Green  
VI_31___Yellow-Green   VI_33___Night_Green   VI_35___Emerald_Green    
  Yellow-Green   Night Green   *Emerald Green  
i VI_31_i_Calliste_Green   VI_33_i_Scheele's_Green   VI_35_i_Peacock_Green    
  Calliste Green   Scheele's Green   Peacock Green  
k VI_31_k_Parrot_Green   VI_33_k_Grass_Green   VI_35_k_Meadow_Green    
  *Parrot Green   *Grass Green   Meadow Green  
m VI_31_m_Cedar_Green   VI_33_m_Cossack_Green   VI_35_m_Antique_Green    
  Cedar Green   Cossack Green   Antique Green  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate VII  
  37 GB-G.   39 B-G.   41 BB-G.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f VII_37_f_Opaline_Green   VII_39_f_Pale_Blue-Green   VII_41_f_Pale_Turquoise_Green    
  Opaline Green   Pale Blue-Green   Pale Turquoise Green  
d VII_37_d_Neuvider_Green   VII_39_d_Light_Blue-Green   VII_41_d_Turquoise_Green    
  Neuvider Green   Light Blue-Green   Turquoise Green  
b VII_37_b_Chrysoprase_Green   VII_39_b_Tyrolite_Green   VII_41_b_Venice_Green    
  Chrysoprase Green   Tyrolite Green   Venice Green  
VII_37___Vivid_Green   VII_39___Skobeloff_Green   VII_41___Benzol_Green    
  Vivid Green   Skobeloff Green   Benzol Green  
i VII_37_i_Viridian_Green   VII_39_i_Guinea_Green   VII_41_i_Ethyl_Green    
  *Viridian Green   Guinea Green   Ethyl Green  
k VII_37_k_Dark_Viridian_Green   VII_39_k_Wall_Green   VII_41_k_Sorrento_Green    
  Dark Viridian Green   Wall Green   Sorrento Green  
m VII_37_m_Diamine_Green   VII_39_m_Anthracene_Green   VII_41_m_Myrtle_Green    
  Diamine Green   Anthracene Green   *Myrtle Green  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate VIII  
  43 G-B.   45 BG-B.   47 G-BB.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f VIII_43_f_Beryl_Blue   VIII_45_f_Pale_Blue_(Ethyl_Blue)   VIII_47_f_Pallid_Methyl_Blue    
  Beryl Blue   *Pale Blue (Ethyl Blue)   Pallid Methyl Blue  
d VIII_43_d_Calamine_Blue   VIII_45_d_Pale_Cerulean_Blue   VIII_47_d_Pale_Methyl_Blue    
  Calamine Blue   Pale Cerulean Blue   Pale Methyl Blue  
b VIII_43_b_Cendre_Blue   VIII_45_b_Light_Cerulean_Blue   VIII_47_b_Light_Methyl_Blue    
  Cendre Blue   Light Cerulean Blue   Light Methyl Blue  
VIII_43___Italian_Blue   VIII_45___Cerulean_Blue   VIII_47___Methyl_Blue    
  Italian Blue   *Cerulean Blue   Methyl Blue  
i VIII_43_i_Peacock_Blue   VIII_45_i_Oxide_Blue   VIII_47_i_Leitch's_Blue    
  Peacock Blue   Oxide Blue   Leitch's Blue  
k VIII_43_k_Patent_Blue   VIII_45_k_Antwerp_Blue   VIII_47_k_Paris_Blue    
  Patent Blue   *Antwerp Blue   *Paris Blue  
m VIII_43_m_Blackish_Green-Blue   VIII_45_m_Marine_Blue   VIII_47_m_Berlin_Blue    
  Blackish Green-Blue   *Marine Blue   *Berlin Blue  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate IX  
  49 BLUE   51 BV-B.   53 V-B.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f IX_49_f_Pale_Mazarine_Blue   IX_51_f_Pale_Amparo_Blue   IX_53_f_Pallid_Violet-Blue    
  Pale Mazarine Blue   Pale Amparo Blue   Pallid Violet-Blue  
d IX_49_d_Mazarine_Blue   IX_51_d_Light_Amparo_Blue   IX_53_d_Pale_Violet-Blue    
  Mazarine Blue   Light Amparo Blue   Pale Violet-Blue  
b IX_49_b_Salvia_Blue   IX_51_b_Amparo_Blue   IX_53_b_Light_Violet-Blue    
  Salvia Blue   Amparo Blue   Light Violet-Blue  
IX_49___Spectrum_Blue   IX_51___Bradley's_Blue   IX_53___Phenyl_Blue    
  Spectrum Blue   Bradley's Blue   Phenyl Blue  
i IX_49_i_Ultramarine_Blue   IX_51_i_Lyons_Blue   IX_53_i_Smalt_Blue    
  *Ultramarine Blue   Lyons Blue   *Smalt Blue  
k IX_49_k_Rood's_Blue   IX_51_k_Helvetia_Blue   IX_53_k_Hay's_Blue    
  Rood's Blue   Helvetia Blue   Hay's Blue  
m IX_49_m_Prussian_Blue   IX_51_m_Cyanine_Blue   IX_53_m_Azurite_Blue    
  Prussian Blue   *Cyanine Blue   Azurite Blue  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate X  
  55 B-V.   57 VB-V.   59 VIOLET  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f X_55_f_Pallid_Blue-Violet   X_57_f_Pallid_Bluish_Violet   X_59_f_Pallid_Violet    
  Pallid Blue-Violet   Pallid Bluish Violet   Pallid Violet  
d X_55_d_Pale_Blue-Violet   X_57_d_Pale_Bluish_Violet   X_59_d_Pale_Violet    
  Pale Blue-Violet   Pale Bluish Violet   Pale Violet  
b X_55_b_Light_Blue-Violet   X_57_b_Light_Bluish_Violet   X_59_b_Light_Violet    
  Light Blue-Violet   Light Bluish Violet   Light Violet  
X_55___Blue-Violet   X_57___Bluish_Violet   X_59___Spectrum_Violet    
  Blue-Violet   Bluish Violet   Spectrum Violet  
i X_55_i_Deep_Blue-Violet   X_57_i_Violet_Ultramarine   X_59_i_Royal_Purple    
  Deep Blue-Violet   Violet Ultramarine   *Royal Purple  
k X_55_k_Hyacinth_Blue   X_57_k_Roslyn_Blue   X_59_k_Dark_Violet    
  Hyacinth Blue   Roslyn Blue   Dark Violet  
m X_55_m_Dark_Aniline_Blue   X_57_m_Dark_Bluish_Violet   X_59_m_Blackish_Violet    
  Dark Aniline Blue   Dark Bluish Violet   Blackish Violet  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XI  
  61 VR-V.   63 R-V.   65 RR-V.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XI_61_f_Pale_Hortense_Violet   XI_63_f_Pale_Amparo_Purple   XI_65_f_Phlox_Pink    
  Pale Hortense Violet   Pale Amparo Purple   Phlox Pink  
d XI_61_d_Light_Hortense_Violet   XI_63_d_Light_Amparo_Purple   XI_65_d_Light_Phlox_Purple    
  Light Hortense Violet   Light Amparo Purple   Light Phlox Purple  
b XI_61_b_Hortense_Violet   XI_63_b_Amparo_Purple   XI_65_b_Phlox_Purple    
  Hortense Violet   Amparo Purple   *Phlox Purple  
XI_61___Amethyst_Violet   XI_63___Violet-Purple   XI_65___Purple_(true)    
  Amethyst Violet   Violet-Purple   Purple (true)  
i XI_61_i_Hyacinth_Violet   XI_63_i_Pansy_Violet   XI_65_i_Rood's_Violet    
  Hyacinth Violet   Pansy Violet   Rood's Violet  
k XI_61_k_Mulberry_Purple   XI_63_k_Cotinga_Purple   XI_65_k_Raisin_Purple    
  Mulberry Purple   Cotinga Purple   Raisin Purple  
m XI_61_m_Fluorite_Violet   XI_63_m_Prune_Purple   XI_65_m_Blackish_Purple    
  Fluorite Violet   *Prune Purple   Blackish Purple  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XII  
  67 V-R.   69 RV-R.   71 V-RR.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XII_67_f_Mallow_Pink   XII_69_f_Pale_Amaranth_Pink   XII_71_f_Rose_Pink    
  Mallow Pink   Pale Amaranth Pink   *Rose Pink  
d XII_67_d_Light_Mallow_Purple   XII_69_d_Amaranth_Pink   XII_71_d_Deep_Rose-Pink    
  Light Mallow Purple   Amaranth Pink   Deep Rose-Pink  
b XII_67_b_Mallow_Purple   XII_69_b_Tyrian_Pink   XII_71_b_Rose_Color    
  Mallow Purple   Tyrian Pink   Rose Color  
XII_67___Rhodamine_Purple   XII_69___Tyrian_Rose   XII_71___Rose_Red    
  Rhodamine Purple   Tyrian Rose   *Rose Red  
i XII_67_i_Aster_Purple   XII_69_i_Amaranth_Purple   XII_71_i_Pomegranate_Purple    
  *Aster Purple   Amaranth Purple   *Pomegranate Purple  
k XII_67_k_Dahlia_Purple   XII_69_k_Pansy_Purple   XII_71_k_Bordeaux    
  *Dahlia Purple   *Pansy Purple   Bordeaux  
m XII_67_m_Blackish_Red-Purple   XII_69_m_Violet_Carmine   XII_71_m_Burnt_Lake    
  Blackish Red-Purple   Violet Carmine   Burnt Lake  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XIII  
  1′ RED   3′ O-R.   5′ OO-R.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XIII_1′_f_Venetian_Pink   XIII_3′_f_Chatenay_Pink   XIII_5′_f_Flesh_Pink    
  Venetian Pink   Chatenay Pink   Flesh Pink  
d XIII_1′_d_Alizarine_Pink   XIII_3′_d_Jasper_Pink   XIII_5′_d_Coral_Pink    
  Alizarine Pink   Jasper Pink   *Coral Pink  
b XIII_1′_b_Old_Rose   XIII_3′_b_Light_Jasper_Red   XIII_5′_b_Light_Coral_Red    
  Old Rose   Light Jasper Red   Light Coral Red  
XIII_1′___Eugenia_Red   XIII_3′___Jasper_Red   XIII_5′___Coral_Red    
  Eugenia Red   Jasper Red   *Coral Red  
i XIII_1′_i_Acajou_Red   XIII_3′_i_Pompeian_Red   XIII_5′_i_Dragon's-blood_Red    
  Acajou Red   Pompeian Red   *Dragon's-blood Red  
k XIII_1′_k_Vandyke_Red   XIII_3′_k_Madder_Brown   XIII_5′_k_Brick_Red    
  Vandyke Red   *Madder Brown   *Brick Red  
m XIII_1′_m_Hay's_Maroon   XIII_3′_m_Diamine_Brown   XIII_5′_m_Hessian_Brown    
  Hay's Maroon   Diamine Brown   Hessian Brown  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XIV  
  7′ R-O.   9′ OR-O.   11′ ORANGE  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XIV_7′_f_Pale_Flesh_Color   XIV_9′_f_Pale_Salmon_Color   XIV_11′_f_Seashell_Pink    
  Pale Flesh Color   Pale Salmon Color   Seashell Pink  
d XIV_7′_d_Flesh_Color   XIV_9′_d_Salmon_Color   XIV_11′_d_Salmon-Buff    
  *Flesh Color   *Salmon Color   *Salmon-Buff  
b XIV_7′_b_Carrot_Red   XIV_9′_b_Flesh_Ocher   XIV_11′_b_Apricot_Buff    
  Carrot Red   Flesh Ocher   Apricot Buff  
XIV_7′___Carnelian_Red   XIV_9′___Rufous   XIV_11′___Apricot_Orange    
  Carnelian Red   *Rufous   Apricot Orange  
i XIV_7′_i_Vinaceous-Rufous   XIV_9′_i_Ferruginous   XIV_11′_i_Cinnamon-Rufous    
  *Vinaceous-Rufous   *Ferruginous   *Cinnamon-Rufous  
k XIV_7′_k_Hay's_Russet   XIV_9′_k_Kaiser_Brown   XIV_11′_k_Hazel    
  Hay's Russet   Kaiser Brown   *Hazel  
m XIV_7′_m_Liver_Brown   XIV_9′_m_Carob_Brown   XIV_11′_m_Chestnut-Brown    
  *Liver Brown   Carob Brown   Chestnut-Brown  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XV  
  13′ OY-O.   15′ Y-O.   17′ O-Y.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XV_13′_f_Pale_Ochraceous-Salmon   XV_15′_f_Pale_Ochraceous-Buff   XV_17′_f_Light_Buff    
  Pale Ochraceous-Salmon   Pale Ochraceous-Buff   Light Buff  
d XV_13′_d_Light_Ochraceous-Salmon   XV_15′_d_Light_Ochraceous-Buff   XV_17′_d_Warm_Buff    
  Light Ochraceous-Salmon   Light Ochraceous-Buff   Warm Buff  
b XV_13′_b_Ochraceous-Salmon   XV_15′_b_Ochraceous-Buff   XV_17′_b_Antimony_Yellow    
  Ochraceous-Salmon   Ochraceous-Buff   Antimony Yellow  
XV_13′___Zinc_Orange   XV_15′___Ochraceous-Orange   XV_17′___Yellow_Ocher    
  Zinc Orange   Ochraceous-Orange   Yellow Ocher  
i XV_13′_i_Tawny   XV_15′_i_Ochraceous-Tawny   XV_17′_i_Buckthorn_Brown    
  *Tawny   Ochraceous-Tawny   Buckthorn Brown  
k XV_13′_k_Russet   XV_15′_k_Cinnamon-Brown   XV_17′_k_Dresden_Brown    
  *Russet   Cinnamon-Brown   Dresden Brown  
m XV_13′_m_Mars_Brown   XV_15′_m_Prout's_Brown   XV_17′_m_Mummy_Brown    
  *Mars Brown   *Prout's Brown   *Mummy Brown  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XVI  
  19′ YO-Y.   21′ O-YY.   23′ YELLOW  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XVI_19′_f_Cream_Color   XVI_21′_f_Massicot_Yellow   XVI_23′_f_Naphthalene_Yellow    
  *Cream Color   Massicot Yellow   Naphthalene Yellow  
d XVI_19′_d_Naples_Yellow   XVI_21′_d_Straw_Yellow   XVI_23′_d_Barium_Yellow    
  *Naples Yellow   *Straw Yellow   Barium Yellow  
b XVI_19′_b_Mustard_Yellow   XVI_21′_b_Amber_Yellow   XVI_23′_b_Citron_Yellow    
  Mustard Yellow   Amber Yellow   *Citron Yellow  
XVI_19′___Primuline_Yellow   XVI_21′___Wax_Yellow   XVI_23′___Strontian_Yellow    
  Primuline Yellow   *Wax Yellow   Strontian Yellow  
i XVI_19′_i_Old_Gold   XVI_21′_i_Olive_Lake   XVI_23′_i_Yellowish_Citrine    
  Old Gold   Olive Lake   Yellowish Citrine  
k XVI_19′_k_Buffy_Citrine   XVI_21′_k_Dull_Citrine   XVI_23′_k_Serpentine_Green    
  Buffy Citrine   Dull Citrine   Serpentine Green  
m XVI_19′_m_Saccardo's_Olive   XVI_21′_m_Olive-Citrine   XVI_23′_m_Roman_Green    
  Saccardo's Olive   Olive-Citrine   Roman Green  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XVII  
  25′ YG-Y.   27′ G-Y.   29′ GG-Y.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XVII_25′_f_Pale_Chalcedony_Yellow   XVII_27′_f_Pale_Dull_Green-Yellow   XVII_29′_f_Pale_Lumiere_Green    
  Pale Chalcedony Yellow   Pale Dull Green-Yellow   Pale Lumiere Green  
d XVII_25′_d_Light_Chalcedony_Yellow   XVII_27′_d_Light_Dull_Green-Yellow   XVII_29′_d_Light_Lumiere_Green    
  Light Chalcedony Yellow   Light Dull Green-Yellow   Light Lumiere Green  
b XVII_25′_b_Chalcedony_Yellow   XVII_27′_b_Clear_Dull_Green_Yellow   XVII_29′_b_Lumiere_Green    
  Chalcedony Yellow   Clear Dull Green Yellow   Lumiere Green  
XVII_25′___Bright_Chalcedony_Yellow   XVII_27′___Dull_Green-Yellow   XVII_29′___Apple_Green    
  Bright Chalcedony Yellow   Dull Green-Yellow   *Apple Green  
i XVII_25′_i_Courge_Green   XVII_27′_i_Biscay_Green   XVII_29′_i_Light_Bice_Green    
  Courge Green   Biscay Green   Light Bice Green  
k XVII_25′_k_Light_Hellebore_Green   XVII_27′_k_Light_Elm_Green   XVII_29′_k_Bice_Green    
  Light Hellebore Green   Light Elm Green   *Bice Green  
m XVII_25′_m_Hellebore_Green   XVII_27′_m_Elm_Green   XVII_29′_m_Forest_Green    
  Hellebore Green   Elm Green   Forest Green  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XVIII  
  31′ Y-G.   33′ GY-G.   35′ GREEN  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XVIII_31′_f_Pale_Veronese_Green   XVIII_33′_f_Pale_Tiber_Green   XVIII_35′_f_Oural_Green    
  Pale Veronese Green   Pale Tiber Green   Oural Green  
d XVIII_31′_d_Veronese_Green   XVIII_33′_d_Tiber_Green   XVIII_35′_d_Light_Paris_Green    
  Veronese Green   Tiber Green   Light Paris Green  
b XVIII_31′_b_Rivage_Green   XVIII_33′_b_Light_Oriental_Green   XVIII_35′_b_Paris_Green    
  Rivage Green   Light Oriental Green   *Paris Green  
XVIII_31′___Mineral_Green   XVIII_33′___Oriental_Green   XVIII_35′___Motmot_Green    
  Mineral Green   Oriental Green   Motmot Green  
i XVIII_31′_i_Rinnemann's_Green   XVIII_33′_i_Winter_Green   XVIII_35′_i_Killarney_Green    
  Rinnemann's Green   Winter Green   Killarney Green  
k XVIII_31′_k_Civette_Green   XVIII_33′_k_Hay's_Green   XVIII_35′_k_Ackermann's_Green    
  Civette Green   Hay's Green   Ackermann's Green  
m XVIII_31′_m_Varley's_Green   XVIII_33′_m_Dark_Yellowish_Green   XVIII_35′_m_Dark_Green    
  Varley's Green   Dark Yellowish Green   Dark Green  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XIX  
  37′ GB-G.   39′ B-G.   41′ BB-G.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XIX_37′_f_Dull_Opaline_Green   XIX_39′_f_Microcline_Green   XIX_41′_f_Pale_Nile_Blue    
  Dull Opaline Green   Microcline Green   Pale Nile Blue  
d XIX_37′_d_Variscite_Green   XIX_39′_d_Pale_Sulphate_Green   XIX_41′_d_Nile_Blue    
  Variscite Green   Pale Sulphate Green   *Nile Blue  
b XIX_37′_b_Cobalt_Green   XIX_39′_b_Light_Sulphate_Green   XIX_41′_b_Beryl_Green    
  Cobalt Green   Light Sulphate Green   *Beryl Green  
XIX_37′___Verdigris_Green   XIX_39′___Sulphate_Green   XIX_41′___Methyl_Green    
  *Verdigris Green   Sulphate Green   Methyl Green  
i XIX_37′_i_Zinc_Green   XIX_39′_i_Dark_Sulphate_Green   XIX_41′_i_Sea_Green    
  Zinc Green   Dark Sulphate Green   *Sea Green  
k XIX_37′_k_Dark_Zinc_Green   XIX_39′_k_Dark_Cinnabar_Green   XIX_41′_k_Prussian_Green    
  Dark Zinc Green   Dark Cinnabar Green   Prussian Green  
m XIX_37′_m_Bottle_Green   XIX_39′_m_Duck_Green   XIX_41′_m_Invisible_Green    
  *Bottle Green   Duck Green   Invisible Green  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XX  
  43′ G-B.   45′ BG-B.   47′ G-BB.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XX_43′_f_Etain_Blue   XX_45′_f_Persian_Blue   XX_47′_f_Light_Sky_Blue    
  Etain Blue   Persian Blue   Light Sky Blue  
d XX_43′_d_Lumiere_Blue   XX_45′_d_Light_Squill_Blue   XX_47′_d_Sky_Blue    
  Lumiere Blue   Light Squill Blue   Sky Blue  
b XX_43′_b_Bremen_Blue   XX_45′_b_Squill_Blue   XX_47′_b_Yale_Blue    
  Bremen Blue   Squill Blue   Yale Blue  
XX_43′___Motmot_Blue   XX_45′___Mathews'_Blue   XX_47′___Olympic_Blue    
  Motmot Blue   Mathews' Blue   Olympic Blue  
i XX_43′_i_Capri_Blue   XX_45′_i_China_Blue   XX_47′_i_Vanderpoel's_Blue    
  Capri Blue   *China Blue   Vanderpoel's Blue  
k XX_43′_k_Jouvence_Blue   XX_45′_k_Chessylite_Blue   XX_47′_k_Blanc's_Blue    
  Jouvence Blue   Chessylite Blue   Blanc's Blue  
m XX_43′_m_Dusky_Green-Blue_(1)   XX_45′_m_Dark_Chessylite_Blue   XX_47′_m_Dusky_Greenish_Blue    
  Dusky Green-Blue (1)   Dark Chessylite Blue   Dusky Greenish Blue  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXI  
  49′ BLUE   51′ BV-B.   53′ V-B.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXI_49′_f_Pale_Grayish_Blue   XXI_51′_f_Wedgewood_Blue   XXI_53′_f_Light_Lavender-Blue    
  Pale Grayish Blue   Wedgewood Blue   Light Lavender-Blue  
d XXI_49′_d_Pale_Cadet_Blue   XXI_51′_d_Deep_Wedgewood_Blue   XXI_53′_d_Lavender-Blue    
  Pale Cadet Blue   Deep Wedgewood Blue   Lavender-Blue  
b XXI_49′_b_Light_Cadet_Blue   XXI_51′_b_Flax-flower_Blue   XXI_53′_b_Deep_Lavender-Blue    
  Light Cadet Blue   *Flax-flower Blue   Deep Lavender-Blue  
XXI_49′___Clear_Cadet_Blue   XXI_51′___Commelina_Blue   XXI_53′___Cornflower_Blue    
  Clear Cadet Blue   Commelina Blue   Cornflower Blue  
i XXI_49′_i_Cadet_Blue   XXI_51′_i_Diva_Blue   XXI_53′_i_Gentian_Blue    
  Cadet Blue   Diva Blue   Gentian Blue  
k XXI_49′_k_Deep_Cadet_Blue   XXI_51′_k_Dark_Diva_Blue   XXI_53′_k_Sailor_Blue    
  Deep Cadet Blue   Dark Diva Blue   Sailor Blue  
m XXI_49′_m_Dark_Cadet_Blue   XXI_51′_m_Alizarine_Blue   XXI_53′_m_Navy_Blue    
  Dark Cadet Blue   Alizarine Blue   Navy Blue  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXII  
  47* G-BB.   49* BLUE   51* BV-B.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXII_47*_f_Pale_King's_Blue   XXII_49*_f_Pale_Neropalin_Blue   XXII_51*_f_Pale_Forget-me-not_Blue    
  Pale King's Blue   Pale Neropalin Blue   Pale Forget-me-not Blue  
d XXII_47*_d_Light_King's_Blue   XXII_49*_d_Light_Neropalin_Blue   XXII_51*_d_Light_Forget-me-not_Blue    
  Light King's Blue   Light Neropalin Blue   Light Forget-me-not Blue  
b XXII_47*_b_King's_Blue   XXII_49*_b_Neropalin_Blue   XXII_51*_b_Forget-me-not_Blue    
  King's Blue   Neropalin Blue   Forget-me-not Blue  
XXII_47*___Venetian_Blue   XXII_49*___Ultramarine_Ash   XXII_51*___Dull_Violaceous_Blue    
  Venetian Blue   Ultramarine Ash   Dull Violaceous Blue  
i XXII_47*_i_Jay_Blue   XXII_49*_i_Chapman's_Blue   XXII_51*_i_Grayish_Violaceous_Blue    
  Jay Blue   Chapman's Blue   Grayish Violaceous Blue  
k XXII_47*_k_Gendarme_Blue   XXII_49*_k_Eton_Blue   XXII_51*_k_Deep_Dull_Violaceous_Blue    
  Gendarme Blue   Eton Blue   Deep Dull Violaceous Blue  
m XXII_47*_m_Hortense_Blue   XXII_49*_m_Dusky_Blue   XXII_51*_m_Indulin_Blue    
  Hortense Blue   Dusky Blue   Indulin Blue  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXIII  
  55′ B-V.   57′ VB-V.   59′ VIOLET  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXIII_55′_f_Pallid_Soft_Blue-Violet   XXIII_57′_f_Pale_Wistaria_Blue   XXIII_59′_f_Pale_Wistaria_Violet    
  Pallid Soft Blue-Violet   Pale Wistaria Blue   Pale Wistaria Violet  
d XXIII_55′_d_Pale_Soft_Blue-Violet   XXIII_57′_d_Light_Wistaria_Blue   XXIII_59′_d_Light_Wistaria_Violet    
  Pale Soft Blue-Violet   Light Wistaria Blue   Light Wistaria Violet  
b XXIII_55′_b_Light_Soft_Blue-Violet   XXIII_57′_b_Wistaria_Blue   XXIII_59′_b_Wistaria_Violet    
  Light Soft Blue-Violet   Wistaria Blue   Wistaria Violet  
XXIII_55′___Soft_Blue-Violet   XXIII_57′___Soft_Bluish_Violet   XXIII_59′___Bradley's_Violet    
  Soft Blue-Violet   Soft Bluish Violet   Bradley's Violet  
i XXIII_55′_i_Deep_Soft_Blue-Violet   XXIII_57′_i_Deep_Soft_Bluish_Violet   XXIII_59′_i_Dauphin's_Violet    
  Deep Soft Blue-Violet   Deep Soft Bluish Violet   Dauphin's Violet  
k XXIII_55′_k_Dark_Soft_Blue-Violet   XXIII_57′_k_Dark_Soft_Bluish_Violet   XXIII_59′_k_Blanc's_Violet    
  Dark Soft Blue-Violet   Dark Soft Bluish Violet   Blanc's Violet  
m XXIII_55′_m_Dusky_Violet-Blue_(1)   XXIII_57′_m_Dusky_Blue-Violet_(1)   XXIII_59′_m_Dusky_Violet    
  Dusky Violet-Blue (1)   Dusky Blue-Violet (1)   Dusky Violet  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXIV  
  53* V-B.   55* B-V.   57* VB-V.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXIV_53*_f_Pallid_Grayish_Violet-Blue   XXIV_55*_f_Pale_Campanula_Blue   XXIV_57*_f_Light_Chicory_Blue    
  Pallid Grayish Violet-Blue   Pale Campanula Blue   Light Chicory Blue  
d XXIV_53*_d_Pale_Grayish_Violet-Blue   XXIV_55*_d_Light_Campanula_Blue   XXIV_57*_d_Chicory_Blue    
  Pale Grayish Violet-Blue   Light Campanula Blue   Chicory Blue  
b XXIV_53*_b_Light_Grayish_Violet-Blue   XXIV_55*_b_Campanula_Blue   XXIV_57*_b_Deep_Chicory_Blue    
  Light Grayish Violet-Blue   *Campanula Blue   Deep Chicory Blue  
XXIV_53*___Dull_Violet-Blue   XXIV_55*___Dull_Blue-Violet_(1)   XXIV_57*___Dull_Bluish_Violet_(1)    
  Dull Violet-Blue   Dull Blue-Violet (1)   Dull Bluish Violet (1)  
i XXIV_53*_i_Grayish_Violet-Blue   XXIV_55*_i_Grayish_Blue-Violet_(1)   XXIV_57*_i_Deep_Dull_Bluish_Violet_(1)    
  Grayish Violet-Blue   Grayish Blue-Violet (1)   Deep Dull Bluish Violet (1)  
k XXIV_53*_k_Dark_Dull_Violet-Blue   XXIV_55*_k_Dark_Grayish_Blue-Violet   XXIV_57*_k_Dark_Dull_Bluish_Violet_(1)    
  Dark Dull Violet-Blue   Dark Grayish Blue-Violet   Dark Dull Bluish Violet (1)  
m XXIV_53*_m_Urania_Blue   XXIV_55*_m_Dusky_Blue-Violet_(2)   XXIV_57*_m_Plum_Purple    
  Urania Blue   Dusky Blue-Violet (2)   *Plum Purple  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXV  
  61′ VR-V.   63′ R-V.   65′ RR-V.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXV_61′_f_Pale_Lavender-Violet   XXV_63′_f_Pale_Mauve   XXV_65′_f_Mauvette    
  Pale Lavender-Violet   Pale Mauve   Mauvette  
d XXV_61′_d_Light_Lavender-Violet   XXV_63′_d_Light_Mauve   XXV_65′_d_Lilac    
  Light Lavender-Violet   Light Mauve   *Lilac  
b XXV_61′_b_Lavender-Violet   XXV_63′_b_Mauve   XXV_65′_b_Chinese_Violet    
  Lavender-Violet   *Mauve   Chinese Violet  
XXV_61′___Pleroma_Violet   XXV_63′___Manganese_Violet   XXV_65′___Mathews'_Purple    
  Pleroma Violet   Manganese Violet   Mathews' Purple  
i XXV_61′_i_Haematoxylin_Violet   XXV_63′_i_Litho_Purple   XXV_65′_i_Petunia_Violet    
  Haematoxylin Violet   Litho Purple   Petunia Violet  
k XXV_61′_k_Anthracene_Violet   XXV_63′_k_Madder_Violet   XXV_65′_k_Nigrosin_Violet    
  Anthracene Violet   Madder Violet   Nigrosin Violet  
m XXV_61′_m_Dark_Anthracene_Violet   XXV_63′_m_Dark_Madder_Violet   XXV_65′_m_Dark_Nigrosin_Violet    
  Dark Anthracene Violet   Dark Madder Violet   Dark Nigrosin Violet  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXVI  
  67′ V-R.   69′ RV-R.   71′ V-RR.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXVI_67′_f_Pale_Rose-Purple   XXVI_69′_f_Rosolane_Pink   XXVI_71′_f_Cameo_Pink    
  Pale Rose-Purple   Rosolane Pink   Cameo Pink  
d XXVI_67′_d_Rose-Purple   XXVI_69′_d_Pale_Rosolane_Purple   XXVI_71′_d_Thulite_Pink    
  *Rose-Purple   Pale Rosolane Purple   Thulite Pink  
b XXVI_67′_b_Liseran_Purple   XXVI_69′_b_Light_Rosolane_Purple   XXVI_71′_b_Spinel_Pink    
  Liseran Purple   Light Rosolane Purple   Spinel Pink  
XXVI_67′___Magenta   XXVI_69′___Rosolane_Purple   XXVI_71′___Spinel_Red    
  *Magenta   Rosolane Purple   Spinel Red  
i XXVI_67′_i_Dull_Magenta_Purple   XXVI_69′_i_Schoenfeld's_Purple   XXVI_71′_i_Indian_Lake    
  Dull Magenta Purple   Schoenfeld's Purple   Indian Lake  
k XXVI_67′_k_Dull_Dark_Purple   XXVI_69′_k_Auricula_Purple   XXVI_71′_k_Dahlia_Carmine    
  Dull Dark Purple   *Auricula Purple   Dahlia Carmine  
m XXVI_67′_m_Dull_Dusky_Purple   XXVI_69′_m_Dusky_Auricula_Purple   XXVI_71′_m_Dark_Maroon_Purple    
  Dull Dusky Purple   Dusky Auricula Purple   Dark Maroon Purple  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXVII  
  1′′ RED   3′′ O-R.   5′′ OO-R.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXVII_1′′_f_Pale_Vinaceous   XXVII_3′′_f_Livid_Pink   XXVII_5′′_f_Hydrangea_Pink    
  Pale Vinaceous   Livid Pink   Hydrangea Pink  
d XXVII_1′′_d_Vinaceous   XXVII_3′′_d_Corinthian_Pink   XXVII_5′′_d_Pinkish_Vinaceous    
  *Vinaceous   Corinthian Pink   Pinkish Vinaceous  
b XXVII_1′′_b_Deep_Vinaceous   XXVII_3′′_b_Light_Corinthian_Red   XXVII_5′′_b_Orange-Vinaceous    
  Deep Vinaceous   Light Corinthian Red   Orange-Vinaceous  
XXVII_1′′___Dark_Vinaceous   XXVII_3′′___Corinthian_Red   XXVII_5′′___Etruscan_Red    
  Dark Vinaceous   Corinthian Red   Etruscan Red  
i XXVII_1′′_i_Hydrangea_Red   XXVII_3′′_i_Deep_Corinthian_Red   XXVII_5′′_i_Ocher_Red    
  Hydrangea Red   Deep Corinthian Red   Ocher Red  
k XXVII_1′′_k_Mineral_Red   XXVII_3′′_k_Indian_Red   XXVII_5′′_k_Prussian_Red    
  Mineral Red   Indian Red   Prussian Red  
m XXVII_1′′_m_Dark_Mineral_Red   XXVII_3′′_m_Dark_Indian_Red   XXVII_5′′_m_Haematite_Red    
  Dark Mineral Red   Dark Indian Red   Haematite Red  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXVIII  
  7′′ R-O.   9′′ OR-O.   11′′ ORANGE  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXVIII_7′′_f_Pale_Congo_Pink   XXVIII_9′′_f_Pale_Vinaceous-Pink   XXVIII_11′′_f_Shell_Pink    
  Pale Congo Pink   Pale Vinaceous-Pink   Shell Pink  
d XXVIII_7′′_d_Light_Congo_Pink   XXVIII_9′′_d_Vinaceous-Pink   XXVIII_11′′_d_Buff-Pink    
  Light Congo Pink   *Vinaceous-Pink   *Buff-Pink  
b XXVIII_7′′_b_Congo_Pink   XXVIII_9′′_b_Japan_Rose   XXVIII_11′′_b_Onion-skin_Pink    
  Congo Pink   Japan Rose   Onion-skin Pink  
XXVIII_7′′___Terra_Cotta   XXVIII_9′′___Testaceous   XXVIII_11′′___Vinaceous-Tawny    
  Terra Cotta   Testaceous   Vinaceous-Tawny  
i XXVIII_7′′_i_Vinaceous-Russet   XXVIII_9′′_i_Cacao_Brown   XXVIII_11′′_i_Pecan_Brown    
  Vinaceous-Russet   Cacao Brown   Pecan Brown  
k XXVIII_7′′_k_Cameo_Brown   XXVIII_9′′_k_Walnut_Brown   XXVIII_11′′_k_Rood's_Brown    
  Cameo Brown   *Walnut Brown   Rood's Brown  
m XXVIII_7′′_m_Chocolate   XXVIII_9′′_m_Burnt_Umber   XXVIII_11′′_m_Vandyke_Brown    
  *Chocolate   *Burnt Umber   *Vandyke Brown  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXIX  
  13′′ OY-O.   15′′ Y-O.   17′′ O-Y.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXIX_13′′_f_Pale_Cinnamon-Pink   XXIX_15′′_f_Pale_Pinkish_Cinnamon   XXIX_17′′_f_Pale_Pinkish_Buff    
  Pale Cinnamon-Pink   Pale Pinkish Cinnamon   Pale Pinkish Buff  
d XXIX_13′′_d_Light_Vinaceous-Cinnamon   XXIX_15′′_d_Light_Pinkish_Cinnamon   XXIX_17′′_d_Pinkish_Buff    
  Light Vinaceous-Cinnamon   Light Pinkish Cinnamon   *Pinkish Buff  
b XXIX_13′′_b_Vinaceous-Cinnamon   XXIX_15′′_b_Pinkish_Cinnamon   XXIX_17′′_b_Cinnamon-Buff    
  *Vinaceous-Cinnamon   Pinkish Cinnamon   Cinnamon-Buff  
XXIX_13′′___Orange-Cinnamon   XXIX_15′′___Cinnamon   XXIX_17′′___Clay_Color    
  Orange-Cinnamon   *Cinnamon   *Clay Color  
i XXIX_13′′_i_Mikado_Brown   XXIX_15′′_i_Sayal_Brown   XXIX_17′′_i_Tawny-Olive    
  Mikado Brown   Sayal Brown   *Tawny-Olive  
k XXIX_13′′_k_Verona_Brown   XXIX_15′′_k_Snuff_Brown   XXIX_17′′_k_Saccardo's_Umber    
  Verona Brown   Snuff Brown   Saccardo's Umber  
m XXIX_13′′_m_Warm_Sepia   XXIX_15′′_m_Bister   XXIX_17′′_m_Sepia    
  Warm Sepia   *Bister   *Sepia  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXX  
  19′′ YO-Y.   21′′ O-YY.   23′′ YELLOW  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXX_19′′_f_Cartridge_Buff   XXX_21′′_f_Ivory_Yellow   XXX_23′′_f_Marguerite_Yellow    
  Cartridge Buff   Ivory Yellow   Marguerite Yellow  
d XXX_19′′_d_Cream-Buff   XXX_21′′_d_Colonial_Buff   XXX_23′′_d_Primrose_Yellow    
  Cream-Buff   Colonial Buff   *Primrose Yellow  
b XXX_19′′_b_Chamois   XXX_21′′_b_Deep_Colonial_Buff   XXX_23′′_b_Reed_Yellow    
  Chamois   Deep Colonial Buff   Reed Yellow  
XXX_19′′___Honey_Yellow   XXX_21′′___Olive-Ocher   XXX_23′′___Olive-Yellow    
  Honey Yellow   Olive-Ocher   *Olive-Yellow  
i XXX_19′′_i_Isabella_Color   XXX_21′′_i_Ecru-Olive   XXX_23′′_i_Light_Yellowish_Olive    
  Isabella Color   Ecru-Olive   Light Yellowish Olive  
k XXX_19′′_k_Light_Brownish_Olive   XXX_21′′_k_Buffy_Olive   XXX_23′′_k_Yellowish_Olive    
  Light Brownish Olive   Buffy Olive   Yellowish Olive  
m XXX_19′′_m_Brownish_Olive   XXX_21′′_m_Olive   XXX_23′′_m_Dark_Greenish_Olive    
  Brownish Olive   *Olive   Dark Greenish Olive  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXXI  
  25′′ YG-Y.   27′′ G-Y.   29′′ GG-Y.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXXI_25′′_f_Seafoam_Yellow   XXXI_27′′_f_Seafoam_Green   XXXI_29′′_f_Pale_Glass_Green    
  Seafoam Yellow   Seafoam Green   Pale Glass Green  
d XXXI_25′′_d_Chartreuse_Yellow   XXXI_27′′_d_Deep_Seafoam_Green   XXXI_29′′_d_Glass_Green    
  Chartreuse Yellow   Deep Seafoam Green   Glass Green  
b XXXI_25′′_b_Citron_Green   XXXI_27′′_b_Chrysolite_Green   XXXI_29′′_b_Kildare_Green    
  Citron Green   Chrysolite Green   Kildare Green  
XXXI_25′′___Lime_Green   XXXI_27′′___Deep_Chrysolite_Green   XXXI_29′′___Absinthe_Green    
  Lime Green   Deep Chrysolite Green   Absinthe Green  
i XXXI_25′′_i_Mignonette_Green   XXXI_27′′_i_Rainette_Green   XXXI_29′′_i_Light_Cress_Green    
  Mignonette Green   Rainette Green   Light Cress Green  
k XXXI_25′′_k_Kronberg's_Green   XXXI_27′′_k_Jade_Green   XXXI_29′′_k_Cress_Green    
  Kronberg's Green   Jade Green   Cress Green  
m XXXI_25′′_m_Ivy_Green   XXXI_27′′_m_Yew_Green   XXXI_29′′_m_Dark_Cress_Green    
  Ivy Green   Yew Green   Dark Cress Green  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXXII  
  31′′ Y-G.   33′′ GY-G.   35′′ GREEN  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXXII_31′′_f_Pale_Turtle_Green   XXXII_33′′_f_Pale_Fluorite_Green   XXXII_35′′_f_Pale_Olivine    
  Pale Turtle Green   Pale Fluorite Green   Pale Olivine  
d XXXII_31′′_d_Light_Turtle_Green   XXXII_33′′_d_Light_Fluorite_Green   XXXII_35′′_d_Olivine    
  Light Turtle Green   Light Fluorite Green   Olivine  
b XXXII_31′′_b_Turtle_Green   XXXII_33′′_b_Clear_Fluorite_Green   XXXII_35′′_b_Malachite_Green    
  Turtle Green   Clear Fluorite Green   *Malachite Green  
XXXII_31′′___Deep_Turtle_Green   XXXII_33′′___Fluorite_Green   XXXII_35′′___Deep_Malachite_Green    
  Deep Turtle Green   Fluorite Green   Deep Malachite Green  
i XXXII_31′′_i_Chromium_Green   XXXII_33′′_i_Shamrock_Green   XXXII_35′′_i_French_Green    
  *Chromium Green   Shamrock Green   *French Green  
k XXXII_31′′_k_Deep_Dull_Yellow-Green_(1)   XXXII_33′′_k_Deep_Dull_Yellow-Green_(2)   XXXII_35′′_k_Light_Danube_Green    
  Deep Dull Yellow-Green (1)   Deep Dull Yellow-Green (2)   Light Danube Green  
m XXXII_31′′_m_Dark_Dull_Yellow-Green   XXXII_33′′_m_Empire_Green   XXXII_35′′_m_Danube_Green    
  Dark Dull Yellow-Green   Empire Green   Danube Green  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXXIII  
  37′′ GB-G.   39′′ B-G.   41′′ BB-G.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXXIII_37′′_f_Lichen_Green   XXXIII_39′′_f_Pale_Glaucous-Green   XXXIII_41′′_f_Pale_Niagara_Green    
  Lichen Green   Pale Glaucous-Green   Pale Niagara Green  
d XXXIII_37′′_d_Deep_Lichen_Green   XXXIII_39′′_d_Glaucous-Green   XXXIII_41′′_d_Light_Niagara_Green    
  Deep Lichen Green   *Glaucous-Green   Light Niagara Green  
b XXXIII_37′′_b_Rejane_Green   XXXIII_39′′_b_Deep_Glaucous-Green   XXXIII_41′′_b_Niagara_Green    
  Rejane Green   Deep Glaucous-Green   Niagara Green  
XXXIII_37′′___Montpellier_Green   XXXIII_39′′___Light_Porcelain_Green   XXXIII_41′′___Light_Terre_Verte    
  Montpellier Green   Light Porcelain Green   Light Terre Verte  
i XXXIII_37′′_i_Jasper_Green   XXXIII_39′′_i_Porcelain_Green   XXXIII_41′′_i_Terre_Verte    
  Jasper Green   Porcelain Green   *Terre Verte  
k XXXIII_37′′_k_Nickel_Green   XXXIII_39′′_k_Dark_Porcelain_Green   XXXIII_41′′_k_Dark_Terre_Verte    
  Nickel Green   Dark Porcelain Green   Dark Terre Verte  
m XXXIII_37′′_m_Dusky_Green   XXXIII_39′′_m_Dusky_Blue-Green   XXXIII_41′′_m_Dusky_Bluish_Green    
  Dusky Green   Dusky Blue-Green   Dusky Bluish Green  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXXIV  
  43′′ G-B.   45′′ BG-B.   47′′ G-BB.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXXIV_43′′_f_Pale_Glaucous-Blue   XXXIV_45′′_f_Sky_Gray   XXXIV_47′′_f_Burn_Blue    
  Pale Glaucous-Blue   Sky Gray   Burn Blue  
d XXXIV_43′′_d_Light_Glaucous-Blue   XXXIV_45′′_d_Light_Alice_Blue   XXXIV_47′′_d_Light_Columbia_Blue    
  Light Glaucous-Blue   Light Alice Blue   Light Columbia Blue  
b XXXIV_43′′_b_Glaucous-Blue   XXXIV_45′′_b_Alice_Blue   XXXIV_47′′_b_Columbia_Blue    
  *Glaucous-Blue   Alice Blue   Columbia Blue  
XXXIV_43′′___Porcelain_Blue   XXXIV_45′′___Orient_Blue   XXXIV_47′′___Light_Tyrian_Blue    
  Porcelain Blue   Orient Blue   Light Tyrian Blue  
i XXXIV_43′′_i_Gobelin_Blue   XXXIV_45′′_i_Deep_Orient_Blue   XXXIV_47′′_i_Tyrian_Blue    
  Gobelin Blue   Deep Orient Blue   Tyrian Blue  
k XXXIV_43′′_k_Dark_Gobelin_Blue   XXXIV_45′′_k_Dark_Orient_Blue   XXXIV_47′′_k_Dark_Tyrian_Blue    
  Dark Gobelin Blue   Dark Orient Blue   Dark Tyrian Blue  
m XXXIV_43′′_m_Dusky_Green-Blue_(2)   XXXIV_45′′_m_Dusky_Orient_Blue   XXXIV_47′′_m_Indigo_Blue    
  Dusky Green-Blue (2)   Dusky Orient Blue   *Indigo Blue  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXXV  
  49′′ BLUE   51′′ BV-B.   53′′ V-B.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXXV_49′′_f_Pearl_Blue   XXXV_51′′_f_Pale_Grayish_Blue-Violet   XXXV_53′′_f_Pale_Aniline_Lilac    
  *Pearl Blue   Pale Grayish Blue-Violet   Pale Aniline Lilac  
d XXXV_49′′_d_Pale_Windsor_Blue   XXXV_51′′_d_Light_Grayish_Blue-Violet   XXXV_53′′_d_Aniline_Lilac    
  Pale Windsor Blue   Light Grayish Blue-Violet   Aniline Lilac  
b XXXV_49′′_b_Light_Windsor_Blue   XXXV_51′′_b_Grayish_Blue-Violet_(2)   XXXV_53′′_b_Deep_Aniline_Lilac    
  Light Windsor Blue   Grayish Blue-Violet (2)   Deep Aniline Lilac  
XXXV_49′′___Clear_Windsor_Blue   XXXV_51′′___Dull_Bluish_Violet_(2)   XXXV_53′′___Dull_Violet-Blue    
  Clear Windsor Blue   Dull Bluish Violet (2)   Dull Violet-Blue  
i XXXV_49′′_i_Windsor_Blue   XXXV_51′′_i_Deep_Dull_Bluish_Violet_(2)   XXXV_53′′_i_Deep_Dull_Violet-Blue    
  Windsor Blue   Deep Dull Bluish Violet (2)   Deep Dull Violet-Blue  
k XXXV_49′′_k_Acetin_Blue   XXXV_51′′_k_Dark_Dull_Bluish_Violet_(2)   XXXV_53′′_k_Dark_Dull_Violet-Blue    
  Acetin Blue   Dark Dull Bluish Violet (2)   Dark Dull Violet-Blue  
m XXXV_49′′_m_Nigrosin_Blue   XXXV_51′′_m_Diamin-Azo_Blue   XXXV_53′′_m_Dusky_Dull_Violet-Blue    
  Nigrosin Blue   Diamin-Azo Blue   Dusky Dull Violet-Blue  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXXVI  
  55′′ B-V.   57′′ VB-V.   59′′ VIOLET  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXXVI_55′′_f_Pale_Verbena_Violet   XXXVI_57′′_f_Pale_Bluish_Lavender   XXXVI_59′′_f_Lavender    
  Pale Verbena Violet   Pale Bluish Lavender   *Lavender  
d XXXVI_55′′_d_Verbena_Violet   XXXVI_57′′_d_Bluish_Lavender   XXXVI_59′′_d_Deep_Lavender    
  Verbena Violet   Bluish Lavender   Deep Lavender  
b XXXVI_55′′_b_Ontario_Violet   XXXVI_57′′_b_Light_Dull_Bluish_Violet   XXXVI_59′′_b_Light_Hyssop_Violet    
  Ontario Violet   Light Dull Bluish Violet   Light Hyssop Violet  
XXXVI_55′′___Vanderpoel's_Violet   XXXVI_57′′___Dull_Bluish_Violet_(3)   XXXVI_59′′___Hyssop_Violet    
  Vanderpoel's Violet   Dull Bluish Violet (3)   Hyssop Violet  
i XXXVI_55′′_i_Dull_Blue-Violet_(2)   XXXVI_57′′_i_Deep_Dull_Bluish_Violet_(3)   XXXVI_59′′_i_Deep_Hyssop_Violet    
  Dull Blue-Violet (2)   Deep Dull Bluish Violet (3)   Deep Hyssop Violet  
k XXXVI_55′′_k_Yvette_Violet   XXXVI_57′′_k_Dark_Dull_Bluish_Violet_(3)   XXXVI_59′′_k_Dark_Hyssop_Violet    
  Yvette Violet   Dark Dull Bluish Violet (3)   Dark Hyssop Violet  
m XXXVI_55′′_m_Dark_Yvette_Violet   XXXVI_57′′_m_Dusky_Dull_Violet_(1)   XXXVI_59′′_m_Dusky_Dull_Violet_(2)    
  Dark Yvette Violet   Dusky Dull Violet (1)   Dusky Dull Violet (2)  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXXVII  
  61′′ VR-V.   63′′ R-V.   65′′ RR-V.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXXVII_61′′_f_Pale_Lobelia_Violet   XXXVII_63′′_f_Pale_Lilac   XXXVII_65′′_f_Light_Pinkish_Lilac    
  Pale Lobelia Violet   Pale Lilac   Light Pinkish Lilac  
d XXXVII_61′′_d_Light_Lobelia_Violet   XXXVII_63′′_d_Hay's_Lilac   XXXVII_65′′_d_Purplish_Lilac    
  Light Lobelia Violet   Hay's Lilac   Purplish Lilac  
b XXXVII_61′′_b_Lobelia_Violet   XXXVII_63′′_b_Ageratum_Violet   XXXVII_65′′_b_Argyle_Purple    
  Lobelia Violet   Ageratum Violet   Argyle Purple  
XXXVII_61′′___Saccardo's_Violet   XXXVII_63′′___Aconite_Violet   XXXVII_65′′___Bishop's_Purple    
  Saccardo's Violet   Aconite Violet   Bishop's Purple  
i XXXVII_61′′_i_Livid_Violet   XXXVII_63′′_i_Livid_Purple   XXXVII_65′′_i_Light_Perilla_Purple    
  Livid Violet   Livid Purple   Light Perilla Purple  
k XXXVII_61′′_k_Naphthalene_Violet   XXXVII_63′′_k_Deep_Livid_Purple   XXXVII_65′′_k_Perilla_Purple    
  Naphthalene Violet   Deep Livid Purple   Perilla Purple  
m XXXVII_61′′_m_Dark_Naphthalene_Violet   XXXVII_63′′_m_Dark_Livid_Purple   XXXVII_65′′_m_Dark_Perilla_Purple    
  Dark Naphthalene Violet   Dark Livid Purple   Dark Perilla Purple  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXXVIII  
  67′′ V-R.   69′′ RV-R.   71′′ V-RR.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXXVIII_67′′_f_Pale_Laelia_Pink   XXXVIII_69′′_f_Pale_Persian_Lilac   XXXVIII_71′′_f_Pale_Rhodonite_Pink    
  Pale Laelia Pink   Pale Persian Lilac   Pale Rhodonite Pink  
d XXXVIII_67′′_d_Laelia_Pink   XXXVIII_69′′_d_Persian_Lilac   XXXVIII_71′′_d_Rhodonite_Pink    
  Laelia Pink   Persian Lilac   Rhodonite Pink  
b XXXVIII_67′′_b_Tourmaline_Pink   XXXVIII_69′′_b_Daphne_Pink   XXXVIII_71′′_b_Rocellin_Purple    
  Tourmaline Pink   Daphne Pink   Rocellin Purple  
XXXVIII_67′′___Eupatorium_Purple   XXXVIII_69′′___Daphne_Red   XXXVIII_71′′___Hellebore_Red    
  Eupatorium Purple   Daphne Red   Hellebore Red  
i XXXVIII_67′′_i_Vinaceous-Purple_(1)   XXXVIII_69′′_i_Vernonia_Purple   XXXVIII_71′′_i_Deep_Hellebore_Red    
  Vinaceous-Purple (1)   Vernonia Purple   Deep Hellebore Red  
k XXXVIII_67′′_k_Dark_Vinaceous-Purple   XXXVIII_69′′_k_Corinthian_Purple   XXXVIII_71′′_k_Neutral_Red    
  Dark Vinaceous-Purple   Corinthian Purple   Neutral Red  
m XXXVIII_67′′_m_Indian_Purple   XXXVIII_69′′_m_Dark_Corinthian_Purple   XXXVIII_71′′_m_Mars_Violet    
  *Indian Purple   Dark Corinthian Purple   Mars Violet  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XXXIX  
  1′′′ RED   5′′′ OO-R.   9′′′ OR-O.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XXXIX_1′′′_f_Pale_Purplish_Vinaceous   XXXIX_5′′′_f_Pale_Brownish_Vinaceous   XXXIX_9′′′_f_Pale_Grayish_Vinaceous    
  Pale Purplish Vinaceous   Pale Brownish Vinaceous   Pale Grayish Vinaceous  
d XXXIX_1′′′_d_Light_Purplish_Vinaceous   XXXIX_5′′′_d_Light_Brownish_Vinaceous   XXXIX_9′′′_d_Light_Grayish_Vinaceous    
  Light Purplish Vinaceous   Light Brownish Vinaceous   Light Grayish Vinaceous  
b XXXIX_1′′′_b_Purplish_Vinaceous   XXXIX_5′′′_b_Brownish_Vinaceous   XXXIX_9′′′_b_Light_Russet-Vinaceous    
  Purplish Vinaceous   Brownish Vinaceous   Light Russet-Vinaceous  
XXXIX_1′′′___Livid_Brown   XXXIX_5′′′___Deep_Brownish_Vinaceous   XXXIX_9′′′___Russet-Vinaceous    
  Livid Brown   Deep Brownish Vinaceous   Russet-Vinaceous  
i XXXIX_1′′′_i_Deep_Livid_Brown   XXXIX_5′′′_i_Vinaceous-Brown   XXXIX_9′′′_i_Sorghum_Brown    
  Deep Livid Brown   Vinaceous-Brown   Sorghum Brown  
k XXXIX_1′′′_k_Dark_Livid_Brown   XXXIX_5′′′_k_Dark_Vinaceous-Brown   XXXIX_9′′′_k_Hay's_Brown    
  Dark Livid Brown   Dark Vinaceous-Brown   Hay's Brown  
m XXXIX_1′′′_m_Warm_Blackish_Brown   XXXIX_5′′′_m_Seal_Brown   XXXIX_9′′′_m_Light_Seal_Brown    
  Warm Blackish Brown   *Seal Brown   Light Seal Brown  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XL  
  13′′′ OY-O.   17′′′ O-Y.   21′′′ O-YY.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XL_13′′′_f_Pale_Vinaceous-Fawn   XL_17′′′_f_Tilleul_Buff   XL_21′′′_f_Pale_Olive-Buff    
  Pale Vinaceous-Fawn   Tilleul Buff   Pale Olive-Buff  
d XL_13′′′_d_Light_Vinaceous-Fawn   XL_17′′′_d_Vinaceous-Buff   XL_21′′′_d_Olive-Buff    
  Light Vinaceous-Fawn   *Vinaceous-Buff   *Olive-Buff  
b XL_13′′′_b_Vinaceous-Fawn   XL_17′′′_b_Avellaneous   XL_21′′′_b_Deep_Olive-Buff    
  Vinaceous-Fawn   Avellaneous   Deep Olive-Buff  
XL_13′′′___Fawn_Color   XL_17′′′___Wood_Brown   XL_21′′′___Dark_Olive-Buff    
  *Fawn Color   *Wood Brown   Dark Olive-Buff  
i XL_13′′′_i_Army_Brown   XL_17′′′_i_Buffy_Brown   XL_21′′′_i_Citrine-Drab    
  Army Brown   Buffy Brown   Citrine-Drab  
k XL_13′′′_k_Natal_Brown   XL_17′′′_k_Olive-Brown   XL_21′′′_k_Deep_Olive    
  Natal Brown   Olive-Brown   Deep Olive  
m XL_13′′′_m_Bone_Brown   XL_17′′′_m_Clove_Brown   XL_21′′′_m_Dark_Olive    
  Bone Brown   *Clove Brown   Dark Olive  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XLI  
  25′′′ YG-Y.   29′′′ GG-Y.   33′′′ GY-G.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XLI_25′′′_f_Yellowish_Glaucous   XLI_29′′′_f_Glaucous   XLI_33′′′_f_Greenish_Glaucous    
  Yellowish Glaucous   Glaucous   Greenish Glaucous  
d XLI_25′′′_d_Water_Green   XLI_29′′′_d_Corydalis_Green   XLI_33′′′_d_Deep_Greenish_Glaucous    
  Water Green   Corydalis Green   Deep Greenish Glaucous  
b XLI_25′′′_b_Light_Grape_Green   XLI_29′′′_b_Mytho_Green   XLI_33′′′_b_Dark_Greenish_Glaucous    
  Light Grape Green   Mytho Green   Dark Greenish Glaucous  
XLI_25′′′___Grape_Green   XLI_29′′′___Asphodel_Green   XLI_33′′′___Pistachio_Green    
  Grape Green   Asphodel Green   Pistachio Green  
i XLI_25′′′_i_Deep_Grape_Green   XLI_29′′′_i_Pois_Green   XLI_33′′′_i_American_Green    
  Deep Grape Green   Pois Green   American Green  
k XLI_25′′′_k_Lincoln_Green   XLI_29′′′_k_Leaf_Green   XLI_33′′′_k_Dark_American_Green    
  Lincoln Green   Leaf Green   Dark American Green  
m XLI_25′′′_m_Dusky_Olive-Green   XLI_29′′′_m_Dusky_Yellowish_Green   XLI_33′′′_m_Dull_Blackish_Green    
  Dusky Olive-Green   Dusky Yellowish Green   Dull Blackish Green  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XLII  
  37′′′ GB-G.   41′′′ BB-G.   45′′′ BG-B.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XLII_37′′′_f_Bluish_Glaucous   XLII_41′′′_f_Pale_Dull_Glaucous-Blue   XLII_45′′′_f_Pale_Russian_Blue    
  Bluish Glaucous   Pale Dull Glaucous-Blue   Pale Russian Blue  
d XLII_37′′′_d_Deep_Bluish_Glaucous   XLII_41′′′_d_Light_Dull_Glaucous-Blue   XLII_45′′′_d_Russian_Blue    
  Deep Bluish Glaucous   Light Dull Glaucous-Blue   Russian Blue  
b XLII_37′′′_b_Dark_Bluish_Glaucous   XLII_41′′′_b_Greenish_Glaucous-Blue   XLII_45′′′_b_Cadet_Gray    
  Dark Bluish Glaucous   Greenish Glaucous-Blue   Cadet Gray  
XLII_37′′′___Stone_Green   XLII_41′′′___Bluish_Gray-Green   XLII_45′′′___Parula_Blue    
  Stone Green   Bluish Gray-Green   Parula Blue  
i XLII_37′′′_i_Russian_Green   XLII_41′′′_i_Deep_Bluish_Gray-Green   XLII_45′′′_i_Delft_Blue    
  Russian Green   Deep Bluish Gray-Green   Delft Blue  
k XLII_37′′′_k_Dark_Russian_Green   XLII_41′′′_k_Dark_Bluish_Gray-Green   XLII_45′′′_k_Deep_Delft_Blue    
  Dark Russian Green   Dark Bluish Gray-Green   Deep Delft Blue  
m XLII_37′′′_m_Dusky_Dull_Green   XLII_41′′′_m_Dusky_Dull_Bluish_Green   XLII_45′′′_m_Dark_Delft_Blue    
  Dusky Dull Green   Dusky Dull Bluish Green   Dark Delft Blue  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XLIII  
  49′′′ BLUE   53′′′ V-B.   57′′′ VB-V.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XLIII_49′′′_f_Lavender-Gray   XLIII_53′′′_f_Plumbago_Blue   XLIII_57′′′_f_Grayish_Lavender    
  *Lavender-Gray   Plumbago Blue   Grayish Lavender  
d XLIII_49′′′_d_Endive_Blue   XLIII_53′′′_d_Deep_Plumbago_Blue   XLIII_57′′′_d_Deep_Grayish_Lavender    
  Endive Blue   Deep Plumbago Blue   Deep Grayish Lavender  
b XLIII_49′′′_b_Dutch_Blue   XLIII_53′′′_b_Dark_Plumbago_Blue   XLIII_57′′′_b_Dark_Grayish_Lavender    
  Dutch Blue   Dark Plumbago Blue   Dark Grayish Lavender  
XLIII_49′′′___Deep_Dutch_Blue   XLIII_53′′′___Madder_Blue   XLIII_57′′′___Ramier_Blue    
  Deep Dutch Blue   Madder Blue   Ramier Blue  
i XLIII_49′′′_i_Slate-Blue   XLIII_53′′′_i_Deep_Madder_Blue   XLIII_57′′′_i_Slate-Violet_(1)    
  Slate-Blue   Deep Madder Blue   Slate-Violet (1)  
k XLIII_49′′′_k_Deep_Slate-Blue   XLIII_53′′′_k_Dark_Madder_Blue   XLIII_57′′′_k_Dark_Slate-Violet_(1)    
  Deep Slate-Blue   Dark Madder Blue   Dark Slate-Violet (1)  
m XLIII_49′′′_m_Dusky_Slate-Blue   XLIII_53′′′_m_Dusky_Violet-Blue_(2)   XLIII_57′′′_m_Dusky_Slate-Violet    
  Dusky Slate-Blue   Dusky Violet-Blue (2)   Dusky Slate-Violet  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XLIV  
  61′′′ VR-V.   65′′′ RR-V.   69′′′ RV-R.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XLIV_61′′′_f_Dull_Lavender   XLIV_65′′′_f_Vinaceous-Lavender   XLIV_69′′′_f_Pale_Vinaceous-Lilac    
  Dull Lavender   Vinaceous-Lavender   Pale Vinaceous-Lilac  
d XLIV_61′′′_d_Deep_Dull_Lavender   XLIV_65′′′_d_Deep_Vinaceous-Lavender   XLIV_69′′′_d_Light_Vinaceous-Lilac    
  Deep Dull Lavender   Deep Vinaceous-Lavender   Light Vinaceous-Lilac  
b XLIV_61′′′_b_Dark_Lavender   XLIV_65′′′_b_Light_Vinaceous-Purple   XLIV_69′′′_b_Vinaceous-Lilac    
  Dark Lavender   Light Vinaceous-Purple   Vinaceous-Lilac  
XLIV_61′′′___Slate-Violet_(2)   XLIV_65′′′___Vinaceous-Purple_(2)   XLIV_69′′′___Deep_Purplish_Vinaceous    
  Slate-Violet (2)   Vinaceous-Purple (2)   Deep Purplish Vinaceous  
i XLIV_61′′′_i_Deep_Slate-Violet   XLIV_65′′′_i_Slate-Purple   XLIV_69′′′_i_Dull_Indian_Purple    
  Deep Slate-Violet   Slate-Purple   Dull Indian Purple  
k XLIV_61′′′_k_Dark_Slate-Violet_(2)   XLIV_65′′′_k_Dark_Slate-Purple   XLIV_69′′′_k_Anthracene_Purple    
  Dark Slate-Violet (2)   Dark Slate-Purple   Anthracene Purple  
m XLIV_61′′′_m_Dull_Violet-Black_(1)   XLIV_65′′′_m_Raisin_Black   XLIV_69′′′_m_Taupe_Brown    
  Dull Violet-Black (1)   Raisin Black   Taupe Brown  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XLV  
  1′′′′ RED   5′′′′ OO-R.   9′′′′ OR-O.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XLV_1′′′′_f_Pallid_Purple-Drab   XLV_5′′′′_f_Pallid_Vinaceous-Drab   XLV_9′′′′_f_Pallid_Brownish_Drab    
  Pallid Purple-Drab   Pallid Vinaceous-Drab   Pallid Brownish Drab  
d XLV_1′′′′_d_Pale_Purple-Drab   XLV_5′′′′_d_Pale_Vinaceous-Drab   XLV_9′′′′_d_Pale_Brownish_Drab    
  Pale Purple-Drab   Pale Vinaceous-Drab   Pale Brownish Drab  
b XLV_1′′′′_b_Light_Purple-Drab   XLV_5′′′′_b_Light_Vinaceous-Drab   XLV_9′′′′_b_Light_Brownish_Drab    
  Light Purple-Drab   Light Vinaceous-Drab   Light Brownish Drab  
XLV_1′′′′___Purple-Drab   XLV_5′′′′___Vinaceous-Drab   XLV_9′′′′___Brownish_Drab    
  Purple-Drab   Vinaceous-Drab   Brownish Drab  
i XLV_1′′′′_i_Dark_Purple-Drab   XLV_5′′′′_i_Dark_Vinaceous-Drab   XLV_9′′′′_i_Deep_Brownish_Drab    
  Dark Purple-Drab   Dark Vinaceous-Drab   Deep Brownish Drab  
k XLV_1′′′′_k_Dusky_Brown   XLV_5′′′′_k_Dark_Grayish_Brown   XLV_9′′′′_k_Dusky_Drab    
  Dusky Brown   Dark Grayish Brown   Dusky Drab  
m XLV_1′′′′_m_Blackish_Brown_(1)   XLV_5′′′′_m_Blackish_Brown_(2)   XLV_9′′′′_m_Blackish_Brown_(3)    
  Blackish Brown (1)   Blackish Brown (2)   Blackish Brown (3)  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XLVI  
  13′′′′ OY-O.   17′′′′ O-Y.   21′′′′ O-YY.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XLVI_13′′′′_f_Pale_Ecru-Drab   XLVI_17′′′′_f_Pale_Drab-Gray   XLVI_21′′′′_f_Pale_Smoke_Gray    
  Pale Ecru-Drab   Pale Drab-Gray   Pale Smoke Gray  
d XLVI_13′′′′_d_Ecru-Drab   XLVI_17′′′′_d_Drab-Gray   XLVI_21′′′′_d_Smoke_Gray    
  *Ecru-Drab   *Drab-Gray   *Smoke Gray  
b XLVI_13′′′′_b_Light_Cinnamon-Drab   XLVI_17′′′′_b_Light_Drab   XLVI_21′′′′_b_Light_Grayish_Olive    
  Light Cinnamon-Drab   Light Drab   Light Grayish Olive  
XLVI_13′′′′___Cinnamon-Drab   XLVI_17′′′′___Drab   XLVI_21′′′′___Grayish_Olive    
  Cinnamon-Drab   *Drab   Grayish Olive  
i XLVI_13′′′′_i_Benzo_Brown   XLVI_17′′′′_i_Hair_Brown   XLVI_21′′′′_i_Deep_Grayish_Olive    
  Benzo Brown   Hair Brown   Deep Grayish Olive  
k XLVI_13′′′′_k_Fuscous   XLVI_17′′′′_k_Chaetura_Drab   XLVI_21′′′′_k_Dark_Grayish_Olive    
  Fuscous   Chaetura Drab   Dark Grayish Olive  
m XLVI_13′′′′_m_Fuscous-Black   XLVI_17′′′′_m_Chaetura_Black   XLVI_21′′′′_m_Olivaceous_Black_(1)    
  Fuscous-Black   Chaetura Black   Olivaceous Black (1)  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XLVII  
  25′′′′ YG-Y.   29′′′′ GG-Y.   33′′′′ GY-G.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XLVII_25′′′′_f_Light_Mineral_Gray   XLVII_29′′′′_f_Court_Gray   XLVII_33′′′′_f_Puritan_Gray    
  Light Mineral Gray   Court Gray   Puritan Gray  
d XLVII_25′′′′_d_Mineral_Gray   XLVII_29′′′′_d_Gnaphalium_Green   XLVII_33′′′′_d_Light_Celandine_Green    
  Mineral Gray   Gnaphalium Green   Light Celandine Green  
b XLVII_25′′′′_b_Tea_Green   XLVII_29′′′′_b_Pea_Green   XLVII_33′′′′_b_Celandine_Green    
  Tea Green   *Pea Green   Celandine Green  
XLVII_25′′′′___Vetiver_Green   XLVII_29′′′′___Sage_Green   XLVII_33′′′′___Artemisia_Green    
  Vetiver Green   *Sage Green   Artemisia Green  
i XLVII_25′′′′_i_Andover_Green   XLVII_29′′′′_i_Slate-Olive   XLVII_33′′′′_i_Lily_Green    
  Andover Green   Slate-Olive   Lily Green  
k XLVII_25′′′′_k_Dark_Ivy_Green   XLVII_29′′′′_k_Deep_Slate-Olive   XLVII_33′′′′_k_Deep_Slate-Green    
  Dark Ivy Green   Deep Slate-Olive   Deep Slate-Green  
m XLVII_25′′′′_m_Olivaceous_Black_(2)   XLVII_29′′′′_m_Dull_Greenish_Black_(1)   XLVII_33′′′′_m_Dull_Greenish_Black_(2)    
  Olivaceous Black (2)   Dull Greenish Black (1)   Dull Greenish Black (2)  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XLVIII  
  37′′′′ GB-G.   41′′′′ BB-G.   45′′′′ BG-B.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XLVIII_37′′′′_f_Glaucous-Gray   XLVIII_41′′′′_f_Pale_Medici_Blue   XLVIII_45′′′′_f_Pale_Green-Blue_Gray    
  Glaucous-Gray   Pale Medici Blue   Pale Green-Blue Gray  
d XLVIII_37′′′′_d_Deep_Glaucous-Gray   XLVIII_41′′′′_d_Light_Medici_Blue   XLVIII_45′′′′_d_Clear_Green-Blue_Gray    
  Deep Glaucous-Gray   Light Medici Blue   Clear Green-Blue Gray  
b XLVIII_37′′′′_b_Dark_Glaucous-Gray   XLVIII_41′′′′_b_Medici_Blue   XLVIII_45′′′′_b_Deep_Green-Blue_Gray    
  Dark Glaucous-Gray   Medici Blue   Deep Green-Blue Gray  
XLVIII_37′′′′___Grayish_Blue-Green   XLVIII_41′′′′___Deep_Medici_Blue   XLVIII_45′′′′___Dark_Green-Blue_Gray    
  Grayish Blue-Green   Deep Medici Blue   Dark Green-Blue Gray  
i XLVIII_37′′′′_i_Deep_Grayish_Blue-Green   XLVIII_41′′′′_i_Dark_Medici_Blue   XLVIII_45′′′′_i_Green-Blue_Slate    
  Deep Grayish Blue-Green   Dark Medici Blue   Green-Blue Slate  
k XLVIII_37′′′′_k_Dark_Grayish_Blue-Green   XLVIII_41′′′′_k_Saccardo's_Slate   XLVIII_45′′′′_k_Dark_Green-Blue_Slate    
  Dark Grayish Blue-Green   Saccardo's Slate   Dark Green-Blue Slate  
m XLVIII_37′′′′_m_Greenish_Slate-Black   XLVIII_41′′′′_m_Dull_Blue-Green_Black   XLVIII_45′′′′_m_Bluish_Slate-Black    
  Greenish Slate-Black   Dull Blue-Green Black   Bluish Slate-Black  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate XLIX  
  49′′′′ BLUE   53′′′′ V-B.   57′′′′ VB-V.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f XLIX_49′′′′_f_Pale_Payne's_Gray   XLIX_53′′′′_f_Pale_Violet-Plumbeous   XLIX_57′′′′_f_Rood's_Lavender    
  Pale Payne's Gray   Pale Violet-Plumbeous   Rood's Lavender  
d XLIX_49′′′′_d_Light_Payne's_Gray   XLIX_53′′′′_d_Light_Violet-Plumbeous   XLIX_57′′′′_d_Pale_Varley's_Gray    
  Light Payne's Gray   Light Violet-Plumbeous   Pale Varley's Gray  
b XLIX_49′′′′_b_Clear_Payne's_Gray   XLIX_53′′′′_b_Violet-Plumbeous   XLIX_57′′′′_b_Light_Varley's_Gray    
  Clear Payne's Gray   Violet-Plumbeous   Light Varley's Gray  
XLIX_49′′′′___Payne's_Gray   XLIX_53′′′′___Deep_Violet-Plumbeous   XLIX_57′′′′___Varley's_Gray    
  Payne's Gray   Deep Violet-Plumbeous   Varley's Gray  
i XLIX_49′′′′_i_Deep_Payne's_Gray   XLIX_53′′′′_i_Violet-Slate   XLIX_57′′′′_i_Deep_Varley's_Gray    
  Deep Payne's Gray   Violet-Slate   Deep Varley's Gray  
k XLIX_49′′′′_k_Dark_Payne's_Gray   XLIX_53′′′′_k_Dark_Violet-Slate   XLIX_57′′′′_k_Dark_Varley's_Gray    
  Dark Payne's Gray   Dark Violet-Slate   Dark Varley's Gray  
m XLIX_49′′′′_m_Bluish_Black   XLIX_53′′′′_m_Dull_Violet-Black_(2)   XLIX_57′′′′_m_Blue-Violet_Black    
  Bluish Black   Dull Violet-Black (2)   Blue-Violet Black  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate L  
  61′′′′ VR-V.   65′′′′ RR-V.   69′′′′ RV-R.  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f L_61′′′′_f_Light_Plumbago_Gray   L_65′′′′_f_Light_Heliotrope-Gray   L_69′′′′_f_Light_Vinaceous-Gray    
  Light Plumbago Gray   Light Heliotrope-Gray   Light Vinaceous-Gray  
d L_61′′′′_d_Plumbago_Gray   L_65′′′′_d_Heliotrope-Gray   L_69′′′′_d_Vinaceous-Gray    
  Plumbago Gray   Heliotrope-Gray   Vinaceous-Gray  
b L_61′′′′_b_Deep_Plumbago_Gray   L_65′′′′_b_Deep_Heliotrope_Gray   L_69′′′′_b_Deep_Vinaceous-Gray    
  Deep Plumbago Gray   Deep Heliotrope Gray   Deep Vinaceous-Gray  
L_61′′′′___Dark_Plumbago_Gray   L_65′′′′___Dark_Heliotrope_Gray   L_69′′′′___Dark_Vinaceous-Gray    
  Dark Plumbago Gray   Dark Heliotrope Gray   Dark Vinaceous-Gray  
i L_61′′′′_i_Plumbago_Slate   L_65′′′′_i_Heliotrope-Slate   L_69′′′′_i_Vinaceous-Slate    
  Plumbago Slate   Heliotrope-Slate   Vinaceous-Slate  
k L_61′′′′_k_Dark_Plumbago_Slate   L_65′′′′_k_Dark_Heliotrope_Slate   L_69′′′′_k_Deep_Slaty_Brown    
  Dark Plumbago Slate   Dark Heliotrope Slate   Deep Slaty Brown  
m L_61′′′′_m_Dull_Violet-Black_(3)   L_65′′′′_m_Dull_Purplish_Black   L_69′′′′_m_Aniline_Black    
  Dull Violet-Black (3)   Dull Purplish Black   Aniline Black  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate LI  
  1′′′′′ RED   15′′′′′ Y-O.   23′′′′′ YELLOW  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f LI_1′′′′′_f_Pallid_Quaker_Drab   LI_15′′′′′_f_Pallid_Mouse_Gray   LI_23′′′′′_f_Pale_Olive-Gray    
  Pallid Quaker Drab   Pallid Mouse Gray   Pale Olive-Gray  
d LI_1′′′′′_d_Pale_Quaker_Drab   LI_15′′′′′_d_Pale_Mouse_Gray   LI_23′′′′′_d_Light_Olive-Gray    
  Pale Quaker Drab   Pale Mouse Gray   Light Olive-Gray  
b LI_1′′′′′_b_Light_Quaker_Drab   LI_15′′′′′_b_Light_Mouse_Gray   LI_23′′′′′_b_Olive-Gray    
  Light Quaker Drab   Light Mouse Gray   *Olive-Gray  
LI_1′′′′′___Quaker_Drab   LI_15′′′′′___Mouse_Gray   LI_23′′′′′___Deep_Olive-Gray    
  Quaker Drab   *Mouse Gray   Deep Olive-Gray  
i LI_1′′′′′_i_Deep_Quaker_Drab   LI_15′′′′′_i_Deep_Mouse_Gray   LI_23′′′′′_i_Dark_Olive-Gray    
  Deep Quaker Drab   Deep Mouse Gray   Dark Olive-Gray  
k LI_1′′′′′_k_Dark_Quaker_Drab   LI_15′′′′′_k_Dark_Mouse_Gray   LI_23′′′′′_k_Iron_Gray    
  Dark Quaker Drab   Dark Mouse Gray   Iron Gray  
m LI_1′′′′′_m_Sooty_Black   LI_15′′′′′_m_Blackish_Mouse_Gray   LI_23′′′′′_m_Olivaceous_Black_(3)    
  Sooty Black   Blackish Mouse Gray   Olivaceous Black (3)  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate LII  
  35′′′′′ GREEN   49′′′′′ BLUE   59′′′′′ VIOLET  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_NG_(10)_White  
 
f LII_35′′′′′_f_Pearl_Gray   LII_49′′′′′_f_French_Gray   LII_59′′′′′_f_Lilac-Gray    
  *Pearl Gray   *French Gray   *Lilac-Gray  
d LII_35′′′′′_d_Dawn_Gray   LII_49′′′′′_d_Cinereous   LII_59′′′′′_d_Pale_Violet-Gray    
  Dawn Gray   *Cinereous   Pale Violet-Gray  
b LII_35′′′′′_b_Hathi_Gray   LII_49′′′′′_b_Plumbeous   LII_59′′′′′_b_Light_Violet-Gray    
  Hathi Gray   *Plumbeous   Light Violet-Gray  
LII_35′′′′′___Storm_Gray   LII_49′′′′′___Deep_Plumbeous   LII_59′′′′′___Violet-Gray    
  Storm Gray   Deep Plumbeous   Violet-Gray  
i LII_35′′′′′_i_Castor_Gray   LII_49′′′′′_i_Dark_Plumbeous   LII_59′′′′′_i_Deep_Violet-Gray    
  Castor Gray   Dark Plumbeous   Deep Violet-Gray  
k LII_35′′′′′_k_Dusky_Green-Gray   LII_49′′′′′_k_Blackish_Plumbeous   LII_59′′′′′_k_Dark_Violet-Gray    
  Dusky Green-Gray   Blackish Plumbeous   Dark Violet-Gray  
m LII_35′′′′′_m_Blackish_Green-Gray   LII_49′′′′′_m_Plumbeous-Black   LII_59′′′′′_m_Blackish_Violet-Gray    
  Blackish Green-Gray   Plumbeous-Black   Blackish Violet-Gray  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_NG_(1)_Black  
          Plate LIII  
  67′′′′′ V-R.   NEUTRAL GRAY   CARBON GRAY  
  LIII_NG_(10)_White   LIII_NG_(10)_White   LIII_CG_(10)_Pale_Gull_Gray
  White   White   *10. Gray. (Pale Gull Gray)
f LIII_67′′′′′_f_Pallid_Purplish_Gray   LIII_NG_f_Pallid_Neutral_Gray   LIII_CG_(9)_Light_Gull_Gray    
  Pallid Purplish Gray   Pallid Neutral Gray   *9. Gray. (Light Gull Gray)  
d LIII_67′′′′′_d_Pale_Purplish_Gray   LIII_NG_d_Pale_Neutral_Gray   LIII_CG_(8)_Gull_Gray    
  Pale Purplish Gray   Pale Neutral Gray   *8. Gray. (Gull Gray)  
b LIII_67′′′′′_b_Light_Purplish_Gray   LIII_NG_b_Light_Neutral_Gray   LIII_CG_(7)_Deep_Gull_Gray    
  Light Purplish Gray   Light Neutral Gray   *7. Gray. (Deep Gull Gray)  
LIII_67′′′′′___Purplish_Gray   LIII_NG___Neutral_Gray   LIII_CG_(6)_Dark_Gull_Gray    
  Purplish Gray   Neutral Gray   *6. Gray. (Dark Gull Gray)  
i LIII_67′′′′′_i_Deep_Purplish_Gray   LIII_NG_i_Deep_Neutral_Gray   LIII_CG_(5)_Slate-Gray    
  Deep Purplish Gray   Deep Neutral Gray   *5. Slate-Gray  
k LIII_67′′′′′_k_Dark_Purplish_Gray   LIII_NG_k_Dark_Neutral_Gray   LIII_CG_(4)_Slate_Color    
  Dark Purplish Gray   Dark Neutral Gray   *4. Slate Color  
m LIII_67′′′′′_m_Dusky_Purplish_Gray   LIII_NG_m_Dusky_Neutral_Gray   LIII_CG_(3)_Blackish_Slate    
  Dusky Purplish Gray   Dusky Neutral Gray   *3. Blackish Slate  
  LIII_NG_(1)_Black   LIII_NG_(1)_Black   LIII_CG_(2)_Slate-Black
  Black   *1. Black   *2. Slate-Black

EXPLANATION OF PLATES XXII AND XXIV.

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

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


TRANSCRIBER'S NOTE

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

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






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