was first introduced to the art-world at the International Exhibition of 1862, where it was universally admired for its extreme brilliancy and beauty, a brilliancy equalled by few of the colours with which it was associated, and a beauty devoid of coarseness. We remember well the power it possessed of attracting the eye from a distance; and how, on near approach, it threw nearly all other pigments into the shade. It has in truth a lustrous luminosity not often to be met with, added to a total absence of rankness or harshness. A simple original colour, containing no base but cadmium, it is of perfect permanence, being uninjured by exposure to light, air or damp, by sulphuretted hydrogen, or by admixture. Having in common with cadmium sulphides a certain amount of transparency, it is invaluable for gorgeous sunsets and the like, either alone or compounded with aureolin. Of great depth and power in its full touches, the pale washes are marked by that clearness and delicacy which are so essential in painting skies. As day declines, and blue melts into green, green into orange, and orange into purple, the proper use of this pigment will produce effects both glowing and transparent. Transparency signifies the quality of being seen through or into; and in no better way can it be arrived at than by giving a number of thin washes of determined character, each lighter than the preceding one. With due care in preserving their forms, from the commencement to the termination, such washes of orange will furnish hues the softest and most aerial. For bits of bright drapery, a glaze over autumn leaves, and mural decoration, this colour is adapted; while in illumination it supplies a want formerly much felt. "With the exception of scarlet or bright orange," said Mr. Bradley, nine or ten years since, in his Manual of Illumination, "our colours are everything we could wish." As an original pigment, a permanent scarlet does not yet exist; but the brilliancy of cadmium orange cannot be disputed, nor its claim to be the only unexceptionable bright orange known. It even assists the formation of the other colour: remarks the author mentioned, "Brilliancy is obtained by gradation. Suppose a scarlet over-curling leaf, for example. The whole should be painted in pure orange, with the gentlest possible after-touch of vermilion towards the corner under the curl. When dry, a firm line--not wash--of carmine, (of madder, preferable.--_Ed._), passed within the outline on the shade side only of the leaf, will give to the whole the look of a bright scarlet surface, but with an indescribable superadded charm, that no merely flat colour can possess." In the same branch of art, illumination, cadmium orange, opposed to viridian, presents a most dazzling contrast, especially if relieved by purple. 157. CHINESE ORANGE