Green, being a compound of blue and yellow, may be got by combining those colours in the several ways of working--by mixing, glazing, hatching, or otherwise blending them in the proportions of the various hues required. To obtain a _pure_ green, which consists of blue and yellow only, a blue should be chosen tinged with yellow rather than with red, and a yellow tinged with blue. If either a blue or a yellow were taken, tinged with red, this latter colour would go to produce some grey in the compound, which would tarnish the green. The fine nature-like greens, which have lasted so well in some of the pictures of the Italian schools, appear to have been compounded of ultramarine, or ultramarine ashes and yellow. Whatever pigments are employed on a painting in the warm yellow hues of the foreground, and blue colouring of the distance and sky, are advantageous for forming the greens in landscape, &c., because they harmonize better both in colouring and chemically, and impart homogeneity to the whole: a principle conducive to a fine tone and durability of effect, and applicable to all mixed tints. In compounding colours, it is desirable not only that they should agree chemically, but that they should have, as far as possible, the same degree of durability. In these respects, aureolin and ultramarine, gamboge and Prussian blue, Indian yellow and indigo, are all judicious mixtures, although not all to be recommended. PERMANENT YELLOWS. | PERMANENT BLUES. | Aureolin. | Cerulian Blue. Cadmium Yellow, pale. | Cobalt Blue. Cadmium Yellow, deep. | Genuine Ultramarine. Lemon Yellow. | Brilliant Ultramarine. Mars Yellow. | French Ultramarine. Naples Yellow, modern. | New Blue. Ochres. | Permanent Blue. Orient Yellow. | Raw Sienna. |