_Liquid Sepia_, _Seppia_, or _Animal Æthiops_, is named after the sepia or cuttle-fish, also called the ink-fish, from its affording a dark liquid, which was used as an ink and pigment by the ancients. All the species of cuttle-fish are provided with a dark-coloured fluid, sometimes quite black, which they emit to obscure the water, when it is wanted to favour their escape from danger, or, by concealing their approach, to enable them with greater facility to seize their prey. The liquid consists of a mass of extremely minute carbonaceous particles, intermixed with an animal gelatine or glue, and is capable of being so widely spread, than an ounce of it will suffice to darken several thousand ounces of water. From this liquid, brought chiefly from the Adriatic, but likewise obtainable from our own coasts, is derived the pigment sepia, as well as, partially, the Indian ink of the Chinese. Sepia is a powerful dusky brown, of a fine texture, transparent, works admirably in water, combines cordially with other pigments, and is very permanent. It is much used as a water-colour, and for making drawings in the manner of bistre and Indian ink; but is not employed in oil, as it dries therein very reluctantly. Extremely clear in its pale tints, and perhaps the best washing colour known, sepia must be used with caution, or otherwise heaviness will be engendered in the shades, so strong is its colouring property. Mixed with indigo, or, preferably, Prussian blue and black, it is eligible for distant trees, for a general shadow tint in light backgrounds, and for the shade of white linen or white draperies. With madder red it forms a fine hue, somewhat resembling brown madder, and with crimson lake and indigo gives an artistically excellent black. Sometimes alone and sometimes in combination with lamp black, or madder red and Prussian blue saddened by the black, it will be found useful in dark foreground boats, rocks, near buoys, sea-weed, &c. Compounded with aureolin, sepia yields a series of beautiful and durable neutral greens for landscape; and mixed with Prussian blue, affords low olive greens, which may be deepened into very cool dark greens by the addition of black. For hills and mountains in mid-distance, sepia combined with cobalt and brown madder is of service; or, for the dark markings and divisions of stones in brooks and running streams, the same compound without the cobalt. Mixed with purple madder, it furnishes a fine tint for the stems and branches of trees; and with French blue and madder red gives a really good black. Compounds of sepia and yellow ochre, gamboge, raw Sienna, or cobalt and aureolin, are severally useful. A rich and strong brown is formed by the admixture of madder red, burnt Sienna, and sepia; a tint which may be modified by omitting the sepia or the Sienna, or reducing the proportions of either. For Dutch craft, this tint and its variations are of great value. A wash of