or _Lamblack_, is a smoke black, being the soot procured by the burning of resins or resinous woods. It is a pure vegetal charcoal of fine texture, not quite so intense nor so transparent as the black made from ivory, but less brown in its pale tones. It has a very strong body that covers readily every underlay of colour, works well, but dries badly in oil. On emergency, it may be prepared extemporaneously for water-painting by holding a plate over the flame of a lamp or candle, and adding gum to the colour: the nearer the plate is held to the wick of the lamp, the more abundant and warm will be the hue of the black obtained; at a greater distance it will be more effectually charred, and blacker. Mixed with French blue or cobalt, lamp black gives good cloudy grays, which are useful for the shadows of heavy storm clouds. With French blue and this black alone various beautiful stormy skies may be represented; the contrast of the blue causing the black to assume, if desired, a warm tone in shadows. For like purposes, the black with ultramarine ash affords a very soft hue, and with light red and cobalt in different proportions yields silvery tones most serviceable. To the dark marking of murky and dirty clouds, a compound of lamp black and light red is particularly suited; while a mixture of the black with cobalt and purple madder is adapted for slate-coloured sunset and sunrise clouds. French blue softened with a little lamp black is fitted for mountains or hills, very remote; and the same blue and black with rose madder meet their tints if nearer. In seas the black is useful with raw Sienna and other colours; while, whether in storm or calm, vessels and boats may be painted with tints of lamp black, madder brown, and burnt Sienna, varying in degrees of strength according to the distances. Lamp black alone, or with French blue, cobalt and purple madder, emerald green, or rose madder, is good for rocks; and for dark foreground objects when mixed with madder lake and burnt Sienna. With aureolin the black furnishes a sober olive for foliage, and with rose madder a fine colour for the stems and branches of trees. Compounded with light red, it is suited to the first general tones of the ground for banks and roads; and with yellow ochre or madder red, to parts of buildings and cattle. A very eminent miniature painter recommends for hair tints, lamp black, Indian red, and burnt Sienna. Being a dense solid colour, this black must be used sparingly to avoid heaviness.