We are far from asserting, however, that all modern pigments are inferior, or that pigments should be looked upon with suspicion because they are modern. Several most valuable colours have lately claimed attention, notably the permanent transparent yellow called _Aureolin_. Seeing that, until its introduction, a yellow combining transparency with a perfect stability was unknown to the palette, the importance of such an addition, so long wanted and wished for, cannot be overrated. Equal in beauty and durability with the preceding, but possessing greater richness and depth, and of a semi-opacity, another yellow of the highest order merits regard, _Orient Yellow_, distinguished for its lustrous golden hue, resembling a bright Indian yellow. Dazzling in brilliancy, and absolute in permanency. _Cadmium Red_ next attracts notice. This new aspirant for artistic fame is a most vivid orange-scarlet, the latter colour predominating, of intense fire, but with no approach to rankness or harshness, yielding delicate pale washes, and blending happily with white in the formation of flesh tints. With it may be coupled _Cadmium Orange_, a colour equally brilliant and stable, and equally without rankness or harshness, but of a true orange hue, admirably adapted for sunsets and the like. Last of all the fresh pigments of whose thorough durability there is _no_ doubt, comes the splendid _Viridian_, a green nothing but fire will change, and no mixture of blue and yellow will afford. Clear, bright, and transparent as the emerald, it rivals velvet in its soft gorgeous richness. With this and Aureolin a series of beautiful foliage tints may be formed, sparkling with sunshine, as it were. Other colours there are which have been brought forward within the last few years, not possessing the absolute permanency of the five foregoing, but equal, or superior, to many formerly used. It were folly, therefore, and a silly conservatism on the part of the artist to limit himself to such pigments only as were employed by his forefathers, especially as their merits were often more than doubtful. New colours, it is true, have to be _learnt_, for each pigment has its own peculiar habitudes, chemical, physical, artistic; but if they be good and durable, no amount of time and study spent upon them is thrown away. To think less of the quality of one's materials than of the effects which can be produced with them is mistaken policy; and to be content with that quality when better can be had, shows no real love of art, but rather indolence and apathy.