Perhaps one reason why freshly introduced pigments have not as fair a chance as they are entitled to, is due to the fashion which prevails of exclaiming against the fugacity of modern colours. If their detractors would confine themselves to certain colours, there could be no denial; but to assert, as is often done, that the cause of modern pictures not standing is owing to modern pigments generally, is unjust. It is not the materials which should be blamed, but those who use them. The fact is, that the artist's knowledge has not increased in proportion to the greater variety of colours at his command. In the early periods of art, when the palette was chiefly confined to native pigments, the painter could not very well go wrong. Now-a-days but too many, wanting the skill of the old masters, seek to make amends for it by brilliancy of colouring: with imperfect knowledge of their materials the result is obvious. The palette, we admit, wants weeding; not only of the bad new colours, but of the bad old colours. This, however, must be a work of time, and depend, not upon the colourman--for where there is a demand there will be a supply--but upon the artists themselves. To this end an increased acquaintance with the properties of pigments is required, whereby they may be able to choose the fast from the fugitive. It may be fairly assumed that the painter will be assisted in his task by the progress of chemical science, which will doubtless add from time to time to the list of stable pigments. We have heard it remarked that there are too many colours already--to which we reply, there are not too many good colours, and scarcely can be. The more crowded the palette is with reliable pigments, the more likely are the worthless to be pushed from their places. In our opinion, there is ample room for fresh colours, provided they be durable; and we have as little sympathy with the stereotyped cry of there being too many, as with the fashionable unbelief in modern pigments. Certainly, the artist who seeks for permanence among the whites, reds, or blues, will not be troubled with a superfluity. Certainly, too, colours are as good as ever they were, and better--better made, better ground, better prepared for use. But, fast and fugitive, pigments are more numerous, and for that reason need more careful selection. CHAPTER V. ON THE GENERAL QUALITIES OF PIGMENTS. The general attributes of a perfect pigment are beauty of colour, comprehending pureness and richness, brilliancy and intensity, delicacy and depth,--truth of hue--transparency or opacity, well-working, crispness, setting up, or keeping its place, and desiccation, or drying well. To all of these must be superadded _durability_ when used, a quality to which the health and vitality of a picture belong, and one so essential that all other properties put together without it are of no esteem with the artist who merits reputation. We have, therefore, given it a previous distinct consideration.