The exquisite flowers of Bartholomew, Miss Mutrie, and others, give evidence of the beauty, purity, and stability of the reds of madder, both in water and oil. This variety, less intense than the preceding and without its carmine hue, is of a rich rose colour--a true rose--tending neither to crimson, scarlet, nor purple. Marked by a peculiar softness, and an unusual clearness in its pale washes, rose madder affords the most perfect carnation tints known. Not liable to change by the action of light, impure air, or admixture with white lead and other colours, it resembles all madder lakes in these respects. Like them, too, it is but a tardy dryer in oil unless thoroughly edulcorated, and does not work in water with the entire fulness and facility of cochineal pigments. When, therefore, permanence is of no consideration, the latter may still be preferred. In those works, however, where the hues and tints of nature are to be imitated with stability and pure effect, the rose colours of madder are become indispensable. They have this advantage, moreover, that they possess the property of ultramarine of improving in hue by time--their tendency being to their own specific prismatic red colour. As they are too beautiful and require saddening for the general use of the painter, the addition of manganese brown, cappagh brown, or burnt umber, adds to their powers, and improves their drying in oils; for which last purpose a little japanner's gold size may be likewise employed. In the light touches of bright clouds or mountains, where a mixture of cadmium yellow and Chinese white is used, rose madder is invaluable for glazing over such touches when dry, should they be required of a warmer hue. The red portion of sunset skies may be improved by a thin wash of this pigment, tinged perhaps with the above yellow, or with gamboge. Most serviceable landscape tints are afforded by admixture of rose madder with cobalt, Indian red, purple madder, yellow ochre, lamp black, &c. In painting flesh, the lake cannot be dispensed with. 79. PINK MADDER Was a weaker preparation of the preceding, paler in hue and possessing less colour. It was formerly employed in miniature painting, but with the decline of that art became less and less used, until it may now be said to be obsolete. The name, however, still lives, but is applied to rose madder, which is indeed indifferently called _Rose Madder_, _Pink Madder_, or _Madder Lake_. Speaking of pink roses, Mrs. Duffield remarks that "the local colour is best imitated with pink madder," and the Messrs. Rowbotham observe "this heather may be best represented by cobalt and madder lake." In trade catalogues several names are often given, as in this instance, to one and the same pigment. The seeming superfluity is rendered necessary through some artists knowing a pigment by one name and some by another. Hence arises the value of a list of synonyms. 80. LIQUID RUBIATE,