Vermilion is capable of being made by both wet and dry processes, but the last are almost exclusively adopted on a scale, and are, we believe, preferable. Our opinion, expressed with some diffidence, is, that pigments whose colour depends on the union of sulphur with a metal--such as vermilion and cadmium yellow--are more stable when the sulphur is forced to bite into the base. This can only be effected by a considerable degree of heat, far greater than can be obtained in any moist method. We hold that in pigments so produced, the sulphur is less liable to oxidation by air and light, and that therefore the colour better withstands exposure to those agents. Before now, vermilions have been taxed with fading in a strong light: supposing them genuine, it would be interesting to know by what mode they were manufactured. There are two kinds of vermilion in common use, European and Chinese, of which the first inclines to orange and the second to purple. These include the several varieties known as--_Vermilion_, _Deep Vermilion_, _Pale Vermilion_, _Scarlet Vermilion_, _Chinese Vermilion_, _Carmine Vermilion_, _Extract of Vermilion_, _Orange Vermilion_, and _Field's Orange Vermilion_. 89. VERMILION, Deep or pale, when well made and pure is of strict permanence, not sensibly affected by light, time, or foul air; and eligible either in water, oil, or fresco. For an enamel colour it is unsuited, being dissipated at a red heat, a test that detects the presence of any non-volatile adulterant. The best vermilion is a powerful vivid colour, higher in tone than all reds, except the scarlet iodide of mercury. With this it should not be compounded, but with other pigments it may safely be used in admixture, as far as its own colour is concerned. Of great body, weight, and opacity, it is a somewhat slow drier; and does not retain that brilliancy when dry, which is peculiar to it while wet. A want of transparency, and not drying well, prevent its being so generally employed as would be desirable. Pictures should seem to be painted with colour, not with pigment, the material being lost amid the hues, tints, and shades; but with such compounds as vermilion, the art of concealing art becomes difficult indeed. The pigment is apt to predominate over the colour, and the painting to look mechanical rather than natural: particles are apparent where hues alone should be seen, and all sense of reality is destroyed. For these reasons, vermilion is a dangerous pigment in unskilled hands, needing an intimate acquaintance with its physical properties. The extreme weight or specific gravity of the red renders it liable to sink and separate when compounded with other colours; hence the heavier those mixed with it the better. Its almost equal opacity, too, and habit of washing up, militate against its use by young painters. With experience, however, and due care, this is a serviceable colour; yielding with white most delicate flesh tints, and