GAMBOGE. CRIMSON LAKE. BURNT UMBER. PRUSSIAN BLUE. INDIAN YELLOW. SEPIA. LAMP BLACK. BURNT SIENNA. VERMILION. EMERALD GREEN. CHINESE WHITE. COBALT. YELLOW OCHRE. A little experimental practice with the colors will do more to show the various combinations of which they are capable than any lengthy exposition. Various portions of color may be tried, particularly for the more delicate tints, for greys, neutrals, and quiet compounds, where great purity is required, and the most pleasing noted for future use. There are two methods or styles of coloring, which are used either alone, or in conjunction. In the Celtic, and other early styles, including that of the fourteenth century, where the colors are used flat--no relief by shading being given--it is purely a surface decoration, the colors well contrasted, merely graduated from deep to pale, and outlined with a clear, black outline. The masses of color or gold are here usually enriched by diapers, while the stems, leaves, &c., are elaborated by being worked over with delicate hair-line finishings on the darker ground. The other method of treating ornamental forms embraces a wide range of style of illuminating, approaching more nearly to Nature in treatment, the ornament being more or less _shaded_ naturally, or conventionalized to some extent. It is important to lay the color evenly in painting, not getting it in ridges, or piling it in lumps, as the amateur is apt to do. This will be best attained by painting as evenly as possible with the brush, mostly in one direction, and not too full of color, and refraining from going back over the parts just painted, if it can be avoided. Patches always show, more or less, and can hardly ever be made to look smooth.