_Burnt Carmine._--A rich deep-toned marone or warm purple colour; transparent and brilliant; luminous and effective when used alone; mixed with orange vermilion, it produces a strong rich colour, and a quiet fleshy one when mixed with cadmium yellow. GREENS. _Emerald Green._--An extremely vivid and high-toned green, opaque. No combination of blue and yellow will match this colour, which is indispensable in illuminating. It can be "paled" with white, and the tints thus produced are pure and clean. The tints afforded by its admixture with lemon-yellow are also clear and effective. _Green Oxide of Chromium._--A very rich deep green, opaque, but effective. The tone of this green renders it extremely useful in illuminating; mixed with emerald green, it furnishes a series of rich semi-transparent tints. Mixed with lemon-yellow, it gives quiet, useful shades of green; and when this combination is brightened with emerald green, the shades are luminous and effective. BROWN. _Vandyke Brown._--A deep, rich, transparent, brown, luminous and clear in tint; works, washes, and mixes well. The best of all the browns for illuminating. BLACK. _Lampblack._--The most dense and deep of all the blacks, free from any shade of brown or grey. WHITE. _Chinese White._--A preparation of oxide of zinc, permanent, and the white best adapted for illuminating. It is not only useful _per se_, but is indispensable for toning or reducing other colours. In making the list of the colours just described, I have assumed as a _sine quâ non_ that the colours used in illuminating should be permanent. All those enumerated are so (in water-colours), with the exception of carmine and crimson lake; and these, though theoretically not permanent, are yet found in practice to be _very_ lasting, especially when not too much exposed to the light. It is a curious fact, that crimson lake, though a weaker colour than carmine, is yet more permanent, in consequence of its different base, and that it will better stand exposure to light. I here take the opportunity of warning amateurs, allured by their evident brilliancy, against the use, in illumination, of the following five colours, viz.--pure scarlet, red lead, chrome yellow, deep chrome, and orange chrome. None of these are permanent; the first-named being fugitive, and the others in time turning black; but this is the less to be regretted, as there are permanent colours answering equally well for illumination. Of course, these are less fugitive in books, which are generally protected from the action of light and air, than they would be in pictures.