CARMINE _(Beni)._ Made from the Safflower, Carthamus tinctorius, from which rouge is also prepared. The kind called _Saiku-Beni_ is generally mixed with an acid derived from the Plum-fruit _(Mukiume)._ BLUE _(Ao)_. Both _AiroÌ_(indigo) and _Hero_ (European blue) are now used. The old indigo was sometimes extracted from dyed rags. YELLOW _(Ki)._ Generally _Zumi,_ a yellow dye, and _Kiwo,_ orpiment, are used, and _ShiwoÌ,_ gamboge, for the best prints. PURPLE _(Murasaki)._ Formerly this colour was made by mixing _Aigami_ (blue) and _Beni_ (red), but now an imported purple is used. GREEN _(Midori)._ A mixture of either _Hero_ and _Kiwo,_ or _Zumi_ and _AiroÌ._ ORANGE YELLOW _(ToÌ-oÌ)._ Produced by mixing _Zumi_ and _Bengara_ (iron red) or _Zumi_ and _Yenji_ (rouge). BLACK _(Sumi)_. _Yeizen Zumi_(lamp-black) is used with the key-block. It should be steeped in water for five or six months, then thoroughly well mixed in a wooden dish with a wooden mixer. _Tsuya-Zumi_ is the brilliant black used for such details as human hair, black lacquer objects, &c. It is obtained by the use of a _Dosa_ medium (mixture of glue and alum); and printed from a separate block. SILVER COLOR _(Gin-ro)._ Lead powder mixed with glue. GOLD COLOR _(Kin-iro)._ Brass powder mixed with glue. COPPER COLOR _(Akegane-iro)._ Pure copper powder mixed with glue. WHITE _(Shiro)._ Powered white clay _(JoÌfun)_ mixed with glue. Clamshell powder _(Namaguriko)_ is sometimes employed. _ Bengara_ (IRON RED), _Tan_ (RED LEAD) and MICA are also used. NOTE.—The above colours are those given in the _Bungei Riusan_ (see p. 22). Great importance was attached to the grinding and mixing of the colours. The glue-water medium used for mixing with black was made in the proportion of about one-third of an ounce of glue to three-fourths of a pint of water; but these proportions varied with various qualities of the pigment or paper. In the case of other colours, glue was not always used, but rice-paste (made with rice-flour and boiling water); the actual being sometimes done in the process of applying the colour to the block. A little alum was dissolved in the cold water with which the rice-paste was mixed. A specially brilliant effect was produced by laying a light wash of rice-paste over the block before spreading the colours. RELIEF PRINTING.—For this purpose, a special block is made for that part in the print where the relief is required. The print is laid _back downwards_ on the block, in the opposite manner to that used when printing colour, and the impression is rubbed in with a tool of ivory—the canine teeth of the wild boar being the material most favoured. [DIAGRAM:—The _Baren._—Its internal construction ] DIAGRAM:—The _Baren._—Its internal construction