oS OLOR STANDARDS a a oe FIFTY-THREE COLORED PLATES | ELEVEN HUNDRED AND FirreEN NAMED CotLors COLOR STANDARDS AND COLOR NOMENCLATURE Bx ROBERT RIDGWAY, M.S., C.M.Z.S., ETC. Curator of the Division of Birds, United States National Museum. With Fifty-three Colored Plates and Eleven Hundred and Fifteen Named Colors. WASHINGTON... Do -, Lele. Published by the Author. Copyright, 1912 by Robert Ridgway PRESS OF A. HOEN & COMPANY BALTIMORE, MD TO Sefior Don JOSE - ZELEDON OF SAN Jose, Costa RICA True and steadfast friend for more than two-score years: host, guide, and companion on excursions among the glorious forests, magnificent mountains, and lovely plains of his native land; whose encouragement made possible the completion of a seemingly hopeless task, this book is affectionately and gratefully dedicated. PREFACE HE motive of this work is THE STANDARDIZATION OF COLORS AND COLOR NAMES. The terminology of Science, the Arts, and various In- dustries has been a most important factor in the development of their present high efficiency. Measurements, weights, mathemat- ical and chemical formule, and terms which clearly designate practically every variation of form and structure have long been standardized ; but the nomenclature of colors remains vague and, for practical purposes, meaningless, thereby seriously impeding progress in almost every branch of industry and research. Many works on the subject of color have been published, but most of them are purely technical, and pertain to the physics of color, the painter’s needs, or to some particular art or industry alone, or in other ways are unsuited for the use of the zoologist, the botanist, the pathologist, or the mineralogist ; and the compar- atively few works on color intended specially for naturalists have all failed to meet the requirements, either because of an insufficient number of color samples, lack of names or other means of easy identification or designation, or faulty selection and classification of the colors chosen for illustration. More than twenty years ago the author of the present work attempted to supply the deficiency by the publication of a book* containing 186 samples of named *A | Nomenclature of Colors | for Naturalists, | and | Compendium of Useful Knowledge | for Ornithologists. | By | Robert Ridgway, | Curator, Department of Birds, United States National Museum. | With ten colored plates and seven plates | of outline illustrations. | Boston: | Little, Brown, and Company. | 1886. | (12mo., pp. 129, pls. 17.) | | The subject of color and color nomenclature discussed on pages 15-58. Plates i-x, inclusive, represent 186 named colors, hand-painted (stencilled). 11 PREFACH colors, but the effort was successful only to the extent that it was an improvement on its predecessors; and, although still the standard of color nomenclature among zoologists and many other naturalists, it nevertheless is seriously defective in the altogether inadequate number of colors represented, and in their unscientific arrangement. Fully realizing his failure, the author, some two or three years later, began to devise plans, gather materials, and acquire special knowledge of the subject, in the hope that he might some day be able to prepare a new work which would fully meet the needs of all who have use for it. Unfortunately, his time has been so fully occupied with other matters that progress has neces- sarily been slow; but after more than twenty years of sporadic effort it has at last been completed. Acknowledgments are due to so many friends for helpful suggestions that it is hardly possible to name them all, or to specify the extent or kind of help which each has rendered; but special men- tion should be made of Mr. Lewis E. JEwELL, of Johns Hopkins University ; Dr. R. M. STRONG, of the University of Chicago: Prof. W. J. SPILLMAN, of the U.S. Department of Agriculture; Mr. WILLIAMS WELCH, of the U. S. Signal Service; Mr. Miron BRADLEY, of Springfield, Mass.; Dr. P. G. Nurrine, of the U.S. Bureau of Standards; Mr. P. L.. RickEr, of the Bureau of Plant Industry, U. S. Department of Agriculture; and Mr. J. L. RIDGWAY, of the U. S. Geological Survey. The late Professor S. P. LANGLEY, then Secretary of the Smithsonian Institution, was good enough to take a kindly interest in this undertaking and gave the author assistance for which he is glad to make acknowledg- ment. More than to all others, however, is the author deeply indebted to Mr. JOHN E. THavgr, of Lancaster, Mass., and Sefior Don JosE ae ZELEDON, of San José, Costa Rica, for aid so indis- pensible that without it the work could not have been completed.’ To Dr. G. GRUBLER & Co., of Leipzig, Germany, the author is under obligations for the gift of a nearly complete set of their celebrated coal-tar dyes, which have proven quite necessary to the work, especially in the coloring of the Maxwell disks on which the color scheme is based. The reproduction of the plates has been a difficult matter, involving not only expensive experimentation, but more than three PREFACE ili years of unremitting labor. Vastly different from the ordinary lines of commercial color work, the correct copying of each one of the 1115 colors of the original plates developed many perplexing and often discouraging problems, which were finally solved through Mr. A. B. HOEN’S expert knowledge of chemistry and pigments; the skill, industry, and patience of the firm’s head colorist, Mr. FRANK PORTUGAL, and the personal interest of both these gentle- men. Itis, therefore, with the greatest pleasure that the author’s grateful acknowledgment is made to the firm of A. Ho—EN & CoMPANY for the satisfactory manner in which they have fulfilled their contract. CONTENTS PAGE a eee, 1 PROLOGCUR ooo isc csa. I eee | Pisk, ai. SES IS ee 1 eh ai lachcicn. ) ESTE Be ee ee ee eal 15 Table of percentages of Component Colors in Spectrum Oe i as Satin Fon hs ves cea ete reis DAs ssc 21 Table of percentages of White and Black in Tone Scales..... 23 Table of percentages of Neutral Gray in Broken Colors....... 25 Table of percentages of Black and White in tones of Carbon (sta 3s. i ee re 25 Dyes and Pigments used in Coloring of Maxwell Disks...... 26 Alphabetical List of Colors represented on Plates.............. 29 Colors of old edition Not Represented on Plates ............... 41 ee 8 es ee On Colon 2k oie sees cs 42 PROLOGUE EXPLANATION OF PLATES XXII AND XXIV. Reference to these plates was unfortunately overlooked when the text was going through the press a These plates are simply exzras. They were made at an early stage in the preparation of the work and discarded: but were finallyinserted, merely to add tothe number of colors represented. that this work 1S basea OU a4 tuuL VURM oeuuy we ~~ | a from every standpoint, and that practically all authori- — tative works on the subject of color have been carefully . consulted.* | PLAN.—The scientific arrangement of colors in this work is based essentially on the suggestions of Professor | J. H. Pillsbury for a scheme of color standards,? which have also been the basis of several other efforts toward the same end, as the plates in Milton Bradley’s ‘‘Elementary Color’’ and educational colored papers, Prang’s charts of standard colors, Klinkseick and Valette’s ‘‘Code des. Couleurs,’’ etc.; but while all these present a scientifi- cally arranged color-scheme and more or less adequate *Titles of several books on the subject which are especially recommended to the lay student of chromatology are given at the end of this text. tSee Science, June 9, 1893, and Nature, Vol. LII, No. 1347, Aug. 22, 1895, pp. 390-392, CONTENTS ee EE: PE iy a . lle > ed eeee ee percentages of Neutral Gray in Broken Colors....... 25 Table of percentages of Black and White in tones of Carbon a, reas ak kV ic os by voSeevcescseseces 20 Dyes and Pigments used in Coloring of Maxwell Disks...... 26 Alphabetical List of Colors represented on Plates.............. 29 Colors of old edition Not Represented on Plates............... 41 pe Oe Pr Oe oid cee lcci. 42 PROLOGUE -_———e-&@ Bb o-—___ As stated in the Preface, the purpose of this work is the standardization of colors and color nomenclature, so that naturalists or others who may have occasion to write or speak of colors may do so with the certainty that there need be no question as to what particular tint, shade, or degree of grayness, of any color or hue is meant. Therefore, it is unnecessary to treat of the subject from any other point of view; it will be sufficient to say that this work is based on a thorough study of the subject from every standpoint, and that practically all authori- tative works on the subject of color have been carefully . consulted.* : PLAN.—The scientific arrangement of colors in this work is based essentially on the suggestions of Professor | J. H. Pillsbury for a scheme of color standards,f which have also been the basis of several other efforts toward the same end, as the plates in Milton Bradley’s ‘‘Elementary Color’’ and educational colored papers, Prang’s charts of standard colors, Klinkseick and Valette’s ‘‘Code des. Couleurs,’’ etc.; but while all these present a scientifi- cally arranged color-scheme and more or less adequate *Titles of several books on the subject which are especially recommended to the lay student of chromatology are given at the end of this text. +See Science, June 9, 1893, and Nature, Vol. LII, No. 1347, Aug. 22, 1895, pp. 390-392. 2 CoLOR STANDARDS AND NOMENCLATURE. number of colors they all fail to supply a ready or convenient means of identifying and designating the colors—the principal utility of a work of this kind, } is in the latter respect that the present work is believed to meet, more nearly than any other at least, this essential requirement, and in this consists whatever originality may be claimed for it. The key’’ to the classification or arrangement here. with presented is, of course, the solar spectrum, with its six fundamental colors and intermediate hues, augmented by the series of hues connecting violet with red, which the spectrum fails to show. If, with the red-violets and violet-reds thus added to the spectrum hues, the band forming this scale be joined end to end a circle is formed in which there is continuously a gradual change of hue, step by step, from red through orange-red and red-orange to orange; orange through yellow-orange and orange- yellow to yellow; yellow through green-yellow and yellow- green to green; green through blue-green and green-blue to blue; blue through violet-blue and blue-violet to violet: and violet through red-violet and violet-red to red—the starting-point—with intermediate connecting hues. In the solar spectrum, both prismatic and grating, but especially the former, the spaces between the adjoining distinct colors are very unequal: therefore for the present purpose an ideal scale must be constructed, so that an approximately equal number of equally distinct connect- ing hues shall be shown. Distinctions of hue appreciable to the normal eye are so very numerous* that the criterion of convenience or practicability must determine the number of segments into which the ideal chromatic scale or circle may be divided in order to best serve the purpose in view. Careful experiment seems to have ee st *According to Aubert more than 1000 hues are distinguishable in the spectrum, though among them all the hues betweeen violet and red are wanting. MEASUREMENT OF COLOR MIXTURES. 3 demonstrated that thirty-six is the practicable limit, and accordingly that number has been adopted.* If the number of intermediate hues were equal in all cases there would, in this scheme, be five between each two adjacent fundamental colors of the spectrum; but a greater number of recognizably distinct hues is obviously necessary in some cases than in others; for example, spectrum orange is decidedly nearer in hue to red than to yellow, and therefore the number of inter- mediates required on each side of the orange is different, being in the proportion of four for the red-orange series to five for the orange-yellow, and similarly six are required for the violet-red series, while four suffice for the blue-violet hues. There is no known means by which we can measure the proportion of two or more pigments in any given mixture, ““because color-effect cannot be measured by the pint of mixed paint or the ounce of dry pigment; ’’t but, fortunately, we have a very exact method, in the color-wheel and Maxwell disks, by which the relative proportions of two or more colors in any mixture may be precisely measured. ‘This method has been used in the painting of every one of the 1115 colors of the present work, by means of one disk to represent each one of the thirty-six colors (both pure and ‘“broken’’), together with a black, a white, and a neutral gray disk, the last being a match in color to the gray resulting from the mixture of red, green and violet on the color-wheel;{ the neutral gray disk, however, being used only for the making of disks for the broken series of colors (', ", ””, “,and ””) and for the scale of neutral grays (Plate —_——_—_——., *That is to say, the practical limit for pk representation of the colors in their various modifications. Milton Bradley: Elementary Color, p. 18. [See colored figure on frontispiece. 4 CoLorR STANDARDS AND NOMENCLATURE. LIII.) ‘These colored disks are slit on one side from center to circumference, and therefore by interlocking two or more they may be adjusted so that either occupies any desired percentage of the whole area, which may be very precisely determined by a scale of 100 segments shown on the outer edge of a larger disk on which the colored disks are superimposed. When connected with the color-wheel and adjusted as may be desired, and then rapidly revolved, the two or more distinct colors resolve themselves into a single uniform composite color, whose elements are shown, in their relative proportion, by the scale surrounding the disks.* The scales (both horizontal and vertical) of the present work are all prepared directly from definite color-wheel formulz, based on carefully calculated curves; the thirty-six pure spectrum hues, represented *See the colored figure on the frontispiece of this work, which clearly illustrates this method of color measurement. Larger disks of spectrum red, green, and violet are interlocked and adjusted so that they present, respectively, 32, 42, and 26 per cent. of the circumference ; superimposed on these is a single smaller disk of neutral gray, and on this two still smaller disks of black and white, the former occupying 79, the latter 21, per cent. of the area. The result of this combination of colors, when the disks are rapidly revolved, is that the entire surface becomes a uniform neutral gray precisely like the middle disk, which blends so completely with the color inside and outside its limits that no trace of division can be detected. Hence, neutral gray equals a combination of red 32, green 42, and violet 26 per cent., and also equals a combination of black 79 and white 21 percent. As further illustrating the point, it may be mentioned that not only does the above-mentioned combination of the three primary colors equal neutral gray but so also does the combination of any color (“secondary” or “‘tertiary’’ as well as primary) with its complementary, though the darkness or lightness of the gray varies somewhat, as the following table shows: EQUIVALENT SPECTRUM COLOR. COMPLEMENTARY COLOR. gy Pe Per Pe Name. Cent. Get. Composition. Black. | White. BRO Soke eee 44 56 Blue 41 + Green 89. 72.5 27.9 Ove. 550 95503: 28.5 71.5 Blue 51.5 + Green 48.5. | 69 3l ge” RR eee 33 67 Blue 60.5 + Violet 39.5. 64 36 Green ....... oy ee 51 49 Red 57.5 + Violet 42.5. 73 27 Wine ese 64 36 Yellow 82 + Orange 18. 62 37 VIO iiss A es B75 Yellow 69 + Green 31. 61.5 38,5 eS ee EXPLANATION OF PLATES. 5 by the middle horizontal line of color-squares on Plates I-XII (together with an equal number of intermediates represented by blank spaces), requiring a separate curve and consequently different relative proportions of the two component colors for each series of hues—that is, the series from red to orange, orange to yellow, yellow to green, green to blue, blue to violet, and violet to red, respectively; but the progressive increments of white in . the scales of tints, black in those of shades, and neutral gray in the several series of broken colors are exactly the same in every case. The first series of Plates (I-XII) shows the pure, full spectrum colors and intermediate hues (middle horizontal line, nos. 1-72),* each with its vertical scale of tints (upward, a-g) and shades (down- ward, #-7), the increments of white for the tints being 9.5, 22.5, and 45 per cent., respectively, those of black in the shades being 45, 70.5, and 87.5 percent. The remaining Plates show these same thirty-six colors or hues in exactly the same order and similarly modified (vertically) by precisely the same progressive incre- ments of white (upward) and black (downward), but all the colors are dulled by admixture of neutral gray; the first series (1’-72’, Plates XIII-X XVI) containing 32 per cent. of neutral gray, the second (1°-72", Plates XX VII-% XE V ELP) 58 ger’ cent the tind. €1 72’, Plates XX XIX-XLIV) 77 per cent., and the fourth (1°°"- 72”, Plates XLV-L) 90 per cent. The last three Plates (LI- LIII) show the six spectrum colorst (also purple, the intermediate between violet and red) still further dulled by admixture of 95.5 per cent. of neutral *The number is doubled so that every other one represents an intermediate hue not shown in color. ? +Owing to the circumstance that spectrum orange does not, at least when mixed with gray, fairly represent a medium hue between red and orange, being much nearer the former, a hue much near to yellow (yellow-orange, No. 15) has been selected. 6 CoLoR STANDARDS AND NOMENCLATURE. gray, these being in reality colored grays; to which are added a scale of neutral gray and one of carbon gray, the former being the gray resulting from mixture of the three primary colors (red 32, green 42, violet 26 per cent., which in relative darkness equals black 79.5, white 20.5 per cent.); the latter being the gray produced by mix- ture of lamp black and Chinese white, and the scale a reproduction of that in the author’s first ‘“Nomenclature of Colors’’? (14886, Plate II, nos. 2-10). It should be emphasized that in all cases except the scale of carbon grays, only the disks representing the middle horizontal series of colors (both pure and broken) have been used, in combination with a black and a white disk, respectively, to make the colors of the vertical scales of tints and shades. | The coloring of a satisfactory set of disks to repre- sent the thirty-six pure spectrum colors and hues was a matter of extreme difficulty, many hundreds having been painted and discarded before the desired result was achieved. Several serious problems were involved, the matter of change of hue through chemical reaction of the combined pigments or dyes* (especially the latter) being almost as troublesome as that of securing the proper degree of difference between each adjoining pair of hues. The method by which satisfactory results were finally secured was as follows: First, six disks were colored to represent each of the fundamental spectrum colors, *For satisfactory color-wheel work it is necessary to discard practically all the so-called artists’ colors, as being much too dull to even approximately represent the colors of the spectrum, and to substitute carefully selected aniline or coal-tar dyes, of which, fortunately, there is a very large number of remarkable purity of hue. Indeed, the work of most color-physicists is vitiated by their use of such crude colors as vermilion, carmine, scarlet-lake, chrome yellow, emerald green, Prussian blue, ete. (For a list of dyes and pigments used in preparing the Maxwell disks representing the thirty-six colors of the chromatic scale, see pages 26, 27.) CONSTRUCTION OF SPECTRUM SCALE. 7 according to the author’s conception of them.* ‘T’hese six disks were then placed against a suitable background (a neutral gray), in spectrum sequence, with wide inter- vals tor the accommodation of connecting series of disks, which were then colored so as to represent an apparently even transition from one to the other. When this very difficult task had been done as well as the eye alone could judge, each intermediate was then measured on the color-wheel and the relative proportions (in per- centages) of its two component colors recorded. After this had been done for all the intermedite hues each series (the red-orange, orange-yellow, yellow-green, green- blue, blue-violet, and violet-red) was taken separately and a curve constructed on cross-section paper from the recorded ratios. ‘These curves were found to be in all cases more or less irregular or unsymmetrical, but never- theless were sufficiently near correct to serve as a basis for a*symmetrical curve; and after the points out of *In fixing the exact position or wave-length of the spectrum colors considerable: latitude is allowable, the element of ‘personal equation’’—that is, difference in the conception of different persons as to just where the reddest red, greenest green, etc., are located, accounting for the considerable disagreement among chromatologists as. to the wave-lengths. The following table, showing the average, mean, and extreme wave-length of each of the spectrum colors as given by nine or more authorities. together with those of the present work (as determined by Dr. P. G. Nutting, Asso- ciate Physicist of the U. S. Bureau of Standards) is of interest in this connection : | | Average of | Extremes of Mean of This work. 9-12 9-12 9-12 authorities. | authorities. | authorities. Red 7054 ote i: 644 | 6770 6440-7028 6734 (10) Orange... fe oe 598 4.2. | 6074 5892-6300 6096 (9) Yalow. i Bi teas 5786 5640-5850 5745 (10) GTORN. 22 ee 520+ 10 | 5235 5050-5335 5193 (11) Bins. 6 473 2 B21, 4788 4520-4861 4680 (x2) Wialet 410 : 4176 4050-4330 4190 (10) | From this table it will be seen that the red of this work is appreciably more: orange than that of others, the orange slightly more yellowish, and the violet a little less bluish than the average; but the author is assured by Dr. Nutting that these- standards are exceptionally accurate. 8 CoLOR STANDARDS AND NOMENCLATURE. proper line were suitably relocated the two component colors were correspondingly readjusted on the color. wheel and each faulty disk corrected (or a new one painted) until it exactly matched the required combina- tion. ‘The scales representing the tints and shades of each color, and also the gray or broken colors were sitj- larly determined by corrected curves.* By the method adopted of running each of the thirty- six spectrum hues through a scale of tints and shades, and repeating the combination through several series modified by increasing increments of neutral gray, prac- tically the entire possible range of color variation is covered,t rendering it an easy matter to locate in the plates, either among the colors actually shown or in an intermediate space, any color which it is desired to match; and where short distinctive names have not been found (their place being, tentatively, supplied by com- pound names), as, necessarily, must often be the case, any color or intermediate between any two colors, either as to hue, tint, or shade, may be readily designated by the very simple system of symbols (numerals and let- ters) employed. f In order to designate any color for which a satis- factory name cannot be found, or one not represented on the plates, it is only necessary to proceed as follows: Suppose the color in question is nearest 1 on Plate I; say, for example, is intermediate in hue between 1 (spectrum red) and 3 (scarlet-red), or in other words if represented in color its position would be in the uncol- *The percentages are given in tables on pages 23 and 29. +That is to say, theoretically. Unfortunately it seems to be beyond the colorists’ skill to reproduce true shades of the pure colors, all showing a more or less decided admixture of gray, resulting in a series of broken or dull shades. (See pages 28 and 24.) tAlthough only 1115 different colors are actually shown on the plates the system is really equivalent to the presentation of considerably more than 4000 distinguish- able and designatable colors. CoLor NAMES. 9 ored space designated as no. 2; and in tone between the full color (middle horizontal line) and tint 6. Its desig- nation, therefore, is 2a. Exactly the same method applies to any of the other blank spaces, as well as to the colors themselves, except that in case of the broken cotors the’ primes (ey Fy Be £6 HE REA to the hue number. First locate the hue, designated by number, then the ¢ome, designated by lower case letter, the full, pure colors of the middle horizontal row being designated by number alone. CoLor NAMES.—While it is true that the naming of colors as usually employed has so little to do with the purely technical aspects of chromatology or color-physics that, as Von Bezold remarks* “‘we are in reality dealing with the peculiarities of language,’’ it is equally true that a collection of color standards designed expressly for the purpose of identifying and designating particular colors can best attain this object by the use of a carefully selected nomenclature. In other words, the prime ne- cessity is to standardize both colors and color names, by elimination of the element of ‘‘personal equation’’ in the matter. In no other way can agreement be reached as to the distinction between ‘‘violet’’ and ‘‘purple,”’ two color names quite generally used interchangeably or synonymously but in reality belonging to quite distinct hues, or that any other color name can be definitely fixed. Various methods of handling the matter of color in zoological and botanical descriptions, etc., by the avoidance of color names and substitution therefor of symbols, numerals, or mechanical contrivances (as color- wheel and spectrum analyses, color-spheres, etc.) have been devised but all have been found impracticable or unsatisfactory. ‘The author has taken the trouble to get an expression of opinion in this matter from many *The Theory of Color (American edition, 1876), p. 99. 10 CoLor STANDARDS AND NOMENCLATURE. naturalists and others, and the preference for color- names very greatly predominates; consequently, when- ever it has been possible to find a name which seems suitable for any color in this work it has been done, leaving as few as possible unnamed, and for these some other means must be devised for their designation. (See page 8). The selection of appropriate names for the colors depicted on the Plates has been in some cases a matter of considerable difficulty. With regard to certain ones it may appear that the names adopted are not en- tirely satisfactory - but, to forestall such criticism, it may be explained that the purpose of these Plates is not to show the color of the particular objects or substances which the names suggest, but to provide appropriate, or at least approximately appropriate, names for the colors which it has seemed desirable to represent. In other words, certain colors are selected for illustration, for which names must be provided; and when names that are exclusively pertinent or otherwise entirely satis- factory are not at hand, they must be looked up or in- vented. It should also be borne in mind that almost any object or substance varies more or less in color; and that therefore if the ‘‘orange,’’? ‘“‘lemon,’’ “‘chestnut’’ or “‘lilac’’ of the Plates does not exactly match in color the particular orange, lemon, chestnut or lilac which one may compare it with, it may (in fact does) correspond with other specimens. Without standardization, even if arbitrary, color nomenclature must, necessarily, remain in its present condition of absolute chaos. Even the standard pigments are not constant in color, practically every one of them being subject to more or less variation in hue or tone, different samples from the same manu- facturer sometimes varying to the extent of several tones or hues of the present work; indeed, in every case where two or more samples of the same color have been com- SOURCES OF CoLoR NAMEs. 11 pared it has been found that no two are exactly alike, the difference often being very great. For example: Of five samples of ‘‘vandyke brown”’ only two are approximate- ly similar, each of the other three being widely different, not only from one another but from the other two, one being a blackish brown, another reddish brown, the third a yellowish orange-brown. Of eleven samples of ‘olive’? no two are closely similar, the color ranging from a shade of dull (grayish) blue-green to orange- brown, dark brownish gray, and light yellowish olive; and the same or nearly the same degree of variation is seen in absolutely every color examined, showing very clearly the utter worthlessness of color names unless fixed or standardized. In order to obtain as many color names as possible for standardization it has been necessary to draw from all available sources. Several thousand samples of named colors have therefore been collected, and for con- venience of reference and comparison gummed to card catalogue cards, with the name, source, and other data thereon. These include the colors from many standard works, among them Werner’s ‘‘Nomenclature of Colours’’ (Syme’s edition, 1821), Hay’s ‘‘Nomenclature of Col- ours’’ (1846), Ridgway’s ‘‘Nomenclature of Colors”? (1886), Saccardo’s ‘‘Chromataxia”’ (1891), Mathews’ ‘Chart of Correct Colors of Flowers’? (American Flor- ist, 1891), Willson and Calkins’ ‘‘Familiar Colors,’’ Oberthur and Dauthenay’s ‘‘Repertoire des Couleurs’’ (1905), Leidel’s ‘“Hints on ‘Tints’? (1893), ‘‘Lefévré’s Matieres Colorantes Artificiales’? (1896), the Standard Dictionary chart of “‘typical colors,’ the educational colored papers of Milton Bradley and Prang, and many others; and besides these practically all of the artists’ oil, water, and dry colors, manufactured by Winsor and New- ton, F. Schoenfeld and Co., Charles Roberson and it 12 CoLor STANDARDS AND NOMENCLATURE. George Rowney and Co., Madderton and Co., R. Acker- mann and Co., Bourgeois, Binant, Chenal, Le Franc, Devoe, Raynolds, Osborne, Bradley, Hatfield and others; also the coal-tar or aniline dyes of Dr. G. Grubler & Co.,, Continental Color and Chemical Co., and Henry Heil Chemical Co., and the well known Diamond Dyes; chromo-lithographic inks, embroidery silks, etc., etc. ‘he material from which to select suitable color names was greatly augmented, almost at the last moment, from two sources, as follows: (1) A very large collection of color-samples (unfortunately mostly unnamed ) collect- ed and mounted on ecards by Mr. Frederick A. Wam- pole, a talented young artist, to whom was delegated, by a Committee of the American Mycological Society, the task of preparing a nomenclature of colors based upon spectroscopic determinations, but which, un- fortunately, the untimely death of Mr. Wampole pre- vented from progressing beyond the accumulation of this collection. For the use of this material I am indebted to the courtesy of Dr. Frederick V. Coville, Botanist of the U. S. Department of Agriculture, god Mr. Poy Ricker, Assistant Botanist, Bureau of Plant Industry, in the same Department. (2) A splendid collection of colored Japanese silks, taffetas, velvets, and other dress goods, kindly sent me by Mr. C. H. Hospital, of the silk department of the firm of Woodward and Lothrop, Washington, D.C. ‘The very large number of colors represented in this collection are all named and have afforded a considerable number of the names adopted in the present work. For obvious reasons it has, of course, been necessary to ignore many trade names, through which the popular nomenclature of colors has become involved in really chaotic confusion rendered more confounded by the con- tinual coinage of new names, many of them synonymous a ee ee ee ee a a a eee ae ee TRADE NAMES OF COLORS. 13 and most of them vague and variable in their application. Most of them are invented, apparently without care or judgment, by the dyer or manufacturer of fabrics, and are aS Capricious in their meaning as in their origin: for example: Such fanciful names as ‘‘zulu,’’ ‘‘serpent green,’’ “baby blue,’’ ‘new old rose,’’ ‘London smoke,”’ etc., and such nonsensical names as ‘‘ashes of roses”’ and ‘‘elephant’s breath.’’ An inspection of the sample books of manufacturers of fancy goods (such as em- broidery silks and crewels, ribbons, velvets, and other dress- and upholstery-goods) is sufficient not only to illustrate the above observations, but to show also the absolute want of system or classification and the general unavailability of these trade names for adoption in a practical color nomenclature. This is very un- fortunate, since many of these trade names have the merit of brevity and euphony and lack only the quality of stability ; : It has been difficult for the author to decide whether the standards of his original ‘‘Nomenclature of Colors’’ (1886) should be retained in the present work. Some of them are admittedly wrong (indeed, certain ones are not as they were intended to be); besides, owing to the method of reproducing the originals (hand stenciling) there is considerable variation in different copies of the book, one or more reprints, necessitating new mixtures of pigments, adding to this lack of uniformity.* Many persons, however, have urged the retention of the old standards, on the ground that they have been used by so many zoologists and botanists in their writings during the last twenty-five years that they have become estab- *In the present work the possibility of variation between different copies is _ wholly eliminated by a very different process of reproduction. Each color, for the entire edition, is painted uniformly on large sheets of paper from a single mixture of pigments, these sheets being then cut into the small squares which represent the colors on the plates. 14 CoLoR STANDARDS AND NOMENCLATURE. lished through common usage. This very important consideration has induced the author to retain such of the old standards as can be matched in the present work, even though some of them do not agree strictly with either his own or the usual conception of the colors in question. An asterisk (*) preceding a color name in- dicates that the name in question is adopted from the older work, the variation between different copies of the work requiring the selection, in the new one, ofa color rep- resenting as nearly as possible an average of the former. In any systematically arranged scheme, unless the number of colors shown is practically unlimited, it will, necessarily, be impossible to find represented thereon a certain proportion of colors comprised among even a very limlted number selected at random, or only rough- ly classified. Hence many (thirty-six, or more than five per cent.) of the colors shown in the old ‘‘Nomen- clature of ‘Colors’’ fall into the blank intervals of the present work, being intermediate either in hue or tone, or chroma, sometimes all. It is necessary of course to provide some means for the correlation of these with the present scheme, which is done by the list on page 41, where the positiou of each is shown. The question of giving representations of metallic colors in this work was at one time considered; but the idea was abandoned for the reason that these are in reality only ordinary colors reflected from a metallic or burnished surface, or appearing as if so reflected; the actual hue is precisely the same, though often change- able according to angle of impact of the light rays, and relative position of the eye, this changeableness being sometimes due to interference.* Colors again vary, without actual difference of hue, in regard to quality of texture or surface; that is to say, the color may be quite *See Rood, Modern Chromatics, pages 50-52. CoLoR TERMS. 1 qt lustreless, appearing on a dull, sometimes velvety sur- face, while again it may be more or less glossy, even to the degree of appearing as if varnished. ‘To deal with these variations, however, requires simply the use of suitable adjectives. For example: To indicate a color which has no lustre or brightness, the adjective matt (or mat) may be used, in preference to au//, which im- plies reduction in purity or chroma; other adjectives, appropriate in special cases, being velvety, glossy, bur- nished metallic, matt-metallic, etc. CoLOR TERMS.—No other person has presented so forcibly the urgent need for reform in popular nomen- clature nor stated so clearly and concisely its short- comings and the simple remedy, as Mr. Milton Bradley, from one of whose educational pamphlets on the subject* the following is quoted: ‘’The list of words now em- ployed to express qualities or degrees of color is very small, in tact a half dozen comprise the more common terms, and these are pressed into service on all occasions, and in such varied relations that they not only fail to express anything definite but constantly contradict themselves . . . Tint, Hue and Shade are employed so loosely by the public generally, even by those people who claim to use English correctly, that neither word has a very definite meaning, although each is capable of being as accurately used as any other word in our every day vocabulary’’ Certainly one would gels that men of learning, at least, would employ the broader color terms correctly ; but some of the highest autorities on color-physics habit- ually use them interchangeably, as if they were quite synonymous; and even the dictionaries, with few ex- ceptions, give incorrect or ‘‘hazy’’ definitions of these *Some criticisms of Popular Color Definitions and Suggestions for a better Color Nomenclature. Milton Bradley Co., Springfield, Mass. (Small pamphlet of 15 pages). 16 CoLoR STANDARDS AND NOMENCLATURE. terms. It is not strictly correct to say a ‘dark tint’’ or ‘ight shade”’ of any color, because a ¢zv¢ implies a color paler than the full color, while a shade means exactly the opposite; and to say an orange shade (or tint) of red,’ a ‘greenish shade (or tint) of blue,’’ a “‘bluish shade (or tint) of violet,’’ etc., is an absurdity, for the term hue, which specifically and alone refers to relative position in the spectrum scale, without reference to light- ness or darkness, is the only one which can correctly be used in such cases. Indeed the standardization of color terms is almost if not quite as important, in the interest of educational progress, as that of the colors themselves and their names; therefore, to make easy a clear understanding of the specific meaning of each, the following definitions are given:— | | Color.—The term of widest application, being the only one which can be used to cover the entire range of chromatic manifestation; that is to say, the spectrum colors (together with those between violet and red, not shown in the spectrum) with all their innumerable vari- ations of luminosity, mixture, etc. In a more restricted sense, applied to the six distinct spectrum colors (red, orange, yellow, green, blue, and violet), which are some- times distinguished as fundamental colors or spectrum colors. | Flue.—While often used interchangeably or syn- onymously with color, the term Aue is more properly re- stricted by special application to those lying between any contiguous pair of spectrum colors (also between violet and purple and between purple and red); as an orange hue (not shade or tint, as so often incorrectly said) of red; a yellow hue of orange; a greenish hue of yellow, a bluish Awe of green; a violet Aue of blue, etc. Zint.—Any color (pure or broken) weakened by high illumination or (in the case of pigments) by ad- DEFINITIONS OF COLOR TERMS. 17 mixture of white, or (in the case of dyes or washes) by excess of aqueous or other liquid medium; as, a deep, medium, light, pale or delicate (pallid) ¢iz¢ of red. ‘The term cannot correctly be used in any other sense. Shade.—Any color (pure or broken) darkened by shadow or (in the case of pigments) by admixture of black ; exactly the opposite of ¢7zf: asa medium, dark, or very dark (dusky) shade of red. Tone.—'‘ Each step in a color scale is a tone of that color.’’* The term tone cannot, however, be properly applied to a step in the spectrum scale, in which each contiguous pair of the six distinct spectrum or ‘‘funda- mental’’ colors are connected by hues. Hence fonet is exclusively applicable to the steps in a scale of a single color or hue, comprising the full color (in the center) and graduated tints and shades leading off therefrom in opposite directions; or of neutral gray similarly graduat- ed in tone from the darkest shade to the palest tint. Each one of the colored blocks in the vertical scales of the plates in this work represents a separate tone of that color. Scale.—A linear series of colors showing a gradual transition from one to another, or a similar series of tones of one color. ‘The first is a chromatic scalet Cor scale of colors and hues) and in the plates of this work is represented by each horizontal series; the second is a *Milton Bradley: Elementary Color, p. 25. Exception has been taken in a recent work (‘‘A Color Notation,” by A. H. Munsell) to the use of the term toue in this connection, on the ground that its proper use belongs to music, and the term value is substituted. The same line of reasonin g would, however, certainly require the discarding of chromatic scale as a term ot music nomenclature, since its derivation is clearly from color (chroma). Further- more, the word ‘“‘value’”’ is even more elastic in its application than tone, and, all things considered, the present writer, at least, fails to see that any improvement is made_by the proposed change. {The term chromatic scale has unfortunately been appropriated for a very different use (in music); nevertheless it is strictly correct in the present sense while in the other it is not, though firmly established by long usage. The term spectrum scale is not adequate, as a substitute, because the spectrum series of colors is in- complete through absence of the hues connecting violet with red, which are necessary to show the full scale of pure colors and hues. 18 CoLOR STANDARDS AND NOMENCLATURE. Jone scale, on the plates running vertically, growing from the full color, in the center, toa pale tint (at the top) and a‘dark shade (at the bottom). For clearer comprehension of these two distinct scales, each plate of this work may be compared toa sheet of woven fabric: the chromatic scale (horizontal) representing the warp, the luminosity or tone scale (vertical) the woof. A third kind of color scale is represented by adding progressive increments of neutral gray to any color. This is shown by the several series of Plates, of which the first (Plates I-XII, with colors numbered 1-71) represents each step in the spectrum scale unmixed with gray, followed by five other series in which the same colors* are shown dulled by gradually increasing increments of neutral eray, the first (Plates XIII-X XVI, colors 1’-71') con- taining 32 per cent., the second (Plates XXVII- XX XVIII, colors 1-71") 58 per cent., the third (Plates XXXIX-XLIV, colors 1°’-69"") 77 per cent., the fourth (Plates XLV-L, colors 1’’’-69'") 90 per cent., and the fifth (Plates LI-LIII, colors Pe ie es oar 49" 59” and 67") 95.5 per cent. of gray, the last being in reality colored grays. Finally scales are shown (on Plate LIII) of neutral gray (in which all trace of color is wanting), and of carbon gray, a simple mixture of lamp-black and chinese white. It is not easy to find a suitable name for these scales of reduced or ““broken’”’ colors, but they may, for present convenience, be termed reduced or broken scales. Full Color.—A color corresponding in intensity with its manifestation in the solar spectrum. *The distinctions of color or hue diminishing in proportion to the increased adinixture of gray, each alternate color or hue, with its scale (vertical) of tones, is omitted from the third and fourth series; while in the fifth the color differentiation is so greatly reduced that only the six spectrum colors (dulled by admixture of 95.5 per cent. of neutral gray), together with purple (the intermediate between violet and red) are given; a yellow orange hue being substituted for spectrum orange because it is more exactly intermediate in hue between red and yellow. DEFINITIONS OF CoLoR ‘TERMS. 19 Pure Color.—A color corresponding in purity with (or, in the case of material colors, closely approximating to) one of the spectrum colors. Broken Color.—Any one of the spectrum colors or hues dulled or reduced in purity by admixture (in any proportion) of neutral gray, or varying relative propor- tions of both black.and white; also produced by ad- mixture of certain spectrum colors, as red with green, orange with blue, yellow with violet, etc. ‘These broken colors are far more numerous in Nature than the pure spectrum colors, and include the almost infinite varia- tions of brown, russet, citrine, olive, drab, etc. They are often called dull or neutral colors. fundamental Colors.—The six psychologically dis- tinct colors of the solar spectrum; Red, Orange, Yellow, Gréen, Blue and Violet. Primary Colors.—Theoretically, any of the spectrum colors which cannot be made by mixture of two other colors. According to the generally accepted Young- Helmholtz theory, the primary colors are red, green, and violet ; orange and yellow resulting from a mixture of red and green, and blue from a mixture of green and violet. There is considerable difference of opinion, how- ever, as to this question, and further investigation of the subject seems to be required; at any rate, authorities fail to explain why red may be exactly reproduced (ex- cept as to the degree of luminosity) by a mixture of orange and violet, exactly as yellow results from mix- ture of red and green or blue from green or violet, green being, in fact, the only spectrum color that cannot be made by mixture of other colors.* *J. J. Miller found that a mixture of the orange and violet rays of the spectrum produced a whitish red (Rood, ‘‘Modern Chromatics,’’ p. 129). The author of the present work, without being at the time aware of this, produced an absolutely pure red (but of reduced intensity) by mixture of either orange and violet (orange 63.5, violet 36.5 per cent.=red 85+white 15 per cent.), or from orange and the violet-red whichis complementary to green (violet-red 51, orange 49 per cent.), the latter equal- ing red 89+white 11 per cent; the mixtures being made on a color wheel with Max- well disks representing the pure colors of the present work. The red resulting from either of these mixtures on the color-wheel is far purer than the blue resulting from mixture of green and violet, and incomparably more so that the yellow result- ing from mixture of either red and green or orange and green. Consequently, if the Same results would come from mixing orange and violet light, it is difficult to under- stand how red can be a primary color according to the accepted definition. 20 CoLOoR STANDARDS AND NOMENCLATURE. Chroma.— Degree of freedom from white light. purity, intensity or fullness of color. Luminosity.—Degree of brightness or clearness. The relative luminosity of the spectrum colors is as follows: [Yellow (brightest) ?], orange yellow; orange; greenish- yellow, yellow-green, and green; orange-red; red and blue (equal); violet-blue, blue-violet, violet.* Warm Colors.—The colors nearer the red end of the spectrum or those of longer wave-lengths (red, orange, and yellow, and connecting hues) “and combinations in which they predominate.’’T Cool, or Cold, Colors.—Vhe colors nearer the violet end of the spectrum or those of shorter wave-length, especially blue and green-blue. ‘But it is, perhaps, questionable whether green and violet may be termed either warm or cool.’’ | Complementary Color.—'’ As white light is the sum of all color, if we take from white light a given color the remaining color is the complement of the given color.’’ When any two colors or hues which when combined in proper proportion on the color-wheel produce, by rota- tion, neutral gray, these two colors each represent the complementary of the other. Constants of Color.—The constants of color are num- bers which measure (1) the wave-length, (2) the chroma, and (3) the luminosity. In addition to the terms defined above there are many others, for which the reader is referred to the chapter on ‘Color Definitions’? on pages 23-30 of Milton Bradley’s excellent and most useful book ‘‘Elementary Color.’ : *Rood: Modern Chromatics, p. 34. With the single exception of Vanderpoel (Color Problems, p. 28, plates 3, 4, where yellow is given first in order of luminosity) all authorities on color-physics that I have been able to consult very singularly ignore yellow entirely in their treat- ment of the subject of luminosity. All quotations here are from Milton Bradley’s ‘‘Elementary Color,” ex- cept where otherwise noted. COMPOSITION OF SPECTRUM HUES. 21 TABLE OF PERCENTAGES OF COMPONENT COLORS IN THE CONNECTING HUES OF THE CHROMATIC SCALE. The following table shows the relative percentages, in color-wheel measurement, of the two components in each of the hues connecting adjacent pairs of the six spectrum colors as represented on the original Plates of this work; together with an equal number of exact inter- mediates (not shown on the Plates), the latter in lower- case type and not indicated by symbols. — Color. | Red. |Orange./Yellow.| Green.| Blue. | Violet. diel 1 Red FOO eee fear iar ee 644 A Wy ae ~ 90 BAS? eRe cisceee ee as 3 |O-R 80 BU Vitis a ee ee: 70 OV Ge) ee 5 00-R 60 MP ee eel as oe Baa 50 OY (iia aihs Hse a 7 R-O 40 OO ae Oe eS 30 PO Ve ae a 9 OR-O 20 eo txdls ce 58 eee eee 10 Oe a ee 11 Orange......... WO ia ee 598 12° i ee 96 ON a ee 13. OF-U 91 Pl ee 14 te a 86 14 ee ale 15. Yo 2 80 20 8 ee 6 bh ee is.) SO ae, tt | F 2 65 Oe Fa a ee 164) ins Tae “oS ee, 19. YO 2 47 ‘s S: Big eeppere APE Ee ERS iE Pgs te ot ee DO. 9 ee ea es | 21: LOW a RS Foe at abot ann, 4e 4ee TOS Be es a 43. | Y¥enow 2 TON ee ef oe Tine 87 io 29 PVMEY a 75 ae 4s 66: da See 64 SG fh a ed. (ART ee 55 oo ee 28 ho il oe 46 ng ee ee he Gets eo) SAY ee 39 2 ee ey 4 Soe ay M0 So le 31 4. 1 As determined by Dr. P. G, Nutting, Associate Physicist, U. S. Bureau of Standards. 8, CoLOR STANDARDS AND NOMENCLATURE. TABLE OF PERCENTAGES—Continued. ce sal Color. Red, eens: Yellow.| Green.| Blue. | Violet. | tenets | 31 RRs GA rere oe 24 5 EN ee Bae | Oe is ee 17 le a SR | Mla Gh o. 4 aed Seana merece 11 det Se eho? TO. EL Rote. 6 ad ee ee 35 Green |..-...ecfeeeeeret ferret a, ga Oe eee Oe ee ee | 520 Be ili ee ent o-2e ee ae | Oe eG eee coer 93 ae Oe RS Re 90 oS aie ans Bs Bese 85 2 aa PENS) a aE eer, POE RE 81 po Set eee Og EE eee oe oe... | TUE RS BES ay | aE ee 69 Bi citel PU. Se eens ere peoeees 61 | 39 | OP ggg has A ee oe Oe ee a5 7 SO cr... | TERS ok oe Ray GS, A ea Re een 36 oS) ee WP Oe ss... ee - oa | Ol aiine iss: BA ie. esi . 49 sok bs nakerns bea te 3a too... , 473 "8 ay oe ep 84 se a ey eee. oe 28 Ce BOS Se Sols a eo nee 64 36. il eatin | Kee. 54 | 46 | OEE OILS TOUS Ol St 47 ae ek liae..- 40 | 60 | gh ae tM es 8 32 68 ne ther. oo Ts BS PO Nas hee 12 88 RET Te ED Oe? oe Sees ee 100 | 410 pee One re a hae Le DO shils 61 | VR-V ee ae ORE a eee 93 Oe ee ca, whe hicccvnes: 89 63 | R-V | Bh See gyn I en see 82 Ss bee Oe a, 76 ee ee ee 67 oo EG oy apron Dg eee eee: eee 59 67 |V-R As RE he eae 48 Ae ee BEERS ee 36 ee elses 26 rae ena Me a i | vss 17 7) (RR 96. |... NO es ae 10 eS eae a ee 4.5 r As determined by Dr. P. G. Nutting, Associate Physicist, U. S. Bureau of Standards. tO SS) COMPOSITION OF TONES. TABLE SHOWING PERCENTAGE OF WHITE AND BLACK, RESPECTIVELY, IN EACH TONE OF THE TONE OR LUMINOSITY SCALES. All of the vertical scales in the original Plates of this work (the scale of carbon grays alone excepted) contain the following percentages by color-wheel meas- urement : PERCENTAGES, TONE, White. Color. Black (White ) $00: 11). anos ott. (g) 70 Fe ie ’ f 45 oa ee ee (e) 32 oF ot. d 22:5 me PG Ae CBS ire (c) 15 Salt pha cen beer arace: b 9.5 OG 5 ei ics (a) 5 SE Se: Rae ore (Full Color) |[)............. 100? a Gh) cele Beiter toa 64 26 eee oer 335 4S ote oe ss 41 59 ae hag age Sosa.” 29.5 70.5 (1) tid 180: 20 80 m beens al i245 87.5 (n) eel os eer 6 94 (Black) | A See 100 One of the most serious difficulties encountered in the preparation of the Plates of this work was the apparent impracticability of reproducing satisfactory shades of pure colors. This originated in the fact that there seems to be no substance (pigment, dye, or fabric) which repre- sents a true black, all reflecting more or less of white light, and consequently producing shades which are dull 24 CoLoR STANDARDS AND NOMENCLATURE. or broken. ‘The difficulty is increased by the additional fact that any black pigment mixed with almost any color falls short of even the color-wheel mixture in purity of hue in the resulting shades, owing to the very consider- able amount of gray in all black pigments. Chromo- lithography can be made to produce clearer and better shades of the pure colors, but is distinctly objectionable for the purpose of a work of this kind owing to eventual oxidation of the oil or varnish with which the pigments are combined in lithographic inks, causing a change of hue: reds becoming more orange, blues more greenish, etc., in course of time. While the absence (in ase part) of pure chromatic shades is much to be regretted, the defect jis not so seri- ous, from the standpoint of utility, as might appear at first sight; for while saturated or darkened pure colors are not uncommon in the animal, vegetable, and mineral kingdoms, more or less broken dark colors are infinitely more so; and since the latter are greatly increased in number by the defect mentioned the actual result 1s rather an advantage than otherwise. It will doubtless be noticed that there is a conspicu- ous difference in relative darkness between shades of yellow and contiguous hues on the one hand and corre- sponding ones of violet and adjacent hues on the other, as if the percentage of black in each were very different. This, however, is entirely the result of difference of luminosity of the two sets of colors, that of yellow being between 7000 and 8000 while that of violet is only about 13;* for the percentage of black in corresponding tones of the vertical scales is precisely the same for each color throughout the chromatic scale of this work. *See Rood, Modern Chromatics, pages 34, 35. COMPOSITION OF BROKEN COLORS. 25 ad TABLE SHOWING PERCENTAGES OF NEUTRAL GRAY IN THE BROKEN COLOR SCALES. Fivery Plate in each series of broken colors (' to”) contains exactly the same percentage of neutral gray in each color, the relative amount increasing progressively in the several series, as shown in the followiug table. The percentages of white in the tints and of black in the shades of the tone scales are in all cases exactly the same as in the tone scales of pure colors. PERCENTAGES. SERIES. eee Cas ge ee ee Color, : Cae Pure Colors LAYS SRMg RECO amy (’) 68 32 oo) 42 58 (are 72S 77 Cakes 10 90 Sees 4.5 955% Neutral taray ii... a. 100 TABLE OF PERCENTAGE OF BLACK AND WHITE IN THE DIFFERENT TONES OF CARBON GRAY. PERCENTAGES. TONE Nomper:. || ——___-. Black. White, ri HOO Ae ee ) 2 98 yor | 3 94.5 5.5 4 89.5 10.5 3 83 17 6 7 Zo | 7 67.5 3285; | 8 Jo20 41.5 | 9 47 ao | 10 30 70 Note.—The percentages given in the preceding tablesmay not in all cases be pre- cisely those actually contained in the colors on the Plates, since absolute preci- sion in reproduction is hardly possible. All that can be claimed is a reasonably close approximation to the ideal. 26 CoL_oR STANDARDS AND NOMENCLATURE. DYES AND PIGMENTS USED IN THE PREPARATION OF THE MAXWELL DISKS, REPRESENTING THE THIRTY- SIX COLORS OF THE PURE SPECTRUM SCALE, FORMING THE BASIS OF THE COLOR- SCHEME OF THIS WORK. Red—Devoe’s geranium lake (dry), its orange hue neutralized by a wash of rhodamin 6. (Crocein scarlet b. washed with rhodamin b. produces practically the same fine red. ) | | Hues between red and orange.—Cvocezn scarlet 6. with gold orange. Orange.-—Gold orange with orange g. Hues between orange and yellow.— Orange g. with auramin. Vellw.—Auramin, rather dilute. (The best substi- tute among pigments is a fine quality of zinc yellow, as Hatfield’s.) | Hues between yellow and green.—Azramin washed with light green. | Green —Auramin (very dilute) washed with /ight green. (The auramin should be applied first, because it ‘sets’? or becomes fast quickly, while the light green does not, but is largely removed by overwashes of the yellow, thus rendering it very difficult to get the desired hue.) | Hues between green and blue-—AZethyl green, the same washed with /ight blue (Diamond Dye); for the hues nearer blue, Jight blue washed with Winsor and New- ton’s permanent blue or new blue (the least violet-hued of the artificial ultramarines ). | Blue—Zight blue washed with permanent blue or new blue. (Although the color is nearer that of the artificial ultramarines named, it is useless to apply the latter first, *The aniline or coal-tar dyes named are all of the manufacture of Dr. G. Gribler and Co., Leipzig, Germany, unless otherwise stated. (See Preface, page ii.) DYES AND. PIGMENTS FOR MAXWELL DisKs. 27 for overwashes of the light blue merely sink through and darken the color without improving the hue. A moderately saturated solution of the light blue should be applied first, and when this is dry covered with one or more rather thin washes of the permanent blue or new blue). Hues between blue and violet-—Winsor and Newton’s permanent blue and some of the more violet-hued atti- ficial ultramarines, the hues nearer violet washed with crystal violet or gentian violet. Violel—Crystal violet. Hues between violet and red—JZechyl violet 16. washed with rhodamin 6.; for hues nearer red, rhodamin 6. with Devoe’s geranium red (dry) or crocein scarlet 6. While more or less similar in hue to rhodamin b., several other aniline dyes, as acid fuchsin, rubin s., vosein, magenta, etc., do not combine satisfactorily with the violets, the mixture soon becoming dark or dull and none of them are quite as pure a purple or red-violet. It is most important to remember that disks thus colored must be carefully protected from light when not in actual use and zever exposed to direct sunlight. The artificial ultramarines are, of course, permanent, and so, practically, are crocein scarlet, gold orange, orange g., and auramin—that is to say, are not materially affected by the action of light except after very prolonged expo- sure, though the last named undergoes a change of hue: but the green and violet aniline dyes are all very evanes- cent, rapidly fading and eventually disappearing; light blue and rhodamin, while sensitive to light, are far less so than the greens and violets. ALPHABETICAL LIST OF PLATES OF COLORS REPRESENTED ON THIS WORK © = re nae COLOR NAME. ee aes COLOR NAME, o dei nwons 2. jslgg go0nig ers Bose Boe «OO oebe c ® Absinthe Green....---..-.. XXX1 29” Benzo Browns-5.. 7.0: 55.3: XEVE gee vias Mcajou: REd 6.) -f ese. treks XIII 1¢ i Benzo) Greaniiis... ssid Vil © oer ee mcetin Bile... .+..25.2257--\ RRR? ee k "Merlin Blee-.4o. .5 ih ieee. Witt 7 m Ackermann’s Green........ XVI}: 35? k raty] less. She wt Peet Vill 3 f Aconite Violet/:.....-: Seles AARVIP Oo GBP eee 1 Bary Green. iA ss: :: Xe aeae b Ageratum Violet............ XXXVII 6377 > 1 *Blee Green o2ewes ieee: RV “oF ie Alice Blue....-...........- AXKPE AB b Biscay Greens. ss .ttiss.-* KMRL ee t mlizarine’ Blue’. ....sses0% XRIE OB" m Bishop $- Purple’ sve. 32.5. XKRVEE BB en Alizarine Pink-.......:.:... X11 i Oe | MESO se ect drs RIRER m Bmarantn Pinks. . 65.5223 At. @ os ad Bittersweet Orange..:..... | 9 b Amaranth Purple.....-....-. Xll 69 t Bittersweet Pinks’... .:5:::- [I 9 d ember Brownit?...:.¢i¢.5: it} & 28s le) *Blatk chs as His paces fees Bao tee (1) menber Yerow..54-. 2.5755 + AVIS SY b Blackish Brow (1),.: +255 XLV TE i American Green.......-... ALLO Sa” z Blackish Brown (2)........ XLV wi boas « Amethyst Violet.-.......... Xi: 6 “~ | “Blackish-Browp G)...: 55... XLV SGM © ey Bnparo ‘Blue hie. is aes [xX iF b Blackish Green-Blue..:.... VIII Ss m Benparo Purple 053 2.3 230 Ai G3 b Blackish Green-Gray....... LA Serre ae Andover Green...........%. XLWIP 250’ i | Blackish Mouse Gray-....- Re a aly mriline Blackie. \6 stds . Oo an Blackish Plumbeous....... i ee Mine NaC: Serddes 5 cts AAR OBS” ad Biackish Purpigs .e..s: fsa. Xi’ GS mn mriline. Yellow sees 1.622% Voor t Blackish Red-Purple....... AL 67 m Anthracene Green......... yas we. A PRhackignh Slatec<. i. ies EAP sn) Anthracene Purple......... ALIV Ga k Blackish- Violets... -. 26202: A Se m Anthracene Violet.......... RXV 6H by Blackish Violet-Gray.-...... Lit: ; 5s a mntimony Yellow.........:. RV SE Te b Biane.s Bile te secetcs <5 AR ae k m Antique Brown ..:-........ Avo 12 ke |: Blanc’s Violeti:.....:52:-5° OG Se ¢ Bntique. Greens... 555 t Vis 538 m | Piue-Vidlet..f62% esi i2 ) ees 2 son meAntwerp Blue.........:..-- Vild- "45 k | Blue-Violet Black.......... KEK O74 ae B*Apple Green........0. 0.05. AVE BOE SG | Binigh Black. el... c2 cs: XLIX 4977" om mericot Huff .: 225,25 -s5 ee 3 ya ae b | piuish-Glaucous.. ...25 553 KU ae P Mm Apricot Orange .-:..-...:.. XA Te — | Bluish Gray-Green:..:::.:.: ° MIP 4 " Apricot Yellow....-....-.-. IV. 19 b | Bluish Lavender........... XXXVI. 57” meAargus Brown..............- Hie ae me |) Bigish Siate:Black= nc: 5: REVERE i ae Mibfayle Purplel{s......5::5 -XRXWME BBM |) Bish Vioket Mee. i. Rapes Oe memy Brown 285. 6..0 42 XS pS" t | Bane run. it. toes Mie to Sey m | Artemisia Green........... XLViT = 33¢" Bordeaux: iste s5 och! MPS ee k @ersphodel Green.....-.-.... °° XLT 2979 "= | *Bottle Green.: 2.5 2.555: Mike Se m Merster Purple..-...........- XIl 67 n ) Bradiey 8 Blue 3 A5..05355; ix Se My | Auburn .. ae (pasty m | Bradley's Violets... 222/22 MME So — ' *Auricula Purine ls oF ss XXV | 697 k Bigzi etie eee ee eit 5 t meevellaneous..-..:......5... Keto ee G- | Bremen Blige). os 380: mK ay ob Azurite Blue............. . IX 53 m | *Brigk, Rd mines aise st: a : m Barium Yellow............. oS 6 Siaee ae 5 d | Bright Chalcedony Yellow.. XVI} 25’ a“ Meearyta Yellow.............: ES eee ‘a | Bright Green-Yellow....--.. V 9 ete RP AA os ee. | 7 m | Brownish Drab’ i-2..555:; XE owe mebegonia Rose.............. | 1 b Brownisn “Olivers :. 3222". XXX = TO" m ee ® ike =o - © COLOR NAME. nS COLOR ,NAME. ® oO pa ® & ae 6 ae oO - Brownish Vinaceous...---- oe *China Blue ee Brussels Brown.--------++> ee m Gninese Violet..:.......... Buckthorn Brown....------- XV jr ks V We ck se ek ie ve kk. * Pinkessccssi ier ees Miho bd @ “Ghromium- Green::+:<...>. nba ib iipipseeey ee ; Mie t | Chrysolite Green........... Butiy Cre cis ike AVE. AS k Chrysopraise Green.... Bitty OUME + ieee sae: tees MMR 2 BO ereOus... «eek... ..... SEV Alli sek k os Ses ess iV 2k ee tO. . yee ee. Brn Glue. sks vee ee AXKIV 42" f Cinnamon-Brown \......... aierit: RANG os ose so as Ki EL m Cenarion Suit wxccy.... 0 SRurnt Siennaivss¢ <<. sce || 9 k Cannemon-Drab............ *Burnt Umber....- PW ner ocr XXVIII 9” mm | “Ginhamon-Rufous.......... Calan Brown) x -ceu- soe ne MXVitko 9" 1 ee Pre? Blise $20.5 6. ee XXI 497 i Ce aD is... ss... edet Grey - ik. 5s. ee, Ruths Ae b Or, FBO .)42-.--. 6s... *Cadmium Orange..-------- HE 43 ee ron Teliowis..:.-....... *Cadmium Yellow.....-.---- ih as om Givette Green..:.....-.... Calamine Blue.......-..... Vill 43 m™ | Victet Brown: .)-.....-.... Palen ene ois Ve oS m a ESS a ee eee Kemlliste Greeiiec ss. 45.225 Mh 2 i Clear Cadet Blue.......... CAMEO: BIOWN 965 ses ee XXVIII eg k Clear Dull Green Yellow... Ganide Mifke 4-5 ces nea MAVE oF ie tf } Clear Fluorite Green..».... *Campanula Blue........... XKIY. 57 b Clear Blue-Green Gray..... CAO Te eed > ee i Clear Payne’s Gray........ CaDUCe utc 556. ae eas i. 43 J Clear Windsor Blue....... Capucine Orange.......... HE. 43 d Clear Yellow-Green........ Capucine Yellow........... Hh ED ee ere Wisin oo ce TALI ia hb ce ee. | 1 i oe!) “Greenvac;.......:.-. Carnélian: Redscs...-65555. XIV Sd _ Oaisnial- Buh. a.-.... 02... UOBrod. BIW soney «sos css XIV 9’ mM Columbia Glues... ee... Carrot Red..... he gewes sine sd XIV te. b Commelina Blue........... Cartridge Bitte. oecias L0G RAK: 197 f a RS vicki es Cast Gravis vasee 6 5 3s. bt jc) ae 1. Oe Pe os . iss us Cedar OOM tied wena ec. Vie Me ee Ge. aes Celandine Green........... Aoi 3" b Corinthian Pinks.:...--.... CONG Bue ilyeiy. cece VEE a b Corinthian Purple.. ....... Cendre Greeniccssiss. 5.) Was. 5 b Corinthian Red .--........ Cerro Green Peeks & Mieke V OW, m Cornflower Blue gar Se tS "Cerulteee lies: 65655 ees VIL 45 oe Corydalis Green.......-.--- Onaetura Black. .s....506.5 XLVI 177". mM Cossack Green.....:-....... Chaeture Dratieas cscs ons RT Sake ie oe Es ar eee Chalcedony Yello eavious. RUE eet sali Cotinga -Purple,........... Chamois...-..-..-..-....4. KAM, 19 iy Rooutree Green.....-<.....-- Chapman’s Blue........... XXIl 49% i © Court Gray... ics cee: Chartreuse Yellow....... XXX| 257’ i MO 6 i cctds os. a ey es Chatenay og cs ee gers XII 3/ We Pia, Dales. cc... ... 22k Chessylite Blue............ XX 45’ k Pease Gined ...... 2... ROU a faba ok ce. [| 9 a .| *Cyanine Blue..:........-.- Chestnut-Brown piiicee ys, Ki A m Dahlia Carmine........-.-- Chicory WU at eee Soc. XXIV 5O* d *Dahlia MB 2s ee XXXVI XXVI| XX| XLI VI | Color or hue Number. 45" ; 15” hig 15” 137" Li 21 19’” 25” az: Bie 2 17” 49’ 25' 33" Ant 4g 49!’ 31 17 37, ee ee ee ee m a a: = oS St es. Se" et. & a Dark Mineral Red......... { ALPHABETICAL List OF COLORS. 31 § LY eae Baha ae m@ Dark Diva Blue............ AM OL k Dark Purplish Gray....... Lil 67" k _ Dark Dull Blue-Violet...... KXAV I OB k Dark Quaker Drab......... L| yok - Dark Dull Bluish Violet(1). XXIV 57* k Dark Ruesidn - MXXIV. 47” k _ Dark Grayish Brown....... XLV 5’ ~k | Dark Varley’s Gray--.--..-- MLIX B70 2k m Dark Grayish Lavender.-:.. XLII. 577” b Dark: VinaceOUsis yas 53 204) XXVII 1" vee _ Dark Grayish Olive...-.... XLVI 217 k | Dark Vinaceous-Brown..... XE age am B® Dark Green......+-----..-. XVII| 35’? _m_| Dark Vinaceous-Drab.... - XLV 57” jj q Dark Green-Blue Gray..... ALVA Oo ae ee Dark Vinaceous-Gray.--.-.. ry MO Amen _ Dark Green-Blue Slate.... XLVIN 457” © k& | Dark Vinaceous-Purple -..-XXXVIH 67” c ' Dark Greenish Glaucous... Mil eee b Dark: Violet vss vcwase- ¥en 52 ET k | Dark Greenish Olive....... XXX 28" orm. |- Dark Miglet-Gray-... os -s-s - Lil 59707 Mert teil Cla sy co ace LI spe (6) Dark Violat-Slate ci. ssasecso ee XLIX | Qt Dark’ Heliotrope Gray...... L 657”. — | Dark Viridian Green...-.-. Vil 37 Dark Heliotrope Slate..... L 65’ k | Dark Yellowish Green...--. XVIELe 33? Dark Hyssop Violet........ XXXVI 59” k Dark Yvette Violet...-....- AE Mewoerk Indian.Red..- 06.0... . RVI Ba | Dark Zino Greene. sss -? MAM)" 397 mark WY GOON... ust cae. PAW ey cde Dauphin’s. Violet... -.-..%.- RAHI 3 OY! Spark: Lavender... .:..... ss XLIV 3 ide b Dawit S40 AY - se viadee eee aes ae Li}. 36%" m- Dark Livid Brown.......... XXX |X 1 els k Deep Aniline Lilac. <.....604 KARYN On _ Dark Livid Purple.......... XRAVIL 2 63” m Deep Blue-Violet........... KX: 55 Dark Livid Reds io. e162. XXX1X 1! k Deep BluishGlaucous.-.-.° . XLIL. 37’ Dark Madder Blue......... XLII 53% =& | Deep Bluish Gray-Green... XLII 411” _ Dark Madder Violet........ OXY 363" m | Deep Brownish Drab....... WY. Bee | Dark Maroon Purple....... AAV 2" m Deep Brownish Vinaceous. XXXIX aig meDark Medici Blue-....-....°XLVILL -417’" i. |) Déep Cadet Blue.-. 2... 2. XXI 49’ XXVII 1// m.\-. Deep Chicory: Blues... ..... XAIV Oe : > 3S ee eS ad Sa Ae SRS SR eS eee | | | CoLOoR STANDARDS AND NOMENCLATURE. | | | | | Orne, tts ey ete eee — nae =% COLOR NAME. ‘ < E : COLOR NAME. of nu ) | 2 5 peed 2 3% QO Q c DORA ' *Deen Chrome-s-+ = 0-2: yee ¥, b Deep Slate-Green......... XLVI 33% k Deep Chrysolite Green...--.- ARAY 2/7. — Deep Slate-Olive .......... XLVI 29” le Deep Colonial Buff......-- RIN 2k b Deep Slate-Violet.......... XLIV’ 6] Se Deep Corinthian Red..... SP IRANITE, oS’ £1 Veep slay. Brown... 22200: | 69 ‘ | Deep Delft Blue....... XL 45" k Deep Soft Blue-Violet..... XX Rae Deep Dull Bluish Violet (1) XXIV 5/* i Deep Soft Bluish Violet.... XXII] 57) i Deep Dull Bluish Violet (2) XXXV 51” t Deep Turtle Green......... XXX|T 3975 Deep Dull Bluish Violet (3) XXXVI 57” t Deep Varley’s Gray........ XLIX ‘571 Deep Dull Lavender....... ES 35 ane’: 3 Deep Vinaceous.......:... XXVII ae Deep Dull Violaceous Blue. RA? Oi 4 Deep Vinaceous-Gray...... L. 69" 4 Deep Dull Violet-Blue.. ..-. AARG oe t Deep Vinaceous-Lavender. XLIV 65" ‘ Deep Dull Yellow-Green (1) XXXII 31” | k Deep. Vidlet-Gray --...-..., Lil 59m Deep Dull Yellow-Green £2) XXXII 33” k Deep Violet-Plumbeous.. XLIX 53’ : Deep Dutch Blue.......... KLITT aaeee Deep ae seams Blue.. XXT Gp | Deep Glaucous-Gray....-.. Wivitl sen ee Delft Blue. ee om ee : Deep Glaucous-Green...... XXXII} 397’ D Diamin-Azo Blue go Sai XXXV 519° ap Deep Grape Green......... Kil oe i Diamine Brown............ XI pe Deep Grayish Blue-Green.. XLVIII 377” t Diamine Green .... 20.2... A , : - Deep Grayish Lavender.... XLII] 577” d fee Ge XXL BP | Deep Grayish Olive........ XLV] Pa Rada Z Pee a ee EI ee Deep Green-Blue Gray..... eee ee | ee ray dt, en ee ~ XLVI 170 Deep Greenish Glaucous -. ER BR 2 is d | *Dragons-blood Red.. ONL oe Deep Guilt Gray... a4. itl ee De Dresden Brown...-....2-.° AV By k Deep Heliotrope Gray..... i. eof b | re eet ee ee XIX 39) ee Deep Hellebore Red... BRAN 71 i Dull Blackish Green....... XE1°" 20° ae Ree ant Oe | ous cued ee Deep Lavender-Blue hee he AX 53" b | Dull. Blue-Violet (2) ....2:. XXXVI ey i Re ere | Gaui vos. By rag $A A Be 5 ete ; ish Viole ioe, By fi ease len: ty one aan Sai : he ae Violet (3) . 22. Oa ST . ae | U PN oe ORG es ge js 2 ke a Me ar, ape | Sere a Deep Mouse OR a ee Ll 15" ea oun Bie PUP vines XXVI 67" om Deep Neutral Gray..... Birk = ats : | sci rene sage Lone ‘uel oo a Rais Cine ot ee a L | Dull Greenish Black (2)... XLVI] 33” m Deep Olive-Buff ........... Pitre | te eee ON XVI Deep Olive-Gray.........-. Ll agri : _ iy oy 2 een ay ie — Oi ie al cas id Si pthecaph: Pate. ash ae oe Soy: lig pre A a Deep Plumbago Blue...... XLII tis bo ae Qpgtne PRE chee Me / Deep Plumbago Gray: ..... ; as, cis Burnlish ica LOO ae adn WEE aa es i oi ets b | Dull Slate-Violet.....-..... XL 57 Deep Purplish Gray Mee ) LI] spats te gt eee lan aa XLV Ol ae Daan: Baroni teense iy G7 i Dull Violet-Black (2) ...... XLE 5377 ee D é Inaceous.. “XIV. "GOI" = Dull Violet-Black (3) ..-... L. 61 a eep Quaker Drab........ | i ticdameeaae Dull Violaceous BI se Deep Rose-Pink...... | TES BS PO seca ees | Re aa ATE f d: | Dull. Violet-Blue:: ....... XV” 53 Deep Seafoam Green...... XXX| 27” 7 | : Nt iy Beso’ Ginte-Blict 2 a ia Dusky Auricula Purple..... XXVI 69 m teers XLIIl 49 Re eosky: Biue.s. 3: oo ee ees XX{| 49* im ee a ee eT a ee ee eee ee Pe ea eR ee Te ALPHABETICAL LIST OF COLORS. 35 a . ; snnee ao ag rae oe 52 COLOR NAME. O¢ COLOR NAME. ih = = So. S g i> 6 ps oe Oo © o= = Oo. O a © oa Dusky Blue-Green......... AAR 3S" m FIGOritG "Violdtr 4. ies, A COL m Dusky Bluish Green....... KAA m FOrest Green... eros oo a AVIE “298° m Dusky Blue-Violet (1)....-. ARI ee m Forget-me-not Blue........ XXII] 51* b Dusky Blue-Violet (2) .-.... RAIN Sa | PR Petich Gray ve Lil” grrr ey Beisky Brawn’. 0tsct l a XLV poe Se) MECH Green. sive tk Ls XXMI' 35" i BUSKY TATGD + «64 steiner XLV -: Syois k PUSCOUS 5 Rot ae ree aes wos Ri ae Oe Dusky Dull Bluish Green-. XLII 41'”% mm FPUSCOUS-ERIIOR = ee aes ty ALi As me Dusky Dull Green.......... Ristl Oe ae Gemet Browh..3 is... 464 | | 3 C Dusky Dull Violet (1).....- XARVE Sr m Gendarme Blue............ XK ae k Dusky Dull Violet (2).....- XXXVI 59!" m Gentiet Blue ssn e iN XXT*' 33! t Dusky Dull Violet-Blue...-. XXXV = 53” wt |. POGrATIY Pinks seas 3045 ° 3 ad Busky Geen... sia a5 age KRAIH oO Sr mM (glass Mareen. io ele tact. XXX 297 ad Dusky Green-Blue (1)..... pS eemiae 3: m PHAUICOUS suis 5 Peet ek Alt: go ar Dusky Green-Blue (2)..... XXXIV 43” ne | *Glavicols-Blue. rs... ehak MxM Rae b - Dusky Green-Gray.......... Cu ae 2 ee (lO COUS Gray. es ous. es ia 3s ALM SoS ye ae Dusky Greenish Blue...... RAL ar m | *Glaucous-Green.....-...... KAA Se d Dusky Neutral Gray........ LIt| a m Gnaphalium Green......... ALY 32e" ad Dusky Olive-Green......... AA ee m ODN ele ere ek KAA) oe a Dusky Ortent Blue.........° KKXXIV® 45” m OGlape Greehiss <6 ee eae, KL 25" Fe Dusky Purplish Gray.......- Li ee ak PSS Peek es ss 5 Vi as ‘ Dusky Slate-Blue.......... Ste eee Grayish Blue-Green........ XLVH] 37/7" — Dusky Slate-Violef.2......° RE OB 2 oy Grayish Blue-Violet (1).-.. XXIV 55* i mShy Violet... ss Fs mM Grayish Blue-Violet (2).... XXXV 51” b Dusky Violet-Blue (1)....-- XXII} 55’ m Grayish Lavender.......... Ret. Sy 7 Dusky Violet-Blue (2)...... Suu oe ae Grayist) DNVEr. - 2620. ay. XUV Dar ee _ Dusky Yellowish Green..... Al er mr Grayish Violaceous Blue... AK GE t Meoutch Blue... 2.22.2 ee OR Ge oe | Grayish Vicleielies.. i OO 6S" i eecr-Drab 2. ie! ES [ene : GreaphBiine Siete ie KEVIN eee meecru-Olive.. 0) 2 7 ee ee {| Green-Yellow ee 27. Mates b Meee GP6en.: 22sec esses AVI caer m Greenish Glaucous......... RL ee - Meemerald’ Green... 2.4.7 VE 35 — | Greenish Glaucous-Blue... XLIl 41°” ~~ b meempire Green. ::2:.. 0.255% MAA ae m Greenish slate-Black.: 2.22 XLVI “S37 ae empire TEHOWe tie es 8 gine b Greenish Yellowe.. 20.28. 5 er ae st Brive Biles. oo fot cla ys Rta ao d Gi goa rset) hos ee ee ae eae [| 7 b BSSH. eG oe ee [| ri 7 CAPONGGIe: TiN me oe oc ntese aces || 7 pe memosine PiAk.. 6 2. SP, | 1 a Grenade Red.o 2: has | 7 pa 7 Reeth Ree. 1 aes «Se al 6 uines Green -- ss se Wile a t s Ethyl Green......: ee ees Vill 4) i CGOti apage se soe. ty as Pets LA Se ee Bren Psiives OL XXIl 49% k Haematite Red... ......... XXVIII 9 ae m Beruscaly Red: /2. 22. 205.70 eae Ql" k Meriame Scarlet.2.. 22.2.0... | 9 Uae Paya Greene 6.3 WV eee ” ' *Flax-flower Blue. .... jd ges ee b Play’s Tees. eo, XXXVIl 63” d Memes COlOT. es. ees ad |) Pays: Matoan 6050. 3 eo m Memresh Ocher. i005... ae xX! Q’ b Hay’s Russet Wy k Meee. Pinks Cy ae XII 3 3 BAe ied gi Re es he ee WAV oe dy’ k meuorite Greens: 2 22. RRR 88 = Frevotrope-ray.-.- 53..~: Co Oo a CoLoR STANDARDS AND NOMENCLATURE. di ~~ => S =. _—_- —= = —=a eI OS = SR Se —— Pm 34 Se see ae a ee eRe Leon Se rn : — 5. a ae ca COLOR NAME. SO ee COLOR NAME. F- ra) Oo * ®o ov 5 Be & oF S So ae a. O es ce ae \ fa ns aor Heliotrope-Slate .-.-- pew ee oo’ i bight Alice Blue....-.:..... XXXIV 45” ‘ Hellebore Green....--+---- XVEIE 25° m.{ Light Amparo Blue ....... IX 5. Hellebore Red..-...-.------XXXVIIl_ 717 — | Light Amparo Purple...... Xl 63 Helvetia Blue... ics css. IX 54 k | Light Bice Green.......... XVIl 29" Hermosa Pink....-.-..+-+-- be J| &ignt Biue-Green..:....... Vil 39 Hessian Brown..-.-------- XIII ay m Light Blue-Violet........... X Be Honey Yellow......---.-+- © ager et A se Rete trish Violet... 6. o. Xone Hortense Blue...--.----+-- XXI1 47* m Light Brownish Drab...... XLV gy Hortense Violet...-...--.-- Xt. 261 b Light Brownish Olive...... XXX. 19" *Hyacinth Blue....-.-.---.-- ) eas k Light Brownish Vinaceous.. XXXIX = 5! Hyacinth Violet...-.---.--- Xl. 61 Be CBE Ue ees ine ees ee. XV. 17 Hydrangea Pink..........-. XXVII By! J. Bight. Cadet: Glue........... | XA 400 Hydrangea Red........---- XXVII 2" i Pe Gemini... 26). IV. 19. byssos Vidlels <.ak. 6. s0ce KAKVE 9 BOY one Light Campanula Blue.... XXIV 55* ¢ Indian CAKSGy . esau <) ee p05 a geen ae i Light Celandine Green..... XLVI] 33” PiNGian Purples wu a cos oe XXXVI 677 m Light Cendre Green........ Vi ae ibid Bates ice vas oe cet RAV k | Light Cerulean Blue....... VIL 45 PRR CISIO BRIGG 5 5: ecasikh wvine hm XXXIV 47” m Light Chalcedony Yellow... XVII 257 Pig UT BVO. cc were ese AAP OL m Lignt Chicory. Blue......... XXIV 57% Invisible Green............. Mi. oA dt m Light Cinnamon-Drab...... XLVI 13" Bie: GRBs 0s tac ae cee 3 ce Lt ea ke Light Columbia Blue....... XXXIV 47” “isabelle. Colonies. 606 eo oy XXX. 19" t Pt GOfeo Fink... ......- AAV eee ltahan Blue-.......+ib...... Vitl 3.43 ee bigit Coral Red... -....... All) ue LVOrY TOMOW tae. Heke ep eae PEN tel. 2oF | Light Corinthian, Red...... AVE sae by. RRBs. ins ak tes Pity ys Aka eo” m Evens (ress. Green......... XXX 29!” SAGO CFOON so kei es a ae KL OT! k Light Danube Green....... XXXI] 35” ADB ORG hi sats wale ceeis ot eM WIE Q’’ b BO i ik iaei dc ys XLVI. 17 sasper- Green. .+. <0. 06 58. AAR a dv a Light Dull Bluish Violet... XXXVI 57” JASPER FINK. «eres ck ceca 2% XIII BC ad Light Dull Green-Yellow... XVII 27! AGOOT. MOU +255 2. cikeueres XII ey — bight Bim). Greene. .~.... 6. VS ae Javel Green: «06.05. he. ed | Light Fluorite Green....... XXX} 33” Jay Blue...-........ 20... AK, 47% t | Light Forget-me-not Blue-. XXII 51% Jovence Blue, -. +... sie. e XX 43’ kK | . Light Glaucous-Blue... ... XXXIV 43” Kaiser Brown.-............ XIV a k Light Dull Glaucous-Blue.- XLII] 41” Kildare Green......... rer tt RAB QOH 6.| Light Grape Green......... XLI «25% Killarney Green...........- XVEI 35” i Light Grayish Blue-Violet.. XXXV_ 51” Miie'S: Blue: 12.0... XX|I| 47% b Light Grayish Olive........ XLVI ue Kronberg’s Green.......... XXXI 25" k Light Grayish Vinaceous... XXXIX 9!” LAGS: FINK wins pins 24r Mikado Orange..........-. ye’ 33 b | Olive-Ocher.. Prag: Vos S 23 XXX * Mineral Gtay-27i.. 122% ren Lic Vaeger tt 2 ey aes oe XXX" 990 ae Wuneral tor Gert 2s. es ek. XVIII at cues Be ng Cee ew ol 35” Mineral Hed. icek. ee XXVII r* k | BroOle UG eo ee eer: XX 47? , Montpellier Green:...---.. XXXII] 37” ie | PeMon-snin Finke... .535::; XXVIII 11” Morocéd’ Red ti ike. | 5 k | Ontario Violet....-......... XXXVI 55g | Motmot ‘Blue ie... ss oer. yo Gate Pee eune “Green: .... 33625. VIP’ 37 Motmot Green......- FX ge XVII} 35! ees ee IY, lt [9° a *Mouse Gay... fi<> cee ee Oo ange- Burt. ss..- 6. 5s: it 154 *Mummy Brown........-.-. RY Te me rates Chrome...-.....2-. 7 Mulberry Purple..........: 4 ease @) Orange-Cinnamon.....:.:..°° XxX: an) a Wiustara -Y GOW. 2. XVI aR od b | Prance-Cinne !*......:::. hy ae } Mytho Green. 22-2...) XLT 20" © | Orange-Pink....-......... ll 1 ae *Myrtle Green.......-.. ide Vii at m | *Orange-Rufous ...... Rel" Ae Naphthalene Violet........ RXXVETT GL” m) Orange -Vinaceous....2::.:: XXVII 5!) a Naphthalene Yellow ....... XVI 23° Ot Orental Green. 7... -..: 02). XVI 390 ae "Naples Yellow'2... 2.0... XVI TO" erent Bile. e6 ws i se: XXXIV 45 ee Natal Browns). ....6.a55 ee ee Piftke.<... le tt. 9 ae PLOVY AS ict ery). sae. Sa cue KU Be ral Green 8c XVII "354 ae Neropalin Blue...-........ XXII] 49% Be en -bicod Redji-. ss... | [ae NGUNIA rey tee. Lill — Ree ee ce i: Vill = 45 i MGUMSt freGse 0 5S RAAVIN OFT? k | Pale Amaranth Pink::if... Xtl 69 f Neuvider Green............ Mire oe d Fale Amparo Blue....-..:. Peael« ° f Neva Greens tos. Sos ate 5. — Pale Amparo Purple.:..... AI? 63 f Niagara Green............. AKA AYP b | Pale Aniline Lilac....::.-. AAA * > S37 ae PICMG) LST RON Pree aces el KARR OPH k | *Pale Blue (Ethyl Blue)... Vit 45 f MBE Gen 62 rae, Vit Sa — | Pale Blue-Green........... VHS 393m PIMOS DG Sk XXXV 49" me Pale Bive-Violet.....::: 25+ x 8G ( i INIBTOSHT WIOIOT ve ss seco eo XXV 65’ a Pale Bluish Lavender.::... XXXVI © 57” oy LEER 6 7 2 aR AB RST a ep Aine ee © +) Fale Biash Vielet....... 4 - cg RODS! FOU «os ores eo | 3 i | Pale Brownish Drab....... XLV ae *Ochraceous-Buff........... MY pe b | Pale Brownish: Vinaceous-. XXXIX ~ 3 7am Ochraceous-Orange........ AV TS’ we Pete Cadet. Bie y: os. 5: XX! © 49°" =e Ochraceous-Salmon........ XY roe bh Pale Campanula Blue..... XXIV. 57# Ochraceous-Tawny....... : XV 15" t | Pale Cendre Green...:.... Vi 35) a OCTET Pee 8 ooo er ae XXVII BI b Pale Cerulean Blue....... HOOTERS a a4 *Oil Green............ 2... bana Ss k Pale Chalcedony Yellow::. XVII 25’ f © Oil Yellow..............0.. sheets i..| , Pale Cinnamon-Pink.::.:°° XXIK-° 13 ae Old Gold, meee) | ear eon Pink. XXVIIL 7 Old Pe ok eee ee ee XII | T? b | Pale Drab-Gray eee ese XLVI 17" f Olivaceous Black (1) ...... XLVI 21" =m | Pale Dull Glaucous-Blue.. XLII] 43” fF Olivaceous Black (2) ...... XLVIT 25" =m | Pale Dull Green-Yellow ... XVIL 27 fy ES eco: Black (3) ies +7 es 230" nr | Pale Ecru-Drab....... tas XLVI 13/" f Olive “din, Mlorteel. 8 seeiltele rar eae RAR OO?! m | Mare Fiesn: Color... .....4 XIV i ia Olive-Brown ...- 6. ee... XL 17" im | Pale Fluorite Green ....... XXXII 33” a - ALPHABETICAL List oF COLORS. 37 as ® ® pre os Ades oe Ae 7 Pallics Quaker Drab.....«:.. | ge Pale Olive-Gray............ bloga. od Pallid Soft Blue-Violet..... XXIII 55’ iz Pale: Olivine... . ....i2.2ke op SNe f Pallid Vinaceous-Drab...... XLV Be Pale Orange-Yellow........ Hie nds tf PARE VIGNE case eax ee: Ait) BS 7. Pale Payne’s:Gray.. 2.4.0.5, UM ao 7 Pallid Violet-Blue.......... er2.53 he Pale:Persian Lildc.....#%. XXXVIII 6977 FT tc * Pe PG... kee eke ose Mi. G9 k Pate Pinkish Buff... ..s6.8.. BAK EE Eg Pavia Vier s hn hws + oe AIF Be a Pale Pinkish Cinnamon...- XXIX 15” 7% "Pade Bigwig ss fe Villy 7» AZ i; Pale: Purple-Drab..... . ai. XLV ge a PP ere reen. c e XVHlav3d" b Pale Purplish Gray........ bbb) 6226 a +e * Parrett Green... ee Vio +31 k Pale Purplish Vinaceous... XXXIX 5 Eg de 7 Aare: BHM fees a Rd hee Pale Quaker Drab.-........ L| Loos @ Paton’ Biles: oo oh. 6S Vil 43 k Pale Rhodonite Pink......-XXXVII] 717 Pe PAVING S: GEBV os oe odo sine ea oe AEDES 49 ee Pale Rose-Purple ......... KKVA 77: Pa Be eee ee | 5 b Pale Rosolane Purple...... XXXVI 69’ d Peat Bie... cess a2. VibbeciAS i Pate Russian. Blues...£.-... Midst where? f Peatack: Green... a «ka vee Views 35 Z Pale Salmon Color.........- XIV 9’ WA PPAR SIO OI Ak «Ga ee hese XLV Ob Pale Smoke Gray........... AME a PR eaten Ae. ae XXXV 497 Pi Pale Soft Blue-Violet...-... XH ED 2557 be PERE ray fy «5 eke Sadie £ CoLoR STANDARDS AND NOMENCLATURE, . © a an COLOR NAME. WOKE... COLOR NAME. 52 = ss c | “ os @ — of Oo & Be a OU © ais Nha Si O NM igh es a Daca Brown: .. i.e s.e- XVI 11% t Rhodonite Pink. 00.03.05. ORKKWATE 71" 4 Perilfa Purple...:....-..... MKXVIT =. 65” k Rinnemann’s Green........ XVII 347 ; Perm Bild... ica. 20. KK 456° Ff Rivage Green.....-........ XVII} 317 , Parcian Lilac... 6 ic ae ke. MXXVIH 69” d Roce HHO POrplé. . 2.255 .0.2.XXXWi 71" yy Petunia Violet... :6s-s.cee: MKV 6D’ zt ROMon Green... 66 sss2ci 2% XVI 237 a Phenvt. Blite. 20.5 tio 6. es in SS — i ia PEA FE IX 49 Bates iae tio... epee Pes XF- S65 7 Pt 5 Brown es: 2s OS. XXVIII 10 PPhion Pure vo... eh en cee XE OS b Rood s Lavender. ....05.00% XLIX 570 i PiICrTiG YGHOWs <<. 6:2v5 525s a Bete d Mo0e G VICI St. 6. io i ET, Xl 165 i Pinsiee YOuUOWes- oi ci sece ess Woe 21 d ee COO es 05 ose KEL, Xa , *Pinkish Buff...-----.-.---- ARAVA ETS d Mrmae DOtGe. oe. ak aa Pinkish Cinnamon....----- MAIN EO OF eee PINK es i. ee ee es Xi 7a *Pinkish Vinaceous....--...- XXVIII 2 i d | *Rose-Purple............-... XXVI 67" g Pistachio. Green. «:.:-2.2..- bea fo ade oon BEE. Oi bs. okie ess XI a j Pleroma Violet...-..---. -- RAW 61" — | Rosolane Pink: :......... XX <¢oe Plumbago Blue....---...-. MLN Sor" \ Rosolene Purple........... XXVI 69) Piumbago: Gray. .:..-.s.5-- Let: og TE i en een or ae, k Plumbago’ Slate...:......6- eg iey t 7 mOval-FUPDIE fs. eee X 59 *Pl umbeous ras SAN Se ee ee Pu. ark Fe ee ees ck XIV gq) om Plumbeous-Black..-.-...-- PAS Bi PRUSSSl - ole. eye ee XV. 13) Sa *Pium-Purple: .-.:. PA tie at RAV OS 7* m |. Russet-Vinaceous.......... XXXIX QM a POIS GIGO sos oo psa sien cS. KEP ieee" i Ripe en GHIE... 62.4... 006. XLI 45 *Pomegranate Purple....... Aik CFL i Piissian Green’. ........... KUN Se Porcelain ‘Blue......-.....5 XXXIV 43/7 — Baceer00 S& Clive... ....-5..: XVI +19 gg Porcelain Green.....: se EOP ae XXXII1 397” Pte eeecoerud0 6° Slate... se. ALVH -4{-00te Pompeian Red....-..--.-. RE ly 3! t+ sacoardo $s Uniber.....82.: XXX 17 aa *Primrose Yellow.--.---..--- XXX 23” g) Saccardo’s Violet. ..+...... XXXVI} 61" Primuline Yellow..-........ XVI 197 _ SHPTOINO. FINRA S00 es eis lo ae *Prout’s Brown.............- AVS?! 16" Wey Voege GeO. on... eee XLVI] 291" am *Prune PULH®: ». 6... 004 5 Xl 63 m Matt I eis ewe A XX 63? oa Prussian. BGG... ¢50 +. IK 49 Pi aOR BUI «enn ORS: XIV Prussian Green... + -- 6.2.09 OXIKe All WY Sao Calor. «eee. XIV Oe PRUSSIAN Geis oo lO MVE Bi ey Sarmern-Oranige i.e... ea. it: Tio Puritan Gays. 6. cee nc leds. ABV Sarr f Rs PUA ie ie oe eee es IX 49 h Purple (trie) «2.6. cee. XE 7 65 —~ |} Sanford’s Brown.....'....- lt 1h Purple-Drab..--+<+0.... XLV ro a DIOW i. enn eis 5.00% XXX: 150 ae PUPPHSN Graysc< <2...) OM GE ae 1 POCA et 6 ol Peo ee | oo > ae PUIBHSN Gala Cie4 noes ns XXXVI 65" d SGOIIGI- ROO 6c seeder ee Po Purplish Vinaceous......... XXXIX ye b tac Wan. keris VI 33 Pyrite Yellow.............. Wei é | Schoenfeld’s Purple....... XXVI 69 Quaker Drab............... bate prim Seafoam Green......:..... XXX! 27 ae Rainette Green......... XXXI 27” i | Seafoam Yellow.... XXX 25 ae Ramer Blue... . 2... eee. Bite DP & Phan Creagh... oc. eee e's XIX . 47 a Raisin Black...-........... Aire Oo mm |. *Seal. Brown .c seis XXXIX 5!" Tl Raisin Purple. :....... 2... Xl 65 bt Seashell Pink... s2-ccce XIV. 11 ae TRAVIS ARBV his hor cso: 4 «437 i} *Sepia.....- Or ie XXIX 17 il WERE TITIIIONs 6 di F565 * 2 bores Ih] 177 m Serpentine Green..... XVI 93! j PROG FOO Wi ice'e w cae vi oaheew « XXX 23" b Shamrock Green...... - a 33” | Rejane Green......,.. vewes KXXIHO > 37" b Shell -Pinkdws... ele ee oe Rhodamine Purple.... .... ye ee oy a Sorin Five... oe ALPHABETICAL LIST OF COLORS. 39 o cb) zr as fee. - O COLOR NAME. O¢ ie COLOR NAME. o¢ & o> | 2 2 es See 8 S68 ee ae Oo. O oa a. CD — Skobeloff Green..--.--.---- Vii, 28 —- AVVO ROSE. oo pace is es ea XIl 69 — Shey Blues ses at ea ae AA AT d PyfOlité Gre@tiig. ss. .65. 6. Vil 39 b Rhy. Grays oc oo. os Ae eos XXXIV 445” ft Ultramarine Ash........-.-. XXI1 - 49* — PSlate-Black -..-..---- -saesa0 Lik (2) | *Utramaring :Blie-. <6... .- IX 49 i Slate-Blue ...-...00-6-005-- ALT. 4g’ é Urania Biye’..% - 2500-0 +0. XXIV 53% m *Siate Color-....----.5++s.- Lil = — k® Vanderpoel’s Blue......... AK, 47° t *Slate-Gray -...--<-----eeeee ta i(5) Vanderpoel’s Green.......- VI. 33 b Slate-Qlive.. 2) 66.6 ies wcaes ALVG 2 290" Z Vanderpoel’s Violet........ RAANUS — Blate-P UrPie.. oi 3 ese ces ALI. Se t | *Vandyke Brow. -22.054-5 5. XXVIII} 117 m Slate-Violet (1).>) 3... se: Abatt or i Vandyke Red......3. 52: sare XIII 34 k RiatesVinlet Gale = (Sirs. nee ALIV Oa oS Variscite Green ..-...... 6. Ai ee ad minal lu@. taser wees soe 4 5 Ree Z Variey 8 (afSUii a oes ie es hed ALIX 9 57 PSMOKe. CLAY <6 wn ee eee RING 2 Ue Variey & af@@h csc... AIT m Sriutl: BROWN. « 466 «ss ae, RAIA 3 1! k Venetian Blue........ TAX RAS). ae ee Soft Blue-Violet.. «2.7.5... AAI Oe k Vernetian PRKic dee cae kha XII 1% 7 Soft Blush. Violets... ..-..- Ae Oe — Venice Green.......-6...4. Vit: 41 b SOOTY GIACK. 5 hes. se hes sce LI ee. Verbena Violet... ..5...--6. AAA OS" ad Sorghum Brown's... 6 s«:. Sy ed 4 | *Verdiaris Greenies... .+ ses KIX 3 Sorrento Green.....-.+-+-. MIT 41 k | Vernonia Purple~-...-....- XXVIII 69” i Spectriim: BlGe...---+%.4 45 IX 49 — Verona BOW. nie ea eee RAG Oo gee k Spectrum Red......-...---- | 1 — | WWeronése Green..-..-....- XV! 3a d Spectrum Violet......------ X 59 ot Wistar rage. ices odes. XLVI 250" Spinach Green........-..-- a m VittGria UeKe sfc sake? | 1 m Soinel PilaK-< see. sieeet. AWE ee B 1 MVIMBCGOUG aes 5 ess. aes XXVIII i d Spinel Red..........--..5.. BAY) ee — | Vinaceous-Brown....------- XXXIX a si i Squill Blue si... ys. eee RX AB b | Winaceous-Buff-. i). es ease pd MU ss, d Stone Green.....-.- eu ey ee XLII -37/"% — | *Vinaceous-Cinnamon...---- RAK ober b Blot (atay ss ses spi ee Ct Se ee Vinaceous-Drab.....-.....- oe Sid cen Strawoerty PINK. (ee eee. | 5 d ViniaceOus-Tawn..+-:..m.a.. AL ae b Btraw. YONOWis.G os cee) RVI 2a ad Vinaceous-Gray..-....--.-- TREY oo" weed OOF | trontian, Y@uGW.- s+ cescas ANIL eo — Vinaceous-Lavender ..----- XLIV 65°?’ 3 Sudden ETON... cede ae iy rs k Vinaceous+Lilac. .--.0.4...- RLIV.s Ba" b Sulphate Green............ Aik ae — 4 MVinaceous-Pink ...