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150 THE BOOK OF THE LANTERN. therefore we must make the best of it, such as it is. We have a far larger choice in yellows, for no less than four of the colours quoted are, in spite of their names, yellow in tint. These are Italian pink, the most useful of all • Raw sienna, not nearly so pure a colour; Yellow lake, rather a difficult colour to work with; and Chinese orange, a most valuable and rich tint. Brown pink may also be described as a yellow, and brown madder has also a great deal of the same colour in its composition. The reds represent a great difficulty to the slide-painter, for, although they appear to be very rich when spread on canvas, they are very weak colours when we come to look through them in a transparency. It is next to impossible to produce a real scarlet as a transparent colour, but the nearest approach to it can be made by using Chinese orange mixed with crimson lake. A great variety of browns may be obtained by com- bining burnt sienna with the other colours, and the ivory black will be found most useful in this service. The best brushes for general work are those of camel-hair, which have the further advantage of being cheap. But a few sables will be wanted for delicate markings. A thing of first importance is the selection of a suitable medium with which to mix the tints. Canada balsam in turpentine is of great value. Another good one, which I believe many slide-painters use almost exclusively, is made by diluting copal varnish with turpentine, while for dark colours, japanners' gold size, diluted in the same way, is an excellent medium, and is of special use in the foreground. The colour should ba mixed up on the palette with the medium selected with a proper palette-knife, so as to form