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Flake white, red lead, vermillion, lake, Prussian blue, patent yellow, orpiment, orchres, verditers, vandyke brown, umber, lamp-black, and siennas raw and burnt. With these you may match almost any colour in general use in japanning. For a black japan, it will be found sufficient to mix a little gold-size with lamp-black; this will bear a good gloss, without requiring to be varnished afterwards.
Monet, Sisley, and Renoir contented themselves with the abolition of all blacks and browns, for they were but half-hearted reformers, and it was clearly the duty of those who came after to rid the palette of all ochres, siennas, Venetian, Indian, and light reds.
Beyond a strip of pasture begin the tumbled masses of trees which, as they climb out of the depths of the valley, reach the warm, level rays of sunlight that turns the first leaves that have passed their prime into the fierce yellows and burnt siennas which, when faithfully represented at Burlington House, are often considered overdone.
In front of the cottage and across the common is a coppice, all browns and purples and yellows and siennas, and beyond that, as seen from the upper windows of the cottage, the land fades into misty autumnal blues, to join a whitened horizon which seems to shun the meeting, until for very weariness it can postpone it no longer a bell-tent of sky, as it were, with a lifted edge, and beyond the skirts of the nearer sky another.
On the ground are delicate wood-colors, umbers, siennas, greens toned down to gray. The atmosphere, from its lack of sunlight, only sets off the more visibly beautiful forms of trees and branches. No, the day is not moody: we are. We are not in harmony with her, but have arrayed our-selves against her.
Venetian reds, siennas, and ochres were in process of abandonment, and the palette came to be composed very much in the following fashion: violet, white, blue, white, green, white, red, white, yellow, white, orange, white the three primary and the three secondary colours, with white placed between each, so as to keep everything as distinct as possible, and avoid in the mixing all soiling of the tones.
This hall was most richly decorated in old golds, Antwerp blues and siennas and, with its crystal chandeliers and barrel vaulted ceiling running up through the second story, was one of the most attractive features of the building. Beyond the grand hall were small dining rooms and serving rooms connected with the culinary department.
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