this is my list of them as far as I know; a solid red, not very
deep, but rather describable as a full pink, and toned both with
yellow and blue, a very fine colour if you can hit it; a light
orangy pink, to be used rather sparingly. A pale golden tint, i.e.,
a yellowish-brown; a very difficult colour to hit. A colour between
these two last; call it pale copper colour. All these three you
must be careful over, for if you get them muddy or dirty you are
lost.

Tints of green from pure and pale to deepish and grey: always
remembering that the purer the paler, and the deeper the greyer.

Tints of pure pale blue from a greenish one, the colour of a
starling's egg, to a grey ultramarine colour, hard to use because so
full of colour, but incomparable when right. In these you must
carefully avoid the point at which the green overcomes the blue and
turns it rank, or that at which the red overcomes the blue and
produces those woeful hues of pale lavender and starch blue which
have not seldom been favourites with decorators of elegant drawing-
rooms and respectable dining-rooms.

You will understand that I am here speaking of distemper tinting,
and in that material these are all the tints I can think of; if you
use bolder, deeper or stronger colours I think you will find
yourself beaten out of monochrome in order to get your colour
harmonious.

One last word as to distemper which is not monochrome, and its
makeshift, paper-hanging. I think it is always best not to force
the colour, but to be content with getting it either quite light or