| G. 19. | B. 11½ | W. 10½. | N. 59. |
| G. 13. | B. 6. | W. 12. | N. 69. |
| G. 14. | B. 12. | W. 8. | N. 66. |
| G. 10½. | B. 15. | W. 8. | N. 66½ |
| G. 12½ | B. 5½. | W. 4. | N. 78. |
The term citrine theoretically covers all possible combinations of orange and green, but as generally understood those colors which are so near the orange or the green as to very decidedly approach either the one or the other are not included, and, as shown in the above analyses, a citrine is a very broken color ranging from an orange yellow through yellow to a green yellow.
Although the russets would theoretically range from violet to orange, yet the general conception of russet will hardly accept a violet red, but will cover only the red and orange reds as above indicated, while olives are confined to blue greens and green blues.
These tests are based on combinations of the Bradley standard orange, green and violet pigments, and therefore are far stronger in color than those colors usually termed citrine, russet and olive, made by mixing the pigmentary secondaries. For example, if a yellow and blue pigment are mixed to form a green, and red and yellow pigments to make an orange, and then this green and orange are mixed to produce a citrine, the result will be very much darker and more broken than the mixture of the purer orange and green colors used as standards.
Restricted to these limits these names may become very useful terms for general color expressions, as covering three different classes of broken colors. If any one believes that these color formulas do not correctly represent the three classes of colors indicated, a series of experiments with even the small color top will prove very convincing.
When the subject of standards as a means for identifying colors is mentioned artists frequently express the feeling that
