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 REVIEWS & COMMENTS

Sri Sri Swami Satchidananda, Founder of

Satchidananda Ashram and Light of Truth Universal Shrine (LOTUS);
renowned yoga master and visionary; Yogaville, Virginia
Lemurian Scrolls is a fascinating work. I am sure the readers will find
many new ideas concerning ancient mysteries revealed in this text,
along with a deeper understanding of their importance for the
coming millenium.

Patricia-Rochelle Diegel, Ph.D, well known teacher,

intuitive healer and consultant on past lives, the human aura and
numerology; Las Vegas, Nevada
I have just read the Lemurian Scrolls and I am amazed and pleased
and totally in tune with the material. I’ve spent thirty plus years
doing past life consultation (approximately 50,000 to date). Plus I’ve
taught classes, seminars and retreats. But I’ve never found as
complete a book on many important pieces of information as
Lemurian Scrolls. The Lemurian Scrolls will enlighten all who read it
and it will become a “Source” that will constantly be referred to by
serious students, teachers, leaders and metaphysical and spiritual
groups. I’ve told many clients and students about their origin from
the Pleiades, and it’s exciting to know that we’ve discovered the
Eighth Sister (only one more to find in the next century). It’s now
time for the people on Earth to remember who they were and what
their original purpose is about. There are a few who are
remembering their origin and what their purpose is on Planet Terra
(Earth). As they awaken they will start to awaken others and they in
turn will awaken others, etc. When humankind gave up their
“spiritual bodies” and took on earthling bodies, they forgot who they
really were. Now is the time for them to reawaken, so they can help
the rest of the people on the planet. The time is now! Thank you so
much for the wonderful information in your book! It has also opened
up many new doorways for me.

K.L. Seshagiri Rao, Ph.D., Professor Emeritus,

University of Virginia; Editor of the quarterly journal World Faiths
Encounter; Chief Editor of the forthcoming Encyclopedia of Hinduism
Sivaya Subramuniyaswami, a widely recognized spiritual preceptor of
our times, unveils in his Lemurian Scrolls esoteric wisdom concerning
the divine origin and goal of life for the benefit of spiritual aspirants
around the globe. Having transformed the lives of many of his
disciples, it can now serve as a source of moral and spiritual
guidance for the improvement and fulfillment of the individual and
community life on a wider scale.

Ram Swarup, intellectual architect of Hindu spirituality

and culture in India; founder of Voice of India; author: The Word as
Revelation, Understanding Islam Through Hadis; New Delhi
Lemurian Scrolls is a very unusual kind of book both in content and
even more so in methodology. Lately we have gotten used to the
idea of man’s journey to the moon and to his possible journey to
other more distant planets in the future, but Lemurian Scrolls tells
you about man’s actual journey to the Earth from the Pleiades
millions of years ago. The idea goes against our present scientific
wisdom, but on that account alone we need not reject its possibility
altogether. ¶Though man is apparently terrestrial, there is no
difficulty in admitting that he derives energies, impulsions and
influences from the farthest corners of the world. Some scientists
believe that life on Earth has an unknown astral source. Some form
of seed life floated to Earth and, finding an hospitable habitat,
evolved into its present variegated forms. Others hold that there are
beings on other planets very much like us here, and they may even
be trying to establish electronic contact with us. ¶What is intriguing
is that Lemurian Scrolls claims to tell us of an event that actually
took place. Its philosophic rationale is that nothing that happens is
altogether lost but is taken up and recorded in the subtle medium of
space (akasha); that if we can read these akashic records, we can
recapture the past. The account in Lemurian Scrolls is based on the
author’s capacity to read these records. In the yogas, such a
capacity and much more is admitted. In this system of thought
nothing is so distant, nothing so hidden, that it cannot be known.
The book is ultimately about Gods, the Self, the sages, entelechy,
about seeking and sadhana, which are of interest to all on a spiritual
quest. ¶I also find the book in keeping with the spirit of old sages
who gave primacy to the subtle over the gross, who derived the
visible from the invisible, the lower from the higher seed-form. They
believed that man is an epitome of all reality, that he is the whole
world and all times in miniature, a veritable microcosm (pinda). To
study him is to study the whole macrocosm (brahmanda). The
approach makes a deep philosophic sense. ¶As the sages looked
within, they saw that the truths of the spirit are also the basis of
man’s more physical and social welfare, yogakshema; that when
men follow spiritual and moral excellence, they are also rich in things
of life and nature’s gifts. Their basket is full, and the earth yields
more abundantly and freely, their herbs are more nourishing. But as
men shrink in spiritual and moral qualities, they also shrink
outwardly in welfare and well-being. They are short-lived and they
live in want and poverty. They live by the sweat of their brow.
¶When projected on the time screen, the concept gives us the
theory of ages (yugas), which are beautifully described in the
Mahabharata, the Puranas, the Ramayana and in the Buddhist
literature. There is a beautiful account of these yugas in the Pathika-
vagga of Digha Nikaya. ¶Now, a little more about akasha and
akashic records and the capacity to read them. In the system of
yogas, this kind of knowledge and other knowledges come under the
discipline of samyama. Though these are seldom pursued for their
own sake. They come more often than not, when necessary, as by-
products to those who pursue brahma-jnana. ¶The Chandogya
Upanishad speaks not only of the akasha outside man, but also of
the inner akasha (antah-akasha), and even of akasha within the
heart. Not many can read the akashic records, but many are alive to
what is recorded in the inner akasha. But even that needs the
development of an inner seeing and inner hearing. All this requires
yama and niyama, ekagrata (one-pointedness), sattva samshuddhi
(purification of the inner being). ¶Lemurian Scrolls discusses this
subject in great earnest; it discusses the problems connected with
receiving and transmitting this knowledge. It discusses the continuity
of spiritual knowledge (jnana-pravaha), its channels, its masters and
disciples, the temples, ashramas, viharas and monasteries, the need
for and the problem of training, establishing and stabilizing spiritual
communities that are able to protect and transmit this knowledge.
Lemurian Scrolls
लिमूरियन् पत्राणि
Second Edition
Copyright © 2006
Himalayan Academy
Lemurian Scrolls, Angelic Prophecies Revealing Human Origins was
first published by Himalayan Academy in 1998. All rights are
reserved. This book may be used to share the Hindu Dharma with
others on the spiritual path, but reproduced only with the publisher’s
prior written consent. Lovingly designed and typeset by the āchāryas
and swāmīs of the Saiva Siddhanta Yoga Order, 107 Kaholalele Road,
Kapaa, Hawaii 96746-9304 USA.

PRINTED IN MALAYSIA BY SAMPOORNA PRINTERS SDN BHD BY ARRANGEMENT WITH UMA PUBLICATIONS

Library of Congress Catalog Card Number 2005938327

ISBN-13: 978-0-945497-79-0 (HARDCOVER)
978-1-934145-18-0 (EBOOK)
ISBN-10: 0-945497-79-2
Lemurian Scrolls
Angelic Prophecies
Revealing Human Origins

लिमूरियन् पत्राणि
मानुषमूलप्रकाशकं
दैविकभविष्यकथनम्

Satguru Sivaya
Subramuniyaswami
 Foreword

उपक्रमः
SATGURU SIVAYA SUBRAMUNIYASWAMI HAD A UNIQUE APPROACH TO
ACQUIRING KNOWLEDGE. WHEREAS MOST PEOPLE WOULD LOOK FOR
ANSWERS IN BOOKS WRITTEN BY OTHERS, HE WOULD SIMPLY LOOK WITHIN
HIMSELF BY TAPPING his superconscious or intuitive mind. An
interesting example of this occurred in 1968. Gurudeva was leading
a travel-study program in Ascona, Switzerland, with a group of
thirty-two students. He was teaching them the inside of themselves
experienced in meditation and found it challenging to find precise
enough words to describe these subtle and profound states of
consciousness. Gurudeva solved the problem by bringing forth from
within his intuitive mind a new language, called Shūm. He heard the
words, saw the script and knew the meanings of this language that
came forth from deep within the superconscious. ¶This book,
Lemurian Scrolls, is another example of how Gurudeva explored the
inner mind for answers. In 1970, he had three monasteries in the
United States with some thirty-five young monks within them.
Gurudeva was in need of traditional principles to effectively guide
and govern the monasteries, provide a traditional Hindu monastic life
to the monastics and catalyze their spiritual unfoldment. Instead of
trying to acquire books from India on the subject, Gurudeva turned
within for the knowledge. His guru, Yogaswami of Jaffna, Sri Lanka,
spoke of this process when he said, “The book is within you. Turn
over the leaves and study.” In the ākāśic library Gurudeva found the
knowledge he was seeking, and much more as well—knowledge of
mankind’s journey to Earth from the Pleaides and other planets in
the pursuit of unfolding into the ultimate attainment, realization of
the Self within, information about ancient Lemuria and its spiritual
culture, the vast cycles of time governing periods of spiritual
awakening and spiritual darkness on this planet and the relationship
between the galaxy’s Central Sun, man’s conciousness and the
kuṇḍalinī force. The monks were, of course, quite amazed by and
enthralled with this mystic information. They adapted their life to
this wisdom, and even today the ideals and principles you will
encounter herein are an integral part of each monk’s daily life.

Satguru Bodhinatha Veylanswami

163rd Jagadāchārya of the Nandinātha
Sampradāya’s Kailāsa Paramparā
Guru Mahāsannidhānam
உ
 Dedication

समर्पणम्
THESE PAGES ARE TRULY MYSTIC IN MORE WAYS THAN ONE. THE SIDDHI
THAT WAS USED TO READ THESE REVEALING MANUSCRIPTS IN TWO ANCIENT
LANGUAGES WAS IMPREGNATED IN ME BY MY SATGURU DURING SANNYĀSA
INITIATION. It is a very special siddhi that is only activated by the
great ones on “the other side”—not unlike a real vision, which one
does not attain at will but which comes as a grace—an opening
allowed by the inner plane masters when they want to be seen or
have their message heard by mankind. Lemurian Scrolls is sincerely
dedicated, with full prapatti, a total surrender, to my satguru, Siva
Yogaswami, born 126 years ago, on May 29, 1872. It is his darshan’s
śakti that is doing it all, it truly is, then as now. It was a wonderfully
rewarding experience to have this momentary window open in the
ākāśa, enabling me to read these epistles as easily as one would
read the credits on television after the performance. The writing was
clear, the language, though foreign to my external mind, was
immediately translated through the superconscious intelligence.
There are no words to convey the feelings of appreciation for these
revelations being made available by the kind souls within the inner
worlds wanting to make our history known to Earthlings. ¶Satguru
Yogaswami had developed the powers of clairvoyance and
clairaudience while seated under an olive tree night and day for four
years. His was an incomparable life as satguru, spiritual leader of
over a million in the island country of Sri Lanka. He saw into the
future with extreme, even uncanny, accuracy. He knew of
happenings in his devotees’ lives, though they may have been
hundreds or thousands of miles away. He appeared to them in his
subtle body in times of danger to give warning, in times of
temptation to give strength, in times of uncertainty to give faith’s
gifts. His visions anticipated the present-day ethnic war in Sri Lanka,
which he described to devotees decades before it happened, of his
painful sight into their future, of their future anguish and suffering,
of their dispersal and their despairing fate. Such was the profound
insight of this Great One whose ability to see in subtle ways is still
legendary. ¶Appreciate Lemurian Scrolls as a treasure upon which
your life and perceptions of life are reformed. They were for twenty-
five years entrusted only to the resident monks of my monasteries,
the maṭhavāsis. Now, from me to you, dear one. Read them, absorb
them, honor them as we have all these many, many years. Jai!
Satguru Siva Yogaswami, Jai!
 Contents

विशयसूची
Foreword उपक्रमः
Dedication समर्पणम्
Preface प्रस्तावनं
Introduction भूमिका

Chapter 1: Pilgrimage to Planet Earth भूग्रहयात्रा

Man migrates from various planets to the young, fiery globe
called Earth in the Sat Yuga, the age of enlightenment, to
continue his evolution into the realization of the Self. As
time passes and cosmic forces wane, ceremonies are
performed to release into human flesh bodies those who in
their original form were eaten by animals.
Chapter 2: The Cycle of Yugas युगचक्रम्
During the lush Tretā Yuga, the ratio of those still in their
original form diminishes with the darkening of the cosmic
forces. Austerities are performed to transmute the
increasing fires of instinctive desire. Records of sacred
knowledge are embedded in the inner ethers to guide souls
in future yugas when the veils again begin to lift.
Chapter 3: The First Temples प्रथम मन्दिराणि
Temples are established around pedestals on which our
Lords, the Mahādevas, come and materialize temporary
bodies and send out rays of blessing and knowledge. Our
mission is to channel the pristine cosmic rays to stabilize
the rest of the population. Prophets foretell of life in the
Kali Yuga, when too few strands of culture persist.
Chapter 4: Gods, Goals and Gurus महादॆवाः लक्ष्याणि गुरवश्च
 Walled monasteries, headed by master gurus, are created
to sequester unfolded souls dedicated to serving as pure
channels for the divine force. Our gurus and Mahādevas
carefully guard and guide us, and we commune with them
at night while we sleep. We meditate lying down, with the
body placed in a hole in the great wall.
Chapter 5: Monastery Culture मठसंस्कृ तिः
While all in the monastery are in their original body, others
in flesh-and-bone bodies come to study and be sent out on
mission. A few are allowed to stay. Newcomers begging by
the wall are closely tested. Our skills are many, including
telepathy, teleportation and carving statues, always in a
state of completion, until they disappear.
Chapter 6: Diet and Destiny आहारः प्रयॊजनं च
Milk, seeds and nuts, honey, pollen and fruit mixed in right
proportion provide our nourishment. Our main task now is
preparing this planet for human life during the coming
millennia. When a monastery is closed down, we form a
lake to preserve the sacred vortex as a site of worship and
austerity a million years hence.
Chapter 7: Monastic Training मठप्रशिक्षणम्
Training for our Lemurian priesthood is detailed and
exacting, carefully outlined in ākāśic books. During years
one and two, stories and games are the medium, as for a
child. In the third year, a close interest is taken, marked by
initiation, personal discipline and tests of will. During the
fourth year, a pattern of duties is given.
Chapter 8: Lemurian Sādhakas लिमुरियन् साधकाः
Most of our monastics are still in original bodies. Our
Lemurian sādhakas, seeking deeper admittance, are of
animal lineage, and they are given duties according to the
animal lineage they emerged from. Training given during
 the first four years prepares the young one for the rest of
his life in serving as a channel for cosmic rays.
Chapter 9: Emulating Our Original State स्वस्वरूप स्पर्दन
It is the discipline of the Lemurians to continually strive to
be like us who still live in the original body. It is our task,
our mission, to set patterns so they can hold the cosmic
force after we are gone. Our monasteries are laboratories
for this purpose, establishing formulas for living and
recording them securely in the ether for future use.
Chapter 10: Areas of Service सॆवाक्षॆत्राणि
All of the Lemurian monastics are of the male gender, and
those who never mated are chosen. Through the artisan-
apprentice system, each is taught to serve our guru and the
Mahādevas in one of the four divisions of our culture. Deep
reverence is held for artisans, who can train others and
thus expand our monastery population.
Chapter 11: Mystic Skills गुह्यकौशलानि
As in all things, the accent is on refinement, be our skill
that of weaving a fabric, carving a divine image or writing a
book. Our artisans sit with our guru for instructions, and
our gurus conclave to discuss the future of the race. Those
of the surrounding community listen to philosophical
dissertation through holes in the wall.
Chapter 12: The Great God, Śiva महादॆवः शिवः
We have reached the era of preservation. As we come to
the end of the Tretā Yuga, our inner sight is dimming, as is
our ability to fly. With every loss of an inner faculty,
solutions are sought within our laboratories for knowledge
of how to compensate. Predictions are now heard of the
impending darker era called the Dvāpara Yuga.
Chapter 13: Continuity of Wisdom ज्ञानप्रवाहः
Great knowledge is being developed in our Dravidian
monasteries on the five great winds of the physical body to
 aid in its refinement, so that Self can be realized. Our
gurus, with secret orders from within, are our firm guides.
Many monks are sent out on a daily basis to carry the Śiva
darshan and teach our ancient culture.
Chapter 14: Egoless Service निरङ्कारसॆवा
We have many subtle sciences, including that of sound, the
psychic perception by which we remain closely attuned to
our guru, great souls who work closely with the Mahādevas.
Serving our gurus is our reason for being here, and their
mission is always the same, to establish many positive
channels to stabilize existing communities.
Chapter 15: The Secret Order of Masters गूढनाथसंघः
Apart from the gurus who own monasteries, there exists a
secret group of masters, each extreme in his actions, either
loved or feared, each possessing psychic powers and all
meeting in an area of the Devaloka owned by them. Each
ṛishi of this order of the kuṇḍalinī is an agent of Lord
Subramaniam in setting old patterns anew.
Chapter 16: The Yoga of Celibacy ब्रह्मचर्य तपस्यः
As the Kali Yuga looms closer, the kuṇḍalinī expresses itself
through sexual desire. In our monasteries, those who
previously mated perform brahmacharya tapas to dissolve
psychic bonds and cease the mating instinct. Various forms
of yoga are practiced to quiet the animal nerve system,
mature the inner bodies and seek the Self.
Chapter 17: The Monastery Wall मठप्राकारः
Sitting and living outside our wall are aspirants begging
admittance, monks in transit and those from other
monasteries adjusting to our forcefield. Guru’s guards
observe each one’s activities during sleep. Our host speaks
with them and sees to their needs. They all gather to listen
when a discourse is given from the other side.
Chapter 18: Guru and Disciple गुरुः शिष्यश्च
 Each of us works to follow our guru’s instructions implicitly,
to capture his power invested in the assignment and
manifest his vision without putting our mental structure in
the way of it. This is the main method of teaching to fulfill
the mission. Our gurus travel constantly, and some remain
incognito except to their senior disciples.
Chapter 19: The Senior Minority Group वरिष्ठाल्प संख्यकवर्गः
The guru inwardly looks at each monastery as one person,
and at the groups within it like the winds of the body. Each
of the monastery’s four winds is special in its responsibilities
—temple, education, business, crafts. The senior group, our
guru’s anonymous helpers, oversees the darshan flow,
monastery cleanliness and training.
Chapter 20: Monastery Procedures मठचरितः
The senior minority group is made up of the senior third of
the monastery population determined according to a special
formula. They conclave in secret to channel the Śiva
darshan, to receive the guru’s instructions via the
Umāgaṇeśa and convey those instructions to the groups
and individuals via the Hanumān and Umādeva.
Chapter 21: Training and Discipline प्रशिक्षणानु शासनॆ
New monasteries, formed either by sādhakas gathering
together with the guru’s blessings or by the guru himself,
are vital to us to preserve our message and culture as the
Kali Yuga approaches. Great care is always taken to see
that each monastic is well trained, for we know that a
disciplined intellect does not inhibit the darshan flow.
Chapter 22: Wall Protocol प्राकार शिष्ठाचारः
Ours is a time of transition, and as the instinctive forces
within the population grow stronger, our monastery walls
are becoming great waystations for pilgrims, sites of
austerity, training, testing and philosophical discussion.
Discovering Diverse Content Through
Random Scribd Documents
 CONSERVATION OF PICTURES 343 be seen is but one of
the conditions out of several which have to be considered in their
conservation, though perhaps the most important. The mode of
securing a picture in its frame is not an altogether trivial matter. In
the majority of cases the expansion and contraction with variations
of moisture and temperature, of panel and canvas, do not
correspond accurately with the similar changes of the frame. In
consequence, too great rigidity in the system of fixing adopted
should be avoided. Duly adjusted springs or blocks of indiarubber
(not vulcanized), secured in the rebate, afford convenient means of
obtaining the necessary freedom of movement, while preventing the
jar caused by accidental concussions. An equable temperature is
another important condition ; on no account should currents of hot
or of cold air impinge directly upon the front or back of a painting.
Moreover, this is not a mere question of temperature, for such
currents of air may bring in particles of dust and other impurities,
while their hygroscopic condition is sure to vary. This question of
moisture is of some moment. For if freshly-warmed air, which is
pretty sure to be comparatively dry air, is allowed to come in contact
with panels or canvases, it will withdraw from them some of their
necessary hygroscopic moisture, and thus cause capricious and
hurtful changes of size. Such changes, often repeated, cannot but
result in the production of cracks and fissures in the oil paintings
subjected to these varying conditions. The hygroscopic balance
between picture and air can be maintained only by a due supply of
moisture to the warmed air before the latter comes in contact with
the painting ; the warmer the air the more moisture must be added
to it. The same reasoning applies to the entrance of cold air, but in
this case, care
 344 CONSERVATION OF PICTURES must be taken that it is
sufficiently dry not to deposit water upon the picture. For the
purpose of regulating the hygroscopic condition of the atmosphere in
a picturegallery, the introduction of a dew-point thermometer is
advisable. And there is another contrivance by means of which the
presence of the right proportion of moisture in the air may be
recognised A strip of drawing-paper, another of primed canvas, and
another of mahogany, all three being in a normal hygroscopic state,
are to be separately balanced by means of counterpoises. When the
air gets too dry, the strips will rise, owing to their loss of water ;
when excess of moisture is present, they will sink. So long as the
equilibrium of the beams to the ends of which the strips are
attached remains practically true, the air may be regarded as in a
satisfactory hygroscopic condition. Three pairs of ordinary
apothecaries' scales (or spring-balances) suffice for the construction
of this apparatus, which should be protected by a glass case to
which the air has free access. This question of the due amount of
moisture in the air — neither in excess nor in defect — has scarcely
received the attention it deserves. But it will be allowed on all hands
that few conditions are more trying to pictures in oil or water-colour
than those caused by currents of hot, dry air rising directly below
them during the day, succeeded by currents of cold, moist air
descending upon them down the surfaces of the walls at night. The
covering of an oil picture with glass, whatever objections may be
urged against it from an artistic point of view, certainly secures the
protection of its surface from the solid and liquid and, to some
extent, from the gaseous impurities in the air. But the backs of
pictures, especially of those painted on canvas, are often forgotten,
 FRAMING AND MOUNTING OF PICTURES 345 yet excess of
moisture and deleterious vapours and gases often enter from
behind, and seriously discolour the painting-ground, and even the
paint itself. Mention has previously been made of methods by which
this cause of injury may be prevented by means of a double canvas,
or a layer of white lead in powder mixed with starchwater, applied to
the back of the original canvas ; American leather cloth, or even
parchment-paper, affixed to the frame behind is nearly as effective.
A few words only are requisite as to the mounting and framing of
water-colour paintings. On no account must the back of the paper
on which a drawing is executed come into contact with any kind of
w^ood, or even with an inferior sort of paper or mounting-
cardboard. Injurious substances in the latter may travel forwards
into the painting-ground, and affect the pigments, while wood may
cause stains. Iron brads produce rust-spots. Flour-paste is not a
sound material for mounting drawings ; far better is an antiseptic
size, which may also be used for fixing to the back of the frame the
sheet of paper which is there placed to exclude dust. If we could
secure a water-colour drawing from dust, and yet allow of the
escape of any water set free in the form of vapour when the drawing
gets, from whatever cause, somewhat warmer than usual, we should
have effected an improvement upon the ordinary plan of framing. In
this, the moisture liberated from the paper and mount cannot
escape, but condenses upon the glass when it cools, only to be
reabsorbed by that surface of the paper which carries the pigments,
where it favours chemical and physical changes, until the
hygroscopic equilibrium of the whole system — frame, mount, lining,
paper, etc. — is once more re-established. I have used with
advantage grey linen in lieu of brown paper at the
 346 PRESERVATION OF DRAWINGS back of frames, and, by
means of a few strips of thick drawing-paper, have established an
air-communication between the space in front of the drawing and
that at the back. Thus the ventilation of the system is arranged for,
yet dust is excluded. To hermetically seal a framed drawing, to the
entire exclusion of all moisture and all air, is not possible. That under
such conditions a greatly increased number of pigments would prove
unalterable has been long known. We should add to these
observations upon the conservation of works in water-colour that
they should certainly be kept in a rather drier atmosphere than that
recommended for oil paintings. The plan of preserving the water-
colour drawings of Turner, devised by the late John Ruskin, may fitly
be mentioned here. It was described in a letter to the editor of the
Times (October 28, 1856). The recommendation is to enclose each
work in a light wooden frame, under a glass, the interior surface of
which is prevented from coming in contact with the drawing by
means of a raised mount. A number of such frames (five to fifteen)
are kept together in cases, which can be carried or wheeled to any
part of the room where the drawings are to be studied. Each frame
slides vertically into grooves in the case. Professor Ruskin's reasons
include the following : ' A large number of the drawings are
executed with body colour, the bloom of which any friction or
handling would in a short period destroy.' This argument, it will be
seen, is directed against the keeping of such works, in their
unframed state, in portfolios. Another reason given by Mr. Ruskin is
that in the case of these drawings * their delicate tones of colour
would be destroyed by continuous exposure to the light, or to smoke
and dust.' He fortifies his position in refer 
 PRESERVATION OF DRAWINGS 347 ence to such exposure
in a letter to the Literary Gazette (November 13, 1858), in which he
says that 'the officers of both the Louvre and of the British Museum
refuse to expose their best drawings or missal-pages to light, in
consequence of ascertained damage received by such drawings as
have been already exposed ; and among the works of Turner I am
prepared to name an example in which, the frame having protected
a portion, while the rest was exposed, the covered portion is still rich
and lovely in colour, while the exposed spaces are reduced in some
parts nearly to white paper, and the colour in general to a dull
brown.' ' That water-colours are not injured by darkness is also
sufficiently proved by the exquisite preservation of missal paintings,
when the books containing them have been but little used. Observe,
then, you have simply this question to put to the public : " Will you
have your Turner drawings to look at when you are at leisure, in a
comfortable room, under such conditions as will preserve them to
you for ever, or will you make an amusing exhibition of them (if
amusing, which I doubt) for children and nursery-maids ; dry your
wet clothes by them and shake off the dust from your feet upon
them for a score or two of years, and then send them to the
wastepaper merchant?"' Mr. Ruskin in another letter to the Times,
which appeared on October 21, 1859, wrote thus : ' I take no share
in the responsibility of lighting the pictures either of Reynolds or
Turner with gas ; on the contrary, my experience would lead me to
apprehend serious injury to those pictures from such a measure ;
and it is with profound regret that I have heard of its adoption.'
Although considerable weight is rightly given to the opinions of Mr.
Ruskin above quoted, it must not be forgotten that all paintings of
the modern
 348 LIGHTING OF PICTURE-GALLERIES school are not to
be classed with those of Turner and Reynolds in respect to
susceptibility to the injurious action of the products of the burning of
gas and of continuous exposure to moderate light. When, therefore,
Mr. Ruskin wrote (in the Daily Telegraph, July 5, 1876) : * I do not
think it necessary to repeat my former statements respecting the
injurious power of light on certain pigments rapidly, and on all
eventually,' I find myself compelled to reject so sweeping an
assertion. That light injures all pigments eventually cannot for one
moment be conceded. And if we could but succeed in so modifying
the light that illuminates our pictures as to remove from it certain
particularly active beams, we might considerably augment the list of
permanent pigments. Experiments on a small scale prove that
several fluorescent substances, such as a solution of quinine
sulphate, while intercepting dangerous rays, do not sensibly modify
the colour of the light, and yet lessen its chemical activity. In the
first edition (published 1890) of the present handbook, I wrote : '
Possibly a transparent screen of this character will some day be used
for our picture-galleries.' Since then an arrangement of coloured
glass — peacock blue and yellow — has been devised by Sir W.
Abney and introduced into one of the galleries of the Victoria and
Albert Museum, with the object of preventing the entrance through
the skylight of a great part of the injurious rays. Thirteen years ago I
used the following words in relation to this subject : ' It is instructive
to note how much difference exists between different specimens of
apparently colourless glass in their absorptive power for the so-
called chemical rays. These differences may be tested by framing a
strip of paper washed with carmine and covering it crosswise w4th
the
 LIGHTING OF PICTURE-GALLERIES 349 samples of glass to
be valued, adding for comparison a plate of rock-crystal. Under the
last-named material the fading is nearly as rapid as it is where the
pigment is without any cover. It may be safely affirmed that
miniatures should be protected by glass, not by rockcrystal. Further
experiments on the selection of protective glasses and the
construction of transparent screens are needed. A partial discussion
of this subject will be found in the next chapter, and to this I would
refer my readers.' In this connexion a paper by Sir William Crookes,
P.R.S., may be named. It was published in the Phil. Trans, of the
Royal Society, Vol. 213 A, and is entitled ' The Preparation of Eye-
Preserving Glass for Spectacles.' The question of the lighting of a
gallery or room where pictures are to be displayed has been touched
upon already at the beginning of the present chapter. We would now
add that actual skylights are not without drawbacks. One of these,
especially in the case of water-colours, is the presence in large
proportion in the light from the zenith of those rays which act most
energetically upon pigments, A few observations as to gas cannot be
excluded. Gas, before and after burning, is bad for pictures. The evil
effects of an occasional escape of unburnt gas are less to be
dreaded than those caused by the products of gaseous combustion.
These products are sulphuric acid, sulphurous acid, carbonic acid,
and the moisture which is formed at the same time. Thence results a
hot, moist atmosphere laden with these corrosive compounds. The
water- vapour condenses into the liquid form and dissolves a part of
the acids named above ; the drops which trickle down are very
injurious to paper, wood, canvas and pigments. In any case, all the
pro 
 350 AIR IN PICTURE-GALLERIES ducts of the combustion
of gas should be removed from the room as they are formed. For
even when there maybe no visible condensation of liquid, the
vapours formed are often absorbed as such by paper, canvas, etc.,
and do in that form their destructive work. An illustration of this fact
is furnished by an analysis of the leather back of an old calf-bound
volume. Owing to its absorption of the products of the burning of
gas this back had decayed and fallen off, and was found to contain
over 6 per cent, of free sulphuric acid. With respect to the building
itself in which pictures are to be kept, our aim should be to secure
as far as possible pure air, an equable and agreeable but moderate
temperature, and freedom from dust and dirt. Solidity of
construction, a continuous damp-proof course, a certain degree of
elevation above the ground-level, and double walls enclosing an air-
space, are desirable as conducing to uniformity of temperature, and
preventing the condensation of moisture upon the interior of the
rooms. Due provision should be made for excluding from the
galleries themselves the dust and dirt which may be brought in by
visitors. And it cannot be too strongly urged that the supply of fresh
air should not, as it were, accompany the visitors, but be brought in
from an independent source. The place of in-take of such supply
should not be gratings near to, or on the level of the ground, in out-
of-the-way and dirty corners, the certain depositories of uncertain
rubbish. From such sources air laden with organic and inorganic
impurities can alone come. The question of the exclusion of fog and
citysmoke may be mentioned here. Some kind of air-filter is useful.
It is astonishing how effectively the solid and liquid particles
suspended in a yellow fog may be strained
 RESTORATION OF PICTURES 351 off and intercepted by
passing the air through a layer of loosely packed carded cotton
enclosed between two sheets of perforated zinc — this air-filter of
course requires occasional renewal. Moist white lead, that is, white
lead in powder reduced to a paste by admixture with water, will
absorb the sulphuretted hydrogen as well as the sulphuric and
sulphurous acid present in town air. And if the walls of the galleries
are coated with a distemper paint containing white lead, this
absorption of impurities goes on continually. For these impurities are
more readily absorbed by an unprotected and properlyprepared
distemper than by the pigments in the pictures. To secure this result
the distemper should be made, not with size, but with starch-water,
just sufficiently strong to bind the particles together and to the wall.
For further particulars as to these and other arrangements for the
conservation of pictures, especially in public galleries, the reader is
referred to a paper on the subject in the Portfolio for 1882, pp. 106-
108. The conservation of pictures naturally leads us on to their
restoration. Picture-restoration, like some other kinds of restoration,
often involves injury, often renewal. It is frequently difficult,
sometimes impossible, to reestablish the pristine state of the work.
The operations involved should never be undertaken by the
inexperienced amateur. And picture-restorers themselves are too
often artists who have mistaken their profession, or who have been
imperfectly trained. Many possess no power or appreciation of
accurate draughtsmanship. Look, for illustrations, at those crucial
parts, the hands and feet, in * restored ' pictures. Nor have they
that exquisite sense of quality in colour and of delicate hues which
will enable them to fill up properly actual gaps in a painted
 352 RESTORATION OF PICTURES surface. Then the
pigments they use are too often unsafe, and their vehicles
unsatisfactory ; so both soon alter, generally becoming darker and
yellower. At the same time, the skill of some restorers in the matter
of mechanical repairs — parquetting, transferring, relining, etc. —
cannot be too highly extolled. Several manuals of directions for
restoring pictures have been given to the world ; they are of very
unequal value. Some of these tell you nothing, for they are intended
merely to advertise the skill of the writers. Others advocate a
treatment which may be called heroic, giving you solvents, not only
for the discoloured varnish, but for glazings and paints. In reality, no
directions can replace experience and skill. The late Max von
Pettenkofer's method is one of the best known, but it is very rarely
applicable with safety and success. The object of this method is the
renewal of the transparency and continuity of the varnish by a
process of re-solution in situ. With this intention, the picture is
exposed in a closed shallow box to the action of the vapour evolved
from moderately strong spirits of wine. This vapour dissolves the
mastic on the surface of the picture, forming once more a spirit-
mastic varnish. This, on exposure to the air, hardens, and leaves a
shining coat of resin. But this resin, being necessarily discoloured
and sinking into the cracks of the paint, makes them more
prominent, while there is great danger of its being unequally
distributed over the surface of the work. When the varnish of an old
picture is practically intact, but the surface is begrimed with soot and
dirt, it should not be cleansed by the direct application of water,
much less by the use of a solution of soap ; but a loaf of household
bread, not more than a day old, should be
 RESTORATION OF PICTURES 353 taken, and its crumb
broken up into a tin canister furnished with a lid ; it is important that
no pieces of crust, and no fragments of crumb which have become
hard by drying, should be introduced. Then the crumbs should be
shaken out, in portions at a time, from the canister on to the
varnished surface, and rolled gently thereon by means of the fingers.
By repeating this operation until fresh crumbs no longer become
discoloured, it is often possible to improve the appearance of a
picture very greatly. In any case, it affords a useful preliminary to
the removal of the old varnish where such a further step is
imperatively required. Such removal is effected by the mechanical
process of chafing. A single tear of pure mastic resin is ground or
crushed to fine powder, and placed upon some unimportant part of
the surface of the picture ; but the operation may be begun without
the aid of the mastic-powder. A gentle rotatory movement of the
ends of the fingers soon reduces the old varnish-layer to powder,
which is then removed by means of a soft badger-hair brush, or
other suitable means. The work should be performed in a good light,
and great care must be taken not to injure any tender glazings
belonging to the painting itself. To ascertain whether the removal of
the varnish has been carried far enough, the parts treated may be
moistened with distilled water applied on a wad of carded cotton.
When the operation is complete, and the surface is quite dry, a new
coat of mastic-varnish may be applied, if possible in an artificially
dried atmosphere. Sometimes a little dragon's blood, or other
warmcoloured resin, is added to the mastic- varnish, in order to
prevent the cold and raw look which a picture which has lost its old
toned varnish frequently presents. An oilpainting in which no megilp
has been used, and which 23
 354 REMOVAL OF VARNISH has received, a year after
completion, the thinnest possible layer of drying-oil containing a little
copal- varnish, and then, after the lapse of a twelvemonth, its final
coat of mastic-varnish, cannot be injured by the chafing process just
described. And, even under less favourable conditions, it is the only
method which can be recommended for general adoption. But it has
its risks, and is not easily applicable in the case of pictures where
the texture of a coarse canvas, or the grain of a panel, is
conspicuously evident on the surface. To these remarks on the
chafing process, we may add that it is sometimes advisable to re-
varnish a picture with fresh mastic before commencing to remove
the old ; a day or two afterwards both layers may be removed
together. The removal of old varnish by the use of solvents is a
hazardous, though easy, operation. The liquid usually employed for
this purpose is spirits of wine, of about 60° overproof, diluted with
one-fourth of its bulk of distilled water. It is applied by means of
wads of carded cotton, the action of the solvent being arrested,
when necessary, by instantly moistening the spot with spirit of
turpentine on another wad, or, in some cases, with linseed-oil. But
when mastic megilp has been used as the painting-medium, it also,
as well as the pigments associated with it, may be removed by
treatment with these solvents. And it must be remembered that
some artists introduce layers or touches of watercolours in their oil-
pictures ; these are almost certain to be affected by spirits of wine.
Sometimes further injury to them may be arrested by the application
of linseed-oil. Whenever a solvent is used in cleaning a picture, the
cotton tufts employed should be examined carefully from time to
time, in order to see that no actual pigment has
 RESTORATION OF PICTURES 355 coloured them — that
they are stained by nothing but the brown varnish. Other solvents
besides those named are sometimes used in cleaning pictures,
particularly where hard or oily varnishes have to be removed. Such
solvents are acetone, fusel-oil, amyl-acetate, benzene, chloroform,
and solutions of caustic alkalies. Great risk of injury attends their
employment — indeed, the application of any kind of solvent is
fraught with danger, and should never be attempted by the
inexperienced. The usual plan of filling up actual gaps in the priming
or gesso-grounds of old pictures is by means of plasterof-Paris.
When this has set, its surface is levelled by gentle attrition with a
cork and dry whitening, or cuttlefish. Great care is needed in order
to prevent the pigments surrounding the place from being abraded. I
have found asbestos-putty to be an excellent substitute for plaster in
many cases ; its surface is made smooth and level by means of a
painting palette-knife. But it cannot be tinted with water- or
tempera-colours ; in order to make it match the hues of the
neighbouring parts of the picture oil-colours must be used. In any
necessary replacements of lost colours in old oil-paintings, it has
been recommended to use not oil-colours, but water-colours, as
these can always be distinguished from the old work, and, if
necessary, removed; this can be done on ' stoppings ' of whitening
and size, as well as on those of plaster. Tempera-pictures should, I
think, be repaired with dry pigments mixed with egg-yolk, as in this
case, when the final varnish is applied, a general harmony of effect
is produced. If water-colours are introduced in repairing an oil-
painting, the coat of varnish subsequently added is sure to deepen
and darken them, unless this change has been allowed for during
the pro 
 356 RESTORATION OF PICTURES gress of the work, by no
means an easy thing to manage. When in any kind of repainting oil-
paints are used, they should be mixed stiffly with a very little copal-
varnish and spirit of turpentine, and should be rather lighter and less
yellow in tone than the colours they are intended to match, since
darkening and yellowing in some degree, however slight, are sure to
occur subsequently. The cleansing and restoration of paintings
executed in fresco require special care. Additions to supply colour
which has scaled ofT are best made in tempera. When a fresco has
become grimy by exposure to the smoky air of a city, methylated
spirits of wine, applied freely on tufts of carded cotton, removes the
tarry and sooty impurities which a previous careful brushing of the
painted surface has failed to dislodge. Attempts to clear the clouded
portions of an injured fresco by means of distilled water or aerated
distilled water are usually attended with but slight success. The films
which obscure the surface in such cases sometimes consist of
sulphate of lime, produced from the carbonate of lime present by
the action of the sulphuric acid occurring in the atmosphere of
places where gas and coal are burnt. In getting rid of this somewhat
opaque film by means of water, portions of the pigment are
commonly removed. When a fresco has been dusted and then
cleansed with spirits of wine it should be allowed to dry thoroughly,
the lost colours renewed in tempera, and then the whole surface
coated with a preparation of hard paraffin-wax. This preparation,
which has the consistency of an ointment, is made by melting
together 4 parts of hard paraffin-wax (melting-point above 150° F.), i
part of spirit of turpentine, and 15 parts of toluol. When cold, this
mixture is to be spread uniformly over the painted surface, and then
 RESTORATION OF PICTURES 357 allowed to remain until
its volatile constituents have disappeared. Afterwards the paraffin -
wax left on the surface is to be melted and driven in by the local
application of a moderate heat. By this treatment the dead or matt
surface of the fresco is preserved, the obscuring films are rendered
translucent, and the picture may, when cleansing is again required,
be safely sponged with pure water or weak spirits of wine. If any
cloudiness of the surface still persists after the application of the
paraffin-wax paste described above, the effect of treatment with the
Gambler -Parry medium (see p. 142), largely diluted, may be tried.
The treatment of an injured fresco, in accordance with the plan just
outlined, was pursued in the case of Sir Edward Poynter's fresco
painted in 1872-73 on the south side of the chancel in St. Stephen's
Church, Dulwich. That the work done upon this damaged fresco has
been successful may be learnt from the way in which Mr. James
Ward wrote in 1909 of the then state of the painting in his book '
Fresco Painting,' on page 30. He there says that this fresco is ' in a
perfectly sound condition, and is almost as fresh-looking and bright
as when first painted ; ... it shows no sign of deterioration ; on the
contrary, the surface looks, and feels to the touch, more like terra
cotta, or of the texture and firmness of biscuit porcelain than
anything else one can think of.' Mr. Ward would have come to a very
different conclusion as to the permanence of fresco had he seen this
painting when I took it in hand some four years before his approval
was published ! An example of the treatment of a greatly damaged
oil-painting on a plaster ceiling may be here cited. This work, in the
Saloon of the Queen's House at Greenwich,
 358 RESTORATION OF PICTURES was painted between the
years 1626 and 1635 by Orazio Gentileschi, a Pisan artist invited
over to this country by Inigo Jones. It was reported in 1853 to be
'much damaged ' ; and fifty years afterwards, when I first examined
it, its condition seemed well-nigh hopeless. The plaster ground had
swollen, and had broken up and loosened the layer of oil-paint
applied to it. This injury was due to the action of atmospheric
sulphuric acid upon the calcium carbonate of the plaster. By spraying
the whole surface with Gambier-Parry's spirit fresco medium
considerably diluted, the coloured flakes which were ready to fall
were secured in position, and then the lost portions were replaced
by pigments ground in the same medium. These operations were
carried out between the years 1907 and 1909. In cases of such
serious damage as this of Gentileschi's ceiling, further treatments
are necessary, as the injury to the plaster is a
 CHAPTER XXVI TRIALS OF PIGMENTS The testing of
pigments for genuineness and for purityhas been discussed
incidentally in Chapters XIII. to XIX. of the present volume. Though
genuineness and purity"^ have often an important bearing upon the
question of permanence, this last quality must be ascertained by
independent experiments of another order. The study of old
paintings often furnishes us with results of some value, the results of
unintentional testings. But for the purpose of securing complete and
wholly trustworthy information, we must know precisely all the
materials and all the conditions of our trials. Not only must the
painting -grounds, the mediums, and the pigments, be chemically
examined, but we must be in a position to state the character of the
atmosphere in which they have been exposed, and the nature and
amount of the solar or other radiations to which they have been
subjected. In the great majority of these trials accurate data as to *
The chromatic values of pigments— their approach in hue, etc.^ to
recognised standards of excellence — are not here taken into
account. Such data may be obtained by the use of Lovibond's
Tintometer when once the chromatic elements of a pigment in terms
of the degrees of the standard glasses employed in this instrument
have been determined. But really exact determinations of this kind
require complex scientific apparatus, which cannot be profitably used
except by an expert manipulator. 359
 36o TRIALS OF PIGMENTS materials and conditions are
wholly wanting ; even the South Kensington report affords us no
information as to the composition of the pigments employed,
nothing more than their commercial names, so that we have to take
on trust their genuineness and purity. However, in this same most
important series, quite unusual, if not unprecedented, care was
taken in order to determine the conditions, physical and chemical,
under which the pigments were tested. In my own experiments,
carried on between 1856 and 1879, in somewhat desultory fashion,
and extended and improved since 1880, the influence of purity of
sample, of the presence of moisture and of oxygen, and of the
nature of the * light,' has not been neglected ; the full details of the
methods adopted, and of the results obtained, could not be
appropriately introduced into an elementary manual. Mention will be
made of the chief conclusions reached in the present chapter ; there
are also numerous references to them in Chapters XIII. to XXII. In
many early treatises on painting we find observations as to the
degrees of stability possessed by various pigments, along with
suggestions as to methods of treatment by which in certain cases
greater permanency may be attained. To some of these observations
and suggestions reference has been made in those chapters of the
present volume which deal with pigments ; many of the remainder
are now without practical importance, referring as they do to
pigments which have been rightly discarded. It is only of recent
years that trials of pigments have been made with any approach to
exactness. But in the majority of cases no information has been
secured concerning the purity and genuineness of the pigments with
which the experiments have been made. I have not been
 TRIALS OF PIGMENTS 361 able to find a single chemical
analysis of any one of the pigments tested. The chromatic analysis
of the light they severally reflect has, however, been recorded in the
case of the water-colour paints examined by Dr. Russell and Sir W.
Abney, who have likewise furnished some particulars as to the
intensity of the solar radiations to which the pigments were
subjected. More than a century ago Sir Joshua Reynolds tested, in a
rough way, the stability of some of the paints he employed. Two
causes detract from the value of his results. In the first place, the
information furnished concerning the nature of many of the
pigments he tried is too imperfect to be of any use ; secondly, we
are not acquainted with the conditions under which his specimens
have been kept during the whole period since they left his hands.
Two of his trial canvases are preserved in the Royal Academy.
Although the darkening and embrowning of the surface are general,
and though the names of the pigments employed are often
undecipherable or meaningless, yet something useful remains. From
the experiments made in 1772 we may gather the following facts :
The proper hues of several pigments remain in a measure —
orpiment, or kings' yellow in crystals ; yellow lake, with wax and
drying oil ; gamboge, with lake and Venice turpentine ; gamboge,
with (Venice) terpentine ; prepared gamboge, with wax ; and
verditer, with varnish. On the other hand, gamboge with oil, lake
with oil, and many other pigments of organic origin, when unmixed
with wax or varnish, are names only, or, at the most, brown
discolorations. M. J. Blockz, in his ' Peinture a I'Huile,' gives the
results of a number of experiments made by M. J. Dyckman. He
condemns, for various reasons, not only asphalt,
 362 MR. ANDREW'S EXPERIMENTS but also terre verte,
cobalt green, emerald green, raw sienna, raw umber, ivory brown,
and all burnt madders. Cassel earth was slightly changed; brown
ochre, burnt sienna, Mars brown, ivory black, and vine black, proved
to be permanent. His lists of incompatible pigments are somewhat
unnecessarily extended, not being justified, in all particulars, by
further and more careful experiments. The experiments of the late F.
W. Andrew, formerly of the Victoria and Albert Museum, have been
carried on since 1876, but have been confined to water-colours, both
moist and cake. His chief results will be found recorded along with
my own, in Part HI., in the paragraphs devoted to the consideration
of the several pigments. His water-colour washes, generally spread
on Whatman paper, or Whatman board, were exposed for periods
varying from twenty-eight to eighty-two months, in a south window,
to all the sunshine available ; half of each wash was doubled back,
and so far excluded from light. In some cases a third part of the
coloured slip was exposed to the air and light without the protection
of glass. The chief paints which were unaffected, at all events, so far
as some specimens were concerned, by the exposure, are included
in the following list : Yellow ochre, raw sienna, deep cadmium. Mars
red, light red, Indian red, oxide of chromium, Leitch's blue, cobalt,
artificial ultramarine, Prussian blue, raw umber, burnt umber. Naples
yellow (true) became blackish in darkness, but was unaltered in
light, while orange chrome showed dark patches. Further details
must be given as to the pigments which were affected. In the
tabular statements appended a selection from the results afforded
by eleven sets of experiments is recorded, the letters C and M
prefixed to the entries respectively denoting the employment of cake
or moist
 TRIALS OF WATER-COLOURS 363 colours. The numerical
values representing the residual hues are rough approximations only,
but in some instances they were determined by means of
comparisons with standard coloured liquids, contained in glass
cylinders graduated into ten equal parts. Hellige's colorimeter or the
tintometer of Mr. J. W. Lovibond, of Salisbury, may be employed with
advantage in these estimations. CHANGES IN WATER-COLOURS
Name of Months of Residual Depth Residual Hue Pigment Exposure
{Original = 10) and Remarks M. Aureolin ... 28 10 ... Verges on
orange M. Aureolin ... 62 10 [yellow M. Aureolin ... 82 9 C.
Gamboge... 28 4 M. Gamboge... 28 9 M. Gamboge... 82 7 M. Yellow
lake 62 2 . . . Yellowish grey. M. Yellow lake 82 0 C. Yellow madder .
28 I M. Yellow madder . 28 3 ... Pinkish grey. M. Yellow madder . 62
I C. Indian yellow . 28 ... 8,9 M. Indian yellow 28 9 M. Indian yellow
. 60 7 M. Indian yellow 82 6 M. Pale cadmium . 82 I ... Palebufif. M.
Vermilion 62 — ... Blackish. M. Vermilion 82 — ... Black. M. Carmine
... 28 0 ... Pale grey. M. Crimson lake . 28 0 ... Greenish grey. M.
Burnt carmine . 28 ... C. Pink madder 28 M. Rose madder 28 M.
Rose madder 62 I ... Pinkish grey. M. Rose madder 82 II M. Madder
carmine 62 2 M. Madder carmine 82 0 M. Purple madder . 28 4 ... A
pale wash.
 364 MADDER VERSUS COCHINEAL Name of Months of
Residual . Depth Residual Hue Pigment Exposure {Original = 10) and
Remarks M. Purple madder . 62 7 M. Purple madder . 82 2 C. Brown
madder . 28 I Warm grey. M. Brown madder . 28 I II M. Brown
madder . 82 0 C. Indigo 28 5 ... Greenish grey. M. Indigo 62 I M.
Raw umber 60 9 ... Rather yellower M, Vandyke brown . . 28 7 M.
Vandyke brown . . 60 I M. Bone brown 62 8 The pigments containing
lead, such as the ordinary chromes, and those having a copper
basis, Hke emerald green, had altered capriciously, losing part of
their original colour, and becoming tarnished or embrowned in
patches. Brown pink faded like the yellow lakes, but acquired a
bluish-grey residual hue. The testing of the madder colours is so
important that I introduce here a few additional experiments
selected from my own note-books. The washes of the moist-colour
paints were, as far as possible, of the same depth of tone, and they
were all exposed together in a glazed frame to one year's sunshine :
Nufne of Piginent Rose madder Madder carmine Madder carmine
Madder red Purple madder Brown madder Residual Depth {Original
= 10) Change of Hue, etc. Slightly more purplish. Almost
unchanged. Much more purplish. This sample was from another
source. Less red, more purplish. Duller, less red, more blue. Less
red, more yellow-brown. In contrast to the above results with
madder carmine, the following experiment with the ordinary carmine
 PROFESSOR ROOD'S EXPERIMENTS 365 (prepared from
cochineal) is instructive. On a sheet of Whatman paper, a space of
10 inches in length by 4 inches in width was covered with a uniform
wash of the moist paint, having a depth of tint about equal to that of
the petals of the old China rose. This coloured strip was then
subjected to summer sunshine in such a way that successive single
inches of its length received the Hght (during the same hours of
similarly bright days) for periods of 2, 4, 8, 12, 20, 26, 30, 40, and
100 hours, one single inch at one end being, however, protected
completely from all access of light. The exposure of 100 hours
sufficed to bleach the last breadth completely, but had the rate of
fading been in a simple arithmetical progression, a muchshorter
exposure would have sufficed. In fact, the bleaching action was far
more energetic during the first period of two hours than during the
second, about 20 per cent, of the original colour having been
destroyed during these two first hours, while during the second
equal period the loss of depth did not exceed one-tenth of this
amount. Moreover, it was noticed that the change of hue consequent
upon the first exposure was different in kind to that which occurred
subsequently. Professor O. N. Rood's Experiments. — In his ' Modern
Chromatics,' pages 90 and 91, Professor Rood gives the results of a
few trials which he made as to the effect on washes of water-colours
laid on ordinary drawing-paper of three and a half months' exposure
to summer sunlight. These pigments were unaffected : Cadmium
yellow, yellow ochre, Roman ochre. Indian red, light red, Jaune de
Mars. Terre verte. Cobalt, French blue, smalt. Burnt umber, burnt
sienna.
 366 PROFESSOR HARTLEY'S EXPERIMENTS The following
pigments were all affected. The sequence represents the amount of
alteration, the list commencing with those colours which suffered but
little change : Name Nature Name Nature of Pigvtent of Change oj"
Pigment of Change 1. Chrome yellow 2. Red lead - Slightly greenish.
13. Hooker's green More bluish. Less orange. 14. Gamboge - -
Fades, greyish. 3. Naples yellow Slightly greenish 15. Bistre - - - .
Fades, greyish. brown. 16, Brown madder Fades. 4. Raw sienna
Fades, yellower. 17. Neutral tint - Fades. 5. Vermilion - ■ Darkens,
brownish. 18, Vandyke brown Fades, greyer. 6. Aureolin - - Fades
slightly. 19. Indigo .... Fades. 7. Indian yellow Fades slightly. 20.
Brown pink - Fades greatly. 8. Antwerp blue Fades slightly. 21. Violet
carmine Fades greatly, 9. Emerald green Fades slightly. brownish. 10.
Rose madder Fades slightly, pur22. Yellow lake - Fades _ greatly
plish. brownish. II. Sepia - - • • Fades slightly. 23. Crimson lake
Fades out. 12. Prussian blue Fades somewhat. 24. Carmine • • Fades
out. Professor Rood adds that rose madder, brown madder, and
purple madder were all a little affected by an exposure to sunshine
for seventy hours, and that pale washes were completely obliterated
by a much shorter exposure to sunshine in the case of carmine,
dragon's blood, yellow lake, gall-stone, brown pink, Italian pink, and
violet carmine. W. N. Hartley's Experiments. — On September 4^
1886, the late Sir W. N. Hartley read, before the British Association
at Birmingham, a paper on *The Fading of Water Colours.' His trials
as to the effect on pigments of a comparatively brief exposure to
intermittent sunshine in pure air may be thus summarized. Washes
on the best drawing-paper were the subject of the experiments :
Gamboge. — Pale washes were completely bleached in three days ;
in a week strong washes were much lightened in colour, and
rendered dull, even three hours' exposure producing a very visible
effect. Crimson lake. — Six hours' exposure to sunlight and air
almost bleaches pale washes, while three days or eighteen to
twenty-four hours of intermittent sunshine cause dark
 PROFESSOR HARTLEY'S EXPERIMENTS 367 crimson tones
to become very much lighter, the hue of the pigment being altered.
Light red. Indian red, and vermilion were unaffected. Olive green
and brown pink were rendered lighter in colour by six hours'
exposure, the former pigment becoming bluish and the latter
brownish in hue. Indigo, cobalt, and artificial ultramarine were
unaffected. Brown madder became rather lighter after eight days' or
forty-eight hours' exposure. Bistre faded with great rapidity, a light
wash appearing much paler after six hours. Sepia. — A pale wash
became colder in hue, but not very perceptibly paler. In a second
series of experiments, sectors of paper discs, washed with various
pigments, were enclosed between glass-plates, the edges of which
were fastened with gummed paper. Under these circumstances,
crimson lake and bistre were found to have been considerably
altered by five hours' exposure — somewhat more so, indeed, than
was the case when these pigments were freely exposed to the air. All
the results above noted are in practical accord with those obtained
by other observers. The exposure to intermittent sunshine ' for six
hours a day during fourteen days,' does not produce a sensible
effect upon vermillion and indigo. Had Sir W. N. Hartley extended his
observations a few weeks longer, his conclusions as to these
pigments must have agreed with those which we have given, and
therefore with the unanimous verdict of all other scientific observers.
His statement that ' indigo is permanent' (British Association Report,
1886, p. 581) must, therefore, be modified into, ' indigo appears to
have suffered no change after fourteen days' exposure to inter 
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