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[[text written on separate white piece of paper, attached to diary]] Ul d.[[slash]] The shadows must be darker than in nature for pictorial effect. But by opposing in them pure contrasting colors they at a distance appear lighter on the chrom ox[[slash]] [[underlined]] impressionistic principle [[/underlined]]. ind red[[slash]] [[underlined]] This sketch contains the Black[[slash]] full pure palette of a brilliant day [[/underlined]] rc.w. z.w.[[slash]] 1) white - house walls, water . The gleam of sun light cannot be rendered. at white paint we stop; beyond no degree of [[underlined]] real light [[/underlined]] is possible to paint Ul.l[[slash]] 2) purest blue sky, compared with even a nongleaming white wall in nature it is a solid blue without white tint. But the gleam of the sky at lower Cerul[[slash]] middle and at house walls is given by adding or mingling white with ultramarine and ceruleum rose m[[slash]] 3) pure rose horizon. almost white gleam rose m + z w. This part of the sky much lighter than Virid.[[slash]] the distant hills; on a clear day the distance is not [[underlined]] weakened [[/underlined]] in color. cob viol) 4.[[slash]] hence pure rose violet. cobalt viol + wh. cadm. y [[slash]]lemy.[[slash]] 5.) pure yellow grass and path and foliage lights cad.or.[[slash]] 6.) orange rose (+ white) stone wall. harris red[[slash]] 7). strongest spectrum orange, red and magenta red (rose m + verm) on brick or [[strikethrough]] cerule [[/strikethrough]] wood walls. 8.) pure cyan blue water