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The danger is [[strikethrough]] to [[/strikethrough]] in putting a partial and [[?]] painting on (first [[?]], second IW, 3d color, 4d color, fifth finishing retouching) of carrying the character into the natural, realistic, instead of in to the pure color, and also of losing the pictorial. If one takes the wings of a butterfly apart, puts them on white paper which is first [[?]] within the pencilled outlines of the wings, and, white still wet, runs [[strikethrough]] an [[/strikethrough]] warm iron over the inverted wings, their colors are fixed to the paper. [[strikethrough]] And [[/strikethrough]] That is similar to what I want, namely fixing the colors only, of a scene, but first those colors I care to see, secondly, arranged in the most pictorial way. If one desires to test the hue of tube colors one tries them on a white paper. All color charts of the makers are such rows of pigment on white cardboard. One way do it on black or on grey, or on any colored ground. But white preserves the pigment, while black would in time eat thro', white also shows the colors or a number of different colors off much better as [[underlined]] color [[/underlined]], while black shows more their [[underlined]] light [[/underlined]], grey their purity. In my own problem of painting white adds luminosity to the whole allowing the beauty of pure pigment to be unbroken, unmixed, unweakened; it also expresses pure sunlight, temperament, as well as temperature. The Chinese painting and pottery recognizes white as the foundation for beauty of color. Cèzanne's most powerful drawings are a [[?]] of white paper, very little [[page number in pencil]] 148