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r
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LITING
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D REFLECTION

HE ART OF LIVING

RYAN HOLIDAY
and STEPHEN HANSELMAN
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Bestselling authors of TH E DAILY STOIC

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 This journal belongs to

If found, please do the right thing!

 The /
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JOURNAL

366 Days of Writing and Reflection on the Art of Living

RYAN HOLIDAY
AND STEPHEN HANSELMAN

//

PORTFOLIO
PENGUIN
 INTRODUCTION

i n his tent at the front near the Granua River in the distant territory
of Germania, the Emperor Marcus Aurelius rose at dawn. It was a
struggle for him to get up this early, but he did anyway; his job required
it. In the lamplight, he sat at the table and began to write in Greek in
his journal about what the day ahead held in store for him. “I will
encounter busybodies, ingrates, egomaniacs, liars, the jealous and
cranks,” he wrote to himself, preparing mentally for the inevitable
difficulties of the life of an emperor, particularly one faced with leading
an army and overseeing the empire from abroad.
But don’t assume this was a complaint. There was not a note of
frustration or resentment in his tone.
Marcus Aurelius was practicing with pleasure the philosophy he’d
come to love and depend on, Stoicism. He was not writing off his fellow
men and his subjects. On the contrary, in the completion of that
thought, he would say of those busybodies and ingrates “that none can
do me harm, or implicate me in ugliness—nor can I be angry at my
relatives or hate them. For we are made for cooperation.” And so he
went about the rest of his morning journaling, writing little notes for
himself on how to think, how to live, what to be grateful for, and then
he proceeded on to meet the day, not simply as a philosopher, but as a
true philosopher king.
If we can go back in time a little further, almost exactly one century
and one evening before Marcus’s morning meditation, we’d find
another Stoic philosopher doing something quite similar. His name
was Seneca, and he was alternatively a powerbroker, a playwright, and
public intellectual serving at the highest levels in the court of Nero.
Instead of journaling in the morning, he preferred to do his at night,
putting, as he said, each day up for review. Seneca would look back on
the day just then coming to a close and ask himself whether his actions
had been just, what he could have done better, what habits he could
curb, how he might improve himself. “We reflect upon that which we
are about to do,” he would tell his older brother about this nightly
routine, “and yet our plans for the future descend from the past.”
INTRODUCTION THE DAILY STOIC JOURNAL

Reviewing the previous day is what helped Seneca prepare for the one
that he would face the following morning.
Epictetus, another famous Stoic, was a former slave who lived a life
not nearly as cushy or powerful as Seneca or Marcus, and would
repeatedly remind his students to rehearse their lessons, to write them
down for their own use. In Discourses, he says, “Every day and night
keep thoughts like these at hand—write them, read them aloud, talk
to yourself and others about them.”
These then, the morning preparation and the evening review, are
two of the most essential and intertwining exercises in Stoic philoso­
phy and a tradition now more than two thousand years old. It’s a tra­
dition that you, in holding The Daily Stoic Journal, are now an heir to
and can continue twice per day in your pursuit of the good life.
Unlike many other philosophies, Stoicism wasn’t designed simply to
be some explanation of the universe. It wasn’t overly interested in com­
plicated questions about where we came from or theoretical discus­
sions of this issue or that one. Stoicism was designed by the Greeks and
perfected by the Romans for the living and the doing of daily life for
the man and woman trying to make it in a confusing world. As such,
it was much more than a set of teachings or long-ago written sentences.
It was instead a set of timeless practical exercises—systems for reduc­
ing fear, thoughts for battling destructive thoughts, reminders of things
we take for granted, tools for resisting temptation, pillars of strength
for tough moments. This meant that Stoicism wasn’t something to be
learned once or read once. It was meant to be studied and practiced.
Consider the title of Marcus Aurelius’s only work, Meditations. He
was meditating, to himself, for himself, on the philosophic principles
he was still learning and practicing even in old age. A peek at Seneca’s
letters finds the same thing—he is writing to someone else, yes, but
clearly the intended audience is also himself. He is thinking out loud.
Epictetus, too, survives in the form of notes written by his student
Arrian, and they read as if his day was spent trying to answer the end­
less questions of his students: What do I do about this? How can I
handle something like that? Any advice for when I ?
In our book The Daily Stoic, we tried to bring a collection of this
wisdom to busy readers in a digestible and accessible way. Instead of
translating and republishing the Stoics in their original form (which
has been done quite well, many times), we created the first ever single-
THE DAILY STOIC JOURNAL INTRODUCTION

volume collection of all the great Stoics, arranged to highlight a thought

from one each day. The response to the book was humbling and surpris­
ing. The book spent three months on the national bestseller lists and
debuted in the form of a keynote address at what was likely the largest
single gathering of Stoics in two thousand years. Our accompanying
daily e-mail at [Link] was inundated with sign-ups, meaning
that each morning tens of thousands of aspiring Stoics were all reading
the same thing at the same time. We also began to see photos online
from readers who had filled up the pages of The Daily Stoic and Mole-
skine journals with thoughts inspired by each day’s meditation.
In response, we set out to create this journal, a companion guide to
The Daily Stoic and a resource to anyone trying to practice the philos­
ophy. We’re honored that you now hold it in your hands.

HOW TO USE THIS JOURNAL

This book presents fifty-two Stoic disciplines or practices, one for each
week of the year. Each practice is presented with some direction about
its significance and application, along with a few quotes from the great
Stoics to help focus your attention on the practice for the week—the
first quote about each weekly practice is taken directly from that same
week in The Daily Stoic. Each day presents a question to help you focus
your morning preparations or evening review (or both). The questions
will work for you whether you are reading along with The Daily Stoic,
using our daily e-mail readings, or any other source.
We have not written a set of commandments or a step-by-step sys­
tem that must be adhered to unthinkingly (if you don’t want to respond
to the prompts, ignore them and write about whatever you feel would
be most beneficial. We also have suggestions at the back for other
sources to use). As Seneca said: “The ones who pioneered these paths
aren’t our masters, but our guides. Truth stands open to everyone; it
hasn’t been monopolized.”
The reason these Stoic practices have been so enduring (and are
enjoying a modern-day resurgence) is that they are relentlessly focused
on the situations that we face on a daily basis, what Richard Sorabji
calls “the ordinary ups and downs of life, on bereavement, loss of
office, promotion, the rat race, money, invasions, the sacking of cities,
exile, worries about health.” As the American philosopher Brand Blan-
shard marveled at Marcus Aurelius’s legacy:
INTRODUCTION THE DAILY STOIC JOURNAL

“Few care now about the marches and countermarches of the

Roman commanders. What the centuries have clung to is a note­
book of thoughts by a man whose real life was largely unknown
who put down in the midnight dimness not the events of the day
or the plans of the morrow, but something of far more permanent
interest, the ideals and aspirations that a rare spirit lived by.”

The Roman Stoics focused not on words, but action. As Seneca

memorably put it, “Philosophy teaches us how to act, not how to talk.”
This bias toward improving our actions on a daily basis was something
Epictetus made central to his teaching, summarized in his warning
“not to be satisfied with mere learning, but to add practice and then
training.”
This journal is a place to focus your attention (prosoche) and prac­
tice (melete) as you try to remember and apply what you are learning
on the path to progress (prokope). When you pursue the Stoic disci­
plines presented in this journal, each morning you will ask, as the great
modern Stoic Pierre Hadot put it, “What principles will guide and
inspire my actions?” And each evening you will examine where you fell
short of those principles, as well as where you have made progress. You
can begin on any calendar date you choose and proceed until the book
is complete.
Together, the fifty-two ideals and aspirations offer something for
every situation. Whether it’s dealing with bad habits like complaining
(Week XXXI), procrastination (Week XXXV), or panic (Week XXXIX),
or finding less destructive alternatives to anger (Week XXIX), fear of
the future (Week XXXIV), or dealing with haters (Week XXXVIII),
you will find practical tools to put to use. You will gain powerful per­
spective by learning the exercise of taking “the view from above”
(Week XXII), or learning to see things as others do (Week XI), and by
taking on a role model (Week XXIII). You’ll train yourself in the Stoic
basics like the dichotomy of control (Week I), focus on the present
moment (Week V), or how to test your impressions (Week XV).
It’s important to remember this isn’t a contest to see if you can live
like some perfect sage or escape the correction of someone farther along
the path than you. Anyone who uses philosophy that way is decidedly
un-Stoic! As Seneca reminded us, “Let philosophy scrape off your own
faults, rather than be a way to rail against the faults of others.” Think
THE DAILY STOIC JOURNAL INTRODUCTION

of this journal as a brush for your own soul, just like brushing your
teeth each morning and each evening.
The final lesson at the end of this book is the most essential one of
all of Stoic philosophy: learning how to turn words into works. We
hope you will make it that far, and if you do, we encourage you to start
the same journey once again the following year, for you will be, as
Heraclitus said, no longer the same person nor will this be the same
book.
 WEEK I
WHAT’S UP TO US, WHAT’S NOT UP TO US

r pictetus’s handbook (the Enchiridion) begins with the most power-

L— ful exercise in all of Stoicism: the distinction between the things
that are “up to us” (in our control) and the things that are “not up to
us.” It is this, the dichotomy of control, that is the first principle in the
entire philosophy. We don’t control many of the things we pursue in
life—yet we become angry, sad, hurt, scared, or jealous when we don’t
get them. In fact, those emotions—those reactions—are about the only
thing that we do control. If that is the only lesson you journal about or
remember for this year, consider it a year well and philosophically
lived.

“The chief task in life is simply this: to identify and separate mat­
ters so that I can say clearly to myself which are externals not
under my control, and which have to do with the choices I actu­
ally control. Where then do I look for good and evil? Not to
uncontrollable externals, but within myself to the choices that are
my own . ..”
—Epictetus, Discourses, 2.5.4-5

“Some things are in our control, while others are not. We control
our opinion, choice, desire, aversion, and, in a word, everything
of our own doing. We don’t control our body, property, reputa­
tion, position, and, in a word, everything not of our own doing.
Even more, the things in our control are by nature free, unhin­
dered, and unobstructed, while those not in our control are weak,
slavish, can be hindered, and are not our own.”
—Epictetus, Enchiridion 1.1-2

“We control our reasoned choice and all acts that depend on that
moral will. What’s not under our control are the body and any of
its parts, our possessions, parents, siblings, children, or country—
anything with which we might associate.”
—Epictetus, Discourses, 1.22.10
WEEK I THE DAILY STOIC JOURNAL

January Ist What things are truly in my control?

MORNING REFLECTION

EVENING REFLECTION

! January 2nd What am I learning and studying for?

MORNING REFLECTION
THE DAILY STOIC JOURNAL WHAT’S UP TO US, WHAT’S NOT UP TO US

EVENING REFLECTION

January 3rd What can I say no to so I can say yes to what matters?

MORNING REFLECTION

EVENING REFLECTION
I

WEEK I THE DAILY STOIC JOURNAL

January 4th Am I seeing dearly? Acting generously? Accepting what I can’t change?

MORNING REFLECTION

EVENING REFLECTION

January 5th What is my purpose in life?

MORNING REFLECTION

i
THE DAILY STOIC JOURNAL WHAT’S UP TO US. WHAT’S NOT UP TO US

EVENING REFLECTION

January 6th Who am I and what do I stand for?

MORNING REFLECTION

EVENING REFLECTION
WEEK THE DAILY STOIC JOURNAL

January 7th How can I keep my mind clear from pollution?

MORNING REFLECTION

EVENING REFLECTION
 WEEK II
THE SPHERE OF CHOICE

i f the first step is to discern what is or isn’t in our control, the second
is to focus our energy on the things we have a choice about. The Sto­
ics viewed the soul as a sphere that, when well tuned, well directed,
was an invincible fortress against any trial or circumstance. Protected
by our reason, this sphere of choice (prohairesis) is like a sacred temple
and is the only thing we truly possess in life. We are the product of our
choices, so it is essential then that we choose well. This week, consider
and reflect on the choices you have: about your emotions, your actions,
your beliefs, and your priorities.

“Keep this thought at the ready at daybreak, and through the day
and night—there is only one path to happiness, and that is in
giving up all outside of your sphere of choice, regarding nothing
else as your possession, surrendering all else to God and Fortune.”
—Epictetus, Discourses, 4.4.39

“Who then is invincible? The one who cannot be upset by anything

outside their reasoned choice.”
—Epictetus, Discourses, 1.18.21

“The soul is a sphere, true to itself. It neither projects itself toward

any external thing nor does it collapse on itself, but instead radi­
ates a light which it shows itself the truth of all things and the
truth in itself.”
—Marcus Aurelius, Meditations, 11.12
Another Random Scribd Document
with Unrelated Content
"broken" colors, but they may, for present convenience, be termed
reduced or broken scales.
Full Color.—A color corresponding in intensity with its manifestation
in the solar spectrum.
Pure Color.—A color corresponding in purity with (or, in the case of
material colors, closely approximating to) one of the spectrum
colors.
Broken Color.—Any one of the spectrum colors or hues dulled or
reduced in purity by admixture (in any proportion) of neutral gray, or
varying relative proportions of both black and white; also produced
by admixture of certain spectrum colors, as red with green, orange
with blue, yellow with violet, etc. These broken colors are far more
numerous in Nature than the pure spectrum colors, and include the
almost infinite variations of brown, russet, citrine, olive, drab, etc.
They are often called dull or neutral colors.
Fundamental Colors.—The six psychologically distinct colors of the
solar spectrum; Red, Orange, Yellow, Green, Blue, and Violet.
Primary Colors.—Theoretically, any of the spectrum colors which
cannot be made by mixture of two other colors. According to the
generally accepted Young-Helmholtz theory, the primary colors are
red, green, and violet: orange and yellow resulting from a mixture of
red and green, and blue from a mixture of green and violet. There is
considerable difference of opinion, however, as to this question, and
further investigation of the subject seems to be required; at any
rate, authorities fail to explain why red may be exactly reproduced
(except as to the degree of luminosity) by a mixture of orange and
violet, exactly as yellow results from mixture of red and green or
blue from green or violet, green being, in fact, the only spectrum
color that cannot be made by mixture of other colors.[24]
Chroma.—Degree of freedom from white light; purity, intensity or
fullness of color.
Luminosity.—Degree of brightness or clearness. The relative
luminosity of the spectrum colors is as follows: [Yellow (brightest)?],
orange yellow; orange; greenish-yellow, yellow-green, and green;
orange-red; red and blue (equal); violet-blue, blue-violet, violet.[25]
Warm Colors.—The colors nearer the red end of the spectrum or
those of longer wave-lengths (red, orange, and yellow, and
connecting hues) "and combinations in which they predominate."[26]
Cool, or Cold, Colors.—The colors nearer the violet end of the
spectrum or those of shorter wave-length, especially blue and green-
blue. "But it is, perhaps, questionable whether green and violet may
be termed either warm or cool."
Complementary Color.—"As white light is the sum of all color, if we
take from white light a given color the remaining color is the
complement of the given color." When any two colors or hues which
when combined in proper proportion on the color-wheel produce, by
rotation, neutral gray, these two colors each represent the
complementary of the other.
Constants of Color.—The constants of color are numbers which
measure (1) the wave-length, (2) the chroma, and (3) the
luminosity.
In addition to the terms defined above there are many others, for
which the reader is referred to the chapter on "Color Definitions" on
pages 23-30 of Milton Bradley's excellent and most useful book
"Elementary Color."
TABLE OF PERCENTAGES OF COMPONENT COLORS
IN THE CONNECTING HUES OF THE CHROMATIC
SCALE.
The following table shows the relative percentages, in color-wheel
measurement, of the two components in each of the hues connecting
adjacent pairs of the six spectrum colors as represented on the original
Plates of this work; together with an equal number of exact intermediates
(not shown on the Plates), the latter in lower-case type and not indicated
by symbols.
Wavelength.
Number. Color. Red. Orange. Yellow. Green. Blue. Violet. [27]

1 Red 100 644

2 90 10
3 O-R 80 20
4 70 30
5 OO-R 60 40
6 50 50
7 R-O 40 60
8 30 70
9 OR-O 20 80
10 10 90
11 Orange 100 598
12 96 4
13 OY-O 91 9
14 86 14
15 Y-O 80 20
16 73.5 26.5
17 O-Y 65 35
18 56.5 43.5
19 YO-Y 47 53
20 36.5 63.5
21 O-YY 25 75
22 13.5 86.5
23 Yellow 100 577
24 87 13
25 YG-Y 75 25
26 64 36
27 G-Y 55 45
28 46 54
29 GG-Y 39 61
30 31 69
31 Y-G 24 76
32 17 83
33 GY-G 11 89
34 6 94
35 Green 100 520
36 96.5 3.5
37 GB-G 93 7
38 90 10
39 B-G 85 15
40 81 19
41 BB-G 75 25
42 69 31
43 G-B 61 39
44 54 46
45 BG-B 45 55
46 36 64
47 G-BB 25 75
48 13 87
49 Blue 100 473
50 84 16
51 BV-B 72 28
52 64 36
53 V-B 54 46
54 47 53
55 B-V 40 60
56 32 68
57 VB-V 22 78
58 12 88
59 Violet 100 410
60 3 97
61 VR-V 7 93
62 11 89
63 R-V 18 82
64 24 76
65 RR-V 33 67
66 41 59
67 V-R 52 48
68 64 36
69 RV-R 74 26
70 83 17
71 V-RR 90 10
72 95.5 4.5
TABLE SHOWING PERCENTAGE OF WHITE AND
BLACK, RESPECTIVELY, IN EACH TONE OF THE
TONE OR LUMINOSITY SCALES.
All of the vertical scales in the original Plates of this work (the scale
of carbon grays alone excepted) contain the following percentages
by color-wheel measurement:
Percentages.
Tone.
White. Color. Black.
(White) 100
(g) 70 30
f 45 55
(e) 32 68
d 22.5 77.5
(c) 15 85
b 9.5 90.5
(a) 5 95
(Full Color) 100
(h) 64 26
i 55 45
(j) 41 59
k 29.5 70.5
(l) 20 80
m 12.5 87.5
(n) 6 94
(Black) 100
One of the most serious difficulties encountered in the preparation of
the Plates of this work was the apparent impracticability of
reproducing satisfactory shades of pure colors. This originated in the
fact that there seems to be no substance (pigment, dye, or fabric)
which represents a true black, all reflecting more or less of white
light, and consequently producing shades which are dull or broken.
The difficulty is increased by the additional fact that any black
pigment mixed with almost any color falls short of even the color-
wheel mixture in purity of hue in the resulting shades, owing to the
very considerable amount of gray in all black pigments.
Chromolithography can be made to produce clearer and better
shades of the pure colors, but is distinctly objectionable for the
purpose of a work of this kind owing to eventual oxidation of the oil
or varnish with which the pigments are combined in lithographic
inks, causing a change of hue; reds becoming more orange, blues
more greenish, etc., in course of time.
While the absence (in large part) of pure chromatic shades is much
to be regretted, the defect is not so serious, from the standpoint of
utility, as might appear at first sight; for while saturated or darkened
pure colors are not uncommon in the animal, vegetable, and mineral
kingdoms, more or less broken dark colors are infinitely more so;
and since the latter are greatly increased in number by the defect
mentioned the actual result is rather an advantage than otherwise.
It will doubtless be noticed that there is a conspicuous difference in
relative darkness between shades of yellow and contiguous hues on
the one hand and corresponding ones of violet and adjacent hues on
the other, as if the percentage of black in each were very different.
This, however, is entirely the result of difference of luminosity of the
two sets of colors, that of yellow being between 7000 and 8000
while that of violet is only about 13;[28] for the percentage of black
in corresponding tones of the vertical scales is precisely the same for
each color throughout the chromatic scale of this work.
 TABLE SHOWING PERCENTAGES OF NEUTRAL
GRAY IN THE BROKEN COLOR SCALES.
Every Plate in each series of broken colors (′ to ′′′′′) contains exactly
the same percentage of neutral gray in each color, the relative
amount increasing progressively in the several series, as shown in
the following table. The percentages of white in the tints and of
black in the shades of the tone scales are in all cases exactly the
same as in the tone scales of pure colors.
Percentages.
Series.
Color. Neutral Gray.
Pure Colors 100
(′) 68 32
(′′) 42 58
(′′′) 23 77
(′′′′) 10 90
(′′′′′) 4.5 95.5
Neutral Gray 100
TABLE OF PERCENTAGE OF BLACK AND WHITE
IN THE DIFFERENT TONES OF CARBON GRAY.

Percentages.
Tone Number.
Black. White.
1 100
2 98 2
3 94.5 5.5
4 89.5 10.5
5 83 17
6 75 25
7 67.5 32.5
8 58.5 41.5
9 47 53
10 30 70
Note.—The percentages given in the preceding tables may not in all
cases be precisely those actually contained in the colors on the
Plates, since absolute precision in reproduction is hardly possible. All
that can be claimed is a reasonably close approximation to the ideal.
 DYES AND PIGMENTS USED IN THE
PREPARATION OF THE MAXWELL DISKS,
REPRESENTING THE THIRTY-SIX COLORS OF
THE PURE SPECTRUM SCALE, FORMING THE
BASIS OF THE COLOR-SCHEME OF THIS
WORK.[29]
Red.—Devoe's geranium lake (dry), its orange hue neutralized by a
wash of rhodamin b. (Crocein scarlet b. washed with rhodamin b.
produces practically the same fine red.)
Hues between red and orange.—Crocein scarlet b. with gold
orange.
Orange.—Gold orange with orange g.
Hues between orange and yellow.—Orange g. with auramin.
Yellow.—Auramin, rather dilute. (The best substitute among
pigments is a fine quality of zinc yellow, as Hatfield's.)
Hues between yellow and green.—Auramin washed with light
green.
Green.—Auramin (very dilute) washed with light green. (The
auramin should be applied first, because it "sets" or becomes fast
quickly, while the light green does not, but is largely removed by
overwashes of the yellow, thus rendering it very difficult to get the
desired hue.)
Hues between green and blue.—Methyl green; the same washed
with light blue (Diamond Dye); for the hues nearer blue, light blue
washed with Winsor and Newton's permanent blue or new blue (the
least violet-hued of the artificial ultramarines).
Blue.—Light blue washed with permanent blue or new blue.
(Although the color is nearer that of the artificial ultramarines
named, it is useless to apply the latter first, for overwashes of the
light blue merely sink through and darken the color without
improving the hue. A moderately saturated solution of the light blue
should be applied first, and when this is dry covered with one or
more rather thin washes of the permanent blue or new blue).
Hues between blue and violet.—Winsor and Newton's permanent
blue and some of the more violet-hued artificial ultramarines, the
hues nearer violet washed with crystal violet or gentian violet.
Violet.—Crystal violet.
Hues between violet and red.—Methyl violet 1b. washed with
rhodamin b.; for hues nearer red, rhodamin b. with Devoe's
geranium red (dry) or crocein scarlet b.
While more or less similar in hue to rhodamin b., several other
aniline dyes, as acid fuchsin, rubin s., rosein, magenta, etc., do not
combine satisfactorily with the violets, the mixture soon becoming
dark or dull and none of them are quite as pure a purple or red-
violet.
It is most important to remember that disks thus colored must be
carefully protected from light when not in actual use and never
exposed to direct sunlight. The artificial ultramarines are, of course,
permanent, and so, practically, are crocein scarlet, gold orange,
orange g., and auramin—that is to say, are not materially affected by
the action of light except after very prolonged exposure, though the
last named undergoes a change of hue; but the green and violet
aniline dyes are all very evanescent, rapidly fading and eventually
disappearing; light blue and rhodamin, while sensitive to light, are
far less so than the greens and violets.
 ALPHABETICAL LIST OF COLORS
REPRESENTED ON PLATES OF THIS WORK

Color
COLOR NAME. Plate. or hue Tone.
Number.
Absinthe Green XXXI 29′′ —
Acajou Red XIII 1′ i
Acetin Blue XXXV 49′′ k
Ackermann's Green XVIII 35′ k
Aconite Violet XXXVII 63′′ —
Ageratum Violet XXXVII 63′′ b
Alice Blue XXXIV 45′′ b
Alizarine Blue XXI 51′ m
Alizarine Pink XIII 1′ d
Amaranth Pink XII 69 d
Amaranth Purple XII 69 i
Amber Brown III 13 k
Amber Yellow XVI 21′ b
American Green XLI 33′′′ i
Amethyst Violet XI 61 —
Amparo Blue IX 51 b
Amparo Purple XI 63 b
Andover Green XLVII 25′′′′ i
Aniline Black L 69′′′′ m
Aniline Lilac XXXV 53′′ d
Aniline Yellow IV 19 i
Anthracene Green VII 39 m
Anthracene Purple XLIV 69′′′ k
Anthracene Violet XXV 61′ k
 Antimony Yellow XV 17′ b
Antique Brown III 17 k
Antique Green VI 35 m
*Antwerp Blue VIII 45 k
*Apple Green XVII 29′ —
Apricot Buff XIV 11′ b
Apricot Orange XIV 11′ —
Apricot Yellow IV 19 b
Argus Brown III 13 m
Argyle Purple XXXVII 65′′ b
Army Brown XL 13′′′ i
Artemisia Green XLVII 33′′′′ —
Asphodel Green XLI 29′′′ —
*Aster Purple XII 67 i
Auburn II 11 m
*Auricula Purple XXVI 69′ k
Avellaneous XL 17′′′ b
Azurite Blue IX 53 m
Barium Yellow XVI 23′ d
Baryta Yellow IV 21 f
*Bay II 7 m
Begonia Rose I 1 b
Benzo Brown XLVI 13′′′′ i
Benzol Green VII 41 —
*Berlin Blue VIII 47 m
Beryl Blue VIII 43 f
*Beryl Green XIX 41′ b
*Bice Green XVII 29′ k
Biscay Green XVII 27′ i
Bishop's Purple XXXVII 65′′ —
*Bister XXIX 15′′ m
Bittersweet Orange II 9 b
Bittersweet Pink II 9 d
*Black LIII 73 (1)
Blackish Brown (1) XLV 1′′′′ m
Blackish Brown (2) XLV 5′′′′ m
Blackish Brown (3) XLV 9′′′′ m
Blackish Green-Blue VIII 43 m
Blackish Green-Gray LII 35′′′′′ m
Blackish Mouse Gray LI 15′′′′′ m
Blackish Plumbeous LII 49′′′′′ k
Blackish Purple XI 65 m
Blackish Red-Purple XII 67 m
*Blackish Slate LIII 75 (3)
Blackish Violet X 59 m
Blackish Violet-Gray LII 59′′′′′ m
Blanc's Blue XX 47′ k
Blanc's Violet XXIII 59′ k
Blue-Violet X 55 —
Blue-Violet Black XLIX 57′′′′ m
Bluish Black XLIX 49′′′′ m
Bluish Glaucous XLII 37′′′ f
Bluish Gray-Green XLII 41′′′ —
Bluish Lavender XXXVI 57′′ d
Bluish Slate-Black XLVIII 45′′′′ m
Bluish Violet X 57 —
Bone Brown XL 13′′′ m
Bordeaux XII 71 k
*Bottle Green XIX 37′ m
Bradley's Blue IX 51 —
 Bradley's Violet XXIII 59′ —
Brazil Red I 5 i
Bremen Blue XX 43′ b
*Brick Red XIII 5′ k
Bright Chalcedony Yellow XVII 25′ —
Bright Green-Yellow V 27 —
Brownish Drab XLV 9′′′′ —
Brownish Olive XXX 19′′ m
Brownish Vinaceous XXXIX 5′′′ b
Brussels Brown III 15 m
Buckthorn Brown XV 17′ i
*Buff-Pink XXVIII 11′′ d
*Buff-Yellow IV 19 d
Buffy Brown XL 17′′′ i
Buffy Citrine XVI 19′ k
Buffy Olive XXX 21′′ k
Burn Blue XXXIV 47′′ f
Burnt Lake XII 71 m
*Burnt Sienna II 9 k
*Burnt Umber XXVIII 9′′ m
Cacao Brown XXVIII 9′′ i
Cadet Blue XXI 49′ i
Cadet Gray XLII 45′′′ b
*Cadmium Orange III 13 —
*Cadmium Yellow III 17 —
Calamine Blue VIII 43 d
Calla Green V 25 m
Calliste Green VI 31 i
Cameo Brown XXVIII 7′′ k
Cameo Pink XXVI 71′ f
*Campanula Blue XXIV 55* b
Capri Blue XX 43′ i
Capucine Buff III 13 f
Capucine Orange III 13 d
Capucine Yellow III 15 b
*Carmine I 1 i
Carnelian Red XIV 7′ —
Carob Brown XIV 9′ m
Carrot Red XIV 7′ b
Cartridge Buff XXX 19′′ f
Castor Gray LII 35′′′′′ i
Cedar Green VI 31 m
Celandine Green XLVII 33′′′′ b
Cendre Blue VIII 43 b
Cendre Green VI 35 b
Cerro Green V 27 m
*Cerulean Blue VIII 45 —
Chaetura Black XLVI 17′′′′ m
Chaetura Drab XLVI 17′′′′ k
Chalcedony Yellow XVII 25′ b
Chamois XXX 19′′ b
Chapman's Blue XXII 49* i
Chartreuse Yellow XXXI 25′′ d
Chatenay Pink XIII 3′ f
Chessylite Blue XX 45′ k
*Chestnut II 9 m
Chestnut-Brown XIV 11′ m
Chicory Blue XXIV 57* d
*China Blue XX 45′ i
Chinese Violet XXV 65′ b
*Chocolate XXVIII 7′′ m
*Chromium Green XXXII 31′′ i
Chrysolite Green XXXI 27′′ b
Chrysoprase Green VII 37 b
*Cinereous LII 49′′′′′ d
*Cinnamon XXIX 15′′ —
Cinnamon-Brown XV 15′ k
Cinnamon-Buff XXIX 17′′ b
Cinnamon-Drab XLVI 13′′′′ —
*Cinnamon-Rufous XIV 11′ i
Citrine IV 21 k
Citrine-Drab XL 21′′′ i
Citron Green XXXI 25′′ b
*Citron Yellow XVI 23′ b
Civette Green XVIII 31′ k
*Claret Brown I 5 m
*Clay Color XXIX 17′′ —
Clear Cadet Blue XXI 49′ —
Clear Dull Green Yellow XVII 27′ b
Clear Fluorite Green XXXII 33′′ b
Clear Green-Blue Gray XLVIII 45′′′′ d
Clear Payne's Gray XLIX 49′′′′ b
Clear Windsor Blue XXXV 49′′ —
Clear Yellow-Green VI 31 b
*Clove Brown XL 17′′′ m
Cobalt Green XIX 37′ b
Colonial Buff XXX 21′′ d
Columbia Blue XXXIV 47′′ b
Commelina Blue XXI 51′ —
Congo Pink XXVIII 7′′ b
 Coral Pink XIII 5′ d
*Coral Red XIII 5′ —
Corinthian Pink XXVII 3′′ d
Corinthian Purple XXXVIII 69′′ k
Corinthian Red XXVII 3′′ —
Cornflower Blue XXI 53′ —
Corydalis Green XLI 29′′′ d
Cossack Green VI 33 m
Cosse Green V 29 i
Cotinga Purple XI 63 k
Courge Green XVII 25′ i
Court Gray XLVII 29′′′′ f
*Cream Color XVI 19′ f
*Cream-Buff XXX 19′′ d
Cress Green XXXI 29′′ k
*Cyanine Blue IX 51 m
Dahlia Carmine XXVI 71′ k
*Dahlia Purple XII 67 k
Danube Green XXXII 35′′ m
Daphne Pink XXXVIII 69′′ b
Daphne Red XXXVIII 69′′ —
Dark American Green XLI 33′′′ k
Dark Aniline Blue X 55 m
Dark Anthracene Violet XXV 61′ m
Dark Bluish Glaucous XLII 37′′′ b
Dark Bluish Gray-Green XLII 41′′′ k
Dark Bluish Violet X 57 m
Dark Cadet Blue XXI 49′ m
Dark Chessylite Blue XX 45′ m
Dark Cinnabar Green XIX 39′ k
Dark Citrine IV 21 m
Dark Corinthian Purple XXXVIII 69′′ m
Dark Cress Green XXXI 29′′ m
Dark Delft Blue XLII 45′′′ m
Dark Diva Blue XXI 51′ k
Dark Dull Bluish Violet (1) XXIV 57* k
Dark Dull Bluish Violet (2) XXXV 51′′ k
Dark Dull Bluish Violet (3) XXXVI 57′′ k
Dark Dull Violet-Blue XXIV 53* k
Dark Dull Violet-Blue XXXV 53′′ k
Dark Dull Yellow-Green XXXII 31′′ m
Dark Glaucous-Gray XLVIII 37′′′′ b
Dark Gobelin Blue XXXIV 43′′ k
Dark Grayish Blue-Green XLVIII 37′′′′ k
Dark Grayish Blue-Violet XXIV 55* k
Dark Grayish Brown XLV 5′′′′ k
Dark Grayish Lavender XLIII 57′′′ b
Dark Grayish Olive XLVI 21′′′′ k
Dark Green XVIII 35′ m
Dark Green-Blue Gray XLVIII 45′′′′ —
Dark Green-Blue Slate XLVIII 45′′′′ k
Dark Greenish Glaucous XLI 33′′′ b
Dark Greenish Olive XXX 23′′ m
Dark Gull Gray LIII 75 (6)
Dark Heliotrope Gray L 65′′′′ —
Dark Heliotrope Slate L 65′′′′ k
Dark Hyssop Violet XXXVI 59′′ k
Dark Indian Red XXVII 3′′ m
Dark Ivy Green XLVII 25′′′′ k
Dark Lavender XLIV 61′′′ b
Dark Livid Brown XXXIX 1′′′ k
Dark Livid Purple XXXVII 63′′ m
Dark Madder Blue XLIII 53′′′ k
Dark Madder Violet XXV 63′ m
Dark Maroon Purple XXVI 71′ m
Dark Medici Blue XLVIII 41′′′′ i
Dark Mineral Red XXVII 1′′ m
Dark Mouse Gray LI 15′′′′′ k
Dark Naphthalene Violet XXXVII 61′′ m
Dark Neutral Gray LIII 73 k
Dark Nigrosin Violet XXV 65′ m
Dark Olive XL 21′′′ m
Dark Olive-Buff XL 21′′′ —
Dark Olive-Gray LI 23′′′′′ i
Dark Orient Blue XXXIV 45′′ k
Dark Payne's Gray XLIX 49′′′′ k
Dark Perilla Purple XXXVII 65′′ m
Dark Plumbago Blue XLIII 53′′′ b
Dark Plumbago Gray L 61′′′′ —
Dark Plumbago Slate L 61′′′′ k
Dark Plumbeous LII 49′′′′′ i
Dark Porcelain Green XXXIII 39′′ k
Dark Purple-Drab XLV 1′′′′ i
Dark Purplish Gray LIII 67′′′′′ k
Dark Quaker Drab LI 1′′′′′ k
Dark Russian Green XLII 37′′′ k
Dark Slate-Purple XLIV 65′′′ k
Dark Slate-Violet (1) XLIII 57′′′ k
Dark Slate-Violet (2) XLIV 61′′′ k
Dark Soft Blue-Violet XXIII 55′ k
 Dark Soft Bluish Violet XXIII 57′ k
Dark Sulphate Green XIX 39′ i
Dark Terre Verte XXXIII 41′′ k
Dark Tyrian Blue XXXIV 47′′ k
Dark Varley's Gray XLIX 57′′′′ k
Dark Vinaceous XXVII 1′′ —
Dark Vinaceous-Brown XXXIX 5′′′ k
Dark Vinaceous-Drab XLV 5′′′′ i
Dark Vinaceous-Gray L 69′′′′ —
Dark Vinaceous-Purple XXXVIII 67′′ k
Dark Violet X 59 k
Dark Violet-Gray LII 59′′′′′ k
Dark Violet-Slate XLIX 53′′′′ k
Dark Viridian Green VII 37 k
Dark Yellowish Green XVIII 33′ m
Dark Yvette Violet XXXVI 55′′ m
Dark Zinc Green XIX 37′ k
Dauphin's Violet XXIII 59′ i
Dawn Gray LII 35′′′′′ d
Deep Aniline Lilac XXXV 53′′ b
Deep Blue-Violet X 55 i
Deep Bluish Glaucous XLII 37′′′ d
Deep Bluish Gray-Green XLII 41′′′ i
Deep Brownish Drab XLV 9′′′′ i
Deep Brownish Vinaceous XXXIX 5′′′ —
Deep Cadet Blue XXI 49′ k
Deep Chicory Blue XXIV 57* b
*Deep Chrome III 17 b
Deep Chrysolite Green XXXI 27′′ —
Deep Colonial Buff XXX 21′′ b
Deep Corinthian Red XXVII 3′′ i
Deep Delft Blue XLII 45′′′ k
Deep Dull Bluish Violet (1) XXIV 57* i
Deep Dull Bluish Violet (2) XXXV 51′′ i
Deep Dull Bluish Violet (3) XXXVI 57′′ i
Deep Dull Lavender XLIV 61′′′ d
Deep Dull Violaceous Blue XXII 51* k
Deep Dull Violet-Blue XXXV 53′′ i
Deep Dull Yellow-Green (1) XXXII 31′′ k
Deep Dull Yellow-Green (2) XXXII 33′′ k
Deep Dutch Blue XLIII 49′′′ —
Deep Glaucous-Gray XLVIII 37′′′′ d
Deep Glaucous-Green XXXIII 39′′ b
Deep Grape Green XLI 25′′′ i
Deep Grayish Blue-Green XLVIII 37′′′′ i
Deep Grayish Lavender XLIII 57′′′ d
Deep Grayish Olive XLVI 21′′′′ i
Deep Green-Blue Gray XLVIII 45′′′′ b
Deep Greenish Glaucous XLI 33′′′ d
Deep Gull Gray LIII 75 (7)
Deep Heliotrope Gray L 65′′′′ b
Deep Hellebore Red XXXVIII 71′′ i
Deep Hyssop Violet XXXVI 59′′ i
Deep Lavender XXXVI 59′′ d
Deep Lavender-Blue XXI 53′ b
Deep Lichen Green XXXIII 37′′ d
Deep Livid Brown XXXIX 1′′′ i
Deep Livid Purple XXXVII 63′′ k
Deep Madder Blue XLIII 53′′′ i
Deep Malachite Green XXXII 35′′ —
Deep Medici Blue XLVIII 41′′′′ —
Deep Mouse Gray LI 15′′′′′ i
Deep Neutral Gray LIII 73 i
Deep Olive XL 21′′′ k
Deep Olive-Buff XL 21′′′ b
Deep Olive-Gray LI 23′′′′′ —
Deep Orient Blue XXXIV 45′′ i
Deep Payne's Gray XLIX 49′′′′ i
Deep Plumbago Blue XLIII 53′′′ d
Deep Plumbago Gray L 61′′′′ b
Deep Plumbeous LII 49′′′′′ —
Deep Purplish Gray LIII 67′′′′′ i
Deep Purplish Vinaceous XLIV 69′′′ —
Deep Quaker Drab LI 1′′′′′ i
Deep Rose-Pink XII 71 d
Deep Seafoam Green XXXI 27′′ d
Deep Slate-Blue XLIII 49′′′ k
Deep Slate-Green XLVII 33′′′′ k
Deep Slate-Olive XLVII 29′′′′ k
Deep Slate-Violet XLIV 61′′′ i
Deep Slaty Brown L 69′′′′ k
Deep Soft Blue-Violet XXIII 55′ i
Deep Soft Bluish Violet XXIII 57′ i
Deep Turtle Green XXXII 31′′ —
Deep Varley's Gray XLIX 57′′′′ i
Deep Vinaceous XXVII 1′′ b
Deep Vinaceous-Gray L 69′′′′ b
Deep Vinaceous-Lavender XLIV 65′′′ d
Deep Violet-Gray LII 59′′′′′ i
Deep Violet-Plumbeous XLIX 53′′′′ —
 Deep Wedgewood Blue XXI 51′ d
Delft Blue XLII 45′′′ i
Diamin-Azo Blue XXXV 51′′ m
Diamine Brown XIII 3′ m
Diamine Green VII 37 m
Diva Blue XXI 51′ i
*Drab XLVI 17′′′′ —
*Drab-Gray XLVI 17′′′′ d
*Dragon's-blood Red XIII 5′ i
Dresden Brown XV 17′ k
Duck Green XIX 39′ m
Dull Blackish Green XLI 33′′′ m
Dull Blue-Green Black XLVIII 41′′′′ m
Dull Blue-Violet (1) XXIV 55* —
Dull Blue-Violet (2) XXXVI 55′′ i
Dull Bluish Violet (1) XXIV 57* —
Dull Bluish Violet (2) XXXV 51′′ —
Dull Bluish Violet (3) XXXVI 57′′ —
Dull Citrine XVI 21′ k
Dull Dark Purple XXVI 67′ k
Dull Dusky Purple XXVI 67′ m
Dull Green-Yellow XVII 27′ —
Dull Greenish Black (1) XLVII 29′′′′ m
Dull Greenish Black (2) XLVII 33′′′′ m
Dull Indian Purple XLIV 69′′′ i
Dull Lavender XLIV 61′′′ f
Dull Magenta Purple XXVI 67′ i
Dull Opaline Green XIX 37′ f
Dull Purplish Black L 65′′′′ m
Dull Violaceous Blue XXII 51* —
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