Notes: 28)

Bruno (Form and Color) argues that to contain
all the elements necessary to reproduce nature,
the palette would have to have contained
'the complements red, yellow, blue, plus white
and black'. In the end he compromises by saying 
that all is well if by black Pliny meant a bluish-black,
and notes the possibility that in the minds of the
ancients 'blue and black pigments were somehow
connected' (p. 86). His statement that 'the large
majority of our extant examples of ancient paintings
show the presence of blue' (p. 76) is far from the
truth if evidence from the Fayum portraits is taken
into account. See also Gage, Colour and Culture,
pp.29-30.