The specific description of colour variation in the Trialogue centers on red and white. There are four different reds mentioned by Mondrian - red, orange-red, light red and deep red. A direct connection can be made with orange-red as it occurs explicitly in Tableau 3, with Orange-Red, Yellow, Black, Blue and Gray (1921, Basel, Kunstmuseum) so it can assumed the paint box was painted in something approaching this colour. For the remaining reds there is less certainty. One possibility for deep red is the earlier Checkerboard Composition with Dark Colors (1919, Hague, Gemeentemuseum), which provides a link between painting and large front window. However on his return to Paris, Mondrian made a concerted effort to move away from the regular grid and for him to reintroduce colours from this period seems unlikely. A better candidate would be Composition with Yellow, Red, Black, Blue and Gray (1920, Amsterdam, Stedelijk Museum) where, in comparison to other works of the period, the red appears far deeper. The red and light red pose the most problems as Mondrian used various mid-toned reds in the 1920-22 paintings. The best comparison can be made with Composition with Yellow, Blue, Black, Red and Gray (1921, New York, Stephen Mazoh) and Tableau I, with Black, Red, Yellow, Blue and Light Blue (1921, Köln, Ludwig Museum), where the first picture uses slightly lighter red in contrast to the bolder richer red of the second. Whether or not Mondrian would have marked such a small variation in the Trialogue by giving the reds varying names is debatable. The painting titles of the period suggest when two shades of the same colour are mentioned they usually refer to two very distinct colours - the above example Tableau I is case in point. Mondrian may therefore have been referring to a red similar to Composition with Grid 6: Lozenge Composition with Colours (1919, Otterlo, Kröller-Müller Museum) where the red is muted and verging towards pink. In an effort to maintain consistency I have assumed that the colours used in the studio were most similar to the colours used in the 1920-1922 paintings. This seems the most plausible explanation and I have therefore used reds from the two 1921 pictures mentioned above. There are four different whites mentioned by Mondrian in the text - white, cool white, near white and ivory. Mondrian never explicitly referred to white when titling his pictures probably due to the fact it was a base tone that remained a constant in his work from 1920 onwards. The term ivory is unusual and perhaps refers to a glossy finish resulting from painting wicker as he had done with the chair. In this respect ivory probably also refers to pure white. Assuming this to be the case, comparing the paintings suggests that Tableau 3, with Orange-Red, Yellow, Black, Blue and Gray (1921, Basel, Kunstmuseum) is the closet to what Mondrian described as white, it being the nearest shade to pure white available. Cool white suggests a muted tone probably similar to the colour used in the top horizontal plane of Composition B (1920, Ludwigshafen, Wilhelm-Hack-Museum). In context, near white suggests a grayer tone similar to the central square plane in Composition with Yellow, Red, Black, Blue and Gray (1920, Amsterdam, Stedelijk Museum). The rest of the Trialogue talks only of single colours. Gray is the most challenging as at this time it was used with the greatest variation. Grays appear often as mixtures of white and black and white and blue. Blotkamp has used what can be best described as gray blue from the bottom left vertical plane of Composition C 1920. This colour is one of the less common grays and my feeling is that Mondrian probably used a more typical gray in the studio. He certainly seems to have favoured several far lighter, less blue grays in the Départ studio, something akin to the bottom left vertical plane in No. The obvious choice for yellow is Composition with Yellow, Red, Black, Blue, Gray (1920, Amsterdam, Stedelijk Museum) in which both the deep red and black occur which are also the dominant colours of the left hand side of the front wall of the studio.