In his hands it is neither subtle nor ingenuous; it is opaque, of the colour of blood thinned with water, or of pink sticking-plaister, excepting when it trends on the hue of wine-lees, like that of the Saviour's sleeves.
And it is heaviest of all in the saints' cheeks.

It looks glazed, like the surface of pie-crust; it has the quality of raspberry syrup drowned in white of egg.
These are in the main the only colours used by Angelico.

A magnificent blue for the sky and another vile blue, white, brilliant red, melancholy pinks, a light green, dark greens, and gold.

No bright yellow like everlastings, no luminous straw-colour; at most a heavy opaque yellow for the hair of his female saints; no truly bold orange, no violet, either tender or strong, unless in the half-hidden lining of a cloak or in the scarcely visible robe of a saint, cut off by the frame; no brown that does not lurk in the background.

His palette, as may be seen, is very limited.
And it is symbolical, if we consider it.