Golden’s version performed relatively well, but some brands can fall to a BWS 6 in tints, so lightfastness testing may be advisable. In watercolor, Bruce MacEvoy found that it varies from brand to brand which is also echoed by its low ASTM ratings vs the relatively high ASTM equivalencies found in the variety chosen by Golden. In oil, recent tests from Golden on mixing whites, their version performed at ASTM I with most whites, but tested at ASTM II in Williamsburg’s Flake Whites (Linseed and Safflower), as well as in pure Zinc White (however another brand of Flake White tested differently). In regards to PR177 generally, Virgil Elliot’s tests have shown that this crimson does fade with years of direct exposure to sunlight. His tests suggest that in the long run it is not all that much better than Alizarin Crimson PR83, though his tests were more harsh than the ASTM and examined long-term exposures. He found that specific preparations of natural rose madder NR9 (though a different color- more of a pink) actually fared better long-term than PR177, though high quality varieties of NR9 are closer to an ASTM II overall. However, small variances in the manufacture of NR9 make a big difference and the type of Rose Madder he tested is no longer being made by the same company. It is fairly ironic that natural madder may perform better over the years in some contexts than either the synthetic Alizarin Crimson or Permanent Alizarin PR177.