THE BOOK OF THE LANTERN. 167 



produce an effective picture with three colours than can 

 one ignorant of it, although he may have the run of all 

 the artists' colour-shops in the kingdom. He can never go 

 far wrong if he will, so far as the subject will allow, place 

 green against red, orange near blue, and yellow in conjunc- 

 tion with purple. A subject, such as an Oriental street- 

 scene or bazaar, where such combinations can be made 

 without stint, has a most gorgeous effect when projected 

 upon a screen. Each of these colours can at the same time 

 be mingled to give an endless range of tints, in fact, all 

 the colours of the rainbow. And now let me give a few 

 hints as to finishing colours and combinations useful for 

 special purposes, together with the best media with which 

 to mix them. In these finishing colours the dabber, except 

 in extreme cases, must be relinquished, and the brush 

 (camel hair and sable) alone employed. 



Skies and Clouds. Prussian blue (some prefer Chinese 

 blue), rose madder, purple madder, Italian pink. The blue 

 to be laid on as already described, using as a medium 

 McGilp and turpentine. In laying on after tints a small 

 quantity of copal varnish should be added. 



Water always reflects the colours above it. If the water 

 be very still, the effect of surface may be given to it by 

 drawing gently across it a dry (mop) brush, such as gilders 

 use. In brooks and running streams, lights may be picked 

 out while the colour is wet, with a pointed stick, or when 

 dry with the etching-needle. In representing rough sea, 

 we must remember that such water not only reflects the 

 colour of the sky above it, but shows also its local colour. 

 It may first be painted over with the sky colour, and, after 



