18 



THE POPULAR EDUCATOR. 



are able to produce, he will the more readily comprehend, and 

 be better able to imitate, the innumerable degrees of tone and 

 tint as they appear to him in Nature. Similarly, greys and all 

 neutral tones may be made warmer or cooler as the occasion 

 requires. This is one of the most important studies of the 

 painter. His greatest difficulties with regard to colour -will 

 arise in the use of greys, and in harmonising neutral tones. 

 There is no limit to their gradations, and in proportion as they 

 are understood and applied, so will the ability of the painter 

 and the merit of his work be estimated. Nobody has yet 

 painted them all; and when we say one artist is greater than 

 anovoer in the use of colour, it is principally on account of his 

 grette..* comprehension of the use of greys, and his power of 

 adapting them to the colours he uses, so that, by skilful 

 management, the greys may enhance the purity and brilliancy 

 of the positive colours according as the character of the subject 

 upon which he employs them requires it. We will give one 

 example where the same grey placed by the sides of extreme 

 warm and cool colours will appear from the connection to be so 

 widely different that it would scarcely be thought to be the 

 same tint, and it will show how colours influence one another. 

 We ask our pupils to try the following experiment : Take 

 three saucers, and in one mix a rather strong tint of Prussian 

 blue, in another cadmium yellow and crimson lake, in the third 

 prepare a grey tint, composed of cobalt and a little light red ; 

 then take two pieces of paper, and cover the upper part of one 

 with the Prussian blue, and the upper part of the other with 

 the cadmium yellow and lake. When dry, continue from the 

 edge of each colour a wash of the grey; it will be seen that the 

 latter in juxtaposition with the cool colour will appear to be 

 warm, and the same in alliance with the warm colour will 

 appear to be cold, and the two colours respectively will seem 

 to be made more blue or yellow, that is, more intense than if 

 painted alone. If Indian ink be used instead of grey, the 

 contrast is even more striking. Here, then, is the first prin- 

 ciple upon which is founded the theory of the use of grey in 

 union with the primary colours in order to increase their 

 brilliancy by the contrast. 



The subject we have chosen for our lesson (Fig. 5), evening 

 or sunset, is not an elaborate one, nor do we intend to go beyond 

 the leading principles to be observed in painting it. It will re- 

 quire very few colours : crimson lake, burnt sienna, yellow ochre, 

 cadmium yellow, gamboge, brown pink, sepia, cobalt, and indigo. 

 That is, we will restrict ourselves to these colours, for with them 

 the theory of light and shade, the contrasts of warm and cold 

 colours in their arrangement and general effects, can be suf- 

 ficiently explained, and leave for private study all minor details 

 in relation to colour that arise from various accidental circum- 

 stances, which are found to differ in every subject, though 

 every subject contains them more or less. If our pupils can 

 accompany us only to the extent we can possibly attempt to 

 lead them with merely written instructions, we shall have so 

 far assisted them that they may afterwards pursue their course, 

 depending upon their own observations from Nature, bearing 

 in mind that we have endeavoured to impress upon them that 

 warm colours will appear more so when contrasted by cold 

 ones, and that light will appear brighter in contrast with dark, 

 provided that the semi-tones are judiciously managed. Thus 

 by contrast, not necessarily violent, brilliancy and force are 

 increased. (See the remarks upon shadows in Vol. I., p. 362, 

 in " Lessons in Drawing," No. XII.) 



We will now proceed with our subject, and commence with 

 an old caution respecting the outline let it be made percep- 

 tible, and no more. We must begin with the sky. Turn the 

 drawing upside down, and let it be inclined so that what is 

 really the bottom of the picture is now from its position the 

 most elevated, as the positions of the letter A and B explain. 

 Mix in a saucer a less than middle tint of cadmium yellow. 

 This powerful yellow will be the most suitable for our purpose. 

 Begin with a wash of this tint from the edge A A as far as B B, 

 to the upper line of the hills, afterwards increase its strength 

 a little, and then let it become a graduated tint from E E 

 through the rest of the sky. It is always safe for a beginner 

 not to make his tints too strong, as they can be repeated if 

 necessary. When dry, turn the picture back into its proper 

 position, still preserving the inclination ; and commence from 

 D D with a wash composed of cobalt blue and a little lake. 

 This must also be graduated, and cease at about E E. It must 



bo observed that the blue tint must be a light one, for although 

 the previous yellow mixture has been decreasing in depth to the 

 top of the picture, the blue tint must not be carried down to 

 the same extent, as it would neutralise or destroy the purity of 

 the yellow, and again, when passing over the yellow with the 

 blue it must be done carefully, with one wash, for the oftener 

 the brush passes across an under colour, the danger of washing 

 it up is increased. Cover the mountains with the blue tint with 

 which the upper part of the sky was painted, and when dry 

 repeat it again, excepting those parts which catch the light on 

 the summits ; wash off the edge (remember, the edge only) at 

 the base, clean the brush, and take the cadmium tint of the 

 sky and paint the water. The whole of the foreground may be 

 passed over with a light mixture of burnt sienna and yellow 

 ochre. The shadows in the foreground must be made with 

 cobalt blue, lake, and a little sepia. Let the blue and lake 

 be in greater proportion than the sepia, because this purple 

 grey upon the warm ground previously painted with burnt 

 sienna and ochre will be sufficiently neutralised with only a 

 small addition of sepia. The broad shadows of the dark tree 

 may be passed over with the same grey. If, as thepicturo 

 proceeds, it is discovered that the sky is too low in tone, mix a 

 light tint of cadmium yellow and lake, and pass it over the 

 whole of the sky, from the top to the edges of the hills. Should 

 it bo found when dry that the last wash has accidentally gone 

 beyond the edge of the hills so as to produce a heavy margin, 

 wet the parts with a clean brush, press a piece of blotting-paper 

 upon them, and rub the parts very gently with a folded silk 

 handkerchief. If carefully done, the original ground will be 

 restored without any injury. This last tint may most likely 

 be required over the water also ; in this case, break it off into 

 the lights in the foreground. If the last wash upon the sky 

 has proved satisfactory, add to the same tint a little more lake, 

 and with a light hand touch in the clouds. As they ascend 

 into the upper part of the sky, add some of the grey tint to 

 the last, and paint the darker clouds. Before painting the 

 trees, do something more to the foreground. Mix a little 

 indigo with gamboge and yellow ochre, and paint the lights 

 only of the grass and herbage, etc., close to the edges of the 

 shadows before painted. Indigo and brown pink will be useful 

 to define the character of the foreground by giving a little more 

 decision to the forms of the leaves and weeds, without destroy- 

 ing the cool shadows that must bo in contrast and give strength 

 to the warm lights. The dark tree may be painted first with 

 brown pink only, preserving the openings to the sky ; after- 

 wards it must be made out with indigo and brown pink. These 

 two colours combined compose a rich dark green, that can be 

 made either warmer or cooler according to the proportion of 

 indigo or brown pink added to it. Keep the ground of the 

 shadows cool, upon which make out with the dark warm green 

 all particulars approaching the light. The smaller tree on the 

 left partakes of the colour of the sky and dark tree united. 

 We have introduced the white sail of a boat under the hills to 

 assist the colour of the distance. To do this, draw the form 

 of the sail with a wet brush, take up the superfluous water with 

 blotting-paper, and then rub the part with india-rubber. The 

 hull of the boat must be of the grey distance. The edges of the 

 shore, and the sides of the stones which are away from the 

 light, are painted with the grey tint, some parts darker, others 

 lighter. These general directions may be closely followed whilst 

 repeating the practice of this lesson a few times. Then the 

 pupil will begin to see how colours can assist or weaken one 

 another, so that by degrees he will be induced to apply them 

 to a much greater extent than can be explained in these pages, 

 with less fear of any serious failure. 



LESSONS IN FRENCH. LXXIX. 



98. RESPECTIVE PLACE OF THE PRONOUNS WHEN TWO 

 OCCUB WITH ONE VERB. 



(1.) WHEN two pronouns occur, one direct object, and tha 

 other indirect object, governed by a understood, the pronoun 

 indirect object, if not in the third person singular or plural, 

 must precede the pronoun direct object : 



II me le donnera. 

 II te le pretera. 



He will give it to me. 

 Hi will lend it to thee. 



