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THE POPULAR EDUCATOR. 



painters who have been in the habit of taking Nature as their 

 guide, and ask each to paint the same subject according to his 

 own ideas and the results of his own experience : we shall find 

 their practice and theory so different as to make us almost 

 doubt the possibility of their coming closely together at the 

 conclusion ; yet we find their finished pictures, when compared 

 .with the subject from which they were painted, to be truthful 

 representations, but each in a different way. 



It is then our desire to encourage our pupils to think for them- 

 selves, and to endeavour, as far as possible, to show them how to 



But the artist may be able to explain how colours are affected 

 in their combinations, and how they may be used to neutralise 

 or give more force to other colours under any particular arrange- 

 ment, or when employed for some especial purpose ; therefore, 

 in order to give a practical illustration of our observations, we 

 have selected a group of objects differing in colour, but belong- 

 ing to the same classification, to form the subject of our next 

 picture (Fig. 10). Our pupils may easily obtain any of these, and 

 place them on the table as they are arranged in the engraving, 

 with the light from the left. Now, as there are great varieties. 



Fig. 10. EFFECT OF COMBINATION ON COLOUR OUTLINE DRAWING. 



look at Nature, and how to distinguish the characteristic features 

 which mark the individuality of objects, even amongst those of 

 the same species. Whatever the experience of an artist may 

 be, he cannot say positively that such and such colours are to 

 be used invariably, even for the same class of objects, because 

 there are so many accidental circumstances operating to in- 

 fluence him in his mode of proceeding. The light may be 

 different at different times, it may be stronger or brighter on 

 , one occasion than another. This would very much affect reflec- 

 tions, and especially so if the surrounding objects sent back 

 their colours under a powerful light ; and besides, the very 

 objects themselves, though precisely the same in class and 

 character, may, from various causes, exhibit different degrees 

 of colour brighter, warmer, or colder, as the case might be. 



of these, especially the stable-lantern and the Jar, in size and 

 details of colour, it is obvious that there can be no positive 

 directions given as to the exact colour to be used, either in 

 quantity or order ; therefore, we can only explain the principles 

 upon which they must proceed in painting them, that our pupils 

 may be able to make their own deductions. 



We will commence with the jar. The majority of articles of 

 this kind are of a dark-brown, warm colour, from the top to 

 about one-third of the distance downwards ; there are some of 

 a pale, sickly yellow, approaching in tone to the rest of the 

 colour below, but we prefer to take the darker. The prevailing 

 colour in the upper portion is burnt sienna. The jar may not 

 be very evenly stained, but should there be darker portions than 

 the middle tone of sienna just mentioned (a, a, Fig. 10), paint them 



