408 PAINTING TRANSPARENCIES. 



your work. After tracing in your design, the 

 colours must be laid on in the usual method of 

 stained drawings. When the tints are got in, you 

 must place your picture against the window, on a 

 pane of glass framed for the purpose, and begin 

 to strengthen the shadows with Indian ink, or with 

 colours, according as the effect requires, laying the 

 colours sometimes on both sides of the paper, to 

 give greater force and depth of colour. The last 

 touches for giving final strength to shadows and 

 forms, are to be done with ivory-black, or lamp- 

 black prepared with gum-water, as there is no 

 pigment so opaque and capable of giving strength 

 and decision. 



When the picture is finished, and every part has 

 got its depth of colour and brilliancy, being per- 

 fectly dry, you touch very carefully with spirits of 

 turpentine on both sides, those parts which are to 

 be the brightest, such as the moon and fire, and 

 those parts requiring less brightness, only on one 

 side. Then lay on immediately with a pencil, a 

 varnish made by dissolving one ounce of Canada 

 balsam in an equal quantity of spirit of turpentine. 

 You must be cautious with the varnish, as it is apt 

 to spread. When the varnish is dry, you tint the 

 flame with red-lead and gamboge, sHghtly tinging 

 the smoke next the flame: the moon must not be 

 tinted with colour. 



Much depends upon the choice of the subject, 

 and none is so admirably adapted to this species of 

 effect as the gloomy Gothic ruin, whose antique 

 towers and pointed turrets finely contrast their 

 dark battlements with the pale, yet brilliant moon. 

 Rays passing througli the ruined windows half 

 choaked with ivy, a fire amongst the clustering- 

 pillars and broken monuments of the choir, round 



