SCIOPTICON MANUAL. 137 



dow into which the sun does not directly shine. The little 

 screen which fits the easel is to guard the eyes of the artist 

 from extra light which comes from above the easel. 



Although the pigments in our list are so few in num- 

 ber, yet with these, by proper admixture, all the colors 

 can be made. 



To mix these colors for painting we will suppose we 

 take from one of the tubes a quantity of color of the size 

 of a small pea, to which we add about half as much Canada 

 balsam, and one or two drops of siccatif. The use of the 

 balsam is to make the colors transparent; the siccatif 

 is simply a drier, and of this last we should always use 

 as little as is consistent with the colors drying in a rea- 

 sonable time. 



If a picture involving a variety of colors is to be 

 painted, it is best before commencing the work to pre- 

 pare not only the simple colors in the tubes, but also 

 some of the most important mixtures, as follows: 



Greens. Prussian blue and Italian pink. (To make 

 a dull green, use some burnt sienna with the above.) 



Orange and Flesh-tints. Italian pink and crimson 

 lake. For some shades add burnt sienna. 



Browns. Italian pink, Prussian blue, crimson lake, 

 and burnt sienna. 



Any shade of brown or neutral tint can be made by 

 the use of these pigments in various proportions, which 

 can only be learned by experiment. 



Having prepared the colors on the glass slab (mixing 

 well with the palette-knife), and the drawing being all 

 ready, after dusting we proceed to apply the first color- 

 ing. 



If the subject is a landscape, the first thing to paint 

 is the sky. A little color, slightly thinned with ol. tur- 

 pentine, can be applied with two or three strokes of a 

 wide brush. It does not answer very well to torture 



