ON MICROSCOPICAL DRAWING AND PAINTING. 179 



well-furnished box on a clean porcelain palette, side 

 by side. When dry, those which appear dull and 

 dusty (however useful they may be in landscape in 

 large thin washes) reject. Everything may be 

 accomplished with the remainder. There is no 

 difficulty in conducting a painting by artificial light 

 when conversant with the character and combina- 

 tions of the few colours really required, a precau- 

 tion, however, is necessary in painting tissues 

 stained artificially with logwood or aniline dyes. 

 These colours are very deceptive, and differ in 

 appearance under degrees and qualities of light. 

 Logwood stain (often used) in daylight has a blue 

 tinge, under the lamp it appears as a decided port 

 wine tint, and a difficulty may (in fact, does) ensue 

 in matching day and lamplight work. When 

 the entire subject has to be painted in the same 

 tone, cakes of " mauve " and " aniline blue " now to 

 be procured may be used alone, and thus stained 

 tissues can be painted under any conditions of light 

 without falling into error. It need hardly be said 

 that such abnormal colours are to be used exclu- 

 sively for those special preparations, and should 

 never enter into the composition of, or even touch a 

 general palette required for natural representations. 

 Indian ink must be of superlative quality, the 

 difference in price, although not deadly, is great. 

 A piece should be secured, regardless of cost, and 

 treasured. 



With practice in cultivating accuracy of touch, 

 certainty of line, and ignoring the existence of 

 {i rubber" and knife-edge, no difficulty need be 

 anticipated in drawing on wood, zinc, or litho- 

 graphic stone. 



