THE CIVIL ENGINEER AND ARCHITECTS JOURNAL. 



[January, 



and blue. Varnished with gum mistic dissolved in oil with sal. satur- 

 niii and rock alum, col. }'ello\v, lake, and Naples and black mixed 

 with Varnish. 



Miss Kitty Fisher — Face cerata — drapery painted con cera e poi V. 

 (varnished.) 



Lord Villers — given to Dr. Barnard, painted with vernice fatto di 

 cera et Venice turpentine, uiesticato con gli colori macinati in olio, 

 oarmine in lieu di lacca. 



1707 — Count Lippe, senza olio in finishing. 



(Exhibited at the B. G. since; had stood well.) 



5. 



My own, ditto— Mrs. Goddard, ditto. 



Miss Cholmondely — con olio e vernice con Yeo's lake and niacgylp. 



Mio proprio, given to Mrs. Burk, con cera, finito cpiasi, poi con 

 mastic ver. finito interamente, poi cerata senza colori. 



Oft'e's picture with cera et cap. solo cinabro ; glazing — senza olio, 

 varnish of mastic solo — Yeo's yellow, vermilion and blue. 



Sir Charles and Master Bunbury, 1768.— July 29, 1768— in vece di 

 nero, si puo servire di Itirchino e cinabro, e lacca giallo. (Nov. 28th, 

 1768, probatum est.) 



2nd silting too yelluw. 



The glazing di cinabro e turchino senza cera. 



11. 



April 3r(l, 17(1','.— Per gli colori. Cinabro, lacca, ultramarine i- nero, 

 senza giallo — ])rima in olio, ultimo con vernice solo, c giallo. 



Mav 17, 176'J. — On a grey ground, first sitting verm, lake, white, 

 black; second, ditto ; third ditto, ultramarine ; last, senza olio, yellow 

 ochre, black, lake, verm, touched on with white. 



12. 

 Mrs. Boverie. — The face senza olio and the boy's head, the rest 

 painted with olio, and afterwards glazed with varnish and colour, ex- 

 cept the green, which was glazed with oil and then varnished — the 

 vail and white linen finished senza. 



13. 

 July 10th, 1760. —My own picture, painted first with oil, painted 

 with lake, yellow ochre, bine and black, cop. e cera vernice. Doctor 

 Johnson and Goldsmilh, first olio, after with copaiva with colori but 

 without white, the head of Goldsmith with cop. and white. 



Mrs. Horton. — Con copaiva .senza giallo, quandu era finito, di pin- 

 gere con lacca e giallo, quasi solo, e poi glaze with ultramarine. 



, ,„ f Sono stabililo in maniera di dipingere 

 June 2Lnd, 1/ /U. ^ j ^^^^ established in my mode of painti _ 

 After saying this, from the rapture of the moment, he details what 

 is the manner in which he is established, as follows. 



ng. 



Primo e secondo, o con olio, o copivi gli colori. (First and second 

 painting, cithtr oil, or co[jaiva — \f cilhcr will do he was ncjt established.) 



Secoudu medesimo— ultimo con giallo okero, e lacca, e nero, e ultra- 

 marino, senza biacca — ritoccata con poco biacca c gli alteri culori. 

 My own, given to Mrs. Burk. 



This he says is now his fixed manner. 



16. 

 Feb. 6tb, 1770 — Primo olio, biacca e nero (first oil, and black 

 and white) ; secondo biacca e lacca (terzo) lacca e giallo e nero senza 

 biaacc, in capivi. 



May,^ 1770. — My own picture — canvas unprimed, cera finito, con 

 vernice. 



18. 

 June 12tb, 1770. — Paese cLandscape), senza rosso, eon giallo nero, 

 e turchino, e biacca — cera. 



10. 

 The NicEBan Nymph with Bacchus — principato con cera solo, finito 

 con cera e copivi, per causa it cracked'. Ditto, St. John' {Very 

 likely.— B. R. H.] 



20. 

 Otle — Interamente con copivi e cera— in testa [sopta un fondo pre- 

 parato con olio e biacca. 



Lady Melbourne. — Ditto, sopra una tela di fondo (a lavv canvas). 



22. 

 Hickey. — Venn, carmine azzuro (Venice turp. e cera). 

 Stabilito in maniera de servirsi de Jew's pitch! 

 (1 am established in my mode of using Jew's pitch.) 

 Lake, verm, carmine azzuro e nero; vernice — Ven, luip. e ceia. 

 (Varnish — Venice turp. and wax)!! 



23. 

 My own, | First acqua (water) e goinma dragona, verm, lake, black 

 April 27, > without yellow ; varnished with egg after Venice turpen- 

 1772. j tine!!! 



Good Heavens ! Egg after a resin! — B. R. H. 



I have still enough for a third letter on this interesting subject, 

 which I think likely to show the student the fatal consequences of such 

 eternal change of material. It was certainly an infatuation which 

 would have ruined any ordinary talent, and it very nearly seriously 

 injured .Sir Joshua's repute, though the perpetual appearance of splen- 

 did things, in spite of his cracked aud faded works, proved he had 

 generally bcnefittid by his daily experiments. Every picture which 

 Reynolds spoilt was a loss to the world. Your readers must feel 

 greatly indebted to the liberality of Mrs. Gwatkin. 



B. R. H. 



London, December 13///, 1S44. 



P. S. — I have copied every word literally, and am not answerable 

 lor any false concords or mis-spelling. 



THE APOLOGY. 



Sir Joshua Reynolds' M. S. Diart. 



'• If knaves and fools 1 lash, 'tis mine to spare 

 The liieast of worth and head of silvered hair." 



Sir, — In a firm reliance on the word of Sir Martin Archer Shee, as 

 President of the Royal Academy, an artist, a gentleman, and the as- 

 serted personal friend of Sir Joshua, my pen threw a doubt and slur on 

 the authenticity of that, however vacillating and mistaken, still un- 

 questionably iilnslrious man's autographic remains, and gave unme- 

 lited pain to his respectable relative Mrs. Gwatkin, to whom I tender 

 here my humble apology and regret. 



I have seen the lea/ she transmitted to London, aud compared that 

 leaf with a copy made many years ago by another person, and placed 

 in my hands three weeks before 1 saw Mr. Haydon's letter in your 

 Journal. 



I have ascertained also that six correct copies are in existence, viz., 

 the one spoken of by Mr. Haydon as made by Sir William Beechy, 

 one made by Mr. Dinsdale, as a /ac simiit; from Mr. Eastlake's, and 

 four others in the hands of Royal Academicians, who have held them 

 under Sir Martin's nose many years, viz. Mr. Eastlake's, Mr. Pickers- 

 gill's and Mr. Dyce's (both made from the first), and one in the hands 

 of Mr. Phillips, the history of which I am not acquainted with.* 



Now to suppose Sir Martin ignorant, two years ago, of their existence 

 or their authenticity would be absurd. I must leave the discovery of 



1 liave strong reason to believe Mr. Phillips made the first copy since Sir Joshua's 



