MINIATURE PAINTING. 



575 



The ar- 

 rangement 

 uf the co- 

 kmrain 

 producing 

 cmiment. 



Of the 

 pipmtnu 



used. 



Miniature laid over a tint of vermillion, will produce a crimson 

 Painting, tint, almost equal in depth and richness to oil colours, 

 > "~**"^ a process analogous to what is called in oil painting 

 giazin*. The glazing colour must necessarily be per- 

 fectly transparent; and if the tint glazed in this man- 

 ner be opaque, the richness of the effect will be great- 

 er. 



In like manner, if any part of the picture has too 

 much of any particular colour, it will be best corrected 

 by a transparent wash of its opposite or contrasting 

 colour; thus, if the red predominate, a transparent 

 wash of green will subdue it, and bring it into har- 

 mony ; if green be too prevalent, it may be harmonized 

 with red, and so on ; and the finishing touches may be 

 added in a delicate manner, so as to bring up the effect 

 to a proper degree of smoothness. 



The scientific arrangement of the colours of the dra- 

 pery in a miniature, is of the greatest importance to iU 

 effect. In subjects where delicacy of sentiment ought 

 to predominate, the colours must be modest and sober, 

 without much variety ; in gayer subjects, a greater di- 

 versity of colour is admissible, without, however, vio- 

 lent contrasts or abrupt transition*, which miniature 

 palming hardly admits of in any case. 



In miniature painting, it is of great importance to 

 have a thorough knowledge of the qualities of the va- 

 rious pigments made use of, both as to the tints they 

 form when mixed with one another, and their transpa- 

 rency or opacity, as fitting them for the different parts 

 of the work ; for although the same tint may be com- 

 posed from different pigments, its fitness for any par- 

 ticular part of the picture must be determined by the 

 quality of its grain, its smoothness, transparency, or 

 opacity. Thus, in the carnation-, the most delicate and 

 transparent pigments only can be admitted ; in woollen 

 Muffs, and other substance* of the less flimsy sort, the 

 opaque pigments, (with even an addition of white to 

 increase their consistency,) are most suitable ; while in 

 thin l,_'ht draperies, transparent colours will be most 

 ;iiL-nt for the -hudows, and the lights may be de- 

 licately heightened with opaque colours. 



The following are a list of the pigments most gene- 

 rally ued in miniature painting ; and in reference to 

 the above observations, we have arranged them into 

 three classes, viz. Transparent, Semitransparent, and 

 Opaque. 



Opaque Colour*. 



Constant White, Vermillion. 



Flake White, Indian Red, 



Yellow Ochre, Burnt L'raber, 



Roman Ochre, Lamp Black. 

 Prussian Green, 



Transparent Colour*. 



Gall Stone, Carmine, 



Gamboge, Vandyke Brown, 



Sap Green, Sepia, 



Brown Pink, Ivory Black, 



Lake, Indigo. 



Semilrantparent Colours. 



Burnt Terra di Sienna, Antwerp Blue, 

 Indian Yellow, Burnt Ochre. 



Ultramarine, 



These colours are usually made up into cakes, and 

 rubbed with water upon a stone plate or tile. The best 



water colour cakes are those manufactured by Newman Miniature 

 & Co. and Smith, Warner & Co. of London. ^^ 



The colours are diluted to a proper consistency with 

 clean water, and worked with hair pencils. 



In water colour painting of every kind, the addition Of ox-sal!, 

 of a very minute quantity of ox-gall to the water, will 

 make the colours work ' with great ease, particularly 

 where any greasiness occurs. The ox-gall, as procured 

 from the shambles, may be boiled to dryness in a cup, 

 and in this state it may be preserved for any length of 

 time. A small quantity of this substance in the dry 

 state, not larger than a pin-head, will be sufficient for 

 a wine-gkaafol of water, and with this the colours are 

 to be wrought. The ox-gall may also be preserved for 

 a long time in the fluid state, by mixing it with a little 

 spirit of wine, or other ardent spirit. 



It is also necessary to have a small phial of the solution 

 of gum Arabic, which is to be added to the colours, as 

 may.be required, particularly where it is desirable to 

 give great depth of tone to the picture. 



The chief quality in a hair pencil is, to have great 

 elasticity, and a line point, without being itself too 

 small. The table hair pencils are the best sort. 



When a miniature picture, by repeated working and 

 touching, has acquired any asperities on its surface, it 

 will be necessary to remove them by the dextrous ap. 

 plication of the scraper, and any damage that it may have 

 sustained by this process, is easily repaired with the 

 hair pencil, and a little colour. The scraper is also of 

 great use in obliterating small touches, which it would 

 be inconvenient to wash off with water, but if the al- 

 teration required, is extensive, it is preferable to wash 

 the part with water and hair pencil. 



In the execution of a miniature, there are three differ- Of n^h- 

 ent modes of laying on the colours, namely, by flat in S> hatch- 

 washes, by hatching, and by stippling. The first term '"? * nd 

 sufficiently explains itself, and by this process the great- '"I'P 1 " 1 *- 

 er part of the miniature ought to be executed. Hatch' 

 ing is that method by which lines are made to cross 

 each other in every direction, in the manner of a stroke 

 engraving ; and stippling consists of dots of greater or 

 Jess size and closeness, according to the effect intended. 

 The hatching and stippling are chiefly to be employed 

 in the more delicate parts of the picture, where much 

 variety and richness of colour are to be given ; but they 

 are to be introduced with much caution, so as not to de- 

 tract from the Miioothncss or other qualities of surface 

 which propriety may suggest. 



With regard to the degree of finishing, which it may Style of 

 be proper to bestow on works of this kind, no rule can execution. 

 be given ; and the example of many eminent artists of 

 the British tchool, sufficiently shews, that with judi- 

 cious management, guided by sound taste, all the pur- 

 poses of art may be attained, either with a light and de- 

 licate, or a more elaborate style of execution. Upon the 

 whole, we are rather inclined to give the preference to 

 the light, airy, and tasteful style, as exemplified in the 

 works of Mr. Cos way, and Mr. Antony Stewart, of 

 London, which we conceive more suitable to the gay 

 character of miniature painting. The works of Mr. 

 G. Sanders, Mr. A. Robertson, of London, Mr. W. J. 

 Thomson, and Mr. Nicholson, of Edinburgh, afford a 

 striking illustration of the power and brilliancy of co- 

 lour, and strength of chiaroscuro, of which this de- 

 partment of art is susceptible. 



As water colours are liable to fade by exposure to 

 light, they ought to be covered with a silk curtain, if 

 they are not secured in a cabinet, which is the mott 



