332 
the first masters of (he modern Italian schools, 
and is generally thought to have been disco- 
vered in the 1 4th century. It was first used 
on board or pannel, afterwards on plates ot 
copper, and on linen cloth. Whichever ot 
these materials is used for the purpose ot 
painting on, it is requisite that a ground of 
colour is previously laid, which is called the 
priming; or else that they are covered with a 
Haver of size, or other glutinous substance, 
to preventthe oil from penetrating, and being 
wholly absorbed during the painting of the 
picture. These preparations are familiarly 
known to all colourmen. 
In some of the pictures of Titian and 
Paolo Veronese, there is reason to believe 
that they laid their ground with water-co- 
lours, and painted over it with oil, which 
contributed much to the vivacity and fresh- 
ness of their works, by the ground gradually 
imbibing sq much of the oil as may be requi- 
site to preserve the brightness of the natural 
colours. 
As the superior beauty of oil-painting de- 
pends on the vividness and delicacy ot du- 
rable tints, we shall present the student with 
the best rules drawn from a careful study of 
the works of Vandyck and Rembrandt, two 
of the most remarkable colourists in different 
styles. These rules are arranged in so easy 
a method, that the student may be led, step 
by step, through all the difficulties of this 
nice and pleasing progress. 
We shall first treat of the painting of flesh, 
next of draperies, then of tire back-ground, 
and lastly of landscapes. 
OF PAINTING FLESH. 
Principal colours from which all the tints 
rf the flesh arc made, and their qualities in 
painting. 
Flake-white is the best white known to us. 
This colour should be ground with the finest 
poppy-oil that can be procured. It is olten 
found to turn yellow, on account of the oil, 
generally sold by that name, not being really 
drawn from poppies. 
"White comes forward to the eye with yel- 
lows and reds, but retires with blues and 
greens. It is the nature of all whites to sink 
into whatever ground they are laid on, there- 
fore they should be laid on white grounds. 
Ivory-black is the best black : it is a co- 
lour which mixes kindly with all the others. 
It is the true shade for blue; and when mixed 
with a little Indian red, it is the best general 
shadow-colour that can be used. It is gene- 
rally ground with linseed-oil, and used with 
drying oil. 
black is a cold, retiring colour. 
Ultramarine is the finest blue in the world : 
it is a tender retiring colour, and never glares, 
and is a beautiful glazing colour. It is used 
with poppy-oil. 
Prussian-blue is a very fine blue, and a kind- 
working colour : it is ground with linseed-oil, 
though nutioil is more proper. It should 
never be used in the flesh, but in green tints 
and the eyes. 
Light-ochre is a good mixing colour, and of 
great use in the flesh: it is usually ground 
with linseed-oil, but nut-oil is better. All yel- 
lows are strengthened with red, and weaken- 
ed with blues and greens. 
Light-red is nothing but fine light ochre 
burnt. This and wliite, in mixing, produce a 
PAINTING. 
most perfect flesh-colour. It is a beautiful, 
clean colour ; but too strong for the white, 
and therefore will grow darker. It should be 
ground and used with nut-oil. 
No vermilion but what is made of the true 
native cinnabar should be used. It will not 
glaze ; but is a fine colour when it is glazed. 
It is ground with linseed-oil, and should be 
used with drying oil. 
Carmine is the most beautiful crimson : it 
is a middle colour, between lake and vermili- 
on; is a fine-working colour, and glazes well 
It should he ground with nut-oil, and used 
with drying oil. 
Lake is a tender deep red, but of no strong 
body; therefore it should be strengthened 
with Indian red. It is the best glazing co- 
lour that, can be used. It is ground with 
linseed-oil, and used with, drying oil. 
Indian red is a strong pleasant-working 
colour, but will not glaze well; and when 
mixed with white, falls a little into lead: it is 
ground and used as the lake. 
Brown pink is a fine glazing colour, but of 
no strong body. In the flesh it should never 
join or mix with the lights, because this co- 
lour and white antipathize, and mix ot a warm 
dirty hue; for which reason their joinings 
should be blended with a cold middle tint. 
In glazing of shadows it should be laid be- 
fore the other colours that are to enrich it: 
it is one of the finishing colours, and there- 
fore should never be used in the first paint- 
ing. It is strengthened with burnt umber, 
and weakened with terraverte; ground with 
linseed-oil, and used with drying oil. 
Burnt umber is a fine warm brown, and a 
good working strong colour: it is of great 
use in the hair, and mixes finely with the 
warm shade. 
Principal tints, composed from the foregoing 
principal colours, and necessary for paint- 
ing Jies/i. 
Light red tint is made of light red and 
white: it is the best-conditioned ot all colours, 
for the general ground of the flesh. W ith 
this colour and the shade tint, you should 
make out all the flesh, like claro-obftc.uro, or 
inezzotinto. Remember, that this colour will 
grow darker, because it is in its nature too 
strong for the white; therefore you should 
improve it, by mixing vermilion and white 
with it, in proportion to the fairness of the 
complexion. 
Vermilion tint is only vermilion and white 
mixed to a middle tint: it is the most bril- 
liant light red that can be. It agrees best 
with the white, light red, and yellow tints. 
Carmine tint is carmine and white only, 
mixed to a middle tint; it is, of all colours, 
the most beautiful red for the cheeks and 
lips: it is one of tiie finishing colours, and 
should never be used in the first painting, but 
laid upon the finishing colours without mix- 
ing. 
Rose tint is made of the red shade and 
white, mixed to a middle degree, or lighter: 
it is one of the cleanest and most delicate tints 
that can be used in the flesh, for clearing up 
the heavy dirty colours, and in changing will 
sympathize and mix kindly. 
Yellow tint is olten made ofNaples yellow 
and white ; but it is as well to use l ght ochre 
and white, which is a good working colour. 
The ochre is too strong for the white ; there- 
fore you should make a little allowance in 
using it. It follows, the light red tints and 
yellows should always be laid before, tho 
blues. If you lay too much of it, you may 
recover the ground it was laid on with the 
light red tints. 
Blue tint is made of ultramarine and white, 
mixed to a lightish azure : it is a pleasant- 
working colour; with it you should blend the 
gradations. It follows the yellows, and with 
them it makes the greens ; and with the reds 
it produces the purples. No colour is so 
proper for blending down, or softening the- 
lignts into keeping. 
'"Lead tint is made of ivory-black and tine 
white, mixed to a middle degree : it is a 
retiring colour, and therefore is ot great me 
in the gradations, and in the eyes. 
Green tint is made ot Prussian blue, light 
ochre, and white. This colour will dirty the 
lights, and should be laid sparingly in the 
middle tints. It is of most use in the red 
shadows, where they are too strong. 
Shade tint "is made of lake, Indian red, 
black, and white, mixed to a beautiful mur- 
rey colour, of a middle tint. This is the 
best mixture for the general ground of sha- 
dows. It mixes well with the lights, and pro- 
duces a pleasant clean colour, a little inclined 
to the reddish pearl. As all the four colours 
of its composition are ot a friendly sympa- 
thizing nature, so consequently this will be 
the same, and therefore may be easily chan- 
ged by the addition of any other colours. 
Red shade is nothing but lake and a very 
little Indian red. It is an excellent working 
colour, and a good glazer: it strengthens the 
shadows on the shade tint, and receives, when 
it is wet, the green and blue tints agreeably. 
It is a good ground for all dark shadows. 
Warm shade is made of lake and brown 
pink, mixed to a middle degree. It is a line 
colour for strengthening the shadows on the 
shade tint, when they are wet or dry. Take 
care that it does not touch the lights, be- 
cause they mix of a dirty colour, and there- 
fore should be softened off with a tender cold 
tint. 
Dark shade is made of Ivory-black and a 
little Indian red only. This colour mixes 
very kindly with the red shade, and blends 
agreeably with the middle tints in the dead 
colouring. It is excellent for glazing the 
eyebrows and the darkest shadows. 
^ Process. The process of oil-painting, par- 
ticularly in the colouring of flesh and in land- 
scape, is to be divided into three stages, or 
paintings. 
The colours and tints necessary for the 
first and second stages of painting flesh, are ; 
1. flake, or fine white; 2. light ochre and its 
tints; 3. light red and its two tints; 4. vermi- 
lion and its tint; 5. a tint composed of lake, 
vermilion, and white; 6. rose tint; 7. blue 
tint; 8. lead tint; 9- green tint; 10. half- 
shade tint, made of Indian red and white ; 11. 
shade tint; 12. red shades ; 13. warm shade. 
The finishing pallet for a complexion re- 
quires five more, viz. 1. carmine and its tint ; 
2. lake; 3. brown pink; 4. ivory-black; a. 
Prussian blue. 
first stage, or dead-colouring of flesh. 
The first lay of colours consists of two 
parts; the one is the work of the shadows 
only, and the other that of the lights. 
The work of the shadows is, to make out all 
the drawing very correctly with the shade 
