333 
t'ut, in the same manner as if it was to be 
(1 me with this colour only; and remember to 
drive or lay the colour sparingly,. The lights 
should be all laid in with the light red tint, 
in different degrees, as we see them m na- 
ture. These two colours united, produce a 
clean, - tender, middle tint. In uniting tne 
lights and shades, you should use a long 
softener, about the size of a large swau-ouili, 
which will help to bring the work into cha- 
racter, and leave the colouring more delicate; 
then go over the darkest shadows with the 
rid or warm shade, which will iinish the iirst 
The warm shade being laid on the shade 
tint, improves it to a warmer hue; but it laid 
instead of the shade tints, it will dirty and 
spoil the colours it mixes with ; and it the red 
shade is laid Iirst, instead of the shade tint, 
the shadows would then appear too red; 
therefore, notwithstanding these two colours 
are the best that can be tor the shadows, yet 
they are too strong to be laid alone, which 
is a proof of the great use and merit of the 
shade tint. Here we may observe that the 
shade and light-red tints are so friend. y in 
their nature, that even in continually alter- 
ing and changing, they always produce a 
clean colour of a pearly hue. 
Next. In order to finish the first painting, 
improve the reds and yellows to the com- 
plexion, and after them the blues; observing, 
that the blues on the reds make the purple, 
and on the yellows produce the green. The 
same method is to be understood of the sha- 
dows ; but be sure to leave them clean, and 
not too dark ; therefore allowance should be 
made in the grounds with the light red, be- 
cause glazing them will make them darker. 
When the cloth is of a dark, or bad coloui, 
there must be a strong body of colour laid all 
over the shadows, such as will not sink into 
the ground, but appear warm, and a little 
lighter than the life, so that it may be of the 
same forwardness to finish as it it had been a 
light ground ; therefore the business of (lead- 
colouring is, that you leave it always in the 
same order for finishing, though the colour 
of the cloth is quite the reverse. 
The grounds of shadows, in what we call 
the dead-colouring, should be such as will 
support the character of the finishing colours; 
which ground must be clean, and a little 
lighter than the finishing colours, because the 
finishing of the shadows is glazing; and no 
other method than glazing can leave such 
brilliancy and beauty as they ought to 
have. If you begin the first painting with 
glazing, it will stare, and be of no use; and 
the solid colours which are laid on it, will 
look heavy and dull; therefore, all shadows 
and colours that are to be glazed, should be 
done with colours of a clean solid body, be- 
cause the glazing is more lasting, and has 
the best effect, on such colours. Remember 
to leave no roughness, that is, none such as 
will appear rough, and interrupt or hurt the 
character of the finishing colours ; which, by 
examining the work, whiht it is wet, with a 
soft tool, or when it is dry with a knife, may 
be avoided, as it will easily take off the knots 
and roughest parts. 
1'he light red and white improved is supe- 
rior to ail other colours for the first lay or 
ground; which should be always done with 
a full pencil of a stiff colour, made brighter 
than the light, because it will sink a little in 
PAINTING. 
drying. This greater the body and quantity 
of colour, and the stiller it is laid, the less it 
will sink. Every colour in drying will sink, 
and partake, in proportion to its body, of the 
colour if is laid on ; therefore,, ail the lights ol 
the flesh, if not laid on a light ground, must 
consequently change a little from the life, if 
there is not allowance made. The shade tint 
for the shadows should fall into the rose tint, 
as the complexion grows delicate ; - all which 
should be lightly united, with a soft long 
pointed hog-tool, to the lights, making out 
the whole like mezzotinto. i he great mas- 
ters very seldom softened or sweetened the 
colours; but in uniting the first lay, they 
were very careful in preserving the bright- 
ness of their colours, and therefore did not 
work them below the complexion: for to 
force or keep up a brilliancy in the grounds, 
can only be done with the whites, reds, and 
yellows, which method will make up for the 
deficiency of the white grounds; therefore, 
the Iirst painting should be left bright and 
bold, and the less the colours are broken the 
better. You should forbear using any co- 
lours that will produce them, and be content- 
ed to add what is wanting in the next paint- 
ing; where, if you fail, a clean rag will restore 
the first ground. 
Second painting , or second stage. 
The second painting begins with laying on 
the least quantity, that can be, of poppy-oil; 
then wipe it almost all off, with a dry piece 
of a silk handkerchief. 
The second painting is also divided into 
two parts: one, the first lay of the second 
painting; which is scumbling the lights, and 
•lazing the shadows ; the other, finishing the 
complexion with the' virgin tints, and im- 
proving, as far as you can, without daubing. 
First. Scumbling is going over the lights, 
where they are to be changed, with the light 
red tints, or some other of their own colours, 
such as will always clear and improve the 
complexion, with short stiff pencils ; but such 
parts only as require it, otherwise the beauty 
of the first painting will be spoiled. 
The light red tint improved is the best co- 
lour for scumbling, and improving the com- 
plexion in general. Where the shadows and 
drawing are to be corrected, you should do 
it with the shade tint, by driving the colour 
very stiff and bare, that you may the easier 
retouch and change it with the finishing tints. 
Some parts of the shadows should be glazed 
with some of the transparent shadow-colours, 
such as will improve and come very near to 
the life; but be sure not to lay on toomuch 
of it, for fear of losing the hue of the first 
painting, the ground of which should always 
appear through the glazing. Be very careful 
in uniting the lights and shades, that they do 
not mix dead and mealy; for the more the 
lights mix with the shades, the more mealy 
those shades will appear. Thus far the com- 
plexion is prepared and improved, in order 
to receive the virgin tints. 
Second. Go over the complexion with the 
virgin tints. These are the colours which 
improve the colouring to the greatest per- 
fection, both in the lights and shadows. 
This should be done in the same manner 
as you laid them in the second part of the 
first painting; that is, with the reds, yellows, 
and blues, blending them with delicate light 
touches of the tender middle tints, without 
softening. Leave the tints and their grounds 
clean and distinct, and be content to leave 
oil’ whilst the work is safe and unsullied, leav- 
ing what is farther required tor the next sit- 
ting ; for in attempting the finishing touches 
before the other is dry, you will lose the 
spirit and drawing, and your colours will be- 
come of a dirty hue. 
Third painting, or finishing. 
It is to be supposed, the complexion now 
wants very little more than a few light 
touches ; therefore there will be no occasion 
for oiling. 
Begin with correcting all the glazing; first, 
where the glazing serves as aground or under 
part; then determine what should be done- 
next, before you do it, so that you may be 
able to make the alteration on the part with 
one stroke of the pencil. By this method 
you preserve both the glazing and the tints; 
but if it happens that you cannot lay such a 
variety of tints and finishing colours as voir 
intended, it is much better to leave off while 
the work is safe and in good order; because*, 
those few touches, which would endanger 
the beauty of the colouring, may easily be 
done, if you have patience to stay till the co- 
lours are dry ; and then, without oiling, add 
those finishings with free light strokes of the 
pencil. 
Rembrandt touched up his best pictures 
a great many times, letting them dry be- 
tween. It was this method which gave them 
their surprising force and spirit. It is much 
easier to soften the over-strong tints when 
thev are drv, than when they are wet; be- 
cause you may add the very colours that are 
wanting, without endangeaing the dry work. 
If any of the colours of the pallet want to be 
a little changed to the life, when you are 
painting, ii is much better to do it with the 
knife on the pallet than with the pencil, be- 
cause the knife will mix and leave it in good 
order for the pencil. 
Of painting draperies. 
In order to shew the nature and different 
degrees of colours of tints' used in painting 
draperies, we must first determine how many 
divisions are absolutely necessary to make 
the first lay of colours, and after that the re- 
flections and finishing tints. 
The l ight method of painting draperies in 
general is to make out the whole, or the first 
lay, with three colours only, viz. the lights, 
middle tint, and shade tint. 
Observe that the lights should rather in- 
cline to a warmish hue; and the middle tint 
should be made of friendly-working colours, 
such as will always mix of a clean, tender, 
coldish hue. The shade tint should be made 
of the same colours as the middle tint, only 
with less light; therefore this tint will also 
mix of a tender clean colour. The beauty 
and character of the folds, the shape, atti- 
tude, and principal lights and shades, are all 
to be considered, and made with these three 
colours only ; which should he done to your 
satisfaction, before you add any of the re- 
flects, or finishing tints. 
The reflections of draperies and satins are 
generally productions of their own, and are 
always lighter than the shadows on which 
they are found; and being produced by light, 
will consequently have a light warm "colour, 
mixed with the local colour that receives 
them. Here it will be accessary to notice- 
