334 
PAINTING. 
the general method of managing the colours 
ot the iir>t lay, and those of the re fleet ions 
and finishing tints. 
in the first lay, the high lights should he 
laid with plenty of stilt colours, and then 
shaped and softened into character with tiie 
middle tint very conectly. Where the gra- 
dations ot the lights are slow, as in the large 
j)aris, it will he proper to lay the middle tint 
lii st at their extremities, with a tool that will 
drive the colour, and leave it sparingly; be- 
cause the lights will mix and lie the better 
upon it. Next make out all the parts of the 
shadows with the tint driven bare. After 
this comes the middle tint, for the several 
lights and gradations; which should he very 
nicely wrought up, to character without 
touching any of the high lights which finish 
the lirsl lay. 
4 he retiects and finishing tints are in ge- 
neral the antipathies of the first lavs: thev 
will, without great care, dirty the colours on 
which they are laid ; and therefore should be 
laid with a delicate light touch, without soft- 
ening. It it is overdone, endeavour to n> 
cover it with the colour of the part on which 
it was laid: this maybe done directly, or 
when it is dry. Whether the reflects proceed 
from the same colour, or any oilier, the me- 
thod of using them is the same. 
Before we proceed to the particular co- 
lours, it will be proper to make some obser- 
vations on their grounds. 
Jt often happens, that the colour of the 
cloth is very improper for the ground of the 
draper) ; and when it is so, you should 
change it with those colours winch are mqst 
proper to improve and support the finishing 
•colours. 4 his method of dead-colouring 
joust consequently preserve them in the 
greatest lustre. In dead- colouring, you 
should lay the lights and shades in a manner 
so as only to shew a fabt idea of them, with 
regard to the shape and roundings of the 
•figure, it you have a design to work from, 
then it will be proper to make all the large 
and principal parts in their places : which 
should always be done with a colour that is 
clean, and lighter than the intended drapery, 
though in general of the same hue; and let 
the shadows be no darker than a middle tint. 
These should lie mixed and broke in a tender 
iitanner, and then softened with a large tool, 
so that nothing rough and uneven is' left to 
interrupt or hurt the character of the finishing 
colours. 
IV kite satin. All whites should be painted 
on white grounds, laid with a good body of 
colour, because this colour sinks more into 
the ground than any oilier. 
There are four . degrees of colours in the 
first lav, to white satin. The first is the fine 
white for the lights; the second is the first 
tint, which is made of fine white and a little 
ivory-black, mixed to an exact middle de- 
gree between the white and the middle tint. 
This colour follows. the white ; and it is with 
this you should shape the lights into cha- 
racter before you lay on any other: and take 
care that this first tint appears distinctly be- 
tween the white and the middle tint, other- 
wise the beauty and the character of the 
satin will be spoiled. 
The middle tint should be. made of white, 
black, and a little Indian red. These three 
colours are very friendly, and mix to a beau- 
tiful clear colour of a pearly limp which has 
tlie true brightness and warmth of the ge- 
neral hue ot flic satin. Remember to allow 
for the red hue changing a little to the lead. 
It there is occasion to make am part in the 
middle tint lighter, do . it with' the .first tint 
only. This colour should also be laid spa- 
ringly before the white, in all the little lights 
that happen in the middle tints and shadows; 
on which you should lay the white with one 
light touch, and be sure not to cover all the 
parts that were made with the first tin! ; if 
you do, it will spoil the character; and -look 
like a spot, tor w ant ot the softening edge or 
border, which must be between the white 
and the middle tint. The shade tint should 
be made of the same colour as the middle 
tint, but with less white, so that it is dark 
enough for the shadows i» general; with 
w hich make out all the parts of the shadows 
nicely t o character, w hich is lire work of the 
first lay.. 
Next follow the retiects and finishing tints. 
Brown ochre, mixed with the colour of the 
light, is the most useful colour in general for 
all reflects in draperies, that are produced 
from their own colours. All accidental re- 
ilexes are made with the colour of the parts 
from w hich they are produced, and the local 
colours that receive them. There are but 
two reflecting lints wanted for draperies in 
general : one should be lighter than the mid- 
dle tint, the other darker. These colours 
may be a little changed on the pallet with 
the lirst and middle tints, as occasion re- 
quires, or lightly broken on the part that re- 
ceives them ; but this last method is not so 
sate as the other. The tint sufficient for 
blending the dark shadows to the mellow 
tender hue, is made with the shade tint and a 
little brown ochre, which should be laid on 
very sparingly, with soft light touches, for 
fear of making them dull and heavy; if it is 
overdone, recover it with the colour it was 
laid upon. 
We often see a little blue used in the first 
tint ot white satin. \ an Haecken, who was 
the best drapery-painter in England, did so; 
and sometimes, instead of the blue, he used 
blue-black, till he found it to be a pernicious 
colour, and was therefore obliged to use 
blue; because his middle tint, which was only 
ot black and white, was so very cold, that no 
other colour but blue would make a colder 
tint; yet he managed these cold colours, in 
all the lights and middle tints, so agreeably, 
and so light and easy was his touch, that we 
may learn something from him. 
Bine satins. Blue satin is made of Prus- 
sian blue and fine white. 
The best ground for blue is, white for the 
lights, and black and white for the shadow s. 
J he lirst lay of colours for blue is divided 
into three degrees or tints. First make the 
middle tint of a beautiful azure ; then mix 
the colour for the light about a middle der 
giee, between that and white. Make the 
'hade tint dark enough for the shadows in 
general. AH the broad lights should be laid 
with plenty of colour, and shaped to cha- 
racter with the middle tint, before you lay 
on any other colours. Remember, the less 
colours are mixed, the better they will ap- 
pear and stand; for the lights of blue should 
be managed with as much care as those of 
white satin. Next follow with the rest of 
the middle tint, and then make out all the 
shadows. Tbs more you drive the shade 
tint, the better it will receive the reflec ts and 
finishing tints. The shadows should be 
strengthened and blended with ivory-black, 
and some ot their own colour, Which will mix 
with them into a tender mellow hue. 
4 he reflects are made as those of white 
satin, that is, with ochre, and some of the 
light* ; which should -be perfectly clone, as 
you intend them, .at once painting. 4 he, sha- 
dows, when dry, may be a little improved, if 
there is occasion to alter them, w ith the co- 
lours they were made with. 4'he Prussian 
proper to be used, is that which looks of the 
most beautiful azure before it is ground; and 
the sooner it is used after it is ground, the 
better it will work and appear. 
Velvet may be painted at once. 4’he me- 
thod is, to make out the lirst lay w ith the 
middle tint and shade tint; on which lay the 
high lights, with light touches, and finish the 
shadows in the same manner as those of 
satin: but the nearest imitation of velvet is 
done by glazing ; the method of which is, to 
prepare a ground, or dead-colouring, with 
such colours as will, when dry, bear out and 
support the glazing colour in its highest per- 
fection. 4'he nature of tin' glazing colour is 
to be of a line transparent quality, and used 
simply with oil only, so that whatever ground 
it is laid on, the whole may appear distinctly 
through it . 4'he best ground tor blue is made 
with white and ivory-black: the white is for 
the high lights, which, with the middle tint 
and shade tint, makes out the first lay like 
mezzotinto. Remember to make the mid- 
dle tint lighter in proportion to the glazing, 
•because that will make it darker. It is often 
necessary to cover all but tire high lights, 
with a thin glazing, laid in less quantity than 
if it was to be done -once only. If any of it 
touches the lights, wipe It off with a clean rag. 
1 he very high lights should be improved, 
and made ot a line white, and left to dry. 
4 he glazing colour is Prussian, ground verv 
fine with nut oil; and should be laid with a 
large stitiish tool. It is on the last glazing we 
should strengthen and finish the shadows. 
4’he greatest fault in the colouring of dra- 
peries is thepainting the rhadows with strong 
glaring colours, which destroy the beauty of 
the lights. 4 his is not only the reverse of 
art, but of nature, whose beauty always di- 
minishes in proportion with the lights. For 
this reason, take care to blend and soften the 
shadows with such friendly colours as will 
agree with their local character and obscu- 
rity. Here observe, that glazing the middle 
tint, which is made of black and white, will 
not produce a colour so blue as if it had been 
prepared with Prussian and while; yet this 
colour will preserve the beauty of the lights, 
in the highest perfection, by reason of its 
tender obscure hue, when tire blueness of the 
other uvuld only diminish them. 4 his me- 
thod of glazing the blue is the general rule 
for all glazing. 
When glazing blue, the lights may he 
glazed with ultramarine, though all the other 
parts are done with Prussian. T'iiis method 
saves a great quantity of that valuable co- 
lour, and answers the purpose as well as if it 
had been done w ith ultramarine. 
Though this general method of painting 
satins is to make the first lay of colours with 
three degrees, or tints, yet you should un- 
derstand, in using them, that they produce 
two more ; for the mixing of two differua* 
