colours together on the cloth vs ill make an- 
other of u middle tint between them ; so it is 
v.th the lights and middle tints, and with the 
middle tint and shade tint : the first answers 
to the tirst tint in while satin, and the last 
will consequently be a sort of gradating, or 
half shade. 
It the lights and middle tint mix to a 
beautiful clean colour, of a middle hue be- 
tween both, there will be no occasion tor a 
colour to go between them, as in blue satin: 
but if in mixing they produce a tint inclined 
to a dirty warm hue, then another of a sym- 
pathizing nature should be laid between them, 
in order to preserve the beauty of the lights, 
as the lirst tint in the white satin ; for if it was 
not so, the red in the middle tint would cer- 
tainly dirty and spoil the white. 
It is highly necessary to understand these 
principles of" the lirst lay of colours, in order 
to have a perfect knowledge of the general 
rule of colouring. 
Scarlet and crimson. A light yellow red, 
made of light ochre, light red, and white, is 
. the proper ground for scarlet; the shadows 
are Indian red, anil in the darkest parts mixed 
with a very light black. 
The second painting should be a little 
lighter than you intend the finishing colour, 
that is, in proportion to the glazing, which 
will make it darker. 
The high lights are vermilion and white 
for satin and velvet, and vermilion for cloth. 
The middle tint is vermilion, with a very 
little lake or Indian red ; the shade tint is 
| made with Indian red and lake, with the ad- 
dition of a little black in the darkest shadows. 
The difference between scarlet and crimson 
is, that the high lights of crimson are whiter, 
and the middle tint is made darker. Their 
reflects are made with light red and vermi- 
lion. The high light should be laid and ma- 
naged in the same manner as those ot the 
blue, for fear of dirting them ; and some- 
times they require to be touched over the 
second tune before we glaze them. 1 he 
more the colours of the second painting are 
drove, the easier and better they may be ma- 
naged to character; but the high lights 
should have a good body of colour, and be 
left with a delicate light touch. After it is 
well dry, finish with glazing the whole with 
line lake, and improve the reflects and sha- 
llows. Remember that the scarlet requires 
but a very thin glazing; and it is better to 
glaze the crimson twice over, than lay too 
much at once painting. 
Pink colour. There are two different 
methods of painting a pink colour; one is by 
glazing, the other is done with a body of co- 
lours at one painting. The same grounds do 
for both: which should be a whitish colour, 
inclining to a yellow, for the lights ; and 
Indian red, lake, and w hite, for the shadows. 
The second painting, for the glazing me- 
thod, is done with the same colours, and a 
little vermilion and white for the high lights. 
When it is dry, glaze it with fine lake, and 
then oreak and soften the colours into har- 
mony directly. 
The other method is to make the high 
lights with carmine and white; the middle 
tint with lake, white, and a little carmine ; 
and the shadows with lake and Indian red, 
with a little vermilion for the reflections. But 
remember, the shadows will require to be 
broken, with some tender obscure tint, 
4 
PAINTING. 
| Yellow. Tne grotund for yellow should be 
a yellowish white tor die lights, and a in ix- 
I U re of the ochres lor the shadows. 
There are the same number of tints in the 
I yellow, as there are in the w hite satin, and 
the method of using them is the very same. 
Tie lights are made with king’s yellow, 
ground with clean good drying oil. 'i he lirst 
tint is light ochre, changed with a little of the 
pearl tint, made with t he dark shade and 
white, which should be laid and managed as 
the first tint in white satin. The middle tint 
is a mixture of the light and brown ochre, 
■| softened w ith the pearl tint. The shade tint 
| is made with brown pink and brown ochre; 
; these belong to the lirst lay. 
I The reflects are light ochre, and sometimes 
in the warmest parts mixed with a little light 
red. The shadows are strengthened with 
brown pink and burnt umber. 
Green. The proper ground for green is a 
light yellow green, which is made of light 
! ochre, a little white, and Prussian blue, tor 
the lights, and the oclue, brown pink, and 
I Prussian, for the shadows. 
| The finest green for draperies is made of 
! king’s yellow, Prussian blue, and brown pink. 
'Pile high lights are king’s yellow, and a very 
little Prussian; the middle tint should have 
j more Prussian ; and the shadow tint is made 
with some of the middle tint, brown pink, 
| and more Prussian ; but the darkest shadows 
are brown pink and a little Prussian. The 
: lights and middle tint should be managed in 
the same manner as those of the blues. The 
shadow tint should be kept entirely from the 
lights, because the brown pink that is in it 
w ill, in mixing, dirty them, as the black does 
those of the blues. Remember to allow for 
their drying a little darker ; and that the 
king’s yellow must be ground with good dry- 
ing oil; for the longer it is drying, the more 
it will change and grow darker; and the 
sooner it is used, the better it will stand. It 
is proper to have two sorts of king’s yellow, 
one to be very light, for the high lights of 
velvet. 
Changeable colours. Changeable colours 
are made with four principal tints, viz. the 
high lights, middle tint, shade tint, aud re- 
flecting tint. 
The greatest art lies in finding the exact 
colour of the middle tint, because it has more 
of the general hue of the silk than any of the 
others. The shade tint is of the same line 
with the middle tint, though it is dark enough 
for the shadow’s. The high lights, though 
often very different from the middle tint, 
should be of friendly-working colour, that 
will, in mixing with it, produce a tint of a 
clean hue. 
The method of painting silks is to make 
out the folds with the shade tint, and then fill 
them lip in the lights with the middle tint. 
This first lay should be done to your satisfac- 
tion before you add any other colours ; and 
the stiller the middle tint is used, the better 
the high lights may be laid upon it. The re- 
flecting tint falls generally upon the gradat- 
ing half-shades, and should be laid with 
tender touches sparingly, for fear of spoiling 
the first lay. 
This method of painting answers for all 
coloured silks, as weil as changeable, with 
this difference only; that the plain colours 
require not so much art in matching the tints. 
3 3 5 
as the changeable do. 1 he last part ot tlr 
work is the finishing and strengthening th 
shadows v ith an obscure tint, a little inclining 
to a mellowish hue; such as will not catch 
the eve, and interrupt the beauty of the 
lights, 
Black. The best ground for black is light 
red for the lights, and Indian red and a little 
black for the shadows. 
The finishing colours are, for the lights, 
black, white, and a little lake. The middle 
tint has less while, and more lake and black; 
the shade tint is made of an equal quantity of 
lake and brown pink, with a very little black. 
'I he method of painting black is very dif- 
ferent from that of other colours ; for as in 
these the principal thing is to leave their 
lights clear and brilliant ; so in black, it is to 
keep tiie shadows clear and transparent. 
Therefore begin with the shade lint, and 
glaze over all the shadows with it. 'Next lay 
in the darkest shadows w ith black, and a little 
of the shade tint, very correctly. After that, 
fill up the whole breadth ot lights with the 
middle tint onlv. All which should be done 
exactly to the character of the satin, velvet, 
cloth, &c. See. and then finish with the high 
lights. 
Here observe, the ground, being red, will 
bear out and support the reds, which are 
used in the finishing colours. '1 he lake in 
the lights takes off the cold hue, and gives it 
a more beautiful colour. It the shade tint 
was of any other colour than a transparent 
warm hue, the shadows would consequently 
be black and heavy; because no other colours 
can preserve the warm brilliancy which is- 
wanting in the shadows of the black, like lake 
and brown pink. Black is oi a cold heavy 
nature, and always too strong for any other 
colour; therefore you should make an allow- 
ance in using it. There will be a few reflects 
in satin, which should be added as those of 
other colours ; but they should be made of 
strong colours, such as burnt umber, or 
brown ochre, mixed with a little shade tint. 
Though the grounds mentioned for the 
draperies are absolutely necessary for the- 
principal and nearest figures in a picture,, 
such as a single portrait, or the like ; yet for 
figures which are placed behind the principal 
or front figures, their grounds should always 
be fainter in proportion to their local finishing 
colours. 
Linen. The colours used in linen are the 
same as those in white satin, except the lirst 
tint, which is made of white and ultramarine 
ashes, instead of the black, and mixed to a 
very light bluish tint. 
lfi the dead-colouring, take particular care 
that the grounds are laid very white and 
broad in the lights. The shadows are made 
with black, white, and a little Indian red,, 
like the middle tint of white satin. These 
should be left very light and clean, in order 
to support the finishing colours. 
The second painting begins with glazing 
all the lights, with a stiff pencil and fine white, 
only, driven bare, without using any oil; 
The shadows maybe scumbled with poppy- 
oil, and some oi the colour they were made 
of. This is the first lay, on which you are 
to follow with the finishing colours directly.. 
The middle tint of white satin is the best 
colour for the general hue of the shadows.. 
With this and white, iu different degrees, 
make out all the parts to character, w ith free 
