335 
PAINTING. 
fight touches, without softening ; then, with 
v. large long-pointed pencil and fine white, 
lay the high lights very nicely with one stroke. 
After this comes the fine light bluish tint, 
which should be mixed light, and laid in the 
tender gradations, very sparingly and lightly, 
Without filling them up. 
Remember, the first lay should he left clear 
and distinct ; the more it appears, the better. 
It is the overmixing and joining all the co- 
lours together, which spoils the beauty of the 
character; therefore it is better to let it dry 
before we add the reflects and finishing tints. 
The met! md of letting the beautiful clear 
-colour dry, before you add the warm reflects, 
and harmonizing tints, prevents them from 
mixing and dirting each other. 
The principal blending colours used in the 
reflects are the yellow tint, green tint, and 
rose tint; which last is made of lake, Indian 
red, and white. Glazing the pearl and lead- 
colour with white, though it seems to answer 
our purpose at the time when it is done, will 
certainly sink and be lost in the grounds on 
which it is laid; therefore you should make 
the dead- colouring as white as you intend the 
finishing colours, hv reason they will sink a 
little in proportion to the colour of the cloth, 
which the glazing with pure white only will 
recover. 
Of painting back grounds. 
The principal colours that are necessary 
for painting of hack-grounds, as walls, build- 
ings, or the like, are white, black, Indian red, 
light and brown ochre, Prussian, and burnt 
umber; from which the eight principal tints 
are made, as follows : 
1. Pearl is made of black, white, and a 
little Indian red. 
2. Lead, of black and white, mixed to a j 
dark lead-colour. 
3. Yellow, of a brown ochre and white. I 
4. Olive, of light ochre, Prussian, and 
white. 
5. Flesh, of Indian red and white, mixed 
to a middle tint. 
6. Murrey, of Indian red, white, and a 
little black, mixed to a kind of purple, of a 
middle tint. j 
7. Stone, of white, umber, black, and In- 
dian red. 
8. Dark shade, of black and Indian red 
only. 
Here the lead tint serves for the blues, the 
flesh tint mixes agreeably with the lead, and ; 
the murrey is a very good blending colour, ; 
and of great use where the olive is too strong; 
the umber, white, and dark shade,' will pro- 
duce a fine variety of stone colours ; the dark i 
shade and umber, used plentifully with dry- | 
ing oil, make an excellent warm shadow- j 
colour. All the colours should be laid with! 
drying oil only, because they mix and set the I 
better with the softener. 
Where the marks of the trowel are so 
strong in the priming of the doth, that one 
bod v of colours will not be sufficient to con- 
ceal it, lay a colour to prevent it, which : 
should be dry before you begin with those ! 
parts you expect to finish at once painting, j 
Process. The process of painting back- j 
ground is divided into two parts in stages ; 
tiie first is .the work of the first lay, the second 
that of the finishing tints. 
Begin the first lay from the shadowed side 
q{ the head, aud paint the lights first; from 
6 
them go into the gradations and shadows, 
which should be done with a stiffish tool, very 
sparingly, with the dark shade and white, a 
little changed with the colours that will give 
it more of the required hue, but very near in 
regard to tone and strength, leaving them 
like mezzotinto. 
The dark and warm shadows should be 
laid before the colours that join them. 'Phis 
do with the dark shade and umber, driven 
with drying oil. If those colours were laid 
on first, they would spoil the transparency, 
which is their greatest beauty. The more 
the first lay is driven, the easier and better 
you may change it with the finishing tints, 
therefore you may lay them with the greater 
body. 
The second part is to follow directly, 
whilst the first lay is wet, with those lints 
that are the most proper to harmonize and 
finish with. 
Begin with the lights first, and remember, 
as you heighten and finish them, to do it with 
warmer colours; and let those be accompa- 
nied with fine tender cold tints. The lightest 
parts of the ground should be painted with, a 
variety of light warm clear colours, which 
vanish and lose their strength imperceptibly 
in their gradations. Take care that you do 
not cover too much of the first lay, but con- 
sider it as the principal colour. 
From the lights, go to the gradations and 
shadows; for when the lights are well adapt- 
ed to produce and support the figure, it is 
easy to fall from them into whatever kind of 
shadows you find most proper; then soften 
and blend the whole with a long large hog- 
tool; which, with the strength and body of 
the drying oil, will melt and sweeten altoge- 
ther, in such a manner, as will seem surpris- 
ingly finished. Remember the tints will sink, 
and lose a little of their strength and beauty 
in drying. All grounds, as walls, &c. should 
be finished at once painting; but if they want 
to be changed, glaze them with a little of the 
dark shade and drying oil, driven very bare; 
on which, with a few light touches ot the co- 
lour that is wanting, you may improve their 
hue. The dark shadows may also be strength- 
ened and improved by glazing, which should 
be done after the figures are nearly finished, 
for fear of making them too strong. 
Rembrandt’s grounds are rather brighter in 
the lights, and haveniore variety ©1 tints than 
any other painter’s; for he had observed, that 
those tints diminish in proportion with the 
lights; therefore his shadows have but a faint 
appearance of tints. He understood the gra- 
dations in perfection, by mixing and break- 
ing the first lay of colours so artfully, that 
they deceive in regard to their real strength. 
Vanclvck’s general method was, to break 
the colours' of the ground with those ol the 
drapery. This will certainly produce har- 
mony. 
Fresnoy says, let the field or ground of the j 
picture be pleasant, free, transient, light, and i 
well united with colours which are of a j 
friendly nature to each other; and of such a 
mixture as that there may be something ifi 
it of every colour that composes your work, 
as it were the contents of your pallet. 
Curtains should be dead-coloured when 
we paint the ground; and should be done 
with clean colours, of a near hue to the in- 
tended curtain,. such as will support the finish- 
ing colours ; do it with a fender sort of keep- 
ing, and near in regard to their tone in the 
lights, but .much softer in the shadows; all 
which should be mixed and broken with the 
colours ol the ground. Ii will often happen, 
that we cannot make the folds the first paint- 
ing; we should then leave the masses cl light 
i and shadow, in regard to the keeping of the 
! picture, broad and well united together, such 
; as may seem easy to finish on. The colours 
of the landscape, in back-grounds, should be 
broke and softened also with those of the 
parts which join them. This method will 
make all the parts of the ground, as it were, 
of one piece. 
The sky should be broke with the lead and 
the flesh-tints. The murrey tint is of great 
use in the grounds of distant objects ; and the 
umber and dark shades in the near grounds. 
The. greens should be more beautiful than 
you intend them, because they will fade and 
grow darker. After all is painted, go over 
i the whole very lightly with the softener, as 
; you did the grounds, which will make it look 
! agreeably finished. 
Of painting landscapes. 
The principal colours used in landscapes 
are; 1. flake white; 2. white lead, or com- 
mon white; 3. fine light ochre; 4. brown 
ochre ; 5, brown pink ; 6. burnt umber ; 7. 
ivory black; 8. Prussian blue; 9. ultramarine; 
10. terreverte ; 11. lake; 12. Indian red; 
; 13. vermilion, or native cinnabar; 14. king’s 
yellow. 
The principal tints are, 1: Light ochre 
and white; 2. Light ochre, Prussian blue, 
and white; 3. Light ochre, and Prussian 
blue; 4. The same darker; 5. Terreverte 
and Prussian blue ; 6. Brown pink and 
Prussian blue ; 7. Brown pink and brown 
ochre; 8. Brown pink, ochre, and Prussian 
blue; 9- Indian -red and white; 10. Ivory- 
black, Indian red, and lake. 
The colours necessary for dead -colouring, 
are : common white, light ochre, brown 
ochre, burnt umber, Indian red, ivory-black, 
and Prussian blue. 
The principal colours and tints for painting 
the sky, are, fine white, ultramarine, Prus- 
sian blue, light ochre, vermilion, lake, and 
Indian red. 
The tints are, a fine azure, lighter azure, 
light ochre and white, vermilion and white 
and a tint made of white, a little vermilion, 
and some of the light azure, at your discre- 
tion. 
Process. Sketch or rub in your design 
faintly, with burnt umber used with drying 
011, and a little oil of turpentine; leaving the 
colour of the cloth for the lights. Remem- 
ber, in doing this, to leave no part of the 
shadows so dark as. you intend the first lay 
or dead-colouring, which also is to be lighter 
than the finishing colours. Though the foli- 
age of the trees is only rubbed, in faintly, yet 
the trunks and bodies should be in their proper 
shapes, with their breadths of ligbUnd shadow. 
All kind of buildings should be done in the 
same manner, leaving the colour of the cloth 
for their lights. The figures on the fore-ground 
may also be sketched in the same manner, 
and then left to dry. 
First painting or dead-colouring. 
Let the first lay, or dead-colouring, be 
without an) bright, glaring, or strong dark 
colours; so that the effect is made more to 
