83 J 
receive and preserve- (he finishing colours, 
than to shew them in their lirst painting. 
The sky should be done first, then all the 
distances; and so work downwards to the 
middle group, and from that to the fore- 
ground, and nearest parts. Remember, all 
the parts ot each group, as trees, buddings, 
or the like, are all painted with the group 
they belong to. 
The greatest secretin dead-colouring is, 
to find the two colours which serve for the 
ground of shadows in general, the sky ex- 
cepted; and the method of using theui with 
the lights: the first of which is the dark 
shade with a little lake in it ; the other co- 
lour is only burnt umber. These should be 
a little changed to the natural hue of the 
oojects, and then laid on with drying oil, in 
the same manner as we shade villi Indian 
ink, which is a kind ot g’azing, ami as such 
they should be left ; otherwise they will be 
dark and heavy, and therefore would bo en- 
tirely spoiled for the finishing glazing. Both 
these colours mix and sympathize agreeably 
with all the lights, but should be laid before 
them. 
The sky. The sky should be laid with a 
good body of colours, and left with a faint 
resemblance of the principal clouds, more in 
(he manner of claro obscuro than with finish- 
ing colours; the whiter it is left, the better it 
will bear out and support them ; the distances 
should be made out faint and obscurely, with 
the dark shades, and some of their lights in 
different degrees, and laid so as best to find 
and shew their principal parts. All the 
grounds of the trees should be laid or rubbed 
in, enough only to leave an idea of their 
shapes and shadows faintly. The ground of 
their shadows must be clean, and lighter than 
their finishing colours. 
In painting the lights, it is better to incline 
more to the middle tint, than to the very 
high lights; and observe to leave them with 
a sufficient body of clean colours, which w ill 
preserve the finishing colours better; all which 
may be done with a few tints. After this, 
go over tlie whole with a sweetener very 
lightly, which will soften and mix the co- 
lours agreeably for finishing. 
Second puinting. 
Begin with the sky, and lay in all the 
azure, and colours of the horizon ; then soften 
them: after that, lay in the general tint of 
the clouds, and finish on it with the high 
lights, and the other tints that are wanting, 
with light tender touches; then soften the 
whole with a sweetener, very lighty . The 
finishing of the sky should be done all at one 
painting, because the tender character of the 
clouds will not do so well as when the whole 
is wet. Observe, that the stiffer the azure 
and colours of the horizon are laid, the better 
the clouds may be painted upon them. 
The greatest distances ares chiefly made 
with the colour of the sky; as they grow 
nearer and darker, glaze and scumble the 
parts very thin, with such glazing shadow- 
colours as come nearest to the general hue 
of the group the objects are in. This glazing 
should be understood of a darkish hue ; and 
that the first painting or dead-colour should 
be seen through it distinctly. On this lay, 
or ground, add the finishing colours. 
Now, supposing this glazed ground pro- 
perly adapted to the object and place, it will 
\|OL, II. 
TAINTING- 
be easy to find the other colours, which are 
wanted for the lights and finishings of the 
same; but in laying them, you must take 
care not to spoil the glazing'; therefore be 
very exact in making those colours on the 
pallet, and then be sure to lay them with 
light free touches. 
Before we proceed any farther, it will be 
proper to say something of the most useful 
glazing colours. 
Lake, terreverte, Prussian blue, and brown 
pink, are the four principal. The more you 
manage them like ludianjnk, and the more 
distinctly you leave them, the better their 
transparent beauty will stand and appear, 
provided you do it with good drying oil. 
After these four glazing colours, burnt umber 
is a very good glazing warm brown, and of 
great use in the broken grounds and nearest 
parts; but the most agreeable colour for 
the darkest shadows, is the dark shade im- 
proved with lake. It is a fine warm shade ; 
mixes harmoniously with all the lights, as 
well as the shadows; and is excellent in the 
trunks and bodies of trees, and in all kinds 
of buildings. 
Make out all the ground of the objects 
with such glazing shadow-colours as seem 
nearest to the ’natural hue of the object in 
that situation; but as the principal glazing 
colours themselves are often too strong and 
glaring, they should therefore be a little chan- 
ged, and softened with such colours as are of a 
near resemblance to themselves and the ob- 
jects: thus, if it is in the distances, the terre- 
verte and the azure, which are the principal 
glazing colours, may be improved and made 
lighter with some of the sky tints ; and as the 
distance comes nearer with the purple. In 
the middle group, the terreverte and Prussian 
blue may be changed with some of the green 
tints; such as are made without white, for 
white is the destruction of all glazing colours. 
As you approach the first group, there is less 
occasion for changing them ; but the fore- 
ground and its objects require all the strength 
and force of glazing, which the colours are 
capable of producing. 
After this glazing ground, follow with 
strengthening the same in the shadows, and 
darkest places, in such manner as will seem 
easy to finish ; which is the first lay of the 
second painting. 
The colours that come next for finishing, 
are in the degree of middle tints: these 
should be carefully laid over the greatest 
breadth of lights, in such manner as^ not to 
spoil and cover too much of the glazing. 
Do it with a good body of colour, as stiff as 
the pencil can agreeably manage. Remem- 
ber, the colours of the middle tint should be 
of a clean beautiful hue. According to these 
methods, it will be easy to finish all the se- 
cond painting down from the sky, through 
the middle group. As you come to the first 
group, where all the objects should he per- 
fectly finished, finish their under or most 
distant parts, before you paint any of the 
other, which appear nearer. Observe this 
method down to the last and nearest objects 
of the picture: and where it so happens that 
painting one tree over another does not 
please, forbear the second until the first is 
dry. Thin near trees of different colours 
will do better, if you let the finder parts dry 
before you add tl>e finishing colours, 
¥ u 
Third and last painting. 
If oiling is necessary, lay the least quan- 
tity that can be ; which should be done with 
a stump tool or pencil, proportioned to the 
place that is to be oiled, so as to oil no more 
than is wanted: then wipe the whole place 
that is oiled, with a piece of silk handker- 
chief. 
When going to finish any objects, remem- 
ber to use a great variety of tints, ver v nearly 
of the same colour, but most of all when 
finishing trees. This gives a richness to the 
colouring, and produces harmony. The 
greens will fade, and grow darker; therefore 
it is highly necessary to improve aild force 
them, by exaggerating the lights, and mak- 
ing an allowance in using them so much the 
lighter. For the same reason, take great 
care not to overcharge and spoil the beauty 
of the glazing; for if you do, it will be dull 
and heavy, and will consequently grow 
darker. 
I he method of painting near trees is, to 
make the lirst lay very near to nature, though 
not quite so dark, but more in the degree of 
a middle tint, and follow it with strengthen- 
ing the shadows; then the middle tints ; and 
last ot all lay the high lights and finishing 
colours. All this cannot be done as it should 
be, at one painting; therefore the best way 
is, to do no more than the first lay with the 
faint shadows, and leave it to dry. 
Then begin with improving the middle 
tints and shadows, and let them dry. 
The third and last work is, adding all the 
lights and finishing colours in the best man- 
ner you are able. This method of leaving' 
the first and second parts to dry separately, 
not only makes the whole much easier, and 
more agreeable, but leaves the colours in the 
greatest perfection; because most" of the 
work may be done with scumbling and glaz- 
ing, and some parts without oiling. The 
lights also may be laid with a better body of 
colour, which will not be mixed and spoiled 
with the wet ground. 
d’he figures in the landscape are the last 
work ot the picture ; those in the fore-ground 
should he dqne first, and those in the dis- 
tances should be done next ; for after the 
figures in the first and farthest group are 
painted, it will be much easier to find the 
proportions of those in the middle parts of 
the picture. And observe, that the shadows 
of the figures should be of the same hue, or 
colour, w ith those of the group or place they 
are in. 
Miniature. 
The art of painting in miniature is of very 
antient date. It is practised either on vellum 
or ivory. 
The best method, in painting on vellum 
is to glue the edge of the vellum to a copper- 
plate or board, over which it is strained, in 
this manner : Let your vellum be every way 
a finger’s breadth larger than what you 
strain it on. Moisten the fair side of 'the 
vellum with apiece of fine wet linen, and put 
a piece of white paper to the other side. 
Then apply it to the plate or board, stretch- 
ing it equally in all directions, lap tlie edges 
nicely round and glue them, taking care to 
let no glue pass under the part of the vellum 
on which you mean to paint. When the 
glue dries, and the edges of your vellum are 
thu# fastened^ you may proceed with yo’ux 
