310 
when there is light hair wanting to be repre- 
sented. Burnt umber has been substituted 
tor term Sienna, along with the lump-b'ack, 
and forms a good tint; but care must be 
taken to avoid cither the greenish or reddish 
cast, winch it is apt to produce. 
Tints fir fine fintn, gauze, fc. Of all 
tints in transparent painting, such as are the 
miniature works of the present day, there 
are none more difficult to ascertain; for the 
delicacy not only of mixture, but the deli- 
cacy of touch, conveys t lie idea of beauty in 
the thinness and folding of line linen or 
gauze, the true painting of which throws a 
veil over the defects in other parts of the 
picture. We shall therefore only observe, 
that any of the tints, under the head of grey, 
will, properly managed, answer the purpose. 
Having now pointed out the manner ot pre- 
paring the delicate transparent tints for mini- 
ature painting, we proceed to treat of the 
grosser ones, namely, those for draperies. 
Of colours proper for men’s draperies. 
We shall, under this head, make some ge- 
neral observations ; the lirst of which is, that 
in all cloth draperies for men’s portraits, it 
is necessary to add some flake white ; as it 
not only gives the colour the dead appear- 
ance which cloth exhibits, but likewise its 
being incorporated with the flake w'hite, 
gives it a body which makes the tlesh tints 
appear to more advantage. The next ob- 
servation is, that in grinding up your dra- 
peries, you are to make them appear several 
degrees lighter in colour than you want 
them to be when dry, for this reason; the 
Hake white is a colour so very heavy, that, 
after you float in your coat, it wall sink to 
the bottom, and leave your colours- several 
degrees darker than when it was wet ; and 
finally you are not to be too heavy or thick 
in floating in your draperies, but merely to see 
that your colour is evenly spread over the 
part. 
There are four modes of working in mini- 
ature painting ; namely, floating, washing 
in, handling, and marking. The first pro- 
cess, which is floating, and is chiefly used for 
draperies, is thus performed: Having marked 
with your pencil where your drapery is to 
be, grind up your colour on your flag (not 
putting a quantity of gum water, that would 
make it shine, as it would frustrate your pur- 
pose) ; then take a large soft hair pencil, and, 
having previously laid your ivory on a very 
level table, fill your pencil plentifully with 
the colour, and lay it quick all over the parts 
of the ivory you want covered, seeing that 
it runs on every part equally, which, if kept 
in a proper fluid state, it will readily do; 
then lay it in some place to dry, where it is 
not likely to receive dust, when you will 
have a fine level surface ready to work the 
shadows of your drapery on in a couple of 
hours. Washing in is performed when your 
picture is on your desk, by filling your 
pencil moderately with colour, and giving 
a very broad stroke rather faintly, as the 
contrary would not answer; this manner 
is chiefly used in beginning the hair, back 
grounds, and likewise in laying on the gene- 
ral flesh tint of the face. Tt is also used in 
the first touches of the dark shadows, which 
ought to be begun faint and broad. Hand- 
ling is the manner in which all the fleshy 
parts of the miniature must be worked, after 
PAINTING. 
the first washing in; and lastlv, marking 
consists in tiie sharp-spirited touches given to 
the different features, in order to give that 
animated appearance so necessary to consti- 
tute a line picture. 
Biack drapery is formed of lamp -black 
burnt, and ii.ike white; and must be laid in 
with a good deal of the latter, as otherwise it 
would be very difficult-to manage the sha- 
dows so as to produce a pleasing effect. 
Blue drapery may be made of either Prus- 
sian blqe, or Antwerp blue, mixed with 
white ; indigo being too much inclined to a 
blackish cast. 
Green drapery is well made of king’s yel- 
low, and Prussian and Antwerp blue. The 
more blue, the darker the green ; and the 
more yellow, the contrary. 
Yellow drapery cannot be so well repre- 
sented by any colour asking’s yellow', laid 
thin, with a moderate quantity of gum in it. 
Drab-colour is well represented by a ju- 
dicious mixture of umber, in its raw state, 
and flake white. 
A queen’s brown, as it is 'called, is made 
of burnt Roman ochre, a little lamp-black 
and lake, with flake white amongst it. 
Claret colour may be well represented by 
a mixture of terra de Cassel, a little lamp- 
black, and lake. The more black and lake, 
the deeper the colour. 
Dark brown can be formed by a junction 
of Nottingham ochre, lake and Jamp-black. 
Lilac is made of carmine, Prussian blue 
and flake white. 
Grey can be formed only of lamp-black, 
flake-white, and the smallest quantity of lake 
laid in very thin. 
Reddish brown is best made of Indian red, 
very little lamp-black, and flake white. 
Scarlet is a colour very difficult to Jay 
down rules for making, as in some pictures 
it is dangerous to make it too bright, for fear 
of hurting the effect of the face, by its bril- 
liancy catching the eve too readily ; conse- 
quently, if the subject you are painting from 
life is very pale, you run a wery great risk 
by annexing a very bright scarlet to his pic- 
ture. We shall therefore only mention that 
a very bright scarlet is made of Chinese ver- 
milion and carmine, ground together (without 
any flake and white) ; and if you want it still 
rendered brighter, when it is dry, fill your 
pencil with plain carmine, mixed with thin 
gum-water, and glaze over it nicely; but if, 
on the contrary, you wish to sadden, or take; 
away a share of its brilliancy, add a litPe 
flake white to it, and that wfil Live the de- 
sired effect. 
Of painting the face in miniature. 
A on are first to provide yourself with a 
mahogany desk for painting on, which is a 
box about fourteen inches high, and a foot 
broad on the top ; there is to be a lid cover- 
ed with green cloth, which is to have a pair 
of small hinges at the front, and to lift oc- 
casionally with a supporting rail at the back, 
and notches, so as readily to adjust it to any 
height. About the middle of the green cloth 
there is to be a slip of very thin mahogany, 
glued at each end, but the centre of it left 
free, to fasten your ivory by, slipping it be- 
tween the mahogany and green cloth. 
The next thing you are to observe is the 
choice of your light, which in this kind of 
painting cannot be too. particularly attended 
to; it not being like oil-painting, “where the 
rays of the sun may be kept out by blinds, 
&r. without causing any material inconveni- 
ence. A north light, or as nearly as possible 
to it, must ire attained, b there are more 
than one window in the room, the second 
must be closed, so as to admit no light; and 
tiie one you sit at is to have a green baize 
curtain against the lower part of it, to reach 
about a toot higher than your head, as you 
fit at your painting desk, with your ’left 
hand towards the light. 
Having placed your sitter at the distance 
of about a yard and a half from you, begin 
drawing the outlines oi the face ; “and in this 
be very particular, as much depends on it. 
W hen you have them drawn correctly, be- 
gin to lay in the colour, faintly, of the iris 
of the eye, the shadows under the eve brows 
in a grey tint, and under the nose' rather a 
warm purple, in broad faint washes: ever 
keeping this in your mind ; that you must, 
m the process of painting the face of a mini- 
ature picture, go on faintly at the beginning, 
and not hurry in your colours, as such con- 
duct will, to a certainty, make your tints 
look dirty, and your picture harsh and dis- 
agreeable. Having, as before observed, laid 
in your grey tints where your shadows are 
to fall, go on heightening them by. degrees*, 
working in hatches with a middling full pen- 
cil, not too washy, nor too dry ; as the former 
would be the means of muddying your co- 
lours, and the latter would make them raw. 
W hen you think you have pretty strongly 
marked out, and worked up the shadows, 
mix a wash of either gall stone, or Notting- 
ham ochre, and drop lake, with which faintly 
go over the fleshy pasts of the face, where 
the shadows do not come; and then proceed 
to heighten the carnations on the cheeks, 
the colour of the beard, if any such appears, 
still working in the handling maiuier already 
mentioned, in various directions; so that, 
after some time working, the intersections 
appear like so many nice points or dots. 
Observe, as a general rule, that it is much 
easier to warm the tints of your face, than to 
cool them, by working proper colours over 
it. It is therefore best to begin with cool 
greys and purples, and towards the finishing 
of the picture, to add warmth, if necessary, 
by gradually working such colours as gall- 
stone, terry Sienna, or the like, over, in 
addijj^u to the carmine or lake that may be 
necessary to produce the tint of nature. 
General Observations. 
From the variety of style adopted by differ- 
ent miniature painters, it is very difficult for 
a young beginner to ascertain which is best 
to be followed ; and as there is a certain de- 
gree ot mechanical attention to be paid to 
the management of the water-colours, to pre- 
serve them clear and free from muddiness, 
which is difficult to attain, we recommend to 
the young artist to procure a good miniature, 
if possible, and keep it by him, .observing the 
style ot penciling and management of the 
colour, at the same letting nature be his guide 
in the marking of his features and colouring 
of his picture. 
In the management of back-grounds, the 
young painter is to observe their twofold 
purpose: that of giving the lights their proper 
value ; and on the other hand, of harmonizing 
