b as to communicate the heat to the top 
[over the cake witli a few sheets of paper 
nd a board, with a small weight upon it 
Fter a few minutes, the cake is to be turned 
hen it is placed, take off the upper paper 
briiikle the cake again with gum-water, lay 
n the board a weight as before for a few mi 
lutes ; and so repeat the turning and sprin 
ling several times, till the cake is united, and 
!f the thickness of a cake of saffron. 
| Blacks. The proper blacks for water-co 
j>urs are as follow : 
[ Ivory-black, which is prepared in the fol- 
>wing manner : Let the ivory-black be tho- 
xighly ground, and there will naturally pro 
eed from it a liquor of an oily substance 
lix as much of it as will make it work freely 
i the pencil. It has a fine gloss, and is ex- 
emely serviceable in painting of shining 
bjecls. 
There is another very agreeable and useful 
ack, called Keating’s black, which may be 
id at most colour-shops ready-prepared. 
Indian ink is a very good’ black, and of 
jeat service, as it may be laid on to any 
lade, and will always shade itself; on which 
icount it is often used for drawings.* 
Greens. Sap-green is a colour extremely 
irviceable, and the best green for water-co 
’iirs our age affords, being of a gummy sub 
ance, and diluting easily in water, ft pro- 
uces an endless variety of tints, and has the 
lvantage of shading itself. In purchasin 
lis colour, remember to observe that it 
>oks very black and bright. 
A sea or artilicial green, is made by mix- 
g indigo and sap-green, which may be made 
arker or lighter by adding more or less 
idigo ; it is a very serviceable colour, easily 
orked, and productive of many tints. This 
ilour, as well as sap-green, shades itself, 
he indigo must be well ground before you 
iix it. 
Another is made with indigo and gamboge, 
ell ground together, extremely useful in 
tinting of trees, grass, vegetables, &c. With 
e addition of sap-green, it is very service- 
tie in flowers, and shading in of garments. 
►V transparent green is made by mixing 
■rdigrise and yellow to various tints, by 
aving either predominant. 
1 Browns. Burnt and unburnt terra de Si- 
ma, are the warmest brown for front grounds, 
•ad leaves, & c. work ven free, and are of 
meiv.l use. 
Bistre is a good and serviceable colour, 
he best sort is very bright and close ; as it 
a colour difficult to work of itself, mix a 
tie Spanish liquorice with it, that will mel- 
w and take off its harshness, it must be 
;li ground ; and the higher it is gummed, 
e better for use. 
Spanish. liquorice is allowed, by the best 
asters, to be productive of a great variety ol 
own tints, ot a very agreeable. colour ; it 
11 not shade itself, but works as free as any 
tn-coldurs by diluting it in fair water. 
A brown mixture is made by incorporating 
j green and carmine, which is of an extra- 
dmary soft nature ; it is a colour extremelv 
•viceable in painting flowers in water-co- 
irs. 
Another, by blending vermilion and bistre 
Houglvly; the be.tre must be extrenu-ly 
11 ground before you incorporate it with 
; vermilion, and it will produce a very good 
>\V11. 
mTER-COLOtm s; t 
Directions for preparing ilie fclloiving mixed 
colours. 
Ash colour. Ceruse, Keating’s black, and 
white, shaded with cherry-stone black. 
Bay. Lake and flake white, shaded with car- 
mine; bistre and vermilion, shaded with 
black. 
Changeable silk. Red lead and masticot- 
water, shaded with sap-green and verdi- 
grise. 
Another. Lake and yellow, shaded with 
lake and Prussian blue. 
Cloud colour. Light masticot, or lake and 
white, shaded with blue verditer. 
Another. Constant white and Indian ink, 
a little vermilion. 
Another. White, with a little lake and blue 
verditer, makes a very agreeable cloud-co- 
lour, for that part next the horizon. 
Crimson. Lake and white, with a little ver- 
milion, shaded with lake and carmine. 
Flume colour. Vermilion and orpiment, 
heightened with white. 
Another. Gamboge, shaded with minium 
and red-lead. 
Flesh colour. Ceruse, red lead, and lake, 
for a swarthy complexion, and yellow- 
ochre. 
Another. Constant white and a little car- 
mine, shaded with Spanish liquorice, wash- 
ed with carmine. 
French green. Light pink and Dutch bice, 
shaded with green pink. 
Glass grey. Ceruse, with a little blue of 
any kind. 
Hair colour. Masticot, ochre, umber, ce- 
ruse, and cherry-stone black. 
Lead colour. Indigo and white. 
Light blue. Blue bice, heightened with 
flake white. 
Another. Blue verditer, and white of any 
sort, well ground. 
Light green Pink, smalt, and white. 
Another. Blue verditer and gamboge. 
Another. Gamboge and verdigrise. The 
chief use of this green is to lay the ground- 
colours for trees, fields, &c. 
Lion tawny. Red lead, and mastieotj shad- 
ed with umber. 
Murrey. Lake and white lead. 
Orange. Red lead and a little masticot, 
shaded with gall-stone and lake. 
Orange tawny. Lake, light pink, a little mas- 
ticot, shaded with gall-stone and lake. 
Pearl colour. Carmine, a little white, shad- 
ed with lake. 
Popinjay preen. Green and masticot ; or 
pink and a 1 ttle indigo,. shaded with indigo. 
Purple Indigo, Spanish brown, and white; 
or blue bice, red and white lead ; or blue 
bice and lake. 
Russet. Cherry-stone black and white. 
Hear let. Red lead and lake, with or without 
vermilion. 
Sea green. Bice, pink, and white, shaded 
with pink. 
Sky colour. Light masticot and white, for 
the lowest and lightest parts; second, red 
ink and white ; third, bine bice and white ; 
fourth, blue bice alone, bnese are all to 
be softened into one another at the edges, 
so a- r.ot to appear harsh. 
Sky 'colour for drapery. Blue bice and ce- 
ruse, or ultramarine and white, shaded with 
indigo. 
■Straw colour. Masticot and a very little 
lake, shaded with Dutch pink. 
Violet colour. Tncfigo, white,. and lake; or 
fine Dutch bice and lake, shaded with in- 
digo ; or litmus, smalt, and bice, the latter 
most predominant. 
Water. Blue anil white, shaded with blue, 
and heightened with white. 
Another. Blue verdigrise, shaded with in- 
digo, and heightened with white. 
Directions for using the colours. 
Your pencils must be fast in the quills, and' 
sharp-pointed (after you have drawn them 
through your mouth), not apt to part in the 
middle. 
Before you begin, have all your colours-, 
ready, and a pailette for the conveniency of 
mixing them ; a paper to lay under your 
hand, as well as to try your colours upon ; also 
a large brush, called a fitch, to wipe off the 
dust from them. 
Being prepared according to the foregoing- 
method, proceed in your painting; which if 'a 
landscape, lay on first dead colours freely all 
over your piece, leaving no part uncovered. 
Having laid your dead colours, begin next 
with the lighter parts, as the sky, sun-beams, 
& c. ; then the yellowish beams,* with masticot. 
and white; next the blueness of the sky„ 
with blue verditer alone ; for purple cloud's, 
mix only lake and white, making your co- 
lours deeper as they go upwards from the 
horizon, except in tempestuous skys. The 
tops of distant mountains must be worked so 
faint, that they may seem to lose themselves 
in the air. 
Bring your colours forward as your dis- 
tance decreases : painting yeur first grounds 
next. the horizon, downwards, of a bluidi sea- 
green-; and as you advance forward, of a 
darker green, till you come to the fore-ground 
itself; which, as it is the darkest part of all, 
with dark green, worked in such a manner as 
to. give the appearance of shrubbery, &c. 
In painting trees, having first laid a ver- 
digrise green fora dead colour, proceed with 
working it so as to give a leafy appearance. 
Bring some of your leaves forward with mas- 
ticot and white; for t lie trunk, work the 
brown with sap-green; if you should intro- 
duce oak-trees' lay on sonic touches to ex- 
press leaves of ivy twined about it. 
All distinct objects are to be made imper- 
fect, as they appear to the eye. 
In painting flesh, the following are the best 
directions for preparing your work so as 
afterwards more readily to produce the effects 
of colours seen in nature: 
1 ake flake-white and a little lake, blend 
them together, and with that 'lav- the ground- 
colour ; then shade with red-oehre, cherry- 
stone black, and a little lake, mixed together, 
touching the lips, cheeks, &c. .with a tint of 
carmine, and heighten the flesh w ith white 
and a little carmine, llemember thut you 
are never to heighten it with pure white, 
which yyl.l always give it a cold appearance. 
1 he peculiar management of tints in the 
representation of other various kinds of ob- 
jects, such -as animals, flowers, fruits, &c. will 
require some .attention from the student, but 
is unnecessary to be given here in detail, as 
practice will soon instruct him- in all that is 
requisite on this head. 
It may be recommended to the student in 
general, whatever is the subject of his draw- 
ing, not to finish any one part first, but to* 
work up every part gradually alike, until he 
