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Lome 
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GRECIAN PAINTING. 
No. ‘3. 
Having made the engraving perfectly transparent, 
the next step is to place the frame upon an open or 
transparent easel, which is made with two standards 
instead of one, in order to prevent any shadow from 
falling across the picture. 
Our difficulty now is, that I cannot tell what par¬ 
ticular picture you have to color, and can only, by 
giving general directions or describing some popular 
engraving of the day, give such an idea of the coloring 
of various parts as will enable you to apply them to 
some particular picture you have chased ready for 
further directions. 
Here I would pause a moment, to say that, as a 
preparatory step, it would be wise to paint only a 
small picture, and also that in painting any picture, 
whether large or small, you will find it necessary, in 
many instances, to exercise your own taste and judg¬ 
ment. 
There are some engravings popular at present that 
can he obtained at any picture store, and as our first 
lesson, we will describe a few of these small and inex¬ 
pensive engravings, which will not require any vast 
amount of skill and yet will form very beautiful 
pictures. One pair of these—the “ Ecce Homo” and 
“ Mater Dolorosa ” are known to everyone, also the 
“ Madonna Della Scala” and “ Holy Family.” These 
are each 16 by 22 inches, and can be purchased for 
from fifty cents to one dollar, according to finish and 
the prices of different dealers. 
“ecce homo.” 
Paint the flesh with a tint made of white, a very 
little vermilion and Naples yellow rubbed together, 
adding a speck of permanent blue; touch the lips with 
vermilion mixed with white, and while the flesh color 
is still wet touch a dot of vermilion to the cheeks and 
rub through with the tip of the finger, watching the 
outside constantly to see the effect and using the ut¬ 
most care not to let it spread too near the nose and 
eyes. Under the eye, the chin, and forehead the light 
flesh color must he carefully preserved. (This paint is 
all applied to the wrong side of the engraving; touches 
on the right will he hereafter described.) 
In making the flesh color, be guided by its appear¬ 
ances, and add or change the color as desired; use 
first more white, with about equal parts vermilion 
and Naples yellow, and a mere speck of blue; if neces¬ 
sary, more Naples yellow or vermilion may he added, 
hut the tint must not he roseate, hearing in mind the 
age and that sallowness or pallor which would 
naturally be produced by suffering. 
The eyes: pupils, burnt sienna; whites, touch 
lightly with a speck of raw sienna and white. Hair-: 
burnt umber, shaded slightly with white on the light 
parts. The crown of thorns: paint yellow ochre mixed 
with burnt sienna, with white mixed where the light 
strikes. The background: paint, after the rest is dry, 
with yellow ochre, with chrome green until an olive 
tint is formed, which paint on the back, rubbing 
through a little white on the lights with the tip of the 
finger, touching up on the front side with the same. 
On the outside: touch up also on the lips with vermi¬ 
lion, and on the high lights of each part with light 
shades of the color used on the hack, mixed with 
Megilp or clear Demar varnish. 
“mater dolorosa.” 
The face: same as the former, with rather more ver¬ 
milion and the roseate hue rubbed through upon the 
cheeks rather deeper; (indeed, upon the face of our 
Lord it should be scarcely perceptible.) Lips: same, 
and touch on outside with madder. The eyes are not 
perceptible; the lids must be much lighter than the 
rest of the face. Touch the chin with a dot of ver¬ 
milion and rub through as before described for the 
cheeks. Hair: paint with Vandyke brown and raw 
sienna lighted with white upon the light parts. The 
scarf over the head paint white, with touches of same 
upon the right side. The dress: paint, a purple, made 
from blue, crimson, lake, or madder and blue, touch¬ 
ing on the front with light shades of the same. The 
hand holding the dress: color with flesh tints, adding 
more yellow. The background is the same as the 
first piece. 
“madonna della scala” 
is very similar. The vail: paint a delicate blue, 
touched on the lighter parts in front. The dress: ver¬ 
milion on the hack side and madder on the front. 
Paint the hair of the infant Saviour with more raw 
sienna than in the mother's. The eyes: light blue 
on the pupils, and the whites tint with white and a 
particle blue. The dress : white. 
“the holy family.” 
The mother’s dress: a delicate violet, very light, 
with white on. the high lights, touched on the outside 
with same; border of lake crimson, touched with lines 
of chrome. The cloak or shawl-like scarf over the 
shoulder: vermilion on the hack, touched carefully in 
the light parts on the front side with rose madder; the 
dark parts behind will be sufficiently shaded with the 
darkness of the engraving; paint the border with a 
little orange chrome; the figures lighter, touching 
with fine brush on the right side. The face: make a 
light, youthful one, (with white, a little vermilion, 
and the least particle each of Naples yellow and per¬ 
manent blue,) after having painted the lips vermilion, 
mixed with white, rubbing a dot of vermilion into the 
cheeks, as previously explained. The hair: make a 
golden brown, using Vandyke brown and raw sienna, 
and touching it lightly on the right side with the 
same. The veil must be white, rubbing it in through 
certain parts to produce a soft, fleecy appearance, 
touching fine lines on the right, side, like lace. The 
flesh of the children must, he more roseate; the eyes 
light blue on the pupils, mixed with white for the 
whites. The hair of the child (St,. John): paint with 
raw sienna and umber mixed; the scarf, permanent 
blue and white; the girdle of camel’s hair is painted 
with yellow ochre and raw sienna mixed, touched with 
lighter shades upon the right side; the cross-staff, raw 
umber and a little yellow’ ochre. The halo around 
the head of each paint with deep yellow chrome, 
touching with white upon the right side. The end of 
the scarf upon the Christ-child color with crimson lake 
touched with vermilion and white mixed upon the 
right side. His hair paint, with yellow ochre, touch¬ 
ing with same on right side. Add more Naples yellow 
for the feet of the Virgin Mother. 
The background in the far distance paint in very 
light shades. Foliage, yellow ochre, chrome, Antwerp 
blue, and Venetian red. Distant mountains, per¬ 
manent blue, Naples yellow, and Venetian red. Near 
mountains, yellow ochre and Naples yellow. Mid¬ 
distance, use terra verte in the foliage ; grays made of 
ivory black, and white and Naples yellow; permanent 
blue and yellow on the houses of the city, rubbing 
through the distant, mountains with the finger. The 
tropical growth in the foreground of leaves and flowers 
must he painted with emerald green, touched up on 
the outside with Naples yellow, yellow ochre, and 
permanent blue; also, deep chrome, antique blue, raw 
sienna, using a variety of shades, giving the whole a 
rich, deep, warm color, not a cold, blue shade ; make 
light parts yellow and bright. The several trees paint 
deep green, with touches of black, and light shades 
upon the outside. Bright flowers make with ver¬ 
milion, chrome, crimson lake, blue and white. A 
lovely flower is made by taking several clean brushes 
and loading the point of each with lake, permanent 
blue and yellow chrome; put a dot of yellow, around 
it dots of white, another in the same way with lake, 
another with blue, etc., making clusters of each and 
giving a fine effect. Drooping sprays of vermilion 
have also a beautiful appearance shooting from a 
cluster of large, rich, green leaves. 
In touching up the right side always mix the color 
with Megilp, and if still higher effects are desired, use 
a very little opaque color also. We will in our next 
give some directions for painting landscapes and also 
some general directions in regard to coloring that will 
always be useful. C. S. J. 
FASHION NOTES AND GOSSIP. 
Why Dace is Costly.— Many people wonder why 
lace for trimming is so costly. The following para¬ 
graph explains: 
The manufacture of lace is carried to its highest per¬ 
fection in Belgium. The finest specimens of Brussels 
lace are so complicated as to require the labor of seven 
persons on one piece, and each operator is employed at 
distinct features of the work. The thread used is of 
exquisite fineness, which is spun in dark, underground 
rooms, where it is sufficiently moist to keep the thread 
from separating. It is so delicate as scarcely to he 
seen, and the room is so arranged that all the light 
admitted shall fall upon the work. It is such material 
that renders the genuine Brussels ground so costly. On 
a piece of Valenciennes not two inches wide, two hun¬ 
dred to three hundred bobbins are sometimes used, and 
for the larger width, as many as eight hundred on the 
same pillow. The most valuable Valenciennes is de¬ 
termined by the number of times the bobbins have 
been twisted in making the ground; the more frequent 
the twists the clearer and more beautiful will be the 
lace. Belgium sells of this lace alone to the value of 
over $4,000,000. Chantilly lace is always black, and 
"is used chiefly for vails and flounces. It is very fine 
and extensively worn. Mechlin lace is made at Mech¬ 
lin, Antwerp, and other localities. 
Jet is still all “ the rage,” hut is not likely to last 
through another season. Let a thing he never so 
pretty, if everybody takes to wearing it, the “ upper 
ten” discard it immediately. 
Quilted Skirts of black, blue, or scarlet silk, are 
much worn by young ladies of fashion, and are ex¬ 
tremely pretty on a slightly muddy day, when the 
dress skirt must he held from the ground. 
Very stylish, costumes are made up in plaid goods 
this season. Some in blue and green are extremely 
pretty, hut the varieties in soft shades of light and 
dark brown seem to he newer and more generally 
liked. 
White illusion, edged with lace, is “ the latest” 
in the way of vails, and is very becoming. 
A Eady was seen at a hall not long ago, with the 
apron embroidered in purple, with an elaborate mono¬ 
gram in the center. This last was done in a very 
delicate way, hut seemed entirely out of taste. 
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