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A COURSE OF 
 
 PAINTING IN NEU 
 
 IWENTY-FPOCR. PLATES, 
 
 FROM DESIGNS BY 
 
 ££ YF FI 
 Oa So El PE a eRe Gea Pl 
 LONDON, PALES Fo INEM @ YORK, 
 
oS PAT NEEENG. IN oNEELER AL EN 3 
 
 THE instruction given in this book is intended to form a medium between “ Painting in Sepia” and the “Course of Water 
 Colour Painting.” ‘The studies are theretore executed in sepia, with the addition of a single grey tint; and as this varies 
 
 according to the subject, the following hints in relation to the colours from which different greys may be mixed are given :— 
 
 | It must be explained, that all these colours being more or less transparent, the white of the paper becomes, as it 
 
 were, one of the constituent colours. 
 Corresponding ‘greys, to be used as body-colours for painting on tinted paper, may be mixed by the addition of bee | 
 | white ; but there is, of course, the risk of changes taking place in the white, by which the tint will be more or less affected. 
 
 The following methods of mixing various greys will be found useful :-— 
 
 | tr LAKE AND. INDIGO. 
 foe Lake is a beautiful transparent red colour, which washes well, and works very smoothly. The crimson lake has 
 | a bluish tint, whilst the scarlet lake has a tendency to orange. ‘The crimson lake is generally used in mixing greys. aa 
 
 | Indigo is a dark blue colour, which is tinged with black and red ;.it is, in fact, a black purple, and a good imitation 
 
 of it may be made by mixing Prussian blue, crimson lake, and black, giving, of course, a predominance to the blue. 
 
 Indigo washes well, but is very powerful, so that a very small quantity of it will be required in mixing the grey. 
 
4 PAINTING IN NEUTRAL TINT. 
 
 2. LAKE AND COBALT. 
 | Cobalt is a very clear light blue. It is rather heavy, and unless well mixed, has a tendency to settle ; it should 
 
 therefore be stirred each time a brushful is taken. 
 
 Cobalt alone may be used for skies, and may be worked in different tones to produce a pearly or full tint. 
 
 3. MADDER BROWN AND COBALT. 
 
 Madder brown is a deep, warm colour, permanent, and of great power. It washes well; but in mixing greys it 
 
 should be very sparingly used. 
 
 4 MADDERe LAICE COBALT «ANDY EULOW 2OC THRE. 
 
 Madder lake is a rose red, very similar to rose madder 
 
 permanent and transparent, but not possessing much power. 
 It is well adapted for mixing delicate greys, and with cobalt only produces a clear and beautiful tint. 
 Yellow ochre is a semi-transparent colour, of a warm yellow hue, which washes and mixes well. It is added to a 
 
 | grey when a slightly greenish shade is required. 
 
 5. INDIAN -RED AND: COBAEF: 
 | This mixture makes a reddish, dull grey, and care must be taken that the red is not overdone. 
 Indian red is a dull colour, of considerable body, and washes very well. 
 
 | Another good grey may be mixed from Indian red and indigo. 
 
 6, LIGHT RED, AND COBALT. 
 Light red is a colour of a dull orange tint; it has considerable body, and washes well. It may be used with indigo 
 
 also, according to the shade of grey required. 
 
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METHODS OF MIXING. 5 
 
 7. INDIGO, LAKE, AND GAMBOGE. 
 This is, of course, a rather greenish grey, which shade is caused by the mixture of the gamboge with the indigo, 
 which is more or less neutralised by the addition of the lake. 
 Gamboge is a clear bright yellow colour, which is very transparent. Only a small quantity must be used in 
 
 mixing grey, as gamboge has the property of drying darker than it appears when wet. 
 
 8. INDIGO, LAKE, AND BURNT SIENNA. 
 Burnt sienna is a bright red brown, and is very transparent ; it is extensively used in landscape painting, in shading 
 
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 yellow colours, and in giving the mellow autumnal tint to trees, &c. 
 
 It is necessary that the students should be acquainted with the methods above given, in order that they may be 
 able to give the desired tint to the sky; for it must be remembered that the general tone of the sky will impart some 
 of its own hue te’the whole scene; and thus, although only the sky may show the colour in its purity, in reality it pervades 
 
 the whole, and in many cases it is required to carry a wash of the sky-colour over the entire picture, not only before local 
 
 . colours are applied, but again during the progress of the work. 
 
 Although the students are urged to copy carefully the examples here given, they are still urged to remember that 
 copying merely supplies the means to the end itself; and they should therefore observe the effects visible in nature, an 
 exact appreciation of which is so important to the landscape painter. 
 
 It will often be noticed, that although the tops of mountains are at a great distance from the eye, they still appear 
 more plainly than their bases. This is owing to the mists which are constantly playing over the surface of the earth— 
 especially in summer or autumnal mornings and evenings—but which do not reach the summits of the hills. 
 
 The students must also understand, that however important linear perspective may be, as the only scientific means 
 
6 : PAINTING IN NEUTRAL TINT.’ 
 
 of rendering forms correctly, it is not sufficient for the purposes of painting in which the aid of aerial perspective is required, 
 
 in order to give to each object the appearance of distance, and to modify its colour or shades in accordance with the 
 
 atmospheric medium through which it is seen. 
 
 Dark objects become apparently lighter by distance, and light objects seem darker, but not in like manner, for lights 
 are slowly lost, whilst the darker objects lose colour at a greater rate. The distance at which they both become of one hue 
 
 is dependent on the state of the atmosphere and the nature of the ground. 
 
 In mixing the various tints, the colours of which they are to be composed should be rubbed in separate compartments 
 
 of the slab, or round the palette. They should then be mixed with the brush in the central part of the palette. By this plan 
 
 the proper proportion of each colour can be better judged than if all are rubbed on one spot, besides which the ends of the 
 
 colours are kept unsoiled by the mixture. 
 
 All colours, tints, or shades, whether light or dark, should be made as liquid as circumstances allow, so as to insure 
 
 ea flowing freely ; for the surface of the paper being granulated, it is necessary that the colour should fill the interstices, 
 
 instead of merely touching the tops of the elevations, in which case, the surface, when dry, would appear dotted all over with 
 
 minute white spots, caused by the uncovered recesses into which the colour had not sunk, 
 
 Should the paper appear rather greasy, so that it resists the colour, a minute quantity of prepared ox-gall may be 
 
 dissolved in the water with which the colours are mixed ; but this must be done very carefully, as the ox- gall tends to diminish 
 
 the briliancy of the colours, particularly such as contain any blue, to which it gives a greenish shade. If the paper should 
 
 have the tendency to absorb the colours too rapidly, a small quantity of gum arabic should be dissolved in w 
 be washed over it ; 
 
 ater, which should 
 a process which may be repeated until the desired effect is attained. ‘The paper should always be larger 
 than the picture to be executed upon it, in order that trials may be made before the work is commenced. 
 
 By this plan 
 much annoyance and disappointment will be prevented. 
 
EXPLANATIONS OF TERMS. Ze 
 
 The following explanations of terms used in Landscape Painting will be found useful :-— 
 
 ACCESSORIES are adjuncts introduced into a picture to give relief and to add beauty, without being absolutely necessary 
 to the subject represented. 
 
 ACCIDENTS or ACCIDENTALS are lights, objects, or small groups, suggested by convenience, and sometimes introduced 
 as afterthoughts, not having been included in the original composition of the picture. They assist materially in the effect, but 
 care must be taken to treat them in a general manner, and not to lavish on them the time and trouble which would be better 
 spent on more important parts ; nor should their details be too highly wrought to the injury of the breadth of effect. 
 
 BREADTH.—By this term is meant that treatment by which the forms, lights, shadows, and colours are arranged in 
 
 masses, thus obtaining grandeur of. effect and expression. Breadth is destroyed by small detached lights and shades scattered 
 
 irregularly over the picture, and by giving minor objects the prominence belonging only to the most important features. 
 BACKGROUND is a term given to that part of a picture behind the leading objects or figures. As it gradually recedes it 
 
 becomes the “ distance.” Upon the happy arrangement of the background much of the effect of the picture depends. 
 
 | 
 
 | 
 
 | = : : : : 
 
 | MippLe TInt, as the words imply, are those tints which are almost equally removed from light or darkness. 
 | 
 
 a 
 
 DIsTEMPER, or TEMPERA PaInvTING, is a method of painting in which the colours (generally in powder or lump) 
 beac are mixed with gum, size, or other glutinous medium. It was in general use before the introduction of oil painting in 1410. 
 | FORESHORTENING.—When any figure, building, or other object is so placed that the length is more or less diminished 
 li appearance, it 1s said to be foreshortened. Thus, in a drawing of a figure extending its arm towards the spectator, the arm 
 would be foreshortened. 
 Harmony, as applied to painting, means the proper agreement with each other of the colours, lines, lights, shadows, 
 i and, indeed, all the component parts of a picture. 
 
 LocaL Coxours are those belonging to the individual parts of, and objects in, a picture. These should be carefully 
 
8 PAINTING IN NEUTRAL TINT. 
 
 harmonised, so that an unimportant object, although of‘a bright local colour, may not be more prominent than its position as 
 an accessory may require. Small pieces of bright local colour, however, frequently serve to lighten up a picture when used 
 with judgment. 
 
 RELIEF, in painting, is the proper detachment of one object from another—as a figure from its ground, &c.—so as to 
 give to every portion of a picture the character of truth and distinctness. 
 
 Tone.—This term is most commonly used to denote depth or brilliancy of a painting, and is often used in place 
 of “‘harmony.” ‘Thus, if some part of a painting is said to be “out of tone” with the rest, it is meant that either the 
 colours, lights, or shadows do not truly represent the distance at which the object ought to appear, or do not agree with 
 the surrounding tints. The word “tone” is also often used for the prevailing hue of a painting representing the impression 
 
 of particular effects. 
 
 In the volume on “Sepia Painting,” the method of stretching paper was fully described ; but as it is not always 
 convenient to the student of landscape painting to carry a drawing-board with him, or to devote the necessary time and 
 attention to the process of stretching the paper, the “solid sketch-blocks” are recommended. ‘These consist of a number 
 of pieces of drawing-paper glued together by their edges, and pressed so as to form a solid mass, which is then attached 
 to a piece of strong mill-board. As a drawing is finished, it is removed by running a penknife round under the edges, 
 when another sheet of paper is presented ready for work. 
 
 The sketch-blocks are made of various kinds of paper, and may be had bound in a cover furnished with a pocket, 
 
 in which the finished drawings may be placed. 
 
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L£AINTING IN NEUTRAL LIN. 9 
 
 er a l. 
 
 Tne rock in the foreground should be sketched first, then the cliff and fortress in the background ; and when these are found 
 to be correct, the two buoys are to be drawn. 
 
 The sky should be painted first, the tint used being composed of cobalt and lake. This tint should be carried lightly 
 over the distant cliffs, and also over the water. 
 
 The picture is then to be proceeded with, and will be completed in about three washes of sepia, a few touches with 
 
 a darker shade of the same being afterwards added. 
 
10 PAINTING IN N&UTRAL TINT. 
 
 PLATE Et. 
 
 Turs plate is an example of clear and broad treatment, which renders great care in the outiine all the more necessary. 
 
 The sketch should be commenced with the upper edge of the boat, to which the exact slant or inclination must be 
 
 given, and the precise relation of the keel must be carefully observed. 
 The lumps of stone, ring, chain, and other details, are next to be added. 
 The sky is to be painted first, with a tint composed of indigo and lake. 
 
 The whole picture should be executed in two washes of sepia, the high lights being carefully spared up. 
 
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PAINTING IN NEUTRAL TIN?I, 11 
 
 Peete [hh 3 
 
 Two studies are here presented, which will require careful and accurate drawing. 
 
 In the first—an angle turret-window—the body or cylindrical part should be sketched first, and*a perpendicular is 
 to be drawn through the middle, and on this perpendicular the point of ie conical roof must be placed. The lower edge 
 of the roof must be a carefully-balanced curve. The pendant is next to be drawn, and the various mouldings must be gradually 
 diminished until they end in the ornamental ball on the perpendicular line. The window and other details are then 
 to be added. | 
 
 In the second example, the body of the turret is, as before, to be sketched first; then the roof; and subsequently 
 the ornamental timber-work and moulding. 
 
 Both subjects should be outlined in sepia, so that the pencil lines may be rubbed out, and the paper cleaned of lead 
 before the colours are applied. 
 
 The sky is to be tinted with a colour mixed of indigo and lake, and the subjects themselves are to be painted with 
 three shades of septa, together with a few sprited touches with the darkest shade, which should be added when the previous 
 
 work is quite dry. 
 
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 {2 PAINTING IN NEUTRAL TINT. 
 
 Pet cles 
 Tue object forming the subject of this study is a further development of that given in Plate II., and shows the divisions of 
 the planks of which the boat is formed. ‘These lines should be sketched across the whole length, regardless of the interruption 
 caused by the sail, the portions covered by which can be subsequently rubbed out. By this means the continuity is insured. 
 The sky tint consists of a pale wash of indigo, which is lost in fleecy clouds on the left side. 
 The boat, and accessories, are to be executed in three washes of sepia, with such darker markinys, &c., as may be 
 
 found necessary. 
 
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PAINTING IN. NEUTRAL. TinT, 13 
 
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 THE principal objects, viz., the ship on the beach, the second vessel in the middle distance, and the lighthouse in the back- 
 ground, afford excellent practice in tinting, and in rendering the details more or less prominent, according to the distance of 
 each object from the spectator. 
 
 The ship on the beach is to be drawn first, and in this it will be observed, that although much detail appears, it is 
 rendered in a few bold touches, not in a laboured manner. In ae second vessel the detail is less apparent ; and in the light- 
 house minor points are hinted at, oe suggested, rather than really drawn. 
 
 The sky is a simple tint of pale indigo, rather darker towards the right side. If in laying this on the outline of the 
 lighthouse or of the distant sail should become injured, they may be restored by painting them with water, and rubbing them 
 sharply with a piece of rag; or when the water has soaked in, the surface may be dabbed with a rag, and then the part 
 
 requiring improvement may be rubbed with india-rubber, which will remove the colour. 
 
————— 
 
 14 
 
 LAINTING IN NEUTRAL TNT. 
 
 Pr eres at 
 
 THE two examples here given show part of the front and side of an old-fashioned farm-house, affording excellent studies for 
 
 correct drawing, and the details should be carefully sketched. 
 
 The sky is to be tinted with a wash composed of cobalt and lake. After which the examples are to be worked in 
 
 three washes of sepia, with such accidental markings in a darker shade of the sare colour as the taste of the student may 
 
 suggest. 
 
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PAINTING IN NEUTRAL TINT, 15 
 
 Pe ere WP, 
 
 In outlining this picture, the great mass of rock on the left side should be sketched first, and this should be followed by the 
 line of the beach, ending in the broken stones, &c., on the right side of the foreground. 
 
 The range of cliffs running into the distance are next to be sketched, and finally the ship and figure. 
 
 The sky colour to be mixed of light red and cobalt, the shading on the distant rocks being tinted with the same. 
 
 The picture is to be executed in three shades of sepia. 
 
16 PAINTING IN NEUTRAL TINE. 
 
 Paar es le 
 
 THE square block forming the body of the house is to be the first part sketched, and to this the pyramidical roof is to be 
 
 added, care being taken that the apex is over the middle of the whole block. The parapet wall slanting down from the side of 
 
 the house is next to be drawn, then the buttress on the left side, and the other portions of the buildings and details. The 
 
 same general plan is to be pursued in drawing the second study, remembering that the whole building must always be 
 
 ascertained to be correct before any of the details are attempted. 
 
 The sky is to be tinted with a wash of light red and cobalt, and the lower portion of the picture is to receive a 
 
 wash of pale sepia, with which both of the studies are to be carried through their first stage. They will be completed by two 
 
 more washes. 
 
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PAINTING IN NEUTRAL TINT, 17 
 
 Pe gaa.’ 
 
 THE principal object—the boat—must, of course, be the first part sketched in this picture. It will be found most convenient 
 to begin at the left-hand corner, and carry the outline of the upper edge along as far as the projecting keel, which should then | 
 
 be drawn. 
 
 The distant side of the bows, and the stern end of the boat, then follow; and finally the top—baskets and 
 other accessories. 
 
 The sky tint is composed of cobalt and light red. 
 
 The whole picture is then 40 be painted in two washes of sepia, and completed, with markings and details, in the 
 third, or darkest shade. | 
 
 Care must be taken that the divisions of the planks are not too strongly marked, in order that they may not interfere 
 
 with the general form of the boat. 
 
 The baskets and lantern, although carefully sketched, as far as their general form is concerned, must not be executed 
 
 with any degree. of finish, but should preserve a free and artistic character. 
 
— 
 
 Tue outlines of the two studies here presented will require but few instructions, being extremely simple. 
 
 PAINTING .IN NEUTRAL. TINT. 
 
 iP eee 
 
 It is only necessary 
 
 to bear in mind that the largest masses are to be sketched first, and that the general forms must be correct before the 
 
 details are added. 
 
 The sky tint is composed, of indigo and lake, and the subjects are painted in three washes of sepia. 
 
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 Subjects such as these form excellent preliminary studies for painting in water colours, which the student may attempt 
 
 before using other copies. Thus the first building may be tinted with light red, representing brickwork, and shaded with 
 
 sepia, the slates being coloured with pale indigo. The second building may be tinted with pale yellow ochre, indicating 
 
 stone, the tiles being painted with light red, shaded with sepia. 
 
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PAINTING IN NEUTRAL TINT. 19 
 
 leu omar cl 
 
 THE distant water-line to be the first drawn in this picture. And this should be followed by the range of cliffs; and 
 finally the ships. 
 
 The sky tint is composed of cobalt and madder brown, and requires careful working, in order to produce the 
 variety in the clouds, 
 
 The cliffs are first to. be covered with a very pale wash of sepia, and the shadows on them are to be painted with 
 a tint very little darker, so that the whole range may not stand out too prominently. 
 
 The water is to be painted with two washes of sepia, excepting the part near the horizon, which is to receive a wash 
 of a third and darker tint. 
 
 The white line for the surf, and the white sail, may either be spared up, or may be taken out in the manner 
 
 already described. 
 
20 PAINTING. IN NEUTRAL TINT. 
 
 Pa ea eer Gleb 
 
 THE outline of the rocks, although decided, must not be hard; and the fissures, &c., although they are to be definitely 
 
 marked, must not appear prominently. 
 
 The sky tint is' composed of light red and cobalt, and it is to be carried over the whole of the rocks after they have 
 
 been tinted with the first wash of sepia. 
 
 The water is to be mainly executed with the sky tint, pale sepia being used in the darker parts. 
 
 The picture is then to be completed with the second wash, with a few touches of the darkest tint very 
 
 sparingly added. : 
 
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PAINTING IN NEUTRAL TINT. 21 
 
 Pier el | 
 TE rocks in the foreground having been outlined, and the direction of the roadway having been traced, the hill with 
 
 | castle, and the distant rocks, are to be sketched. 
 
 This central mass is then to be covered with a wash of sepia, so pale as to be only in the smallest degree removed 
 
 from clear water. The mound below, and the roadway, are to receive a rather darker wash, which may also be carried over 
 
 the rocks and the foreground. 
 The sky tint is composed of cobalt and lake; and with this the castle and central rocks are to be shaded. This must 
 
 be done in two washes, the object being rather darker than the sky ; but care must be taken that the mass does not stand 
 
 out in a hard manner, 
 
 5 
 
 The foreground is then to be finished with two shades of sepia. 
 
22 PAINTING IN NEUTRAL TINT. 
 
 Pane eh On. 
 
 Te first line to be sketched is that dividing the foreground from the middle distance, at about one-third of the height. _ This 
 is to be followed by the outline of the mound and foliage, with castle, &c., separating the middle distance from the middle 
 distance proper, in which the range of hills is situated. 
 
 The picture having been thus divided into foreground, middle, and distance, the principal object—the mill—is next to 
 be sketched, and this having been completed, the colouring is to be commenced. 
 
 The sky tint is composed of Indian red and cobalt, and this may be carried over the whole of the distance and middle 
 distance. 
 
 The middle distance is next to be tinted in sepia of the palest hue, which is also to be carried over the foreground 
 
 and the upper part of the mill. 
 
 The picture is then to be completed in two more washes, with such additional dark touches as the taste and knowledge 
 
 of the student may suggest. 
 
| 
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PAINTING IN NEUTRAL TINT. 23 
 
 Piper Eee 
 
 Tue line of the mound on the left roadway and the bridge should be the first sketched ; then the distant hills, bridge, &c., 
 and lastly the tower and details. The sky tint is composed of cobalt and light red, which is also to be carried over the hills 
 in the distance: 
 
 The whole picture is then to be tinted with the first wash of sepia, which will form the local colour of the tower, 
 bridge, and middle distance. 
 
 The work is then to be completed in two more washes of sepia. 
 
24 PAINTING {N NEUTRAL Tinr. 
 
 eet see NOE 
 
 TuE rocky foreground is to be sketched first, then the rocks on the left side, the cottages and distant mountain, and lastly 
 the ship. It is not necessary that views such as this should be outlined in sepia ; when they have been very lightly sketched 
 in pencil, they may be at once lightly tinted in with their local colour. 
 
 In this picture the sky colour is composed of indigo and light red, with which the mountain and shaded parts of the 
 
 water are to be tinted. 
 
 The foreground, cottages, ship, &c., are to be painted in two washes of sepia, with darker touches. 
 
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PAINTING IN NEUTRAL TINT. 25 
 
 [eee eiceee Cie 
 
 | Tue foreground having been sketched, the bridge and foliage in the middle distance are to follow, and, finally, the mountains 
 are to be carefully outlined. 
 | The sky tint is composed of indigo and light red. 
 
 This tint is to be carried over the sky, being lightened as it approaches the mountains, which, as well as the water, are | : 
 
 a 
 
 | to be washed over with the same colour. 
 
 The whole picture is then to be carried through its various stages with three shades of sepia. 
 
26 
 
 PAINTING IN NEUTRAL TINT. 
 
 Po re 
 
 Sxercu the forcground and bridge. 
 
 Outline mountain and castle. 
 
 Colour the sky with a tint composed of indigo and light red, with which the mountain, castle, and water are also to 
 
 be shaded. 
 
 4 
 
 A wash of very light sepia is then to be carried over the castle, mountain, bridge, foreground, &c., the latter being 
 
 shaded with a darker tint. The foliage is also, in the first instance, to be painted with this colour, the darker parts being 
 
 repeated with the darkest tone. The cattle are to be painted last. 
 
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PAINTING 1N NEUTRAL TinrT. 27 
 
 PLATE oe 
 
 OUTLINE foreground and bridge, then the large group of buildings, carefully noting that the apex of the spire is exactly over 
 the middle of the tower. The distant buildings, mountains, &c., are then to be sketched. 
 
 The sky tint is composed of light red and cobalt, which may also be carried over the mountains and the roofs of the 
 buildings, and over the shaded parts of the whole. A warm and soft tone is thus obtained, adding great beauty to the 
 
 picture, which is then to be proceeded with in the manner already indicated, three washes of sepia being used. 
 
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28 PAINTING IN NEUTRAL TINT. 
 
 Pe XO 
 
 Tue rock in the foreground and the Swiss chalet are to be the first portions drawn in this picture, and after these the rock on 
 the right side and the distant mountains are to follow. 
 
 The distant mountains must not be outlined in colour, their form being indicated by the absence of the sky tint, which 
 is composed of cobalt and light red. This wash is to be laid on with a full brush up to the outline of the distant glaciers, 
 the lower part of which are to be tinted with the same colour of a lighter degree. 
 
 The sky tint is also to be carried over the range of ie behind the chalet, and also over the rock on the right-hand 
 side. 
 
 The whole picture is then to be painted in three gradations of sepia; the figures to be finally drawn, so that their 
 
 distinctness may not be diminished by the washes. 
 
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PAINTING IN NEUTRAL TINT, 29 
 
 Por Meee oe le 
 
 Tue building which forms the principal object im this picture is to be sketched first ; its position on the mound on which it 
 stands being considered, so that the apex of the tower may be just a little to the right of the middle of the picture. 
 The bridge, rocks, and other details are then to be drawn. 
 
 The sky tint is composed of light red and cobalt, and the whole work is to be proceeded with as in the last study. 
 
30 PAINTING IN NEUTRAL TINT, 
 
 Prare Sek 
 
 THIs scene on the Rhine requires much care in sketching, containing as it does so great a variety of objects, and 
 so much detail. 
 
 The line of beach is to be drawn first, and then the whole mass of buildings, the details of which should be 
 accurately sketched. 
 
 The rocks, castle, &c., on the right side ; the shipping and the figures are then to be added. 
 
 The sky is to be tinted with pure cobalt, very thinly mixed ; and this should, in the first instance, be carried over the 
 distant hills, the rocks on the right-hand side, and over the water, the lights on which may be either spared up, rubbed, 
 or scratched out. 
 
 The picture is to be executed in three shades of sepia, the figures, rigging, and fine details being painted last of all 
 
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| PAINTING IN NEUTRAL TinT. 31 
 
 Prate XXIII. i 
 
 Tue rocks on the right-hand side should be the first part drawn in this picture; and these are to be followed by the mass 
 
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 [eet of cliff on which the ruined fort stands, the line of the horizon, and the shipping. The sky tint is composed of indigo | | | 
 | | | | | 
 Bees | 
 | Sigg and light red, and with the water also 1s to be painted, being merely retouched in some parts with the palest wash of | | 
 bee | ees 
 ] | 1] 
 
 sepia. ‘The shaded parts of the waves must ke done with a brush containing very pale colour, and held upright ; the work bone 
 
 | ‘ i 
 
 1 
 
 being done more in s'»gle dabs than ir « gre 
 
 The picture is then tobe © »*ted i. .oWr gradations of sepia. 
 
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32 PAINTING IN NEUTRAL TINT, 
 
 Peete ee 
 
 Ir will be evident that the island with the ruin should be drawn first, the bank and clump of trees on the right side next, 
 
 ° 
 
 and finally the hills in the distance. 
 
 The sky tint, composed of cobalt and lake, is to be carried over the mountains and the shaded portion of the water, 
 the washes being repeated until the required depth of colour is obtained. 
 
 The student who has followed the instructions throughout, will, it is hoped, find but little difficulty in completing 
 this picture in three washes of sepia, and will be well prepared to pursue the subject according to “The Course of Water- 
 
 Colour Painting,” which forms another volume of this series. 
 
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