i i ^ 5 , 
 
 THE GUIDE 
 
 .TO 
 
 P Tjfr.; l . Jj 
 
 MINIATURE PAINTING, 
 
 AND 
 
 COLOURING PHOTOGRAPHS : 
 
 WITH A 
 
 FEW WORDS ON PORTRAIT PAINTING IN 
 
 WAfM € €> I» <0> WE & 
 
 BY J. S. TEMPLETON, 
 
 AUTHOR OF THE GUIDE TO OIL PAINTING. 
 
 * . 
 
 “He who despfscth small things, 
 Shall fall hy little and little.” 
 
 I'niito: 
 
 PUBLISHED BY GEORGE ROWNEY & 
 
 . 51, RATHBONE PLACE. 
 
 , _ ’•"*1 9? 
 
 ;! &?f\ 
 
PRINTED BY R. 
 
 LONDON : 
 
 S. FRANCIS, CATHERINE STREET, STRAND. 
 
THE GUIDE 
 
 TO 
 
 MINIATURE PAINTING, &c. 
 
 INTRODUCTION. 
 
 In commencing any undertaking it is a good preli- 
 minary to count the cost, and it may be well to do 
 so in reference to the subject of which I am about 
 to treat in the following pages ; of course I do not 
 mean the pecuniary outlay, for that, in the present 
 instance, would be so insignificant as scarcely to be 
 worth a passing thought, but what I do mean, are 
 those preparatory acquirements, and their subse- 
 quent application to that brancli of the art of paint- 
 ing — distinctively known as Miniature Painting, 
 which require the outlay of much time, perseverance, 
 and thought, as well as resolution, to master them 
 to such an extent, and have such a ready command 
 over them, as to enable the student to make them 
 the efficient groundwork of his future aspirations 
 after excellence. 
 
 We must bear in mind that Miniature Painting 
 differs in no respect from any other kind of portrait 
 
6 
 
 THE GUIDE TO 
 
 or figure painting, in those essential qualities of a 
 high and intellectual character, that should distin- 
 guish all art: by its means, genius, refined taste, 
 intellect, and poetic feeling may be displayed, as 
 well as by any other branch of art; while, in it, the 
 technical acquirements of drawing, colouring, com- 
 position, and chiaro-scuro, have quite as wide a field 
 for their display in their highest state of develop- 
 ment. It would be, therefore, a great mistake to 
 choose Miniature Painting as a pursuit, under the 
 idea that it is comparatively easy, and that one may 
 come to it with less preparation than to some others, 
 falsely conceiving it to present fewer difficulties; 
 nothing is very easy, that is very excellent; and to 
 attain to anything like high excellence in this art, 
 it is necessary to be well grounded in all the ele- 
 mentary studies, as applicable to art in general. 
 
 If I were to select any one of these elementary 
 studies, as claiming a higher degree of importance, 
 and to be more emphatically insisted on than the 
 rest, it would — certainly — be Drawing; it may be 
 Staid indeed to be the basis of all others, and naturally 
 takes precedence of them. I do not venture to say 
 that nothing else should be attempted before a high 
 degree of excellence in drawing is acquired ; for this 
 would be an endeavour to exact that, which in 
 ninety-nine cases out of a hundred, would never be 
 conceded ; but I must point out that any attempt at 
 
MINIATUEE PAINTING. 
 
 7 
 
 painting, before a considerable degree of facility in 
 drawing is acquired, is quite futile and useless, and 
 is almost certain to result in failure, mortification, 
 and discouragement; and even when a sufficient 
 degree of readiness in drawing has been acquired to 
 warrant the commencement of the study of painting, 
 its practice, as an independent study, should be 
 carefully kept up until perfection is acquired; which 
 will not, even under the most favourable circum- 
 stances of talent and opportunity, be very soon, if 
 ever. 
 
 Drawing, even as a preparation to Miniature 
 Painting, should be at first practised on a large 
 scale, not less than life size for heads, whole figures 
 may be on a smaller scale ; but I should not recom- 
 mend them to be less than two feet in height ; the 
 practice should be from the round, or plaster cast, 
 exclusively, at first, and for a long time ; until con- 
 siderable facility both in outlining and shading is 
 acquired ; drawing from the living model may then 
 be attempted, and at this stage it is an excellent 
 practice and preparation for Miniature Painting, occa- 
 sionally to draw heads and hands from the life, on a 
 small scale ; finishing them carefully in black-lead 
 pencil, or black chalk. 
 
 Now I am far from wishing to make this arduous 
 preliminary practice of drawing appear as a formi- 
 nable bugbear, jealously watching and guarding the 
 
8 
 
 THE GUIDE TO 
 
 entrance gate to Miniature Painting; I feel con- 
 vinced, on the contrary, that it is quite the reverse, 
 and that the assiduous practice I have just recom- 
 mended, will be found replete with an interest, a 
 pleasure, and a power, that will amply repay the 
 most reluctant or timid tyro: it is a way that must 
 be trodden to attain success ; but then it is a very 
 pleasant one, and all its paths are peace. 
 
 I have dwelt thus much on the importance of 
 drawing, as the foundation of all excellence in all 
 the arts of design, and consequently that of Minia- 
 ture Painting, because, from some reason or other, 
 it has, till comparatively a recent period, been the 
 habit of miniature painters to attach less impor- 
 tance to this accomplishment than they ought to 
 have done, and among amateurs in this art, and 
 even among professional artists, this is sometimes too 
 much the case still; it is gratifying to observe, how- 
 ever, that a very great improvement in this respect 
 has taken place, some of our living miniature 
 painters give a praiseworthy attention to correctness 
 of drawing, and, if it were not invidious to mention 
 names, one illustrious example might be pointed out, 
 in whose works drawing is carried to a very high 
 pitch of excellence indeed. 
 
 Formerly, it was but little the custom among 
 miniature painters to take in much more than the 
 head and bust in their portraits, hands were com- 
 
MINIATUEE PAINTING. 
 
 9 
 
 paratively but rarely introduced, so that if the artist 
 did but know how to draw a head decently, it 
 seemed to be all he aimed at; and as he rarely 
 painted half-lengths, and still more rarely whole- 
 lengths, he had but little stimulus to study the 
 drawing of them: the consequence is that we have 
 miniatures of our forefathers in which proper pro- 
 portion is quite ignored. I have seen, among the 
 works of some of the older miniature painters, the 
 heads of adults placed on the necks and shoulders 
 of children, and arms drawn in such a way, as that 
 the elbows and shoulders were nearly confounded 
 together; of course, such an amount of barbarism 
 would now be no longer tolerated. We occasionally 
 still see, it is true, a sufficient amount of faulty draw- 
 ing, but a great improvement has, of late years, 
 taken place, in consequence of the extended views 
 of miniature painters, who now do not shrink from 
 the undertaking of works of a more important 
 character, and greater pretension; half-lengths, 
 whole-lengths, and groups; combined with animals, 
 complex backgrounds, &c., which involve the neces- 
 sity of severer study, and stricter discipline, in all 
 the elementary departments of drawing, perspective, 
 chiaro-scuro, colour and composition. 
 
 On the importance of the first of these I have 
 thought it proper more especially to expatiate, 
 because being, as it were, at the threshold of art, it 
 
10 
 
 THE GUIDE TO 
 
 is the more likely to be overleaped, in the impatience 
 of the student to enter the attractive edifice. As 
 for the rest, perspective may be well learned from a 
 little treatise, published by the publisher of this 
 work: for instruction in the remaining three, chiaro- 
 scuro, colour and composition, Burnet’s works on 
 these subjects may be read with advantage. Take 
 this motto, as quoted by Die Fresnoy, in his poem 
 on Painting : 
 
 “Nulla dies sine linea;” 
 
 Freely translated by Dry den, 
 
 “And pass no idle day without a line.’’ 
 
 IVORY. 
 
 I shall now presume the student to be pretty well 
 grounded in the preliminary studies I have pointed 
 out, and direct his attention more immediately to the 
 subject I have undertaken to elucidate. I believe 
 it is very generally known that Miniature Painting, 
 or Limning, as I think it used to be called, is for the 
 most part performed on thin sheets of ivory, called 
 ivory leaves, these are to be procured at the artists’ 
 colour warehouses, of various sizes; some experience 
 and skill are required in selecting those best suited 
 for painting, they should not be nearly so thick as 
 
MINIATURE PAINTING-. 
 
 11 
 
 the ivory used for ivory tablets; perhaps, if I were 
 to say that they should be about as thick as ordinary 
 drawing paper, that would give a tolerably correct 
 idea of their proper thickness; it is very difficult to 
 procure ivory leaves free from a striated or grained 
 appearance, indeed, it is found always to possess it 
 more or less, but on looking over a parcel of ivory 
 leaves, some will generally be found that are tolera- 
 bly free from this appearance towards the centre, 
 where they present a clear and uniform surface, 
 which may be chosen for the face to be painted on: 
 considerable attention should be given to this, for 
 the grain of the ivory, when it shows through the 
 colours of the picture, mars its effect very much, 
 particularly when it is of a light character; in pic- 
 tures of a darker kind, where there are heavy and 
 strongly coloured draperies, and a deep-toned 
 background, the injury is not so great; it is well, 
 therefore, always to endeavour to accommodate the 
 plac ng of the head, hands, and other parts of the 
 flesh, as also, if possible, the lighter and transparent 
 draperies, on those parts of the ivory freest from 
 the striae I have just mentioned; for even if with 
 great care you endeavour so to work on the picture 
 as to render them imperceptible in one light, the 
 probability is, that they will become visible, should 
 the miniature be viewed with another light falling 
 on it from another direction. 
 
12 
 
 THE GUIDE TO 
 
 I shall next speak of the colour of the ivory as 
 best suited for Miniature Painting; the peculiar 
 hue of good ivory presents great facilities for the 
 imitation of flesh : in fact it may be considered as 
 one, and the chief of the elementary tints that go 
 to the formation of the colouring of flesh ; indeed, 
 the poets often compare a beautiful skin to polished 
 ivory ; and Solomon says : 
 
 Thy neck is as a tower of ivory .” — Song of Solomon. 
 
 The tint of ivory as prepared for Miniature 
 Painting, does not vary a great deal, some leaves 
 are of a somewhat darker, or more dusky hue than 
 others ; which may arise either from their not having 
 been sufficiently bleached, or from their being a 
 little thicker in substance; these, for fair com- 
 plexions, are to be avoided, but may be found 
 suitable for dark complexions, or male subjects ; 
 other sheets again, have an opaque, whitish, impo- 
 verished look, and these I should not advise the 
 selection of at all ; as in them the peculiar beauty 
 and facility for colouring has been destroyed, most 
 probably by over bleaching, or by some disease in 
 the tusk from which they were cut. 
 
 The proper colour of ivory then, is in my judg- 
 ment, just about a medium between these two ex- 
 tremes, (as is of course generally the case with 
 all extremes,) a good piece of ivory is translucent, 
 
MINIATURE PAINTING. 
 
 13 
 
 of a somewhat neutral cream colour, (if I may so 
 express myself,) and of just so much strength of 
 tint, as to enable one by it alone, to represent all 
 but the highest lights in white draperies, and in the 
 clouds and distances of back- grounds, in fact all white 
 objects; but that this last observation may not 
 mislead, I may remark, that it is surprising how 
 much white (as a local colour) may be reduced in 
 tone in a picture, and still appear white ; hold a 
 piece of white paper up against a white object in 
 one of Titian’s, or Ruben’s pictures, and observe 
 the difference between the white in the picture and 
 the paper, it will illustrate my meaning. 
 
 THE PREPARATION OF IVORY. 
 
 When a suitable piece of ivory has been thus 
 duly' selected, the next consideration is its proper 
 preparation for working on ; for this purpose it is 
 well to be provided with a stout piece of plate-glass, 
 a few inches square one side, to be ground or 
 roughed ; a small glass muller, some very finely- 
 powdered pumice stone which has been sifted through 
 fine muslin, and a few sheets of white blotting paper. 
 These being at hand, lay the ivory down on the 
 rough side of the glass, with that side on which the 
 marks of the saw are most preceptible, downwards; 
 
14 
 
 THE GUIDE TO 
 
 then strew a moderate quantity of the pumice pow- 
 der on the ivory, w ith a little water, and -with the 
 glass muller rub it with a gentle circular motion, 
 and Avith a moderate pressure, all over the ivory, 
 being careful not to neglect the sides and corners : 
 this process must be continued (renewing the sup- 
 plies of pumice powder and water) till all the saw 
 marks and scratches on the face of the ivory are 
 removed. It will be found in the course of this 
 process, that the ivory which is removed by grinding, 
 and the ground pumice powder, will form together 
 an impalpable pulp, and this will prove an excellent 
 material wherewith to finish the surface of the leaf 
 of ivory, when the rougher work has been done, 
 applying it in the same Avay with the glass muller. 
 
 When the ivory has been thus sufficiently ground 
 dowm, and a proper surface given to it, it must be 
 well washed by pouring pure water over it, using, if 
 necessary, a large camel-hair pencil, to detach any 
 particles of the pumice powder that may adhere to 
 it, for on no account must the surface thus prepared 
 be touched by the fingers ; it is then to be dried 
 between folds of the blotting paper. The next 
 thing to be done is, to take a piece of smooth card- 
 board of the size of the piece of ivory, or a little 
 larger, damp it a little on both sides with a moist 
 sponge, and having spread some moderately strong 
 gum-water on the rough side of the ivory, freely, 
 
MINIATURE PAINTING. 
 
 15 
 
 but not in too flowing a quantity, turn the gummed 
 side down on the card-board, place the whole in a 
 book, (between papers to prevent any exhuding 
 gum from adhering to the leaves of the book,) 
 which lay down flat, with a weight on it ; when it 
 has lain there long enough to dry, say for an hour 
 or an hour-and-a-half, it may be taken out, and it 
 it is then ready for being painted on. Quod erat 
 faciendum. 
 
 Thus far as regards the choice, and preparation 
 of the ivory, concerning which, I hope I have made 
 myself tolerably intelligible; now, I suppose, most 
 of my readers (if I have the fortune, good or ill as 
 it may be, to have any) w ould wish me to say some- 
 thing about the colours proper to be used, and the 
 way of using them, but there are a few other 
 matters first to be disposed of, which are necessary 
 to he understood before entering on that part of my 
 subject, and first, the preparation of mucilage of 
 gum arabic, usually called 
 
 GUM- WATER. 
 
 Let an ounce of the best, cleanest, and whitest 
 gum arabic be reduced to a coarse powder, put it 
 into a small vial, pour some distilled water upon it 
 till the the water in the vial reaches twice the height 
 
16 
 
 THE GUIDE TO 
 
 of the gum, place the vial in a moderately warm 
 situation, having a piece of paper or muslin loosely 
 twisted over its mouth to keep out dust, shake it 
 occasionally till all the gum appears to be dissolved ; 
 then fix a piece of clean new flannel loosely over the 
 mouth of a tumbler, so that the flannel may hang 
 down like a shallow bag, pour the solution of gum 
 into it, and leave it to strain through, which it will 
 do in a few minutes, then pour the contents of the 
 tumbler into a small, wide-mouthed stoppered bottle, 
 place in it a small piece of camphor; it is then 
 ready for using with the colours, and will keep for 
 any length of time. 
 
 Gum-water, when used alone with water-colours, 
 nas some tendency, after a time, to crack, and even 
 to cause the colours to peel off in small flakes ; 
 various means have been adopted by artists to 
 correct this tendency, such as adding to the gum- 
 nater a small quantity of the less friable or brittle 
 gums, as, for example, gum tragacanth, manna, &c. 
 Honey has been also used for the same purpose, but 
 I believe there is no better, or safer preventive than 
 mixing about a dozen drops of glycerine with the 
 solution I have just described: glycerine may be 
 purchased at the chemists 1 shops. 
 
 Straining the solution of gum as I have described, 
 must, on no account, be omitted, for before that 
 process is performed there are, floating through the 
 
MINIATURE PAINTING. 
 
 17 
 
 solution, certain particles of the gum arabic which 
 are imperfectly soluble in water, and are present in 
 the solution in the form of small clots, it is to sepa" 
 rate these from the solution that the filtering is 
 necessary. 
 
 BRUSHES. 
 
 Are now to be considered, and but few 
 of these are required ; red sable pencils 
 are those generally used for Miniature 
 Painting. Two of the size of the 
 accompanying figures will be quite 
 sufficient for painting with. 
 
 Another large one of camel’s hair 
 may be added, for the purpose of occa- 
 sionally brushing off particles of dust 
 from the miniature, while at work 
 upon it. The red sable pencils 
 should be very carefully chosen, 
 they should be free from the slightest 
 twist in the setting of the hairs, and 
 should come to an exquisitely fine 
 and regular point when wetted and 
 worked about a little on the thumb- 
 nail, and they should possess considerable firmness 
 
18 
 
 THE GUIDE TO 
 
 and elasticity. Cedar- wood handles are about the 
 best that can be used with them, and it is well 
 to have these of considerable thickness, so as e to 
 be felt in the fingers when using them, of course 
 the ends that are to be fitted to the quills of the 
 brushes can be easily pared down to the required 
 thickness. 
 
 Such, then, is the “ Magic Pencil,” prized by 
 artists, and praised by congenial poets ; such, the 
 enchanter’s wand, by which the silent but ofttimes 
 powerful magic of Art is produced. 
 
 AN IVORY PALETTE 
 
 May be deemed almost indispensible to the Minia- 
 ture Painter, because it affords him so much greater 
 facility for judging of the appearance of his tints 
 on ivory, previous to his applying them to his 
 picture, these looking very different on an ivory and 
 on an earthenware palette, although the latter is 
 sometimes substituted for the former as a matter of 
 economy. 
 
 I should recommend the palette to be about six or 
 eight inches in length at least, indeed, the larger the 
 better, very large ones however are somewhat ex- 
 
MINIATURE PAINTING. 
 
 19 
 
 pensive; but it is very desirable to have plenty of 
 room on the palette for mixing tints, and not to be 
 
 “Cabined, cribbed, confined.” 
 
 The next thing to be mentioned is 
 
 A LANCET, 
 
 CT 
 
 the use of which is to lighten, by 
 scraping, such portions of the picture 
 as may have become too dark, to re- 
 move dark spots, in some cases to 
 produce high-lights, and for all such 
 purposes ; a convenient and usual form 
 is given in the cut: it should be 
 sharpened at both edges, and brought 
 to a point. As this instrument 
 becomes very inefficient when blunt, 
 which soon happens by frequent use, 
 it is desirable to be provided with a 
 small oil-stone, on which to whet it 
 occasionally. 
 
 I believe the only thing that now 
 remains to be mentioned, before 
 speaking of the colours, is a lens 
 or magnifying glass. There are some people whose 
 powers of vision are so strong as to enable them to 
 
 
20 
 
 THE GUIDE TO 
 
 dispense, in most cases, with optical assistance, but 
 I think it will be generally found that in detailing 
 the more minute finishings of a miniature, par- 
 ticularly those of a very small size, a magnifying 
 glass of moderate power will be found very service- 
 able; of course the power of the glass must be 
 adapted to the sight of the person for whose use it is 
 intended, and this can only be ascertained by trial ; 
 but I should recommend that it be of sufficient size 
 to be used by both eyes at once, when working at 
 any part of the picture. Such glasses are to be 
 procured at an optician’s, so fitted up as to be held 
 in the hand, or adjusted by several joints to a stand, 
 so as to be easily directed in whatever way may be 
 required. For the sake of the eyes it is best to use 
 them no more than is absolutely necessary, other- 
 wise the habit of using them will become so strong 
 as to render them indispensable. I shall now 
 proceed to enumerate 
 
 THE COLOUltS; 
 
 those used for miniature are the same as are used 
 for water-colour painting generally, ground with 
 gum and made up into cakes; they (as indeed also 
 all other materials) should be procured from the 
 
MINIATUEE PAINTING. 
 
 21 
 
 most respectable manufacturers, as much disappoint- 
 ment often results from having materials of bad 
 quality or careless manufacture, foisted on one. 
 
 I should strongly advise the student to be satisfied 
 with a very limited list of colours, and I believe the 
 more excellent and eminent an artist is, the more 
 limited is the list of colours to which it will be 
 found he confines himself; it is no doubt very 
 pleasant, very amusing, and very exciting for a 
 learner to make excursions into the regions of colour, 
 now trying the qualities of one pigment, testing the 
 brilliancy of another, disappointed here, or fancying 
 he has made a notable discovery there; this is a 
 course through which most, if not all, artists have 
 ran, a sort of idle industry, not altogether without 
 its use, but I am quite certain that the sooner the 
 student settles in his mind a steadfast system of 
 practice, both as to materials and principles, the 
 earlier and the greater will be his success. 
 
 I shall now present a list of colours suitable for 
 Miniature Painting, which may be modified by the 
 student according to the growth of his experience. 
 I do not give the list subjoined as the only one that 
 deserves adoption, but I think it may be relied on 
 as a simple, safe and efficient one. 
 
 v , V Indian Y ellow or Gallstone, Gam- 
 
 lllows | boge, Italian Ochre, Raw Sienna, 
 
22 
 
 THE GUIDE TO 
 
 f ^Extract of Madder Carmine, 
 * -{-Permanent Crimson Lake, Ex- 
 I tract of Vermilion, Indian Red, 
 v. Light Red. 
 
 C Ultramarine or Cobalt, Antwerp 
 Blues |Blue, Indig0 
 
 To these may be added, Chinese White, Sepia, Raw 
 and Burnt Umber, Burnt Sienna, Burnt Carmine, 
 Terra Vert and Ivory Black, and with these colours 
 may be done all that man or woman can do in the 
 way of Miniature Painting. 
 
 In preparing the palette, it is best to rub but a 
 small quantity of each colour at any one time, as of 
 course, the fresher they are placed on the palette, 
 the cleaner and freer from the impurities of the at- 
 mosphere, they will be. When about to rub down 
 a colour, on the palette, take a small quantity of the 
 gum-water already described, with one of the sable 
 pencils, and place it on the palette, then, having 
 dipped one end of the cake of colour in water, rub it 
 on the gum -water on the palette, till you have as 
 much as you require, taking care at the same time 
 that you incorporate the gum and colour thoroughly 
 together. In rubbing down the various colours it 
 will be found that some require a larger proportion 
 
 * f These two are prepared exclusively, of very superior quality 
 by Messrs. Rowney and Co., of 51, Ratlibone-place. 
 
MINIATURE PAINTING. 
 
 23 
 
 of gum than others, some colours are of a gummous 
 nature in themselves and da not require so much as 
 those that are of an earthy or mineral character; for 
 example, gamboge when used, requires no gum at 
 all to be added to it, while Indian red, umber, &c., 
 require a great deal, but a little experience will teach 
 all this perfectly, when the attention has been once 
 directed to it. 
 
 The colours to be rubbed on the palette for paint- 
 ing a head, may be placed in the following order: — 
 
 Extract of Madder Carmine, 
 
 Vermilion, 
 
 Crimson Lake, 
 
 Indian Red, 
 
 Italian Ochre, 
 
 Ultramarine, 
 
 Sepia, 
 
 I shall presume that the ivory for the picture has 
 been properly prepared, according to the preceding 
 directions, and conveniently placed before the painter 
 in a slanting direction on a proper desk or stand, con- 
 structed to suit the purpose (of which, by-the-bye, 
 there are several various kinds to be had at artists' 1 
 repositories) the painter’s left side next the light, and 
 the sitter and the light by which he is lighted, pro- 
 perly adjusted to one another. 
 
24 
 
 THE GUIDE TO 
 
 THE SKETCH. 
 
 Then, having reduced a little of the Indian red to 
 a moderately light tint with some water and a very 
 small additional quantity of gum, if requisite, with 
 your finest pencil commence by lightly marking in 
 an oval, to indicate the size and place of the head 
 on the ivory, and as it is probable in the first 
 instance that it will be only a head (without intro- 
 ducing hands) that will be attempted, it will 
 facilitate your doing this to remember that the 
 lower part of the oval (or chin) should occupy 
 a position half-way between the top and bottom 
 of the ivory; when you have done this, mark 
 out in the same manner the general fall of the 
 shoulders, neck, and bust, giving only the leading 
 lines at first, so as to indicate as correctly as possible 
 the proportions of various parts to one another. 
 
 Having placed the general outline of the propor- 
 tions thus roughly on the ivory, the details of the 
 features and other parts are then to be drawn in 
 with care, using the same colour; when it is requisite 
 to obliterate any line for the correction of an error 
 it can be easily effaced by wiping it out with a brush 
 moistened in water, letting the surface dry perfectly 
 before attempting to make a fresh line upon it: when 
 the outline is complete it should not be too dark or 
 heavy, otherwise it may interfere with the delicacy 
 of the subsequent work in some of the lighter parts; 
 
MINIATURE TAINTING. 
 
 25 
 
 I should emphatically advise that the drawing be 
 rendered as correct as possible before any attempt 
 be made to paint on it, much after trouble and per- 
 plexity may be avoided by attending to this piece of 
 counsel. 
 
 PAINTING FLESH. 
 
 There are several modes of procedure in painting 
 flesh; each artist, of course, adopts that which 
 pleases him best and by which he best succeeds; 
 some carefully mix on the palette each tint indi- 
 vidually from the appropriate colours, to match the 
 local tints of the flesh, then paint them in on the 
 picture; others commence by painting'a simple light 
 and shade effect in a monochromatic manner, and 
 finish by glazing in the various flesh tones or car- 
 nations upon it. 
 
 An intelligent student, by sufficient practice in 
 either of these modes, will doubtless be able to pro- 
 duce very effective results, but I think the mode I 
 am about to explain to the learner will be found 
 quite equal, at least, to any in ease and simplicity, 
 and perhaps possessing a more direct tendency to 
 produce breadth of effect, transparency, and rich- 
 ness of colouring. 
 
 Begin by laying over the whole of the flesh a very 
 
26 
 
 THE GUIDE TO 
 
 delicate tint of vermilion, this may be best done with 
 the larger brush, very moderately charged with the 
 colour, it must be by no means flowing; this tint 
 will be best laid in by hatched strokes, broadly 
 touched on in regular series of lines, in various di- 
 rections, and repeated till the tint is as strong as 
 may be requisite, but not as strong as the full force 
 of the colour of the flesh; in laying in this, or indeed 
 any other tint, care must be taken not to cross the 
 hatched lines by which it is produced, at an angle 
 at all nearly approaching to a right angle, for this 
 will give the surface a harsh wiry appearance very 
 difficult to be got rid of ; the angle at which the 
 lines cross one another, should not, as a general 
 rule, exceed 30°, it is proper, however, that they 
 always be crossed, as that is one of the means of 
 procuring uniformity and steadiness of tint; were 
 they always to be laid in the same direction, one 
 over the other in succession, the effect would appear 
 laboured, streaky, and insipid. 
 
 I have generally chosen vermilion for this first 
 tint, as it is well suited to the average tone of flesh, 
 but should the sitter you are painting from be of a 
 more than usually clear and delicate complexion, a 
 corresponding proportion of madder carmine may be 
 combined with the vermilion; and indeed in some 
 cases it may be necessary to substitute the use of 
 madder carmine for vermilion altogether. 
 
MINIATURE PAINTING. 
 
 27 
 
 The strength to which it may be requisite to bring 
 this tint, in the first instance, will depend entirely 
 on the various tones of complexion to be imitated; 
 of course, the darker the complexion the deeper the 
 tint, and vice versa. 
 
 T he next thing to be done is to paint in the 
 general bicadth of the shadows, for these use a 
 warm-toned sepia, this must be done pretty nearly 
 in the same manner as the preceding, except that it 
 will be necessary to put a greater curb on the hand, 
 as the drawing must be carefully preserved. The 
 forms of the shadows of the various parts of the flesh 
 should be gotten in, with a certain degree of firm- 
 ness and squareness, partaking, to a certain modi- 
 fied extent, of a kind of geometrical feeling and 
 display of the various features, and other parts, the 
 benefit of which will become manifest in the more 
 advanced stages of the picture, as being the founda- 
 tion of that strong individual character which should 
 always be appreciated as one of the chiefest excel- 
 lencies of representative art. Keep the shadows, at 
 this stage of the work, somewhat lighter than they 
 are meant to be when finished, and during this, as 
 at all succeeding stages, keep them as clear, pure, 
 and transparent as possible. 
 
 The reason for my recommending the shadows to 
 be kept rather light at first is, that a certain margin 
 is thus left for preserving those reflections which con- 
 
28 
 
 THE GUIDE TO 
 
 stantly occur in many parts of the shadow- side of a 
 face and other portions of the flesh which contribute 
 so much to roundness and relief, and it also affords 
 scope for the various warm and cool tones that are, 
 of necessity, somewhat neglected at the first. 
 
 There are many other browns, both simple and 
 compound, that might be used for painting in the 
 first, or general lay of shadow; but I think that 
 none will be found better, few so good for the pur- 
 pose, as sepia, from its charming neutral qualities of 
 tint, its cleanliness, clearness, and ease of working. 
 
 Attention must next be given to the half-tints 
 and half-shadows; the half-tints may be described 
 as those more subdued and cooler hues that approach 
 nearest to the general flesh tones, in the lightest 
 portions of the flesh, and which, in the more ex- 
 panded surfaces, soften gradually and imperceptibly 
 into them. 
 
 The half- shadows are those darker, cooler, grey 
 hues, which unite and gradually carry the half-tints 
 into the shadows. For the half-tints I recommend 
 the use of a light tint of ultramarine, and this may 
 be carried from that extremity of the shadow that is 
 next the light, generally speaking about half-way 
 into the light itself more or less, depending, of 
 course, op the curvature of the surface that receives 
 the light, and also in what manner, and from what 
 direction the light falls upon it ; taking care, also, 
 
MINIATURE PAINTING. 
 
 29 
 
 that as the half-tint recedes from the shadow and 
 approaches the high lights, that it becomes fainter 
 and fainter gradually till it is lost altogether. It 
 will be found that this ultramarine tint, laid over 
 the previously laid vermilion, will produce an ex- 
 quisitely clear pearly grey, which, by a little 
 judicious after treatment, will result in a beautiful 
 half-tint of the flesh, truthful in tone, and luminous 
 in quality. 
 
 I have found no colour superior to a tint made 
 from ivory black for the half-shadows; it is very 
 transparent, is of a beautiful neutral grey tone, and 
 works very pleasantly over other tints; it will be 
 easily understood that in using this for the half- 
 shadows, it is merely to be applied as a continuance 
 of the shadows themselves into the half-tints; again, 
 of course, as in the last, the extent of the half-shadow 
 must be determined by the peculiarities of the sur- 
 face to which it is incident; it however, in general, 
 occupies a much smaller proportion of the surface to 
 which it belongs, and it also terminates somewhat 
 more abruptly towards the side next the light, where 
 it is softened into the half-tint. 
 
 In the course of the procedure just described, the 
 eyes and mouth must receive their due share of 
 attention. For the darker touches and deeper 
 shadows about the eyes and under the eyebrows, a 
 little crimson lake or Indian red, or both, as m’ay 
 
30 
 
 THE GUIDE TO 
 
 be found requisite, may be added to the sepia; and 
 for the lips, Indian red, vermilion, madder carmine, 
 and lake. The upper lip, which in the usual position 
 of the head is more in shade than the lower, may be 
 painted with lake and Indian red, toned down with 
 a little ultramarine; the lower lip, with vermilion 
 and lake or madder carmine. 
 
 A somewhat strong and rich tint will be found 
 necessary for touching in the few deepest touches 
 that will be observed at the parting of the lips and 
 the extremities of the mouth and nostrils, the deep 
 shades under the eyebrows, and the darkest touches 
 in the ear, this tint may be made in all the various 
 modifications required, by using sepia, lake, and 
 burnt sienna; these three will form, according as 
 they may be required, cold or warm, ruby or brown 
 shadow tints, appropriate to the various circum- 
 tances under which the lights and shadows of the 
 face may be projected. 
 
 For the grey and blue tints required in the eye- 
 ball and iris of the eye, ultramarine, ivory black, 
 and light red, are to be used; and for liazle, or dark 
 eyes, all the varieties of tint can be produced by 
 using sepia and burnt sienna in such proportions as 
 each particular case may require; some eyes being 
 of a deep bituminary brown, others of a light citron 
 or russet colour, of course for these latter the burnt 
 sienna must predominate. When the white of the 
 
MINIATUBE PAINTING. 
 
 31 
 
 eye, as it is usually called, is of a pure bluish pearly 
 tint, ultramarine, to which has been added a very 
 small quantity of light red, will form an appropriate 
 tint; this occurs generally in the case of young 
 persons and children, as people grow older the eye 
 acquires a yellowish tone, which may be imitated in 
 the picture by glazing over the tint just described, 
 a little Italian ochre or raw sienna sufficiently 
 strong to meet the particular case on which you 
 may be employed. 
 
 While all this has been occupying attention it is 
 not to be supposed that the other portions of the 
 picture have been altogether neglected, on the con- 
 trary, it is quite necessary that they should also be 
 in progress, because if all the other parts of the 
 ivory were left uncovered up to this stage of our 
 progress, the probability is, that on advancing the 
 latter to the same state, we should find that we had 
 greatly miscalculated the strength of light and shade, 
 and colour of the former, and that we should have 
 to begin again where we had left off, to supply the 
 deficiency thus revealed to us. 
 
 It is thus evident that all parts of the picture 
 should be advanced simultaneously, in order to 
 avoid the perplexity arising from any miscalculation 
 of this kind; the hair must be got in, and the back- 
 ground and draperies considerably advanced. I 
 shall postpone the instruction for painting the latter 
 
32 
 
 the guide to 
 
 until I have completed all I have to say concerning 
 the painting of the flesh ; hut shall, however, describe 
 the manner of painting the hair, as it is more inti- 
 mately associated with the flesh. 
 
 THE HAIK. 
 
 It is a usual, and I believe a very good practice 
 in painting the hair, to commence by floating in, 
 over the whole of the space occupied by the hair, a 
 tint of its proper hue, and nearly as dark as the 
 darkest part of the local colour in nature ; when this 
 tint is about half dry it will be found to have set or 
 become a little stiff, and the lights and reflexes can 
 be neatly and cleanly taken out with the point of a 
 brush that has been wetted and pressed nearly dry 
 between the lips, or by passing it along a piece of 
 blotting paper; this is, however, far from leaving 
 the hair in a finished state, it will afterwards require 
 much tinting and breaking in of grey tones neai the 
 high lights, and warm tones in the reflections, deli- 
 cate stippling and hatching, to fill up inequalities, 
 and here and there crossing the high-lights, and 
 sometimes continued through the half-tints and 
 shades, certain wavy, or curved lines and touches, 
 characteristic of the texture of hair, must be 
 sparingly introduced. This method of painting the 
 
MINIATURE TAINTING. 
 
 33 
 
 hair is most applicable to hair in large masses, either 
 plain or in clusters of rich curls ; but for hair of a 
 more flowing, loose, and open character, such as is 
 often seen on young children, it will frequently be 
 found necessary to pencil all their tints and charac- 
 teristic details in at the first, gradually working 
 them up to whatever strength of shade or colour 
 may he requisite. 
 
 It is not uncommon to speak of black hair, but it 
 is rather uncommon to see it — at least, overshadow- 
 ing the “ human face divine, 1 ’ hut very dark brown 
 hair — so dark as to be easily mistaken for black, is 
 no such rarity. All very dark, and the deep rich 
 brown hair, may be painted w r ith sepia, as the chief 
 ingredient of the colour with which they are painted; 
 with it great depth of colour may be produced, and 
 if greater still be required, it is only necessary to add 
 thereto a little indigo and lake, by which addition 
 it may be rendered black. 
 
 It w'ould be an endless task, and even a fruitless 
 attempt, to detail the modes of painting all the 
 various tints of hair that may be met with, the dark 
 cold brown, the deep warm brown, the light brown, 
 the chesnut, the auburn, the red and the yellow 
 hair, the sandy, the flaxen, the dark and light greys, 
 and the nearly white, are all to be painted pretty 
 nearly upon the same principle, which is, that the 
 general mass of the half-tint, or, more properly 
 
 c 
 
34 
 
 THE GUIDE TO 
 
 speaking, the local colour, should imitate, as nearly 
 as possible the natural colour, that the high-lights 
 (I mean those lights that represent the gloss of 
 healthy hair well attended to) should have a cool 
 silvery hue infused into them by means of ultra- 
 marine. That the second lights should have warm 
 and cold tints infused into them by means of ultra- 
 marine, burnt sienna, light red, or Indian red, 
 according to the colour of the hair in nature, and 
 that the reflections should have, as much as the 
 nature of surrounding objects will admit, a warm 
 tone, which may be given by working a little burnt 
 sienna and lake sparingly into them. 
 
 Where the hair overhanging the flesh, as for 
 instance the forehead, the temples, the cheeks, or 
 the ear, casts a dark shadow upon them, that 
 shadow will be found usually to have an ensan- 
 guined, or crimson hue, this is not so much caused 
 by reflected light, as by refraction of the strong 
 light from the adjoining illuminated surface of the 
 skin, caused by the semi-translucency of the epider- 
 mis, and penetrating so far beneath the surface as 
 to reveal in part the colour of the blood underneath. 
 This tint may be begun with Indian red, pure, and 
 afterwards delicately finished with lake, ultramarine, 
 and sepia, used sparingly so as not to destroy the 
 ruby colour of the shadow, which will be found 
 generally to merge into the adjacent light, by means 
 
MINIATURE PAINTING. 
 
 of cool pearly tints composed of ultramarine, very 
 sparingly modified with Indian red. 
 
 The darker kind of hair, as I have already men- 
 tioned, may be painted with sepia, modified as may 
 be required with lake and indigo. The lighter and 
 warmer hair of ail the various hues, with burnt 
 sienna, Italian ochre, lake, raw, or burnt umber, 
 and ultramarine ; mixed in various proportions and 
 modifications as may be requisite. For the warm 
 and deeper tones of hair of this class, Indian red 
 may be sparingly employed, but its tint is too heavy 
 and strong to admit of its extensive use in this par- 
 ticular way. 1 have thus, incidentally as it were, 
 said so much with regard to painting the hair, that 
 I do not think it will be necessary to revert to the 
 subject, I shall, therefore, now resume my instruc- 
 tions on 
 
 PAINTING FLESH. 
 
 When the head and other portions of the flesh 
 have been successfully advanced to the stage in 
 which we left them, they should present a good 
 forcible effect of light and shade, colour, likeness, 
 character and expression ; the surfaces will probably 
 not present a very smooth or finished appearance, 
 indeed it is not desirable that they should be so, as 
 the subsequent delicate hatchings and stippling that 
 
THE GUIDE TO 
 
 3G 
 
 will be required in finishing them, will afford a 
 favourable opportunity for breaking the tints into 
 one another, and for improving any deficiency of 
 harmony and breadth of effect, which may have 
 occurred in the previous work. 
 
 The tone of the colour of the flesh too, will at this 
 stage, in all probability have a raw or pinky hue, 
 which we shall afterwards have to correct, and at 
 which the student need neither be alarmed or 
 discouraged. 
 
 Well then, to recommence, on examining the 
 picture should there be found any dark spots or un- 
 naturally dark inequalities of the surface, either in 
 the lights or shadows, that are not likely to be 
 absorbed by, or merge into the work required for 
 finishing, they must be carefully removed by scraping 
 them out with the lancet ; this must be done with 
 great delicacy and caution, to avoid giving a scratchy 
 appearance, and the objectionable spots should be 
 scraped away till the part is somewhat lighter than 
 the tint in which it occurs, in order to afford an op- 
 portunity of restoring to it the same texture as those 
 parts have in its immediate proximity; for there 
 should be no traces left of this scraping : when any 
 part has been thus operated on by the lancet, it 
 should be smartly and lightly gone over with a 
 moderately moist brush, which will remove that 
 peculiar glazy look imparted to it in the course of 
 the operation. 
 
MINIATURE TAINTING, 
 
 37 
 
 It is difficult, in the absence of practical demons- 
 tration, to convey a very precise idea of what has 
 next to be done to finish the flesh, as there is less of 
 exact order in the process; in fact it consists of 
 nothing more nor less than using the various tints 
 already described judiciously in their appropriate 
 places, by more delicate and careful stippling and 
 hatching, filling up inequalities of tint, softening the 
 lights, half-tints, and shades more gradually into one 
 another, correcting any error of one tint that may 
 have been committed by applying some other calcu- 
 lated to set it right, detailing more carefully and 
 minutely the drawing and modelling of the features 
 and other various parts, and attending to those local 
 variations of tint in the skin, that give to flesh its 
 peculiar character, I mean those pearly and often 
 bluish tints observable about the temples and from 
 the inner angle of the eyes, extending down the side 
 of the nose, the delicate greenish tints under the 
 eyes, and the peculiar indescribable cool pearly tint 
 beneath the nose on the upper lips of women and 
 children; also the beautiful distribution of warm 
 pinky tones which, proceeding from the cheeks as 
 their stronghold, are distributed so delicately and 
 gracefully in their graduated demonstration over 
 various parts of the countenance and other parts of 
 the surface. 
 
 When all this has been done with as much care, 
 
38 
 
 THE GUIDE TO 
 
 skill, and perfection as previous study and practice 
 enable the student to bestow upon it, it only re- 
 mains to impart to the whole that warmth of tone 
 in which it will probably be found wanting ; and I 
 have found that the best way to effect this, is to 
 pass over the whole of the flesh, indiscriminately, an 
 extremely delicate tint of Italian ochre ; the brush 
 used for doing this must be moderately, or even 
 sparingly, supplied with the tint, otherwise, mischief 
 may arise, from the under colour being disturbed ; 
 it must be applied in the way of hatched lines inter- 
 secting, as I have described, in relation to other 
 parts of the work, and repeated until the requisite 
 degree of warmth of colouring is produced ; care, 
 however, must be taken not to carry this portion of 
 the work too far, lest a yellow tone be imparted to 
 the flesh ; an error which might prove fatal, as when 
 once committed, it would be found extremely dif- 
 ficult, if not impossible to restore the work, from 
 its jaundiced state, to a pure and healthy tone of 
 colour. 
 
 Should the high lights have suffered a little from 
 this latter operation, they may be relieved by ten- 
 derly with the point of a fine moist brush, that 
 has been passed between the lips, taking up a 
 little of the colour from them ; but remember, the 
 point of the brush must be allowed to remain on the 
 picture an almost inappreciable space of time, or else 
 
MINIATURE PAINTING. 
 
 39 
 
 the whole of the colour underneath will come off, 
 leaving a staring white spot, where you only wished 
 to produce a delicate modest light ; perhaps the 
 safer way for the beginner to accomplish this, is by 
 scraping with the lancet as before described. But, let 
 me strongly urge, that white be not used for any 
 purpose in the flesh, it is certain to injure its tone 
 and harmony, it may however be employed in 
 touching in the sparkling lights frequently occurring 
 in the pupils of the eyes. 
 
 And now I think 1 have given in sufficient detail, 
 and, I trust, intelligibly, all the essential instructions 
 necessary for painting flesh on ivory; even if I 
 had space it might not be desirable to say more, 
 for brevity is often the soul of wisdom as well as of 
 wit, and conciseness is not unfrequently one of the 
 best characteristics of judicious teaching. 
 
 “ Vir sapit, qui pauca loquitur.” 
 
 If I have made myself understood, I believe I have 
 said enough, and if not, why then I have said too 
 much. Trusting this latter may not be the case I 
 shall proceed to say what 1 deem may be necessary 
 with regard to back grounds and 
 
 DRAPERIES. 
 
 To succeed in painting draperies they should 
 always be studied from nature, it is the only way to 
 
40 
 
 THE GUIDE TO 
 
 secure perfect naturalness of their foldings and 
 specific character ; one could much better, and with 
 more certainty, acquire the power of designing the 
 human head or figure, without a model, correctly ; 
 than of drawing or painting a piece of drapery natu- 
 rally on the same conditions. The folds of a piece 
 of drapery should be perfectly consistent with each 
 other, and present an appearance and arrangement 
 that can be easily understood, otherwise they will 
 present a chaotic mass of confusion, equally repul- 
 sive to the taste and the understanding. They 
 should, therefore, be cast in a simple, broad, and 
 intelligible manner. These remarks v r ould appear 
 perhaps, to apply more particularly to the looser 
 kinds of draperies, but they hold equally well in 
 regard to the lighter parts of dress ; how lumpishly 
 and unnaturally, for instance, we sometimes see the 
 arms of a coat, or the creases in a waistcoat, or the 
 body of a lady’s dress, represented from a disregard 
 of nature in painting them. 
 
 In treating of painting draperies, but little can 
 be usefully or practically said, regarding the repre- 
 sentation of the various kinds of stuffs of which they 
 are composed, or of the manner in which their respec- 
 tive specific characteristics are to be discriminated 
 and imitated. I have somewhere or other seen 
 attempts to give recipes for imitating silks, satin, 
 velvet, cloth, linen, &c., but they seemed to me 
 
MINIATURE TAINTING. 
 
 41 
 
 more useless for the purpose aimed at than if they 
 had been written by the celebrated Mrs. Glasse, for 
 she in all probability, had she written on the subject, 
 would have begun with the useful piece of advice 
 “ First catch your nature 
 
 One thing however may be usefully remarked, 
 that in a great degree, next after the indications 
 afforded by the peculiar foldings of each kind of 
 stuff, the specific characters of the various sorts of 
 draperies, are marked by the manner and degree of 
 strength, in which they receive both direct and re- 
 flected light ; for example both woollen cloth and 
 velvet receive reflected lights much more weakly and 
 indefinitely than satin or linen, and when their colours 
 are very dark, it requires some effort of the eye to 
 discern any reflections in them at all, unless it should 
 happen to be unusually strong. Velvet absorbs re- 
 flected light with peculiar avidity, and its highest 
 lights usually occur not where they probably would 
 on other kinds of draperies, but where the turning 
 over of the folds, or the undulations of the surface, 
 expose the pile to the light, so as to have a glisten- 
 ing appearance, which, contrasting with the broad 
 deep tones of the surrounding parts, gives that rich, 
 and gorgeous, look peculiar to velvet. I must not, 
 however, allow myself to be seduced, by the fasci- 
 nations of the subject, into the error I have but 
 just denounced ; and I shall therefore proceed to 
 
42 
 
 THE GUIDE TO 
 
 speak of a few of the colours and tints, that are 
 likely to he found most useful in this division of our 
 subject. 
 
 For white draperies, the tints I should recom- 
 mend, are, for the half tints, a pure neutral grey, 
 composed either of ultramarine and light red, or 
 ultramarine and burnt sienna ; the latter being pre- 
 ferable for white satin or silks, the former for linen 
 or muslin ; to these tints add a little ivory black 
 for the half shadows, and about equal parts of ivory 
 black and raw umber, mixed, produce a beautiful 
 tint for the general mass of shadows, and by the 
 preponderance of either of the colours, the shadow 
 tint may be kept either warmer or colder, as may 
 be required ; no precise directions can be given for 
 producing the hue of the reflected lights, which, in 
 this case, as in all others, must depend of course, in 
 a great degree, on the colour of the object from 
 which the light happens to be reflected, so that I 
 shall in all probability, not recur again to the subject 
 of reflected lights on draperies, unless there should 
 be some speciality in the case, which I do not 
 anticipate. 
 
 The pure ivory itself should, if possible, be made 
 to subserve the purpose of the high lights in all 
 white draperies, because it will then be most har- 
 monious, but if the student finds it necessary to use 
 a little white for the very highest lights, let it be 
 
MINTATUKE PAINTING. 
 
 43 
 
 touched in very sparingly, and only when absolutely 
 required ; too plentiful a use of it, very certainly 
 will produce a hard and inharmonious loolc to the 
 picture, and greatly injure its breadth, simplicity, 
 and repose ; if white he used let it be zinc white. 
 
 The manner of painting white draperies, may be 
 looked upon as an epitome of the manner in which 
 all draperies should be produced, with two excep- 
 tions, and these are velvet and woollen cloth, 
 and altogether omitting the white, or any other 
 opaque colour, in the high lights — whatever the 
 local colour of the drapery may be, there must occur 
 (when the entire is not thrown into shadow) the 
 same graduation of tint and colour, and the same 
 accidents of reflected light; but there is, among the 
 various colours that are given to the several fabrics 
 from which draperies are formed, such an infinite 
 modication of hues, that it is quite impossible to do 
 more than merely mention the leading colours, by 
 the judicious use of which, this interminable ramifi- 
 cation of hue and colour, may be followed. 
 
 For yellow draperies, I believe the brightest may 
 be imitated by using Indian yellow, or gamboge, and 
 the more subdued, by Italian ochre occasionally 
 heightened by breaking a light tint of Indian yellow 
 into it; raw sienna, subdued by breaking a little 
 of the grey, described already as the half tint of 
 white drapery throughout it, will produce a fine. 
 
44 
 
 THE GTJ1DE TO 
 
 transparent half-tint for almost any of yellow dra_ 
 pery; let this tint he carried up close to the positive 
 shadow, and then you may produce very beautiful 
 and cool half shadows by using a tint made of burnt 
 umber and a small quantity of indigo over this half 
 tint, and running it into the shadows. The shadows 
 themselves maybe painted with burnt umber, height- 
 ened with a little burnt sienna, cooled down when 
 requisite, with a bluish purple tint of indigo and 
 lake The very darkest touches in the deepest 
 folds, will require to be finished with lake and raw 
 or burnt umber. 
 
 In blue draperies, the variety of tints to be 
 broken through the local colour is much less, ultra- 
 marine is the colour chiefly to be used, and it is to be 
 modified as required by raw umber, madder carmine, 
 or Italian ochre ; ultramarine forms its own half- 
 tint, and half-shadow ; but in the shadows, some 
 warmer colour is generally broken through it, either 
 sepia, or burnt umber, will answer this purpose, ac- 
 cording as the reflected lights are warm or cold ; the 
 darkest markings are to be put in with strong 
 touches of ultramarine alone, or if that be not dark 
 enough, a small portion of indigo may be added 
 thereto. 
 
 Pink, crimson, and scarlet draperies may be all 
 painted with the same two colours, viz., permanent 
 lake, and vermilion ; madder carmine may also 
 
MINIATURE PAINTING. 
 
 45 
 
 sometimes be found useful in heightening the colour, 
 in the lightest parts of pink draperies; for deep 
 crimson draperies, the general tone of the light is 
 to be made with the permanent lake alone, scarlet is 
 produced by the admixture of the extract of vermi- 
 lion, in whatever proportion may be wanted ; but 
 where a more transparent scarlet is desirable, it 
 can be produced by mixing the lake with a due pro- 
 portion of Indian yellow. 
 
 All these varieties of red draperies are to be 
 painted precisely on the same principle as the pre- 
 ceding ; the colours to be used all form their own 
 half- tints and half-shadows; in painting the shadows 
 use a little burnt umber and Indian red, with the 
 lake ; and for the darkest touches employ Indian 
 red, lake, and sepia. 
 
 Having thus succinctly described the manner of 
 painting those draperies the colours of which partake 
 of the nature of the primitive colours, the student, 
 I hope, will find little difficulty in making out for 
 himself, their combinations, so as to paint purple, 
 orange, green, marone, lavender, &c., the several 
 principles upon which they are to be painted may 
 easily be deduced from what I have, just said in 
 reference to yellow, blue, and red draperies ; and he 
 must learn to throw himself on nature, in the fullest 
 confidence that whatever I may be obliged to omit, 
 she will, with her usual liberality in all things, amply 
 supply. 
 
46 
 
 THE GUIDE TO 
 
 The black I should recommend for black satin 
 and black silk draperies, (and indeed all other pur- 
 posesforwhich black is required) is composed of sepia, 
 indigo, and lake, these, when mixed in the proper 
 proportions to neutralize each other, form a very fine 
 neutral black. It is unnecessary here to say how it is 
 tobe applied in painting the silk stuffsjust mentioned, 
 as it would be but a repetition of the directions 
 already just given for other colours. I shall only 
 stay to observe first, that the warm breakings of tint 
 in the shadow parts of all black draperies, may be 
 formed by a little variation of the proportions of the 
 colours when compounding the black ; that is, by 
 letting the sepia and lake somewhat predominate, 
 and second, that it is not unusual to work up the light 
 parts of black drapery by introducing white into the 
 colour, but this I do hot recommend, as I think 
 black satin and silk draperies have a much richer 
 and broader effect when the black with which they 
 are painted is kept pure and transparent in every 
 part. 
 
 It is the nature of all velvet draperies, no matter 
 what may be their colour, to present a richer and 
 deeper tone, and greater breadth of folds and effect 
 than any other ; the principle upon which they are 
 usually painted is easily explained, the difficulty lies 
 in the execution. Having prepared a sufficient 
 quantity of colour for the required purpose, of the 
 
miniature painting. 
 
 47 
 
 proper strength, float the whole surface of the drapery- 
 in with it evenly and rapidly, so that every part of 
 it may be equally moist at the same time, let this 
 remain for a short time to set or thicken by partially 
 drying, the ivory being kept in a horizontal position; 
 when the colour has assumed a proper consistence, 
 (which may be ascertained by touching it in some 
 unimportant part with the point of a brush) with a 
 moistened brush, absorb the colour from the lights 
 as much as may be necessary to produce the effect 
 seen in nature ; it will require some practice before 
 acquiring the judgment, decision, and promptness 
 of execution requisite to the perfect performance of 
 this operation, but when it is -well done the results 
 are very beautiful. The drapery will afterwards 
 have to be worked up in the usual way by hatching 
 and stippling, carefully supplying all that is wanted 
 in the way of deep finishing touches, and remedying 
 any defects that may have unavoidably occurred in 
 so delicate a process. 
 
 Garments of woollen cloth are usually painted 
 with a considerable admixture of body colour, or 
 opaque tints in the half tints and lights ; these, in 
 cloth, are generally found to be of a colder tone 
 proportionately than on other kinds of stuffs ; and 
 this tone is found to be most conveniently and best 
 imitated by the use of colours, rendered opaque by 
 a mixture of white or some other colour, possessing 
 an equal body with it. 
 
48 
 
 THE GUIDE TO 
 
 For black cloth, mix a colour composed of about 
 equal portions of ivory black, sepia, and zinc white, 
 lay this, rather thickly in quantity, as a flat, even, 
 tint, over the whole space occupied by the piece of 
 drapery you are painting, taking care that the ivory 
 is well and evenly covered in every part of it, this 
 tint should be dark enough to represent the middle 
 tint : when this is quite dry, work up the shadows 
 on it with the black, as described for painting black 
 satin; when this has been done carefully, finish the 
 lights and high lights, with a tint composed of sepia 
 and zinc white, of the requisite degree of strength ; 
 this forms an agreeable warm tint for this purpose, 
 but, if a colder hue is required, use a little ivory black 
 along with it. 
 
 This is the system on which all woollen cloth is 
 to be painted, substituting in each case, or rather 
 adding to, or partially superseding, to whatever ex- 
 tent the judgment of the student may dictate, the 
 sepia and black above-mentioned by the colours 
 appropriate to that of the draperies that are to be 
 painted ; thus in the case of blue cloth, omit the 
 greater portion of the sepia, and substitute ultra- 
 marine for it. For green draperies, add again to 
 this, any of the yellows I have enumerated in the 
 list of colours, that may be suitable to the kind of 
 green required, be it bright or dull. For brown 
 cloths, the umbers, burnt sienna, and in some cases 
 a little vermilion may be sparingly used. 
 
MINIATURE PAINTING. 
 
 49 
 
 There is a specialty about scarlet cloth, that gives 
 it a claim to more particular notice ; its first, or mid- 
 dle tint, is composed of Indian red, vermilion, and 
 white, its shadows, of Indian red and burnt car- 
 mine, its deepest touches of burnt carmine alone, 
 its lights and high lights are to be worked in 
 with vermilion and white, with a little Indian yel- 
 low sparingly added, and the whole is to be delicately 
 and tenderly brought into harmony, by carefully 
 working over it, a thin transparent scarlet tint, 
 composed of lake and Indian yellow, or gamboge. 
 
 I think I have now said sufficient of draperies to 
 set the student fairly at work on them, and to pro- 
 vide him with a good stock whereon to engraft the 
 result of his own experience. It now remains to say 
 a few words about the treatment of 
 
 BACKGROUNDS. 
 
 The manipulation of background painting is not 
 very difficult in itself, though to design and paint a 
 background, well adapted to the other parts of the 
 picture, is no easy matter ; the power of doing it 
 skilfully can only be acquired by practice and con- 
 stant observation of other works wherein a high 
 degree of skill is shown. A good background never 
 obtrudes itself on the eye or observation, but in all 
 cases is subservient to the effect of the portrait or 
 
50 
 
 TIIB GUIDE TO 
 
 figures that are placed upon it; therefore a back- 
 ground skilfully painted and in good taste, should 
 be simple, broad, and in all cases partaking of an at- 
 mospheric tone, neutral and retiring but not cold. 
 Plain backgrounds are sometimes floated in, which 
 techical term means that a mass of colour is spread 
 over them in a sufficiently fluid state to be distri- 
 buted pretty equally at once, (as described in the 
 directions for painting velvet) they are then finished 
 by whatever hatchings or stipplings may be re- 
 quired to produce an agreeable and equal surface ; 
 but for a beginner it will be safest and least likely to 
 lead to the discouragement of a failure, to begin his 
 backgrounds by broad bold touches, hatched in un- 
 til he gets nearly the strength he wishes them to be, 
 and then gradually to complete his work by filling 
 up any inequalities he may have left in it by 
 stippling divers breakings of various colours through 
 them, in which he will succeed better and better, 
 according as his eye becomes cultivated and his 
 judgment more accurate from use. Plain back- 
 grounds in all their varieties, from warm to cold, 
 and from the deepest toned to the most transient in 
 hue, may be produced by the use of sepia, ultra- 
 marine, light red, and Italian ochre ; of course other 
 colours may and sometimes must be used, but these 
 may be regarded as the staple. For azure back- 
 grounds representing the clouds, use ultramarine 
 
MINIATURE PAINTING. 
 
 51 
 
 warmed with a small quantity of raw sienna and 
 light red, making the grey clouds with ultramarine, 
 Indian red, and Italian ochre, and the light edges, 
 where they occur, with Italian ochre and light red, 
 or ochre alone, according to the general tone of the 
 picture. 
 
 Drapery, as curtains for instance, sometimes 
 enters into the composition of backgrounds ; but 
 by a trifling modification of the directions I have 
 already given under the head of draperies, back- 
 ground draperies may be easily accomplished, the 
 chief point to be observed being not to paint 
 them too forcible, so as to interfere with the other 
 draperies of the picture or to disturb the general 
 effect. Terra vert will be found to possess some 
 excellent qualities for subdued green draperies in 
 backgrounds, and may be employed advantageously 
 in backgrounds for glazing, toning down, &c., it 
 being a very retiring colour. It makes a beautiful 
 neutral tint with crimson lake. 
 
 GOLD ORNAMENTS AND GILDING. 
 
 The colours used for this purpose are raw umber, 
 burnt sienna, Italian ochre, and zinc white. The 
 half-tints, or middle tints are painted with raw 
 umber the reflections with burnt sienna and Italian 
 
52 
 
 THE GUIDE TO 
 
 ochre, the shades with darker raw umber, and a 
 little burnt sienna, the lights with Italian ochre, 
 and the highest lights are touched sparingly in 
 a sparkling manner, with the white and Italian 
 ochre mixed to a light yellow. When gilding 
 or gold ornaments occur in shadowed parts of 
 the picture, the reflected lights are sometimes the 
 brightest lights that it receives ; there is seldom any 
 very dark shadowing in objects of this kind, but 
 smart dark touches of burnt umber introduced 
 among the ornaments or mouldings are frequently 
 very effective. Avoid glitter and glare in painting 
 objects of this kind, they are very seductive, nnd 
 have a tendency to lead one into cutting up the 
 breadth of effect and repose, that should never be 
 destroyed under any circumstances. 
 
 GENERAL REMARKS. 
 
 The surface of the ivory has but little affinity for 
 water colours, they take on freely and readily enough 
 and adhere to it with sufficient tenacity through the 
 medium of the gum with which they are mixed, but 
 they are easily removed from it, so that, if in the 
 course of painting you happen to touch on any part 
 
MINIATUEE PAINTING. 
 
 53 
 
 a second time before the first touch is quite dry, a 
 white spot is likely to be the result, in consequence 
 of the brush licking up all the colour that has been 
 previously laid on the ivory in that place. It is, there- 
 fore, rather a difficult matter to acquire the knack 
 of laying on the colours with sufficient adroitness 
 to avoid the frequent occurrence of such a misfor- 
 tune ; however, it is a consolation that a few mistakes 
 of the kind will forcibly inculcate caution and watch- 
 fulness, and then again, habit, which will lead to a 
 sort of instinctive avoidance of all the moist parts of 
 the picture, a species of miniature painters’ hydro- 
 phobia ; I think it wovdd be advisable, therefore, 
 before attempting to paint a picture, to procure one 
 or two small pieces of ivory properly prepared for 
 painting on, and practise the laying of tints, both 
 light and dark, it scarcely matters what the colours 
 may be. The same pieces of ivory may be repeat- 
 edly used for the same purpose, merely by washing 
 off any tints on which you may have practised, with 
 plain water and a brush, this practice, I think, may 
 be advantageously continued until something like 
 certainty has been acquired. 
 
 It is chiefly owing to the above-mentioned pecu- 
 liarity that it is found necessary to employ stippling 
 and hatching so extensively in working up a minia- 
 ture, and it requires a good deal of practice, and 
 some patience to produce pleasing surfaces of colour 
 
54 
 
 THE GrUIDE TO 
 
 by these means. The dots in stippling and the 
 strokes in hatching must not be conspicuous, nor 
 done with any great flow of colour in the brush, or 
 else they will look crude, hard, or spotted, and must 
 be removed with the scraping lancet ; but remember 
 the colour must have become perfectly dry before 
 this is applied. 
 
 Too much gum in the colours must be avoided, 
 beginners often fall into the error of an oversupply 
 of gum to the colours as it has a tendency to facili- 
 tate their application to the ivory, but on observation 
 it will be seen that the most accomplished masters 
 in the art employ gum rather sparingly; water- 
 colours made up in the usual manner in cakes, con- 
 tain scarcely sufficient for the purposes of Miniature 
 Painting, so that it is necessary to supply a little 
 more when rubbing them down on the palette, as I 
 have described, but only so much should be used as 
 will prevent the colours from looking dead and flat 
 on the picture, more than this has a tendency to 
 produce a heavy, overcharged, and clotted appear- 
 ance, particularly in the dark parts. 
 
 Another thing against which I should particularly 
 caution the student, is any attempt at painting in an 
 atmosphere in which there is a considerable quantity 
 of dust floating, I know it is very difficult to avoid 
 dust altogether, particularly in large tow'ns, or where 
 
MINIATURE PAINTING. 
 
 55 
 
 there is much wind, for then it seems, (to use the 
 words of the poet) as if 
 
 “ each atom asserting 
 
 It’s indisputable right to dance, would form 
 An universe of dust !” 
 
 But then we must do our best by selecting any room 
 for our painting room pro. tem. that is likely to be 
 freest from this plague. 
 
 To Miniature Painting in particular dust is ex- 
 tremely obnoxious, as its particles bear so much 
 larger a proportion in size to pictures of this, than 
 to works of a larger class ; that which would be 
 nearly imperceptible on a head the size of life would 
 sadly mar the look of any of the features of a minia- 
 ture ; 
 
 “ Such great drfecls from little causes spring.” 
 
 Thus any one of 
 
 “The motes that people the sunbeam” 
 would prove a somewhat formidable beam in itself, 
 and troublesome to extract if found in the eye of a 
 miniature. 
 
 Miniature Painting, however, possesses this one 
 great advantage, that one may improvise a painting- 
 room for it almost anywhere, with hardly any limita- 
 tion but one, the necessity of a good light and a 
 plentiful supply of it ; I have even known instances 
 
56 
 
 THE GUIDE TO MINIATURE PAINTING. 
 
 of its practice having beguiled the tedium of a long 
 voyage at sea, when the interest of books, conversa- 
 tion, and such like resources had all been exhausted. 
 The cabin has been turned into a painting-room, 
 the painting-desk has been opened, fellow-passengers 
 have become sitters, and an interesting series of 
 studies of heads from the life has been the result. 
 
 I have now done my best in the preceding pages to 
 lay a safe foundation whereon the student may raise 
 the structure of his future practice. It is possible, 
 nay, very probable, that as he gains confidence from 
 his own practice, experience, and observation, he will 
 throw aside many of the instructions I have given, 
 and invent or adopt other modes better suited to his 
 peculiar idiosyncracy ; in doing so, he will act quite 
 right : I have nowhere claimed exclusive orthodoxy 
 for what I have here put forth, on the contrary, I 
 have pointed out the existence of other paths all of 
 which have been found to lead to the same goal, 
 namely, that of excellence, one thing, however, I 
 must say, and with it I will conclude ; I have no- 
 where in these pages ventured to introduce anything 
 which by a fair, obvious, and liberal interpretation, 
 could lead the student into error. 
 
 “ Blest be the art that can immortalize, 
 
 The art that baffles Time's tyrannic claim.” 
 
 Cowper. 
 
A FEW WORDS ON 
 
 PORTRAIT PAINTING IN WATER-COLOURS, 
 
 AND ON 
 
 COLOURING PHOTOGRAPHS. 
 
 PORTRAIT PAINTING IN WATER-COLOURS. 
 
 The greater part of what I have said in my 
 instructions concerning the colours and their appli- 
 cation in Miniature Painting, will apply equally to 
 Portrait Painting in Water-Colours, and to Colour- 
 ing Photographs, the same kind of colours, the 
 same list, and the same use nearly, will apply to 
 one as well as to all ; the chief difference being, 
 that in the application of the colours to paper less 
 gum- water is required, this remark applies toWater- 
 Colour Painting more particularly, to Photographs 
 ill a less degree. The first consideration as to 
 Water-Colour Portrait Painting, is the proper 
 choice of paper, papers vary very much in their 
 thickness and surface-texture, there are hot-pressed, 
 cold-pressed, and cartridge-papers, with card-hoard 
 
58 PORTRAIT PAINTING IN WATER COLOURS. 
 
 and Bristol-board, and different artists select out 
 of these whatever kind best suits their various 
 tastes and styles. For a broad, bold, and sketchy, 
 or loose style, cold-pressed and cartridge-papers 
 are usually employed, though the latter but rarely. 
 For more fully finished and minutely detailed pic- 
 tures, hot-pressed paper and Bristol -boards are 
 generally chosen ; I think, however, the extra 
 thick cold-pressed paper, made by Whatman, is a 
 very agreeable kind of paper to draw on in W ater- 
 Colours, it is not too coarse on the surface for high 
 finish, and in those parts of a picture where it may 
 be desirable to have the surface a little smoother, 
 this smoothness can be given to it. 
 
 There is generally one of the sides of a sheet of 
 paper better suited for drawing on than the other, 
 being freer from certain streaky scratches, rough- 
 nesses, and such defects, which may be detected by 
 looking along the surface of the paper in a slanting 
 direction, holding the paper obliquely towards the 
 light ; when the perfect side of the paper has been 
 thus determined, it should be marked at the corner 
 with a pencil. 
 
 It is always best to have the paper strained on a 
 drawing-board for Water-Colour Painting; to do 
 this lay the sheet of paper flat on the drawing- 
 board and wet it copiously with water and a sponge, 
 when it has imbibed a good deal of the moisture 
 
PORTRAIT PAINTING IN WATER COLOURS. 59 
 
 on one side, turn the paper over and treat the other 
 side of it in a similar manner, this process must be 
 repeated several times until the paper lies perfectly 
 flat on the hoard, the moisture causing it to adhere 
 thereto : when this has been done, with a soft towel 
 or cloth of any kind, carefully absorb the super- 
 fluous moisture from the margin of the paper for 
 about an inch inwards from the edge, by dabbing 
 (not rubbing) the cloth on it, then apply some thin 
 glue or strong flour paste and glue mixed, all round 
 the edge of the paper to the extent of about a 
 quarter of an inch, then, taking hold of the paper 
 by the two opposite corners, or if the piece of paper 
 be large, (having some one to assist you) it being 
 held by the four corners, turn it over and lay it 
 flatly and smoothly down on the board, having the 
 side marked with the pencil uppermost, press the 
 edges down on the board with the cloth, or with a 
 thicx piece of paper or a card intervening, rub 
 them uown briskly with the handle of an ivory paper- 
 cutter or anything of that kind ; the paper will be 
 thus firmly glued by its edges to the draAving- board, 
 and may then be put aside to dry, when dry, it will 
 be ready to work upon ; it must not be placed near 
 the hre or in a hot sun to dry, for that would cause 
 the edges to tear up by the shrinking of the paper 
 vitn the heat, and it would in all probability be 
 spoiled ; it is best, indeed, to wet the middle of the 
 
60 PORTRAIT PAINTIKO IK "WATER COLOURS. 
 
 paper two or tlirec times at intervals so as to allow 
 time for tlie glue or paste to dry first. 
 
 Some artists are in the habit of preparing the 
 surface of the paper in those parts where the head, 
 hands, and other parts of the flesh are to be painted 
 so as to produce a smoother surface for the recep- 
 tion of the more delicate tints incidental to them ; 
 for adopting this plan it is to he presumed that, 
 before commencing the drawing, a sketch or study 
 of the composition of the picture has been made, 
 from this sketch it will be easy to determine the 
 place of the head, hands, &c., on the paper in- 
 tended for the drawing. A piece of the very finest 
 glass paper having been procured and adjusted to 
 the flat surface of a small glass muller or other con- 
 venient substitute, those portions of the surface of 
 the paper in question are gently rubbed down with 
 it (giving the muller a circular motion) till they 
 are rendered perfectly smooth, and all the oiiginal 
 grain of the paper is removed ; the flocculent dust 
 produced in the operation is removed with a brush, 
 and the surface is then generally considered fit to 
 receive work, but some artists take the additional 
 precaution of passing a weak solution of isinglass, 
 in which a small quantity of alum has been dis- 
 solved, over those parts that have been thus treated, 
 and when dry burnishing it over with a piece of 
 cardboard interposed between the paper and the 
 
PORTRAIT PAIKTING IN' WATER COLOURS. 
 
 61 
 
 burnisher ; this latter process gives a firmer surface 
 to those parts of the paper that have been disturbed 
 by the glass paper. 
 
 The process of laying the colours on paper is 
 much more easily learned than on ivory ; in conse- 
 quence of the greater porosity of the former, the 
 colours adhere thereto with greater tenacity, and 
 to a certain extent in some cases, seem to incorpo- 
 rate themselves with it, and are, therefore, not so 
 easily removed by the application of moisture, this 
 is a property that weighs considerably in favour of 
 Water-Colour Painting, and co-operates greatly in 
 modifying the style and execution of the work, in- 
 asmuch as the painter need be under no such great 
 apprehension of spoiling or injuring his work by 
 disturbing previously laid tints on the application 
 of fresh ones. The colours can be more readily 
 laid on in broad smooth flat washes (as they are 
 technically called), and the hatching and stippling, 
 which I have described as being so much employed 
 in painting on ivory, are in the present case con- 
 fined almost entirely to the face, they may, of 
 course, be used in other parts of the picture, but 
 they are by no means so indispensable and are of 
 much more easy performance, and generally done 
 with much greater boldness and breadth. 
 
 The advantage I have formerly alluded to of the 
 natural tint of the ivory so nearly approximating 
 
G2 PORTRAIT PAINTING IN WATER COLOURS. 
 
 to a flesh tint is lost in paper, but this may be in 
 some degree regained by laying a tint as nearly le- 
 sembhng the colour of ivory as possible o\ci the 
 parts on which the flesh is to be painted; this, if 
 done, should be done before any other work is com- 
 menced, with those who have previously been in 
 the habit of using ivory this may prove a useful 
 precaution as it may prevent them from painting 
 their flesh tints of a raw and cold colour. I may 
 here remark that some commence painting the flesh 
 bypassing over it, in the first instance, a light tint 
 semi-opaque, composed of light red and zinc white, 
 this does very well when the drawing is intended 
 to be light and sketchy, but it hardly answers for 
 highly- finished drawings. 
 
 One instance of the greater pliancy of Water- 
 Colour Painting to the artist’s resources than is 
 possessed by Painting on Ivory, is the practicability 
 of lightening many of the tints should thej be found 
 too strong, by partially washing them off with a 
 brush and a little water ; thus, delicate modifica- 
 tions of effect are very practicable and very easy, 
 any attempt of this kind on ivory would be per- 
 dition to the work. The wet sponge applied some- 
 what in the same manner may be also employed, 
 and if any sweeping or radical alterations be con- 
 templated in any part of the drawing, the colours 
 already laid on may be removed by the same means. 
 
ON COLOURING PHOTOGRAPHS. 
 
 63 
 
 Vi lien dark inassess of strong colour have been 
 painted, if it be found necessary to recover some 
 some sharp strong lights or reflexions (as in velvet 
 draperies for example), this may be effected by 
 wetting the part where the light is to be recovered 
 pretty copiously with a brush, allowing the water 
 to remain for a few seconds, absorbing it with a 
 piece of blotting-paper or soft linen-cloth, and 
 rubbing it over with some stale crumb of bread ; 
 the light will thus come out nearly white, and 
 must be worked on afterwards to get it to its proper 
 tone of colour. 
 
 I believe I have now mentioned the chief differ- 
 ences and distinguishing peculiarities of Miniature 
 Painting on Ivory and Portrait Painting in Water- 
 Colours ; all that I may have left unsaid in treat- 
 ing of the latter may be readily gleaned under their 
 various heads in my instructions relative to the 
 foimer ; it would, then, obviously be a waste of 
 time to repeat them here, I shall, therefore, devote 
 my few concluding remarks to any peculiarities of 
 treatment incidental to the colouring of 
 
 PHOTOGRAPHS. 
 
 It seems to be the aim of those engaged on this 
 branch of artistic occupation to assimilate coloured 
 Photographs as nearly as possible in treatment and 
 
64 
 
 ON COLOURING PHOTOGRAPHS. 
 
 effect- to Miniatures on Ivory ; and indeed the 
 manner in which the colours are applied to both is 
 nearly identical ; the same colours, the same pre- 
 paration of gum, the same brushes are used, and 
 he who is pretty well versed in all the appliances 
 of Miniature Painting on Ivory will experience hut 
 little chance of failure in essaying the art of Colour- 
 ing Photographs, therefore much of the instructions 
 I have already given in the preceding pages may 
 he looked upon as applicable to the present subject, 
 so that, in order to avoid an unnecessary multipli- 
 cation of words, I shall here only dwell on any 
 peculiarities that are incidental to Photographic 
 Colouring, and among these the first thing to be 
 done is, of course, to describe the preparation of 
 the Photographic 'positive for the reception of the 
 colouring, that being the first stage at which I shall 
 presume the colourist necessarily takes cognizance 
 of the existence of Photography. 
 
 The paper generally used by Photographers on 
 which to print their positives is manufactured es- 
 pecially to subserve that purpose, and as it is rarely 
 used for anything else, its good qualities, whatever 
 they may be, are solely estimated and calculated in 
 proportion as it may be suited to the requirements 
 of Photography and the Photographic operator, we 
 must not wonder then, that, as far as regards the 
 purposes of the artist employed in colouring Photo- 
 
ON COLOURING PHOTOGRAPHS. 
 
 65 
 
 graphs, this paper excites no frantic enthusiasm 
 repecting its good qualities, indeed it is about the 
 worst paper anyone could choose for drawing on ; 
 but under the circumstances the artist is obliged 
 to yield thecas to the Photographer, and make the 
 best of it. What I am now about to do is to give 
 the necessary instructions as to the preparing the 
 positive for colouring. 
 
 Positives are sometimes taken on what is called 
 albuminized paper, and sometimes on salted paper, 
 (so termed on account of some distinguishing pecu- 
 liarity in the process) the salted paper is most 
 generally used for colouring, though the albumi- 
 nized is, 1 believe, used by some eminent colourists ; 
 whichever of the two may be chosen for colouring^ 
 it is necessary to have a second for a guide, which 
 ought to be on albuminized paper on account of 
 its clearness. 
 
 The positive intended for colouring should not 
 be very strong, just enough so to have all the parts 
 clear and well defined; having pasted it down 
 carefully on a piece of white smooth cardboard, 
 either with white starch or paste made of rice flour, 
 place it to dry under pressure : when dry, size it 
 over every part of the surface with a couple of coats 
 of isinglass size, not very strong, and moderately 
 warm, into which two or three drops of prepared 
 ox-gall have been dropped ; the size must be 
 
 i) 
 
66 
 
 ON COLOURING PHOTOGRAPHS. 
 
 spread evenly, and not too copiously, lest it should 
 lie as a sort of varnish on the surface, which would 
 he extremely detrimental, and the first coat of size 
 should be allowed to dry before applying the second. 
 When the size has become perfectly dry, lay the 
 Photograph with the picture downwards on a piece 
 of plate glass sufficiently stout to bear considerable 
 pressure, and then, with a burnisher of any des- 
 cription or any substitute for a burnisher, burnish 
 it freely for some time in every direction and on 
 every part of the surface with considerable stress, 
 on taking it up and examining it, it will be found 
 to possess qualities very much resembling those of 
 the face of a piece of prepared ivory, both as to 
 surface, texture, and tint. 
 
 The chief advantage, economically considered, 
 that a Photograph in this state presents to the 
 artist is that he has the drawing and light and 
 shade, such as they are, ready produced to his 
 hand ; I say such as they are, for owing in part to 
 the almost unavoidable imperfections of the optical 
 instruments employed, in part to their injudicious, 
 ignorant, or unskilful application, and also in part 
 to the unartistic and unpicturesque arrangement 
 of light and shade in which Photographers are 
 often obliged to place their sitters, owing to the 
 exigencies of their art, or to their own deficiency 
 of taste and judgment. Photographic Portraits are 
 
ON COLOURING PHOTOGRAPHS. 
 
 67 
 
 often very incorrect and sometimes glaringly faulty 
 both in drawing and light and shade; the chief 
 redeeming quality they possess is, that, to quote the 
 title of an old play, they 
 
 “ Lie like Truth” 
 
 so boldly and fearlessly that we are tempted to 
 forgive their errors in charitable consideration of 
 their merits. 
 
 In colouring the flesh parts of a Photograph, care 
 must be taken not to interfere in the least degree 
 with the shadows, so as to alter them in any respect 
 except just by tenderly glazing over them a slight 
 indication of the local colour ; to observe this rule 
 is to be possessed of one of the chief secrets of 
 success, particularly as regards preserving likeness. 
 In every other respect the treatment of the flesh 
 and hair is identical with its management in 
 Miniature Painting, to which the reader is referred. 
 
 Sometimes it happens that the hair, and even 
 some of the shadows in the face, such as those 
 under the eyes and under-lip, and the mark des- 
 cending from the sides of the nose, come out 
 darker in Photographs than they should be, these 
 defects must be cautiously and carefully corrected 
 by the judicious use of a little white added to the 
 colour appropriate to the faulty part. 
 
 A repetition of the greater part of what I have 
 
68 
 
 OK COLOUBIHG PHOTO GEAPHS. 
 
 just said about colouring flesh would apply equally 
 to draperies, except that if it be peremptorily re- 
 quired to have them coloured as they existed in 
 nature, it will, in some cases, be necessary to use 
 a considerable proportion of white with the other 
 colours employed ; for example, as all modifications 
 of the yellow and red colours in drapery in nature 
 are certain to be represented as dark in the Photo- 
 graph, a certain portion of white must be mixed 
 with the colours in order to redeem the duskiness 
 that would otherwise attend their being laid on 
 over too dark a ground. 
 
 The directions I have given for painting woollen 
 cloth on ivory may be almost literally followed out 
 in Coloured Photographs; the main difference being 
 that, as the positive will generally present a pretty 
 strong ground on which to lay the colours, it will 
 scarcely be necessary to lay them in quite so strong 
 a body, beyond this advantage, the positive, in the 
 representation of woollen cloths, presents very few 
 additional facilities to the artist, so much opaque 
 colour being found necessary, the indications of 
 folds, creases, &c., are soon lost to him and he is 
 obliged to rely on “ the guide,” or albuminized 
 copy before mentioned, from which to copy these 
 details. 
 
 In colouring velvet, the chief difference to be 
 pointed out is, that the lights, which in that fabric 
 
OK COLOURING PHOTOGRAPHS. 
 
 69 
 
 are always rich and brilliant in colour, must be 
 helped out as far as necessary with body colour, 
 as the lights in the positive will seldom be found 
 brilliant enough for them ; the body colour should, 
 for this purpose, in the first instance be painted in 
 rather lighter than it is intended to remain, and 
 must afterwards be glazed down by an appropriate 
 tint of transparent colour ; this will generally be 
 found to impart to the lights the richness of tone 
 in which, without it, it would probably be deficient. 
 
 With respect to backgrounds, it very frequently 
 happens that the tint of the Photograph is such 
 that it happily adapts itself to the tone of back- 
 ground required, in this case, though, it will 
 probably require some modification and adaptation 
 to the effect of the work bestowed on the other 
 parts ; the less that is done to it the better, pro- 
 vided sufficient be done for that purpose, and to 
 give it all the look of being the work of the hair 
 pencil, and not a pencil of the sun’s rays. 
 
 It is very common to see backgrounds worked 
 up in body colours, this may be unavoidable in 
 some cases, but I have rarely seen a picture 
 with the background worked up in this manner 
 that had not a hard, dry, look, and therefore I 
 should strongly advise that whatever a Photo- 
 graphic background may require to have done 
 to it, should be done with transparent colours. 
 
70 
 
 ON COLOURING PHOTOGRAPHS. 
 
 and on the whole, to one who has by practice ac- 
 quired an ordinary degree of dexterity and quick- 
 ness, I am not of opinion it will cost any additional 
 expenditure of time or labour. 
 
 When the colouring has been completed, it will 
 improve the look of the picture to burnish it again 
 on the back in the same manner I have directed it 
 to be done before beginning it. 
 
 These then, as I have enumerated them, are the 
 essential differences in which Photographic Colour- 
 ing varies from Miniature Painting, in all other 
 respects the practice of the two arts may be con- 
 sidered identical, and I may sincerely hope that 
 whoever becomes acquainted with the contents of 
 the preceding pages, will find themselves suffi- 
 ciently well informed on the subjects of which they 
 treat, as to be able by their aid to make a satisfac- 
 tory progress. 
 
 RESPICE FINEM. 
 
 R. S. Francis, Printer, Catherine Street, Strand. 
 
GEORGE ROWNEY & CO., 
 
 51, RATHBONE PLACE, 
 
 AND WHOLESALE ONLY AT 
 
 10, PERCY STREET, LONDON, 
 
 MANUFACTURING 
 
 SOTS’ colormehv, 
 
 AND / 
 
 M ^xiuim ml 
 
 18 5 6. 
 
 ronDon : 
 
 R. S. FRANCIS, PRINTER, 3, CATHERINE STREET, STRAND. 
 
LIST OF 
 
 WATER-COLORS & SKETCHING BOXES 
 
 MANUFACTURED BY 
 
 GEO. EOWffEY & CO., 
 
 51, RATHBONE PLACE, LONDON. 
 
 WATER-COLORS. 
 
 Water-Color Painting has of late years attracted so much attention 
 as to become one of the most important branches of the Fine Arts in this 
 country. Such great advances of the British Artists in this mode oi 
 painting has necessitated a corresponding activity on the part of the 
 preparers of Water-Colors. 
 
 Messrs. Rowney & Co. have great pleasure in calling the public atten- 
 tion to their Water- Colors in Cake, the brilliancy and permanency of which 
 are not to be surpassed by those of any other manufacturer. 
 
 MOIST WATER-COLORS. 
 
 For the sake of greater freedom and effect, this mode of preparing Water- 
 Colors possesses many advantages, more especially for sketching from 
 nature, from their facility in washing upon a slight application of a wet 
 brush, and from the depth of tone which may be produced with them. 
 Those manufactured by Messrs. R. & Co. will be found free from the 
 objections made to the Moist Colors generally, as they are not liable to 
 harden in the pan, nor to ferment from the presence of saccharine matter 
 (none being employed in their preparation), and they will dry perfectly on 
 the paper, even when laid on with a thick body. A further improvement 
 has been made by Messrs. R. & Co. in preparing the 
 
 MOIST WATER-COLORS IN TUBE. 
 
 The mode of preparing these Colors renders them a most valuable im- 
 provement over all others. By this method the Colors are always fit for 
 use, and may be pressed out of the tube in a body, while they possess greater 
 brilliancy and depth than any others. The troublesome process of rubbing 
 the Color on the palette is avoided. No waste is incurred by breaking, as 
 in the cake. They will keep any length of time without drying up or 
 spoiling, as do most preparations of Moist Colors; and the very general 
 practice which prevails of mixing the tints with the brush on the Colors 
 themselves, and which so much deteriorates from their purity and brilliancy, 
 is rendered impossible by the Colors being kept separate, and only so much 
 as is required at the time being placed on the palette. 
 
4 
 
 GEO. ROWNEY & CO.’S WATER-COLORS CONTINUED. 
 
 QUARTER-CAKE COLORS. 
 
 Quarter- cakes are of the same quality as the large cakes of Color, and 
 are manufactured only at their establishment. 
 
 The increased taste manifested in the Fine Arts, and the general adoption 
 of drawing as a branch of education, has induced Messrs. It. & Co. to 
 manufacture smaller cakes of Color at a low price, but of the finest quality, 
 in order to bring them within the means of pupils and students who might 
 otherwise be compelled to make use of inferior materials. 
 
 Water-Colors in cake, half- cake, Moist Water-Colors 
 
 and quarter-cake. in tube. 
 
 various Colors, with their prices attached 
 
 The following is a list of the 
 for either : — 
 
 s. d. 
 
 Whole cakes . . . 10 
 
 Moist, in pan or tuba . 1 0 
 
 Purple 
 
 REDS. 
 
 Vermilion 
 Indian Red 
 Venetian Red 
 Light Red 
 Purple Lake 
 ORANGES. 
 
 Red Lead 
 Orange Orpiment 
 Chrome, 3, 4 
 
 s. d. 
 
 Half-cakes orMoistHalf-pans 0 6 
 
 Quarter cakes . • 0 3 
 
 YELLOWS. 
 
 Chrome, 1, 2 
 King’s Yellow 
 Naples Yellow 
 Gamboge 
 Italian Pink 
 Raw Sienna 
 Brown Pink 
 Yellow Lake 
 Yellow Oker 
 Italian ditto 
 Roman ditto 
 
5 
 
 GEO. ROWNEY & CO.’S WATER-COLORS CONTINUED. 
 
 BROWNS. 
 
 Brown Oker 
 Raw Umber 
 Burnt ditto 
 Burnt Sienna 
 Vandyke Brown 
 Bistre 
 
 Cologne Earth 
 
 GREYS. 
 
 Payne’s Grey 
 Neutral Tint 
 BLACKS. 
 Ivory Black 
 Lamp ditto 
 Blue ditto 
 
 BLUES. 
 
 Indigo 
 
 Prussian Blue 
 Antwerp Blue 
 Blue Verditer 
 
 GREENS. 
 
 Emerald Green 
 Verdigris 
 Olive Green 
 Hooker’s Green, 1 and 2 
 Prussian Green 
 Sap Green 
 
 Flake White 
 
 Whole cakes . 
 
 Moist, in pan or tube 
 Crimson Lake 
 Scarlet ditto 
 Indian Yellow 
 Sepia 
 
 s. 
 
 1 
 
 1 
 
 d. 
 
 6 
 
 6 
 
 s. 
 
 Half-cakes or Moisthalf-pans 0 
 Quarter cakes . . 0 
 
 Warm Sepia Scarlet Vermilion 
 
 Madder Brown Permanent Blue 
 
 Permanent White Chinese White 
 
 Mars Yellow Black Lead 
 
 d. 
 
 9 
 
 n 
 
 Whole cakes : 
 
 Moist, in pan or tube . 
 Lemon Yellow 
 Cobalt Blue 
 
 2 0 I Half-cakes or Moist half-pans 1 0 
 
 2 0 1 Quarter cakes . . 0 6 
 
 Violet Carmine Azure Blue 
 French Ultramarine 
 
 Whole cakes . 
 
 Moist, in pan or tube 
 Madder Lake 
 
 3 0 | Half-eakesorMoisthalf-pans 1 6 
 
 3 0 i Quarter cakes . . 0 9 
 
 Rose Madder Intense Blue 
 
 Whole cakes . 
 
 Moist, in pan or tube 
 
 Pure Scarlet 
 Carmine 
 Burnt ditto 
 Dahlia ditto 
 
 5 0 | Half-cakes or Moisthalf-pans 2 6 
 
 5 0 | Quarter cakes . . 13 
 
 Ultramarine Ash Gallstone 
 
 Mars Orange Cadmium Yellow- 
 
 Smalt Extract of Madder Carmine 
 
 Purple Madder 
 
 Whole cakes . . 
 
 Moist, in pan or tube 
 
 7 0 I Half-cakes or Moisthalf-pans 3 6 
 
 7 0 I Quarter cakes . . 19 
 
 Deep Rose 
 
 Whole cakes . . 11 0 I Half-cakes or Moisthalf-pans 10 6 
 
 Moist, in pan or tube 1 1 0 | Quarter cakes . 5 3 
 
 Ultramarine 
 
6 
 
 GEO. ROWNEY & CO.’S 
 
 WATER-COLOR BOXES, FITTED. 
 
 For Particulars see Catalogue. 
 
 ROSEWOOD 
 CADDY LID BOX, 
 BRASS BOUND. 
 
 COMPLETE 
 12-CAKE BOX. 
 Price £1 Is. 
 
 12-CAKE LOCK BOX. 
 Price 14s. 
 
 12-CAKE 
 £i 12s. 6d. 
 
7 
 
 GEO. KOWNEY & CO,’S WATER-COIOS BOXES, FITTED. 
 
 CADDY LID BOX. 24 CAKE, PRICE £3 3s. 
 
 JAPANNED TIN SKETCHING BOXES, 
 
 EMPTY, OR FILLED WITH MOIST COLORS. 
 
 The following arrangement of Colors are selected from those most in use 
 hy the first Water-color artists: — 
 
 No. 1 3-cake Box, 
 
 LIGHT AND SHADE DRAWINGS ON TINTED PAPER, 
 Containing Sepia, French Ultramarine, and Chinese White. Price 8s. 
 No. 1. Box with Half cakes. Price 5s. 6d. 
 
No. 2. 6-cake Box, 
 
 ASSORTED FOR LANDSCAPE, 
 
 Containing Gamboge, Yellow Oker, Light Red, Crimson Lake, Prussian 
 Blue, Vandyke Brown. Price 10s. 
 
 No. 2. Box with Half-cakes. Price 6s. Gd. 
 
 No. 3. 6-cake Box, 
 
 LANDSCAPE AND FIGURES, 
 
 Containing Sepia, Indigo, Cobalt, Crimson Lake, Light Red, Gamboge. 
 Price 1 1 s. 6d. 
 
 No. 3, Box with Half-cakes. Price 7s. 9d. 
 
 No. 4. 8-cake Box, 
 
 LANDSCAPE, 
 
 Containing Gamboge, Raw Sienna, Burnt Sienna, Vermilion, Crimson 
 Lake, Cobalt, Indigo, Vandyke Brown. Price 13s. 6d. 
 
 No. 4. Box with Half-cakes. Price 8s. Gd. 
 
 No. 5. 8-cake Box, 
 
 LANDSCAPE AND FIGURES, 
 
 Containing Yellow Oker, Light Red, Scarlet Vermilion, Madder Lake, 
 Cobalt, Madder Brown, Vandyke Brown, Prussian Blue. Price 16s. 
 No. 5. Box with Half-cakes. Price 9s. 9d. 
 
 No. 6. 10-cake Box, 
 
 LANDSCAPE, 
 
 Containing Gamboge, Yellow Oker, Burnt Sienna, Venetian Red, Crimson 
 Lake, Vandyke Brown, Olive Green, Neutral Tint, Cobalt, Indigo. 
 Price 15s. 6d. 
 
 No. 6. Box with Half-cakes. Price 10s. 
 
 No. 7, 10-cake Box, 
 
 LANDSCAPE AND FIGURES, 
 
 Containing Yellow Oker, Indian Yellow, Burnt Sienna, Light Red, 
 Vermilion, Madder Lake, Cobalt, Prussian Blue, Vandyke Brown, 
 Brown Pink. Price 17s. Gd. 
 
 No. 7. Box with Half-cakes. Price 11s. 
 
 No. 8. 12-cake Box, 
 
 LANDSCAPE, 
 
 Containing Brown, Pink, Vandyke Brown, Indigo, Cobalt, Crimson Lake, 
 Indian Red, Vermilion, Burnt Sienna, Yellow Oker, Gamboge, Chrome 
 Yellow, Payne’s Grey. Price 17s. 6d. 
 
 No. 8. Box with Half-cakes. Price 10s. 6d. 
 
 No. 9. 12-cake Box, 
 
 LANDSCAPE, FIGURES, ETC. 
 
 Containing Gamboge, Indian Yellow, Italian Oker, Light Red, Scarlet 
 Vermilion, Madder Lake, Purple Lake, Vandyke Brown, Brown Pink, 
 Indigo, French Ultramarine, Chinese White. Price £1 Is. 
 
 No. 9. Box with Half-cakes. Price 12s. Gd. 
 
9 
 
 No. 10. 14-cake Box, 
 
 LANDSCAPE, 
 
 Containing Cobalt, Indigo, Neutral Tint, Emerald Green, Brown Pink, 
 Sepia, Madder Brown, Crimson Lake, Indian Red, Light Red, Burnt 
 Sienna, Indian Yellow, Yellow Oker, Gamboge. Price £1 2s. 
 
 No. 10. Box with Half-cakes. Price 13s. 3d. 
 
 No. 11. 14-cake Box, 
 
 LANDSCAPE, FIGURES, ETC., 
 
 Containing Indigo, French Ultramarine, Neutral Tint, Emerald Green, 
 Olive Green, Vandyke Brown, Madder Brown, Purple Lake, Rose 
 Madder, Scarlet Vermilion, Light Red, Indian Yellow, 
 
 Chrome Yellow, Gamboge. Price £1 4s. 
 
 No. 11. Box with Half-cakes. Price 14s. 6d. 
 
 No. 12. 16-cake Box, 
 
 LANDSCAPE, FIGURES, ETC., 
 
 Containing Chrome Yellow, Gamboge, Indian Yellow, Yellow Oker, Burnt 
 Sienna, Light Red, Scarlet Vermilion, Madder Lake, Crimson Lake, 
 Madder Brown, Sepia, Olive Green, Emerald Green, Payne’s 
 Grey, Indigo, Cobalt. Price £1 7s. 
 
 No. 12. Box with Half-cakes. Price 16s. 
 
 No. 13. 16-cake Box, 
 
 FLOWERS, LANDSCAPE, ETC., 
 
 Containing Gamboge, Indian Yellow, Gallstone, Lemon Yellow, Vermilion, 
 Indian Red, Pure Scarlet, Madder Lake, Carmine, Dahlia Carmine, 
 Sepia, Ivory Black, Olive Green, Emerald Green, Indigo, 
 
 French Ultramarine. Price £2 2s. 
 
 No. 13. Box with Half-cakes. Price jgl 3s. 6d. 
 
 No. 14. 18-cake Box, 
 
 LANDSCAPE, FIGURES, ETC., 
 
 Containing Lemon Yellow, Indian Yellow, Gamboge, Yellow Oker, Burnt 
 Sienna, Light Red, Vermilion, Madder Lake, Purple Lake, Brown 
 Madder, Olive Green, Vandyke Brown, Emerald Green, Payne’s 
 Grey, Indigo, Cobalt, Chinese White, French Ultramarine. 
 
 Price £1 10s. 
 
 No. 14. Box with Half-cakes. Price 17s. 6d. 
 
 • 
 
 No. 15. 20-cake Box, 
 
 COMPLETE FOR LANDSCAPE, FLOWERS, FIGURES, ETC., 
 
 Containing Lemon Yellow, Gamboge, Indian Yellow, Yellow Oker, 
 Chrome No. 3, Vermilion, Light Red, Indian Red, Rose Madder, 
 Carmine, Purple Madder, Vandyke Brown, Sepia, Brown Pink, 
 
 Sap Green, Emerald Green, Indigo, French Ultramarine, 
 
 Smalt, Cobalt. Price £2 5s. 
 
 No. 15. Box with Half-cakes. Price £1 6s. 
 
 For any Color in the foregoing list another may be substituted, and if 
 the Color selected is higher or lower in price, the difference added or 
 deducted. 
 
11 
 
 PALETTE BOXES, 
 
 For holding a small supply of Color for a few days’ use ; the wells to he 
 filled from the tubes. Price 8s. 
 
 The above cut shows also a Japanned Water Bottle, for carrying a 
 supply of water for sketching, with cups to fix on the palette or box. 
 
 For the convenience of artists making use of their newly-invented Moist 
 Colors in Tube, Messrs. G. R. Si Co., at the suggestion of an eminent 
 artist, have prepared a Palette suitable for sketching from Nature, to super- 
 cede the necessity of carrying a cumbersome box of Colors. The Palette, 
 which is exceedingly light and portable, has several wells capable of 
 holding a sufficiency of Moist Color for several days’ sketching, which may 
 he put into them from the tube. The Colors are secured from contact, or 
 the action of the sun, by a small lid which protects them both in and out 
 of use. The Palette also contains a larger well for mixing the tints in. 
 
 J. B. Pyne’s SKETCHING PALETTE, an improvement of the 
 above, for artists using the Tube Moist Colors. Price 9s. 
 
 WATER BOTTLES. 
 
 s. 
 
 Japanned Water Bottle and Cups, 3 
 Middle size „ ,, 4 
 
 Large „ „ „ 4 
 
 Water Dippers . . 1 
 
 d. s. d. 
 
 4 Double Water Dippers, 2 0 
 
 0 Capped „ 13 
 
 8 Double ,, i, 2 6 
 
 0 
 
12 
 
 GEORGE ROWNEY & CO.’S 
 
 WATER-COLOR BOXES, FITTED. 
 
 This chemical preparation is one of the most valuable acquisitions to the 
 Water-Color Painter, from its great permanency and body. This White 
 washes evenly and freely on the paper, and, when dry, retains the same 
 tone of color as when wet ; a property not possessed by any other Perma- 
 nent White. A judicious use of this pigment, pure and mixed with other 
 Colors, gives to a drawing all the solidity and power of an Oil Painting. 
 
 A preparation for the use of Artists, Amateurs, Architects, Surveyors, 
 and Draughtsmen, whereby a solution of this useful Brown is immediately 
 available, without the loss of time and trouble incurred with the ordinary 
 
 CONSTANT WHITE (SULPHATE OF BARYTES ) 
 
 This is an extremely white pigment, but not possessing the body of 
 Chinese White ; it is generally used for high lights, &c., in Landscape 
 
 Prepared for the use of Water-Color Painters, Is. 6d. per Bottle. 
 
 (FOR PARTICULARS, SEE CATALOGUE) 
 
 OQUID (0©M® (& MEMflJM: 
 
 PERMANENT CHINESE WHITE. 
 
 A PREPARATION 
 
 White Oxide of 
 Zinc. 
 
 OF 
 
 PRICE IN EOTTLES, 
 
 COMPRESSIBLE 
 
 Is. each. 
 
 TUBES, 
 
 OR IN 
 
 LIQUID INDIAN INK. 
 
 Indian Ink. 
 
 Is. per bottle. 
 
 and Miniature Painting. 
 
 Is. 6d. per Bottle. 
 
 ASFHALTUM. 
 
13 
 
 INDELIBLE BROWN INK, FOR OUTLINES OR 
 FOR SKETCHING. 
 
 This rich and permanent Ink is found to he of great service to the 
 Architectural Artist, as the outline, or ornamental design, drawn with it 
 (even if the Ink be diluted with water to the palest tint) cannot, when 
 dry, be effaced by continued washings. Is. per Bottle. 
 
 WATER-COLOR MEGILP. 
 
 A most desirable Medium, imparting additional depth, brilliancy, and 
 transparency in Water- Color Painting, improving the working of the colors, 
 and preventing them running one into another. Is. 6d. per Bottle. 
 
 PROUT’S LIQUID BROWN- 
 
 A Beautiful Transparent Brown for Water- Colors, Is. per Bottle. 
 
 PREPARED OX GALL. 
 
 A preparation required occasionally in Water-Color Painting, where, 
 from the greasy nature of the paper or color, an even wash cannot be 
 obtained. The smallest portion of this preparation is sufficient to obviate 
 the defect. 6d. and Is. per Pot. 
 
 COLORLESS LIQUID OK GALL. 
 
 This limpid extract of Gall possesses all the strength and properties of 
 the Gall as it is usually sold in the paste state, but is deprived of its un- 
 pleasant qualities. Is. Gd. per Bottle. 
 
 PREPARED GUM WATER. 
 
 6d. per Bottle. 
 
 LIQUID CARMINE, (Prepared without Ammonia.) 
 
 Is. Gd. per Bottle. 
 
 COLORS PREPARED FOR PAINTING ON GLASS, 
 
 AS USED FOR THE 
 
 DISSOLVING VIEWS AT THE ROYAL POLYTECHNIC INSTITUTION, 
 
 INVENTED AND MANUFACTURED BY 
 
 GEORGE ROWNEY & CO. 
 
 The following Testimonial from C. Smith, Esq., the Artist engaged 
 by the Royal Polytechnic Institution, will sufficiently indicate 
 the value of the above Colors : — 
 
 Messrs. Rowney and Co., October 2 9lh, 1818.^ 
 
 Gentlemen, — I have tried your New Preparations of Moist Color for 
 Glass Painting, and find them far superior to any I have hitherto used, 
 as they work with a neatness and facility that could not be obtained by 
 the usual mode of Oil and Varnish Colors, and to which they are in 
 every respect preferable : those who Paint on Glass will find them a 
 valuable acquisition. 
 
 I am, Gentlemen, yours truly, 
 
 30, Tavistock Street, Covent Garden. CHARLES SMITH. 
 
14 
 
 This Invention places the art of Painting 1 on Glass within the power of 
 any one possessing a moderate knowlege of Drawing ; while the old 
 preparation of Varnish Colors placed difficulties in the way of the most 
 practised Artist. In addition to which, the time saved by this New 
 Process is considerable, and the beauty and clearness of the Paintings are 
 much increased. 
 
 The Colors throughout to he thinned only with water. 
 
 LIST OF THE COLORS, 
 
 (prepared in metallic tubes.) 
 
 
 
 s. 
 
 d. 
 
 
 s. 
 
 d. 
 
 Scarlet 
 
 
 .. 5 
 
 0 
 
 Light Green 
 
 .. 1 
 
 0 
 
 Crimson . . 
 
 
 . . 5 
 
 0 
 
 Dark Green 
 
 . . 1 
 
 0 
 
 Orange 
 
 . . 
 
 .. I 
 
 0 
 
 Yellow 
 
 .. 1 
 
 0 
 
 Opaque Black 
 
 . , 
 
 .. 1 
 
 0 
 
 Warm Brown 
 
 . . 1 
 
 6 
 
 Blue 
 
 •• 
 
 .. 1 
 
 0 
 
 Intense Brown 
 
 .. 1 
 
 6 
 
 Varnish, Is. per Bottle. 
 
 Box of the above, containing Palette and Brushes, and Guide to Painting 
 on Glass, by H. Bielfield, 25s. 
 
 PHOTOGRAPHY. 
 
 MESSES. SOWHEY AND CO. 
 
 HAVE ARRANGED 
 
 A SET OF TINTS FOR COLORING 
 
 PHOTOGRAPHIC MINIATURES, 
 
 AND ARE PREPARED TO SUPPLY THEM 
 
 In BOXES, CONTAINING 20 TINTS, with BRUSHES, price 2ls. 
 
 LISTS OF TINTS AND COLORS. 
 
 Shade for Background 
 Background Tint 
 Fair Complexion 
 Dark Complexion 
 Madder Brown 
 Brown 
 Deep Blue 
 LightBlue 
 Green 
 
 Emerald Green 
 
 Yellow 
 
 Grey 
 
 Black 
 
 Extract of Vermilion 
 Carnation 
 
 in tube 
 
 in Moist Pans, Half-cake 
 
 s. d. 
 
 1 0 
 1 0 
 0 6 
 0 6 
 0 9 
 0 6 
 
 0 9 
 
 1 0 
 0 6 
 0 6 
 0 6* 
 
 0 9 
 0 6 
 
 1 0 
 
 2 6 
 
15 
 
 TINTS AND COLORS CONTINUED. 
 
 Lake , . . . . . in Moist Pans, Half-cake Size 
 
 Violet . . . • • • • • • • » 
 
 Pale Gold . . . . • • • • >> 
 
 Medium Gold . . . • - • • • >* • - • • 
 
 Deep Gold . . ■ • • • - • » 
 
 The above, in Japan Box, with Brushes, £1 Is. 
 
 s. d. 
 
 0 9 
 
 1 0 
 0 6 
 0 6 
 0 6 
 
 Messrs. Rowney & Co. have the pleasure of appending the following 
 Testimonial from Mr. R. Lock, the celebrated Photographic Colorist : 
 
 178, Regent Street, 
 
 May 1 5 th, 1855. 
 
 Gentlemen, 
 
 I write to express my thanks for the Set of Tints I have received 
 from you ; they are to me invaluable, from the great saving of time, and 
 their being so perfectly adapted to the purpose. Nothing is wanted hut 
 some Chinese White. I shall recommend my Pupils to use them, in 
 
 preference to other colors. Your obedient Servant, 
 
 1 u t 
 
 CUMBERLAND 
 
 BLACK LEAD DRAWING PENCILS, 
 
 MANUFACTURED by 
 
 GEORGE ROWNEY AND CO., 
 
 Of the Genuine Plumbago, or Patent Compressed Lead of the 
 following degrees: — 
 
 H— Hard 
 HH — Haider ... 
 HHH— Very Hard 
 HHHH- Extra Hard 
 
 , Gd. each, 
 
 J or 
 " Ss.per doz. 
 
 HB— Hard and Black D 6d each 
 F— Middling Degree ( 
 
 EHB— Extra Hard and Black, 9s. per dozen. 
 
 FF— Very Fine. .Extra EHB. Extra BB. Extra HH, 12s. per dozen 
 BBBB — 24s. per dozen. 
 
 The last six pencils are made at the suggestion of several Artists of 
 eminence, and are particularly well adapted for the present improved 
 style of Pencil Drawing, and have a greater body of lead. 
 
 GEORGE ROWNEY AND CO.’S PENNY DRAWING 
 PENCILS. 
 
 With the view of enabling the working classes to avail themselves of the 
 advantages presented by the many Schools of Design, and Classes 
 recently opened for the instruction of Drawing in its various branches, 
 and to supply themselves with good Materials at a low price, Messrs. 
 R. & Co. have devoted their attention to the production of a Penny 
 Drawing Pencil, of a quality sufficiently good for general purposes. 
 This Pencil is manufactured of three degrees — Hard, Middle, and Soft, 
 
 in Polished Cedar. 
 
 Hard, in Plain Cedar, Polished 
 
 Middle, Colored lied 
 
 Soft, Colored Black ... 
 
 Each Pencil is Stamped in Silver, 
 
 Is. per dozen. 
 
 GEORGE ROWNEY & Co. 
 
 PENCILS FOR OFFICES, SCHOOLS, ETC. 
 
16 
 
 GEORGE EOI 
 
 
 NEATLY GOT UP 
 
 IN ORDER TO PREVENT THE LEAD DUST ADHERING T 
 
 H Hard for Sketching 
 
 HH Harder for Outlines 
 
 HHH Ver y Hard for Architects 
 
 HHHH Extra Hard for Engineers 
 
 I Sd. each, 
 
 > or 
 
 I 2s. 6d. per doz. 
 
 EXTRA THICK LEAD, IV 
 
 EHB Extra Hard and Black 
 
 DEHB Ditto, ditto, Extra Thick Lead . , 
 
 } 6d. each, 
 or 5; 
 
 5s. per doz. 
 
 BBBB — Extra Thick and Black, 9d. each, or 7s. 6d. per dozen. 
 
 Messes. Powney and Co. have every confidence in recomr 
 the Profession, their moderate price, and their superior quality, b 
 Their good quality is sufficiently tested by their greatly 
 received from the following eminent Artists and Professors of Dr 
 
 George Barnard, Esq., Head Drawing Master to J William Gawin Heri 
 Rugby School. X Society of Arts, L 
 
 The late T. M. Richardson, Sen., Esq., Newcastle -on- < George Harley, Esq. I 
 Tyne. s James E. Doyle, Esq. 
 
 1. M. Richardson, Esq., Member of the Old Water < • — Runciman, Esq. 
 
 Color Society. H. W. Hulme, Esq. : 
 
 Frederick Goodall, Esq., A.R.A. { William Wall, Esq., D 
 
 Frederick Pickersgill, Esq., A.R.A. \ Claude L. Nursey, Esc 
 
 David Cox, Jun., Esq., Member of the Old Water > ment School of De 
 Color Society. > William Brocas, Esq., 
 
 •L H. Hammersly, Esq., Head Drawing Master of the ? George Hemans, Es<] 
 Government School of Design, Manchester. < Railway. 
 
 c/ 
 
 The Trade are respectfully requested to observe that the name of “ George Ro 
 othei Manufacturers to imitate them in their outward appearance, as the means o 
 for their Pencils. 
 
17 
 
 Y AND CO.’S 
 
 OLISHEj) CESAR, 
 
 ENCIL, AN0, CONSEQUENTLY, SOILING THE FINGERS. 
 
 and Black 
 Bldpk for Shading 
 Softer and very Black 
 Finn for Ordinary Drawing 
 
 \REFULLY PREPARED. 
 
 3d. each, 
 or 
 
 2s. 6d. per doz. 
 
 Very ^irm and Double Thick Lead 1 
 
 Softer and Very Black, Double Thick Lead J 
 
 6d. each, 
 or 5s. per doz. 
 
 3BBBBBB— y ery Broad and Black Lead, Is. each, or 10s. per dozen. 
 
 -lieir IMPROVED DRAWING PENCILS to the notice of 
 flent to give them a decided preference with the public. 
 
 ' demand, and by the flattering Testimonials which they have 
 
 ., Secretary of the Samuel Lines, Esq., Birmingham. 
 
 | H. Worsley, Esq. 
 
 J J. Syer, Esq. 
 
 \ John Noblet, Esq., Cork. 
 
 1 John Bren an, Esq., Cork. 
 
 | George R. Lewis, Esq. 
 
 < G. Petrie, Esq., Vice President of the Royal Hibernian 
 ister of the Govern- l Society, 
 it. < M. O’Connor, Esq. 
 
 \ J. Howard Burgess, Esq., Belfast. 
 
 Ingineer to M. G. £ R. T. Stopford, Esq., Cork. 
 
 | The London Art Journal. 
 
 npy.” is stamped on each Pencil ; as their unprecedented success has induced 
 inferior article, to the injury of the character established by Messrs. R. & Co. 
 
firttsti m fnr HJatet Color fainting. 
 
 SABLE AND CAMEL HAIR PENCILS 
 
 OP THE VERY PINEST DESCRIPTION. 
 
 FOR PARTICULARS SEE LIST OF BRUSHES. 
 
 BLACK CHALKS AND CBAYONS. 
 
 MANUFACTURED ONLY BY 
 
 GEORGE ROWNEY AND CO. 
 
 The great desideratum in Black Drawing Chalks is to obtain a material 
 that will work freely and pleasantly without coarseness or grit, having 
 great depth of color in the softest degree, and a more delicate shade of 
 Black for the harder degrees. 
 
 The Royal Academy Crayons possess these properties to a degree 
 far beyond any other Crayons hitherto manufactured, being perfectly 
 free from grit; working smoothly and freely, like the Italian Chalk; 
 and while possessing equal depth with the Conte Crayons, have all the 
 delicacy and fineness of a Black Lead Pencil. 
 
 The Royal Academy Crayons have met with very generalapproval, 
 and have been adopted by all the Schools of Design and Drawing 
 Academies in which they have been introduced. 
 
 The following Testimonials, selected from among numerous others, are 
 respectfully submitted : — 
 
 Government School of Design, Somerset House, June 1 st, 1S50. 
 
 Mr. Herman presents his compliments to Messrs. Rowney, and 
 begs to thank them for the specimen sent of their Academy Crayons, 
 which he has for some time past been in the habit of using for sketching, 
 for which they are particularly adapted, and has, therefore, great pleasure 
 in testifying to their merits. 
 
 46, Great Camden Street, Camden Town, May 1 1th, 1850. 
 
 Mr. R. W. Buss has tested the Black Crayons manufactured by 
 Messrs. Rowney & Co., and can state with confidence that the prepara- 
 tion is a decided improvement upon the well-known French Conte Crayons, 
 as the Black Crayons of Messrs. Rowney and Co., are deep in color, free 
 from grit, and work as smoothly as Black Italian Chalk, which latter 
 quality Mr. Buss finds of great importance in his Classes for Drawing 
 from nature. Delicate half- tints are also more easily obtained by means 
 of these Crayons, than by the Conte Chalks. 
 
 Government School of Design, Somerset House, Aug. 21 st, 1850. 
 
 Mr. Townsend presents his compliments to the Messrs. Rowney and 
 Co., and acknowledges with thanks the receipt of a packet of Academy 
 Chalks forwarded to him some time ago by Messrs. R. & Co. 
 
 In compliance with the expressed wish to obtain his opinion, Mr. 
 Townsend begs to say that he has found the two softer preparations of 
 this Chalk very agreeable in use, and of peculiarly firm and equal texture. 
 
19 
 
 From H. O’Neil’s Guide to Pictorial Art. 
 
 The Royal Academy Chalk works very like the Italian, but is better 
 in color. This is the cheapest and best Chalk in use- 
 
 Royal 
 
 Academy Crayons, of Three Degrees, Hard, Middle, 
 and Soft. 
 
 Ditto, ii 
 Ditto, it 
 anc 
 
 Boxes containing One Dozen of assorted degrees, per Box, fid. 
 ditt0) Three Doz. (One Doz. each, Hard, Middle, 
 
 Soft,) per Box, Is. 6d. 
 
 GEOBGE BO'VYNEY & CO.’S 
 
 BLACI GLAZED CHALKS OF THREE DEGREE3, 
 
 In Boxes containing One Dozen each,— Is. per Box. 
 
 BLACK. ITALIAN CHALK, 
 
 8d. per Ounce. 
 
 SOFT FRENCH CHALK, FOR STUMPING, 
 
 Is. per Ounce. 
 
 LITHOGRAPHIC CHALK, HARD ABB SOFT, IB BOXES, 
 
 2s. per Dozen. 
 
 CONTE CRAYONS, 
 
 s. d. 
 
 Square Black Conte Crayons, Nos. 1, 2, & 3 0 6 per Doz. 
 
 Round ditto Nos. 1 & 2 1 0 
 
 Glazed ditto 1 6 
 
 Square, Red, White, or Brown ditto 1 0 
 
 Black Conte Crayons in Polished Cedar 2 0 
 
 GEORGE BrOWNEY & CO.’S 
 
 PREPARED WHITE CHALK, 
 
 Of Three Different Degress, viz., Hard, Middle, and Soft. 
 
 This preparation is perfectly permanent, marks freely and without 
 grit, and may be cut to as fine a point as a lead pencil. Is. per Dozen. 
 
 Ordinary White Chalk 6d. per Doz. 
 
 Red Chalk ........ 9d. per Oz. 
 
 Pipe Clay Crayons fid. per Doz. 
 
 Charcoal in Sticks fid. „ 
 
 Ditto in Reeds Is. ,, 
 
 Boxes of Drawing Materials, containing Black and White Conte Chalk. 
 Charcoal, Stumps, Portcrayon, &c., 2s. 9d. each. 
 
 PORTCRAYONS, STUMPS, AND DRAWING PINS. 
 
 / 
 
20 
 
 GREEN’S 
 
 INDELIBLE DRAWING CHALK, 
 
 MANUFACTURED ONLY BY 
 
 GEORGE ROWNEY & CO. 
 
 This Chalk, the result of numerous experiments, has been prepared for 
 the purpose of combining intense blackness in the deep shadows, with the 
 greatest delicacy in the half tints. It is similar in character to Litho- 
 graphic Chalk, but is much finer, and more even in texture and color : it 
 is invaluable as a material for Rapid Sketching. 
 
 Sold in Boxes of One Dozen, Price Is. each. 
 
 DRAWING PAPERS, ETC. 
 
 WHATMAN’S DRAWING PAPERS 
 
 Plain Surfaces, for Water Colors. Hot-pressed ditto, Smooth for Penciling. 
 
 Size. Per Quire. Per Sheet. 
 
 Demy 
 
 20 in. by 15 
 
 3 
 
 0 
 
 0 
 
 2 
 
 Medium 
 
 22 
 
 „ 17 
 
 4 
 
 6 
 
 0 
 
 2 
 
 Royal 
 
 24 
 
 „ 19 
 
 6 
 
 6 
 
 0 
 
 n 
 
 Super Royal 
 
 27 
 
 „ 19 
 
 8 
 
 0 
 
 0 
 
 5 
 
 Imperial 
 
 30 
 
 „ 21 
 
 10 
 
 0 
 
 0 
 
 6 
 
 Double Elephant . . 
 
 40 
 
 » 26 
 
 18 
 
 0 
 
 0 
 
 10 
 
 Antiquarian . . 
 
 52 
 
 ,, 31 
 
 . . 75 
 
 9 
 
 3 
 
 6 
 
 Retree Paper of the same make , \th less in price. 
 
 WHATMAN’S EXTRA THICK DRAWING PAPER, &c. 
 
 Imperial Rough . . . . . . . . . . . . . . 0 6 
 
 Ditto ditto Extra Stout, weight 1401bs. to the Ream .. 0 10 
 
 Ditto Stout, weight 90 lbs. per Ream \ Plain or / 0 8 
 
 Ditto Ex. Stout, weight 1401bs. per Ream/ Hot Pressed. \0 10 
 Double Elephant, Extra Stout .. .. .. .. .. 19 
 
 HARDING’S DRAWING PAPER. 
 
 Imperial, 30 in. by 22 . . . . . . . . . . . . 0 6 
 
 Ditto Tablets, or Double Thickness . . . . . . 10 
 
 CARTRIDGE PAPERS. 
 
 Tinted Paper, used in the Government Schools, 
 
 ( Grey, Drab, or Buff) .. .. .. .. 30. .02 
 
 White Cartridge .. .. .. .. . . 30. .02 
 
 Ditto ditto, Royal Size 20. .01 
 
21 
 
 TINTED 
 
 CRAYON 
 
 Size. 
 
 PAPERS. 
 
 Per Quire, 
 s. d. 
 
 Per Sheet, 
 s. d. 
 
 Imperial, Hand Made 
 
 30 
 
 in. by 21 
 
 8 0 
 
 0 5 
 
 Ditto, Machine Made 
 Double Elephant, ditto 
 
 30 
 
 „ 22 
 
 7 0 
 
 0 5 
 
 40 
 
 ,, 26 
 
 12 0 
 
 0 9 
 
 The Hand Made Papers are most suitable for Water Colors. The 
 Machine Made, being of a softer material, are best adapted for Pencil, 
 Chalk, &c. They are sometimes, however, used in Sketching in Water 
 Colors. 
 
 Pattern Books of the various Tints kept in stock, may be had on 
 application. 
 
 ROWNEY’S PREPARED TINTS, FOR PENCILLING. 
 
 These Tints are prepared on Stout Drawing Paper, for the modern 
 style of Pencil Drawing in Black and White ; the White being obtained 
 by scraping the surface off the paper with a knife. 
 
 Imperial 4to, 15in. by 11, in packets containing one dozen . . 4 0 
 
 Imperial 8vo, 11 „ 7 1, in packets containing one dozen .. 2 0 
 
 GRANULATED PAPERS 
 
 ADAPTED FOR THE USE OF PENCIL, AND GREEN’S DRAWING AND OTHER CHALKS. 
 
 4to. Imperial Size . . . . . . 3s. per dozen. 
 
 Half ditto, ditto . . . . . . 6s. „ 
 
 The surface on this paper is similar to that of a finely-grained Litho- 
 graphic Stone, which is admitted to be that most adapted for Chalk 
 Drawing. A coating of Enamel having been previously laid on the 
 paper, enables the artist to scrape the surface, to produce lights, &c. 
 
 ROWNEY’S GRADUATED TINTS, 
 
 For Pencil, Chalk, or Water-Color Drawing. 
 
 The Tints are used similarly to the Pencilling Tints, and differ from 
 them in the Color being graduated from a Blue Tint for the Sky, to a 
 Brown for the Earth. The Graduated Tints are made of various Colors, 
 to suit different effects. 
 
 Singly. 
 
 s. d. s. d. 
 
 Imperial 4to., 15 in. by 11, in Packets containing One 
 
 dozen 5 0 or 0 6 
 
 Imperial Svo., 11 „ 7£, in Packets containing One 
 
 dozen 3 6 or 0 3 
 
 THE ARTISTS’ POCKET KNIFE. 
 
 Messrs. R. and Co. have had manufactured expressly for them, by one 
 of the best Sheffield makers, a knife of the finest quality, especially 
 adapted for the use of Artists. It is not larger than an ordinary pocket 
 Knife, and contains — 
 
 A Palette Knife, 
 
 A fine blade, 
 
 A file for sharpening Pencil or Chalk, 
 
 An Erasing or Scraping Blade. 
 
 Price 4s. 6d. 
 
 Or, with the addition of a Screw for drawing the Corks of Varnish 
 Bottles, Price 7s. 
 
22 
 
 TURNBULL’S LONDON BOARDS. 
 
 Foolscap 
 
 Demy 
 
 Medium 
 
 Royal 
 
 Super Ro 
 
 Imperial 
 
 15 in. by 12 each 
 
 2 shts. 
 S. u. 
 
 0 4 it 
 
 3 shts. 
 s. d. 
 0 7 
 
 4 shts. 
 s. d. 
 0 9 
 
 18 
 
 », 14 „ 
 
 0 
 
 6 
 
 O 
 
 9 
 
 1 
 
 0 
 
 20i 
 
 >, 151 „ 
 
 0 
 
 74 
 
 1 
 
 O 
 
 1 
 
 3 
 
 22i 
 
 » 174 „ 
 
 0 
 
 9i 
 
 1 
 
 3 
 
 1 
 
 7 
 
 25i 
 
 .. 174 „ 
 
 1 
 
 0 
 
 1 
 
 6 
 
 2 
 
 0 
 
 28 
 
 » 20 ,, 
 
 1 
 
 6 
 
 2 
 
 3 
 
 3 
 
 0 
 
 6 shts. 
 
 s. d. 
 
 ROWNEY’S PACKETS OF DRAWING BOARDS. 
 
 Containing One dozen Sheets in a Neat Wrapper. 
 
 2 Sheets Royal, 8vo. 
 
 3 » ,, 
 
 2 „ 4to. 
 
 ° » >: 
 
 4 
 
 ^ » >> 
 
 2 Sheets Imperial 8vo. 
 
 3 ,, ,, 
 
 Size. 
 
 8i by 54 
 11 by 84 
 
 Foolscap 
 
 Demy 
 
 Medium 
 
 Royal 
 
 4to. 
 
 | 11 by 84 | 
 
 } 10 by 61 { 
 
 134 by 10 | 
 
 Price 
 per Packet, 
 s. d. 
 10i 
 3 
 9 
 
 Royal 
 
 Imperial 
 
 Royal 
 
 Imperial 
 
 BRISTOL 
 
 BOARDS 
 
 
 
 
 
 
 2 
 
 shts. 
 
 3 shts. 
 
 4 shts. 
 
 6 shts. 
 
 
 s 
 
 d. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 . . each 
 
 0 
 
 24 
 
 0 
 
 4 
 
 0 
 
 5 
 
 0 
 
 8 
 
 • • 99 
 
 0 
 
 4 
 
 0 
 
 6 
 
 0 
 
 8 
 
 l 
 
 0 
 
 • • • • 99 
 
 0 
 
 5 
 
 0 
 
 74 
 
 0 
 
 10 
 
 l 
 
 3 
 
 • • 99 
 
 0 
 
 6 
 
 0 
 
 9 
 
 1 
 
 0 
 
 l 
 
 6 
 
 TURNBULL’S 
 
 CRAYON 
 
 BOARDS. 
 
 
 
 BUFFS, GREYS, 
 
 AND 
 
 DRABS. 
 
 
 
 
 
 
 
 
 3 shts. 
 
 4 shts. 
 
 6 shts. 
 
 
 
 
 s. 
 
 a. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 . 
 
 each 
 
 1 
 
 0 
 
 1 
 
 4 
 
 2 
 
 0 
 
 . 
 
 
 99 
 
 2 
 
 0 
 
 2 
 
 8 
 
 4 
 
 0 
 
 TURNBULL’S MOUNTING BOARDS. 
 
 WHITE OR TINTED. 
 
 
 3 shts. 
 
 4 shts. 
 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 each 
 
 0 
 
 64 
 
 0 
 
 8 
 
 99 
 
 1 
 
 0 
 
 1 
 
 3 
 
 6 shts. 
 
 S. d. 
 1 0 
 2 0 
 
23 
 
 Half Imperial 
 
 Royal 
 
 Imperial 
 
 WHITE MOUNTING BOARDS. 
 
 each 
 
 3 slits, 
 s. d. 
 0 44 
 
 4 shts. 
 s. d. 
 0 6 
 
 
 0 
 
 6 
 
 0 
 
 n 
 
 99 
 
 0 
 
 9 
 
 1 
 
 0 
 
 6 slits. 
 
 s. d. 
 
 0 8 | 
 
 1 0 
 
 1 5 
 
 MAHOGANY DRAWING BOARDS. 
 
 Drawing 
 
 Board, 
 
 4to Demy 
 „ Royal 
 ,, Super Royal 
 „ Imperial 
 „ Columbia 
 Half Medium 
 „ Royal 
 „ Imperial 
 Demy 
 Medium 
 Royal 
 Imperial 
 
 Half Antiquarian 
 Columbia . 
 
 
 8 
 
 in. by 6 
 
 
 
 
 3 
 
 
 104 
 
 99 
 
 8 
 
 
 
 
 5 
 
 
 12 
 
 99 
 
 84 
 
 
 
 
 5 
 
 
 134 
 
 
 9 
 
 
 
 
 5 
 
 
 15 
 
 99 
 
 11 
 
 
 
 
 6 
 
 
 15 
 
 99 
 
 10i 
 
 
 
 
 6 
 
 
 17 
 
 99 
 
 10i 
 
 
 
 
 6 
 
 
 19 
 
 99 
 
 134 
 
 
 
 
 7 
 
 
 18 
 
 99 
 
 13| 
 
 
 
 
 7 
 
 
 20i 
 
 99 
 
 154 
 
 
 
 
 8 
 
 
 22 
 
 99 
 
 17 
 
 
 
 
 10 
 
 
 28 
 
 99 
 
 19 
 
 
 
 
 16 
 
 
 28 
 
 )J 
 
 23 
 
 
 
 
 IS 
 
 
 32 
 
 99 
 
 21 
 
 
 . 
 
 
 20 
 
 With Paper 
 Strained for TJse 
 
 d. 
 
 6 each. 
 0 „ 
 
 3 „ 
 
 6 „ 
 
 0 „ 
 
 0 „ 
 
 6 „ 
 
 0 „ 
 
 0 „ 
 
 6 „ 
 
 DEAD DRAWING BOARDS. 
 
 CLAMPED. 
 
 4to Royal 
 „ Imperial 
 „ Columbia 
 
 Size. 
 
 104 in. by 8 
 13" „ 9| 
 
 15 „ 11 
 
 s. d. 
 
 0 10 each. 
 
 1 3 „ 
 
 1 9 „ 
 
24 
 
 DEAL DRAWING BOARDS — continued. 
 
 Half Royal 
 
 17 
 
 Size. 
 
 99 
 
 101 . 
 
 s. 
 
 2 
 
 d. 
 
 3 each. 
 
 Demy 
 
 IS 
 
 99 
 
 13i . 
 
 . 2 
 
 8 „ 
 
 Half Imperial 
 
 19 
 
 99 
 
 13J . 
 
 . 2 
 
 10 „ 
 
 Medium 
 
 20 
 
 99 
 
 15i . 
 
 3 
 
 4 „ 
 
 Royal 
 
 22 
 
 99 
 
 17 
 
 3 
 
 8 „ 
 
 Imperial 
 
 28 
 
 99 
 
 19 
 
 4 
 
 o „ 
 
 Imperial, full size 
 
 30 
 
 99 
 
 21 
 
 4 
 
 8 „ 
 
 Columbia 
 
 32 
 
 99 
 
 21 
 
 5 
 
 3 „ 
 
 Atlas 
 
 31 
 
 99 
 
 24 
 
 6 
 
 o „ 
 
 Double Elephant 
 
 38 
 
 99 
 
 24 
 
 7 
 
 6 „ 
 
 Antiquarian 
 
 50 
 
 99 
 
 29 
 
 . 10 
 
 0 „ 
 
 GEORGE ROWNEY & CO.’S 
 
 DKAW1M© DISK. 
 
 An Invention which opens out to form a raised Desk or Drawing Board, 
 with the copy exhibited at a proper distance before the Pupil, and com- 
 prises a drawer to contain Paper. 
 
 The whole shuts up compactly, and does not exceed in weight or size 
 an ordinary Drawing Board. 
 
 ROWNEY’S 
 
 DRAWING DESK 
 
 in Deal 
 
 s. 
 
 4 
 
 d. 
 
 0 
 
 Ditto 
 
 ditto 
 
 Chalks, Colors, &c. . , 
 
 with extra compartment for 
 
 5 
 
 0 
 
 Ditto 
 
 ditto 
 
 in Mahogany 
 
 9 
 
 0 
 
 Ditto 
 
 ditto 
 
 Chalks, Colors, &c. .. 
 
 with extra compartment for 
 
 10 
 
 0 
 
 EARTHENWARE SLABS, PALETTES, &c. 
 
 IktfrJjing abnlvH fc ^ndfnlins. 
 
 MATHEMATICAL DRAWING INSTRUMENTS. 
 
 IVORIES AND GASES FOR MINIATURE FAINTING. 
 
 OIL COLORS, CANVASS, PANEL, BRUSHES, EASELS, OILS, 
 VARNISHES, ETC. ETC., AND EVERY REQUISITE 
 FOR DRAWING AND PAINTING IN ALL 
 THEIR BRANCHES. 
 
25 
 
 SKETCHING STOOLS, &c. 
 
 s. d. 
 
 Sketching Stools, with 
 loose seat 1 8 in. long 4 0 
 
 Ditto 21 „ . 5 0 
 
 Ditto 24 „ .60 
 
 Ditto with seat enclosed, 
 
 18 in. long ..80 
 Ditto with ditto 21 . 9 0 
 
 Ditto with ditto 24 . 10 0 
 Ditto with ditto, hound 
 extra strong ..110 
 
 Extra 
 
 quality 
 
 s. d. 
 
 6 6 
 7 0 
 7 6 
 
 SKETCHING STOOL, open. 
 
 DITTO, closed. 
 
 WALKING STICK, open. 
 
 DITTO, closed. 
 
 SKETCHING UMBRELLA 
 
 27s. 
 
26 
 
 SKETCHING STOOLS, kc.— continued. 
 
 THE GERMAN SKETCHING SEAT AND EASEL 
 
 COMBINED, 
 
 ADAPTED FOT EITHER OIL OR WATER COLOUR SKETCHING. 
 
 Price 21s. 
 
 THE EASEL OPENED. 
 
 DITTO CLOSED. 
 
 The same principle has been adapted for the use of Ladies, and is equally 
 servieeable and portable. Price 30s. 
 
HARVEY’S SKETCHING EASEL, 
 
 FOR THE USE OF ARTISTS SKETCHING OUT OF DOORS IN OIL OR WATER COLOR. 
 
 ; It was exhibited at the Royal Polytechnic Institution, Falmouth, 1852; 
 and obtained the Society’s First Prize Bronze Medal. 
 
 This Easel surpasses all that have been offered to Artists or Amateurs, 
 combining lightness, portability, steadiness, strength, and completeness. 
 It contains a Seat, Brush, Pencil, and Colour Box, Two Strainers for 
 Paper or Canvass, with Box for Loose Sketches, and an Easel Frame 
 capable of being used as a Table when required. 
 
 From the principle of its construction, it is equally adapted for uneven 
 or level ground. 
 
 It is manufactured in Spanish Mahogany, 
 and fitted with a German Silver Water Bottle, 
 two Strainers, 15 inches by 11 inches, covered 
 with calico, and a white enamelled copper 
 Palette. 
 
 £ s. d. 
 
 The whole complete . . 2 2 0 
 
 Easels with Padded Seat extra 0 2 G 
 Ditto, French polished . „ 0 4 0 
 
 Strainers to fit the Easel, mounted 
 with Rough or Smooth Drawing 
 Paper on Calico . . per doz. 0 10 0 
 
 Ditto ditto, with extra stout Drawing 
 
 Paper . . . per doz. 0 12 0 
 
 Size when closed, 22 inches by 12 inches. 
 
28 
 
 Gr. ROWNEY & CO ’S 
 
 PORTABLE SKETCHING EASEL. 
 
 This Easel presents a combination of utility, lightness, and portability 
 not to be found in any other. 
 
 While in use the canvas is firmly held by the Easel, which is itself 
 secured in the ground by sharp iron points. 
 
 The Easel folds in half, with hinged joints, fastens and packs with elastic 
 bands, in a case a little larger than an umbrella, and weighs under 21bs 
 
 s. d 
 
 Deal Portable Sketching Easel in Case . .10 0 
 
 Mahogany ditto ditto . . . 12 0 
 
 Ditto French polished best ditto . . . 15 0 
 
29 
 
 GEO. EOWNEY & CO.’S 
 
 
 Mw W 
 
 a 
 
 ❖ 
 
 ♦ 
 
 (Dr, /nr-siniib IME-Cnlor Srninicgs. 
 
 Chromo-lithoghaphy has recently become one of the most popular arts in 
 this country, from its having been adopted as a means for multiplying Copies of 
 Oil Paintings and Water-color Drawings ; and so admirably is it adapted for 
 this purpose, that not only is each tone of color and gradation of light and shade 
 rendered with remarkable accuracy, but even the very texture of the paint and 
 the rough surface of the paper is copied with strict fidelity. Now, although this 
 latter process may seem to the casual observer to be a matter of little moment, 
 it is in reality of the greatest importance to the truthful representation of an 
 artist's work, which, without texture, is apt to appear tame and insiped. 
 
 Previous to the discovery of Lithography, Copper and Steel-plate Engraving 
 were the usual methods employed to reproduce the pictures of popular artists. 
 But beautiful as are many of the fine line and mezzo tint engravings, and perfect 
 as they undoubtedly are in light and shade, they must always fail to give an 
 accurate idea of a painter’s style, owing to the absence of the color of the original 
 work, And when it is considered that color is one of the greatest charms of the 
 English school, and that in this respect the British artist is unrivalled, it will be 
 readily admitted that without this new process many fine works, if published, 
 would lose half their interest, by being divested of that quality which appeals 
 most directly to the eye, and which produces that sense of pleasurable emotion 
 so desirable when contemplating works of art. It is, therefore, with considerable 
 satisfaction that the publishers of this series of prints contemplate the success 
 of their experiments in this new art. They were the first to perceive its capa- 
 bilities, and they succeeded in developing its qualities, in despite of a strong 
 amount of prejudice and opposition. They have worked steadily on, with one 
 fixed object,- — that of producing fac-similies of good drawings, at such a 
 moderate price, as would bring them within the means of the public generally ; 
 hoping by this means to foster the love and the appreciation of the fine arts, and. 
 to aid in some measure the spread of art education, the importance of which is 
 now universally acknowledged. That to this latter object they have somewhat 
 contributed, may be inferred from some of their publications being distributed 
 by the Department of Practical Art to their various schools ; and the publishers 
 reeflct, with extreme gratification, on having the utility and progress of their art 
 proclaimed in so public and flattering a manner. As manufacturers, in matters 
 of taste, the English maybe said to be behind many of their neighbours ; but 
 certainly no nation possesses artists more capable of rectifying the deficiency, 
 and that in the best and simplest manner, namely, by example. But it is equally 
 essential that the public should be able to discriminate between the really good 
 and the mediocre, and nothing is more likely to tend to that desirable result 
 than the constant contemplation of good works of art. The eye, by such means, 
 becomes insensibly tutored to observe and admire that which is beautiful and 
 harmonious, and to reject those objects which are offensive to good taste. 
 
 That the art of Chromo-lithography has begun to attract the notice of the 
 Press, is not to be wondered at, in a body of gentlemen so prompt to acknowledge 
 any improvement in the fine arts ; and some extracts appended to this introduc- 
 tion will serve to explain more fully the development of this art. 
 
 One of the principal difficulties the publishers have had to overcome, has been 
 that of procuring original drawings, of good masters, adapted to the process ; 
 
30 
 
 and had itnotheen forthe kindness of some gentlemen who have liberally offered 
 the loan of drawings from their collections for the purpose, they would have 
 been unable to present to the public specimens of several artists, whose works, 
 from various causes, are no longer to be procured by purchase 
 
 In one especial instance, they have been indebted to the kindness of Mr. K. C. 
 Vivian for the loan of a very beautiful drawing of “ The Bridge at Tours, by 
 the late J M W. Turner— a work so perfect is a rarity ; and the reproduction 
 of it is an event in the annals of artistic history, No master is more popularly 
 known through the medium of his exquisitely engraved works ; but it is, never- 
 theless, a fact, that as a colorist, his most pre-eminent quality, heis comparatively 
 unknown to the general public. 
 
 Several new subjects in band, after various eminent Artists. 
 
 Mounted on Boards, 30 in. by 21 in. s 
 
 PEEP O’DAY After F. W. Topham . 
 
 MACBETH AND THE MURDERERS OF BANQUO 
 
 After G. Cattermole 
 
 MACBETH, the MURDER of DUNCAN, 
 
 THE REAPER 
 
 UNTERSEEN 
 
 ISOLA LECCHI, DAGO DI GUARDA, Italy 
 
 VENICE 
 
 CITY OF FLORENCE 
 
 ETON COLLEGE, from the THAMES . 
 
 CLIFTON 
 
 CLUSES ON THE ROAD TO CHAMOUNI 
 THE VILLAGE ANGLERS 
 A SKETCH OF ST. PAUL’S, from the Shot Tower, after G. Dodgson 21 
 ROUEN CATHEDRAL, SOUTH TRANSEPT . „ E. Dolby 21 
 
 ROUEN CATHEDRAL, WEST FRONT „ „ „ 21 
 
 THE MADONNA AND CHILD 15 
 
 From the celebrated Picture of Vandyke in the Dulwich Gallery. 
 COLUMBUS IN THE MONASTERY . After G. Cattermole 
 
 W. A. Robinson 
 J. D. Harding , 
 W. L. Leitch 
 W. Callow 
 S. Palmer 
 J. D. Harding , 
 J. B. Pyne. 
 
 J. D. Harding. 
 Muller 
 
 BRIDGE OF TOURS 
 
 COMO 
 
 COCHEM, ON THE llOSELLE 
 FRANKFORT 
 
 COLOGNE .... 
 STREET IN VERONA 
 LAKE OF LUCERNE . 
 WINDSOR CASTLE . , 
 
 JEALOUSY .... 
 
 15 
 
 J.W.M. Turner, R.A. 15 
 T. M. Richardson 15 
 15 
 
 Wm. Callow 
 
 G. Bentley 
 T.M Richardson 
 J. B. Pyne 
 F. W. Topham 
 
 On Boards, size 21 in. by 14^ in. 
 
 CLAINES, NEAR WORCESTER . After R. P. Noble 
 AT EAST MALLING, KENT . . „ ,, 
 
 CLAINES CHURCH, with the MALVERN 
 HILLS IN THE DISTANCE 
 CHISWICK, BY MOONLIGHT 
 GIPSY CAMP .... 
 
 WELSH MILL T. L. Roweottoj 
 
 RUINS AT NEWTOWN .... „ Gastineau 
 
 WHITBY, YORKSHIRE ... „ C. Bentley 
 
 IN THE GADMANTHAL, Tyrol . After T. L. Rowbottom 
 BROUGHAM CASTLE, Westmorland ,. Copley Fielding 
 FOWEY CASTLE, CORNWALL . . „ S. P. Jackson 
 
Mounted on Boards, 23 in. by 18 in. 
 
 
 
 
 s. 
 
 d. 
 
 DOUNE CASTLE 
 
 After 3. D. Harding 
 
 
 7 
 
 6 
 
 BRIDGE AT PRAGUE .... 
 
 ,, Samuel Prout 
 
 
 7 
 
 6 
 
 A SKETCH PROM LIFE 
 
 „ W. Hunt 
 
 
 10 
 
 6 
 
 DIFFIDENCE 
 
 n if 
 
 
 10 
 
 6 
 
 SLEEPING AND WAKING 
 
 ,, J. H. Mole . 
 
 
 5 
 
 0 
 
 THE LESSON 
 
 ,, ,, 
 
 
 5 
 
 0 
 
 THE GLEANERS 
 
 ,, W. A. Robinson 
 
 5 
 
 0 
 
 FRENCH FISHERMAN’S DAUGHTER 
 
 „ W. Lee 
 
 
 5 
 
 0 
 
 THE STUDIO 
 
 ,, G. E. Hicks 
 
 
 7 
 
 6 
 
 Mounted on Boards, 14 in. by 10 in. 
 
 
 
 
 THE ORANGE GIRL .... 
 
 After G. E. Hicks 
 
 
 2 
 
 6 
 
 THE FLOWER GIRL .... 
 
 if if 
 
 
 2 
 
 6 
 
 THE WATER-CRESS GIRL . 
 
 if ff 
 
 
 2 
 
 6 
 
 THE LASCAR 
 
 ff if 
 
 
 2 
 
 6 
 
 THE GIRL AT THE STREAM . 
 
 if ff 
 
 
 2 
 
 6 
 
 THE GIPSY GIRL 
 
 if ff 
 
 
 2 
 
 G 
 
 FOUNTAIN AT ROUEN 
 
 „ S. Prout 
 
 
 2 
 
 G 
 
 SMALL. SERIES. 
 
 
 
 
 Mounted on Boards, size 14 in. by 10 in. 
 
 
 
 
 Nos. 1 to 12.— RIVER VIEWS . 
 
 After R. P. Noble 
 
 each 
 
 1 
 
 0 
 
 REFLECTION 
 
 ,, G. Wells . 
 
 
 1 
 
 0 
 
 COURTSHIP 
 
 ft ft 
 
 
 1 
 
 0 
 
 THE MOTHER 
 
 ft ft 
 
 
 1 
 
 0 
 
 THE ANGLERS 
 
 ft ff 
 
 
 1 
 
 0 
 
 THE FRUIT-GATHERER . 
 
 if ft 
 
 
 1 
 
 0 
 
 THE SPINNER 
 
 ft ft 
 
 
 1 
 
 0 
 
 COTTAGE NEAR HAYES . 
 
 ,, R. P. Noble 
 
 
 1 
 
 0 
 
 ST. PAUL’S CATHEDRAL by Moonlight 
 
 ,, E. A. Goodall 
 
 
 1 
 
 0 
 
 DISTANT VIEW OF ROUEN 
 
 if it 
 
 
 1 
 
 0 
 
 CRYPT OF CANTERBURY CATHEDRAL „ „ 
 
 
 1 
 
 0 
 
 CASTLE OF FOUGERE, BRITTANY 
 
 if n 
 
 
 1 
 
 0 
 
 MARKET PLACE, ANGERS 
 
 ii a 
 
 
 1 
 
 0 
 
 ST. VALLERY SUR SOMME 
 
 a if 
 
 
 1 
 
 0 
 
 CATHEDRAL op NOTRE DAME, Paris 
 
 11 if 
 
 
 1 
 
 0 
 
 TOMB OF EDWARD THE CONFESSOR 
 
 
 
 
 
 WESTMINSTER ABBEY . 
 
 tf if 
 
 
 1 
 
 0 
 
 FOUNTAIN OF ST. MACLOU, ROUEN 
 
 11 if 
 
 
 1 
 
 0 
 
 ABBEY OF ST. AMAND, ROUEN . 
 
 it if 
 
 
 1 
 
 0 
 
 TOWER AND BRIDGE AT ANGERS 
 
 it if 
 
 
 1 
 
 0 
 
 ON THE LOIRE 
 
 if ff 
 
 
 1 
 
 0 
 
 GROUPS OF FLOWERS 
 
 ,, G. Rosenberg, 
 
 each 
 
 1 
 
 0 
 
 PIKE BE 
 
 „ G. E. Hicks 
 
 
 1 
 
 0 
 
 RUSTIC FIGURES .... 
 
 11 ff 
 
 
 
 
 Six Plates at Is. each — Forty-two Plates at 9d. each. 
 
 PRINTED AND PUBLISHED BY 
 
 GEO. ROWNEY & CO., 51, RATHBONE PLACE, 
 
 Manufacturing Artists’ Colormen, and Pencil Manufacturers. 
 
 AND WHOLESALE. 10, PERCY STREET. 
 
geo?.:::;: ro & co/s 
 
 ms mr tljt /tint life 
 
 
 GUIDE • .) .VER-COLOUR PAINTING. By 
 
 . e. noble. 
 
 1 "vii in Illustration in Colours. 4th Edition. 
 
 ' U1 )E TO OIL PAINTING. By J. S. TEMPLETON. 
 7th Edition. ....... 
 
 GUIDE TO OIL PAINTING. Part 2. (L,yyd- 
 SCAPF, KHOM nature) By A. CLTNT. 
 
 GUIDE TO LIGHT AND SHADE DRAW ING. 
 
 By Mrs. M. MERRIFIELD. 
 
 With Illustrations. . . . . 
 
 GUIDE TO PENCIL AND CH ALK DRAWING. By 
 G. HARLEY. 4th Edition. With Illustrations. 
 GUIDE TO PICTORIAL ART. By II. O’NiML. 
 
 4th T ition 
 
 GUIDE 0 LEVELLING AND SURVEYING. 
 
 By V PEASE . . . . ‘ . 
 
 GUIDE '10 PICTORIAL PERSPECTIVE. By 
 B. R. GREEN. With Ulustrnfe . 
 
 GUIDE TO FIG URE DRAWING. By G E. HICKS 
 With Illustrations. ...... 
 
 GUIDE TO FLOWER PAINTING IN WATER- 
 COLOURS. By G. ROSENBERG. 
 
 With Illustrations. ...... 
 
 GUIDE TO PAINTING ON GLASS. By H. 
 
 BIELF ELD 
 
 HINTS FOR SKETCHING TREfiS FROM 
 NATURE IN WATER-COLOURS. By 
 ’ r T' >M A S HATTON 
 
 With numerous L; lustrations ..... 
 GRL : R’S II, LUSTRATIONS OF PERSPECTIVE. 
 ‘ av Fdition. Sir . 12 in by Sin. 
 
 AN ELEMENTARY TI? EATJLSE ON “ 1 FETCHING 
 FROM N URE,” with th • principals of Light 
 and Shade, the Theory of Colors, &c. By JOHN 
 WOOD. Roy : Svo. 
 
 With numerous iHus . rations 
 
 A MANUAL OF PERSPECTIVE, including the Pro- 
 jection of Shadows, Reflections in Water, &c. By 
 JOHN WOOD, Royal civo. 3rd Edition . 
 
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