Digitized by the Internet Archive in 2017 with funding from Getty Research Institute https://archive.org/details/artofpaintinginwOObowl THE ART OF PAINTING IN ffi&ater^olours, Exemplified in LANDSCAPES, FLOWERS, &c. TOGETHER WITH INSTRUCTIONS FOR POINTING on GLASS, and in CRAYONS: Explained in a full and familiar Manner. WITH PARTICULAR DIRECTIONS FOR PREPARING THE COLOURS, AGREEABLY TO THE PRACTICE OF THE MOST EMINENT MASTERS. by the author of THE ARTIST’S ASSISTANT. THE NINETEENTH EDITION, Corrected and greatly improved , with Additions. Uonfcon : PRINTED FOR R. H. LAURIE, MAP , CHART , AND PRINT, SELLER, NO. 53 , FLEET STREET. 1826. \ ' V 7 ■1' ' * l’rintcd by Weed and Rider, Little Britain, London. PREFACE. The Editor of the following Treatise, well as- sured it contains sufficient instructions for the whole Art of Painting in Water-Colours , on Glass , fyc., and as it includes the latest, and con- sequently the most useful, Discoveries, with the greatest variety of new, cheap, and approved. Receipts for mixing the Colours, and laying them on to the best advantage, considerations which make all apologies for publishing it needless and superfluous. To enter into the singular beauties the noble Art of Painting exhibits, would be too tedious here ; suffice it to say, the real entertain- ment it affords the spectator, as well as practi- tioner, and its so nearly resembling nature in her gayest attire and brightest colours, must surely be persuasive arguments to enforce the practice of it. . This book is intended as a necessary companion to The Artist’s Assistant , which is thought truly worth the notice and regard of the painter in par- iv PREFACE, ticular, and the public in general, to whose can- did acceptance and perusal the Author offers them, not doubting but, by a steady adherence to, and observation of, the various directions, the student will, in a short time, have his labour am- ply rewarded. — But, after all, Who can paint Like Nature? Can imagination boast. Amid its gay creation, hues like her’s ? Or can he mix them with that matchless skill, And lay them on so delicately fine, A nd lose them in each other, as appears In ev’ry bud that blows ? Thomson’s Spring, INDEX. FAGfc OF PAINTING IN WATER-COLOURS 1 Directions for preparing the Single Colours 2 Directions for preparing the Mixed Colours 14 Directions for using the Colours 16 The Method of Colouring Naked Figures 17 Hair ......... 18 Beasts 18 Birds 20 Fruit 20 Vegetables 21 Flowers 22 Some excellent Receipts for those who paint in Water- Colours 35 OF PAINTING ON GLASS 38 Colours for painting on Glass 39 The Manner of working the Colours 40 VI INDEX. PAGE Other necessary Directions . 40 To make a convenient Box to hold Colours , fyc. ... 41 OF PAINTING IN CRAYONS 43 Directions for using the Crayons 44 Directions for making Crayons 45 * THE ART OF PAINTING IN aatater^oloura, &c. Painting in water-colours is an art which has been encouraged by princes eminent for their virtues; and no wonder, since no representations can show forth nature with more splendour and magnificence, than a painting executed in this manner. % The materials necessary are, gum-colours, (of which we shall treat more particularly hereafter,) camels’-hair pencils, fitches, a pallet, and pen-knife. The general or simple colours are — white, black, brown, red, yellow, blue, and green. The various specie^ of each are as follow : White. Ceruse Constant White White Lead Spanish White Flake White Spodium Brown*. Spanish Brown Spanish Licorice Umber Bistre Burnt Terra de Sienna Unburnt Ditto Blacks. Burnt Cherry-Stones Ivory Black Keating’s Black Lamp Black Reds. Native Cinnabar Burnt Ochre Indian Red Red Lead B 2 ART OF PAINTING Reds . Minium Lake Vermilion Carmine Red Ink Indian Lake Blues, 'Saunder’s Blue Terre Blue Blue Verditer Indigo Litmose Smalt Prussian Blue Light Ditto Ultramarine Ultramarine Ashes, Blue Bice Greens. Green Bice Green Verditer Grass Green Sap Green Verdigrise distilled Yellows, English Ochre Gall Stone Gamboge Masticot Ochre de Luce Orpiment Roman Ochre Dutch Pink Saffron Water King’s Yellow Gold Yellow French Berries Directions for preparing the following single Colours . WHITES. — The best white for painting in water- colours is flake white : some recommend a white made of pearl and oyster-shells, brought to an impal- pable powder, called a pearl white, which will mix well with any colour. If you use white-lead, clarify it with white wine vinegar; after the white is settled, pour off the vinegar, and wash it with water thus : — Put the powder into a glass of w ater, stir it, and pre- sently pour the water off, while it is white, into an- other clean glass ; when it is settled, pour off the wa- ter, and you will have an excellent white ; to whicl add as much gum as is necessary to give it i gloss. It has been often noticed, that white-lead will turr black, if mixed with water that comes from iron oj IN WATER-COLOURS. 3 clay ; so that, in the space of a month or two, you ihay perceive it; and it will also change any colour with which it is mixed. It is recommended by some to take the powder of egg-shells, of the brightest and whitest sort, well ground with gum- water, to the state of an impalpable powder, to which add one-twentieth part of white sugar-candy ; others esteem it most when clarified in spirits of wine, and then use it with gum-water. It has been found, by repeated experience, that this egg-shell powder is extremely serviceable as a white, in water-colours ; and that this, and the oyster-shell powder, rectified and well bruised, will make an excellent mixture with other colours, to keep them from changing. A fine white, for water-colours, may be made by dissolving filings of silver, or silver-leaf, in aqua- fortis, evaporating the aqua-fortis till it appears like crystal in the bottom of the glass : decant the other part of the aqua-fortis, and wash the silver four or five times in pure water, till it is entirely cleansed from the aqua-fortis, drying it for use. It must be used with the waters of gum and sugar-candy. A good white for water-colours, proper for minia- ture, is made thus : take a pound of the shreddings of glove leather, and steep them in water; boil them in twelve quarts of water, till it wastes to two ; strain it through a linen cloth, into a well-glazed earthen pan ; this is called glue or size, and proper to use with colours in candle-light pieces : to know if this be strong enough, feel if it is stiff and firm under your hand. The glue being melted, reduce some white chalk to a powder, and, while it is hot, add such a quantity of chalk, as will bring it to the consistency of a paste, letting it steep for a quarter of an hour; stir it with a brush made of hog’s bristles. In order to make this white brighter, add more glue. Be careful to observe that every layer be dry, before you put on another. If you work upon wood, 4 ART OF PAINTING you must put on a dozen: but six or seven is sufficient if your paper is thick. Afterwards dip a soft brush in some water, draining it with your fingers ; rub the work with it, in order to make it the smoother. When your brush is full of white, you must wash it again; and also change the water when it is too white. Or you may use a wet linen rag, instead of a brush. YELLOWS. — In some objects there may be seen a shining, like that of gold, through colours of red, blue, or green, such as some sort of flies or beetles, and the cantharides. This gold or transpa- rency may be very well imitated, by laying some leaf- gold on the shaded side of the drawing, giving a little to the light side. To lay on gold-leaf, press it smooth and close with cotton, after you have washed it with strong gum-water ; but care must be taken, that in laying on the gum, you do not exceed the limits through which you would have the gold appear. In this case the gold is only to shine through the trans- parent colour, which is to be laid over it. As leaf-gold will not receive water-colours regu- larly, it is necessary to be provided with water of ox-gall, and with this liquor to stroke over the gold- leaf; by which it will receive any colour you are de- sirous of laying over it, and will also retain it. In June and July there may be found, upon rose- trees, a kind of beetle, of a gold and green colour, which may prove extremely serviceable in this kind of painting, but in using your gold, it will be best to polish it in this manner. In some manuscripts there may be seen gold let- ters, which seem to rise above the surface of the paper. The composition which raises them is made of ver- milion, and the white of an egg, beat to the consist- ence of an oil, and fixed to the paper with gum- arabic : on this figurative letter, wash some strong gum-water, with a camel’s-hair pencil ; lay on the gold-leaf close with some cotton ; and when dry, rub it again with cotton ; and burnish it with a dog’s tooth, and it will appear as if it was cast in gold. IN WATER-COLOURS. 5 There is also another way of working in gold) which is performed by shell-gold (but then it must be pure, and not that brought from Germany, which turns green in a few days.) Cover the shady p(arts with vermilion, before ^ouuse this gold, and when you have rectified it with spirits of wine, lay it on; W'hen dry, burnish it as before directed. In laying on this gold, it is best to leatfe the lights without it, as it will appear to a much greater advan- tage than if all the objects were covered : but, pro- viding the whole performance should chance to be covered, the best way of setting it off is to trace over the shadj parts with gall-stone, or the yellow made of French berries, (of which we shall treat hereafter,) heightened with minium. Having treated thus much upon gold, we shall now speak of yellows in general. Gamboge is, beyond doubt, one of the mellowest colours nature has pro- duced; it is of so mild a temperature, that, wdien it is touched with any fluid, it instantly dissolves ; so that, consequently, it wants neither gumming nor grinding; it is productive of a variety of the most agreeable and pleasant yellow tints, that fancy or art could ever imagine ; it will generally shade itself, though you will sometimes find, in the description of flowers, it requires help Gall stone is a very rich deep yellow, tending to- wards a brown ; it is exceedingly useful in many cases, needs but little gumming or grinding, works free, but will not shade itself. Mr. Boyle says, if you cut the roots of berberries, and put them into a strong lixivium, made of pearl- ashes and water, from them will proceed a very agreeable yellow. This experiment has often been made, and as often attended with success. He also gives, an account of another fine transpa- rent yellow, by boiling the root of a mulberry-tree, well cleansed, in the foregoing lixivium. Y ello w ochre, makes a very good pale yellow ; and, being ground with gum- water, will prove extremely useful. B 3 6 ART OF PAINTING Another very useful yellow is made by infusing the plant celandine in clear water, gently pressing it, adding to the liquor some alum-water, letting it boil. The virtues of the yellow extracted from French berries is so well known, that we need not discourse upon it, but only give the directions for preparing it: — In a quart of the preceding lixivium, boil two ounces of French berries, till the liquor is of a fine yellow ; strain it from the yellow berries, and when cold it is fit for use. To the berries put a pint of the same lixivium, pnd boil it till the liquor is as strong as gall-stones; with which you may shade any yel- lows : this you may boil till it comes to a brown, and will, with the addition of a little ox -gall, serve to shade the gold-leaf. You may likewise make a yellow, by infusing saffron in pure water. When this is steeped in rec- tified spirits of wine, there is nothing higher ; but it is very apt to fly, unless it is high gummed. A good yellow, for the illumination of prints, may be extracted from the roots of ginger; which make a good green, when mixed with transparent ver- digrise. Those yellows called English and Dutch pinks, are made with French berries, ground to a fine pow- der, and then boiled. King’s yellow, a fine body-colour, much used in heightening the ochre for gold -lace, Ac. ORANGE-COLOUR. — This colour is made of a mixture of vermilion and gamboge, the latter most predominant, in which you are presented with a pleasant and serviceable colour, in painting lilies, and ail other orange-colour flowers. Orpinjent is like- wise a pleasing colour. REDS. — Red-lead, or minium, is a strong heavy colour. Mr. Boyle has given us the following di- rections for preparing it: — Put four ounces in a glass, to a quart of rain-water: and when it has been thoroughly stirred, pour off the water; and, by a. IN WATER-COLOURS. 7 frequent repetition of this, there will remain at the bottom of the glass a beautiful red, when dry, which is to be used with gum- water. When the colour has been thus prepared, you must not expect above twenty grains to remain out of four ounces. Carmine affords the brightest and most perfect crimson, and is the most beautiful of all reds ; for with this colour and lake you may make the shades as strong as you please. This colour should never be purchased but by day-light; for if it is not good, it will spoil your work. Lake is a fine transparent colour, not much inferior to carmine; but in painting with carmine on that part of the print on which the light is supposed to strike, lay on the first tint as light as possible, work- ing it stronger as it grows darker, and touch it in the darker parts with lake. Lake may be bought at most colour- shops, ready prepared for water-colours: but if you are desirous of making it yourself, it is necessary to adhere to the following directions : — Having prepared a lixivium, made with the ashes of vine-twigs, to three pints of it add a pound of the best ground Brazil wood, boil it till half the lixivium is evaporated; strain it off; boil it again, with the addition of four ounces of fresh Brazil wood, two ounces of cochineal, half an ounce of terra marita, and a pint of fair water; let it eva- porate as before; add half an ounce of burnt alum, (reduced to an impalpable powder,) a quarter of a dram of arsenic ; dissolve them in it, by stirring it with a stick; when settled, strain it off. To give this a body, reduce two cuttle-fish bones to a powder, and putting it in, let it dry leisurely. Grind it in a quantity of fair water, in which you may let it steep; strain it through a cloth* and making it into a few cakes, set it by for use, after drying it on a piece of marble. If you would have this lake redder, add some of the juice of a lemon; and to make it deeper, add oil of tartar. 8 ART OF PAINTING Another Lake. — Boil the shreds of superfine scarlet cloth in a lye made of the ashes of burnt tartar; when sufficiently boiled, add some cochineal, pow- dered mastich, and roche-alum ; boil this again : while it is quite hot, strain it through a bag several times. The first time the bag must be strained from top to bottom, and the remaining gross matter being taken out, let the bag be well washed ; after this, strain the liquor through the bag again, and you will find a paste remaining on the sides, which divide into small cakes, and set by for use. Another Lake. — Steep four ounces of the best Brazil wood in a pint and a half of the best distilled vinegar, for three weeks at least, though the longer it remains the better it is ; seethe the whole in balneum marias till it boils up three or four times ; let it settle for a day or two ; put to it an ounce of powdered alum, and into a clean pan, with the liquor; let it remain for twenty -four hours ; beat the composition, and stir it till it is cold; when it has stood about twelve hours, strain it, and add two cuttle-fish bones, prepar- ed as before. A liquid colour of a very good crimson may be made as follows : in twelve ounces of pale stale beer, boil one ounce of ground Brazil wood, till the colour is as strong as you desire; strain it through a linen cloth, and bottle it up for use. If you want to bring this colour to a body, take some dried ox-blood, re- duced to a powder, and mix it with the colour We have the following directions from Mr. Boyle, for extracting a fine crimson from the berry- bearing spinach, which, being pressed, affords a very agree- able juice; to which add a fourth part of alum ; boil it, and when cold it is fit for use. Or, you may extract a very beautiful red from the red beet-root, baked with a little strong vinegar and alum ; when cold it is fit for use. Another way to make a Crimson : — Put twenty, or more, grains of bruised cochineal into a gallipot, with as many drops of the lye of tartar as will make it IN WATER-COLOURS. 9 give forth its colour: add to this mixture about half a spoonful of water, or more, and you will have a very agreeable purple ; reducing some alum to a very fine powder, put it to the purple liquor, and you will have a beautiful crimson ; strain it through a fine cloth; use it as soon as possible, for though this is a colour which, if soon used, looks extremely well, yet, by long standing, it is subject to decay. Indian Lake is far superior to any other of the kind, for the deep shade of reds of all kinds, and works as free as gamboge. The best is brought from China, in pots, and has the appearance of raspberry- jam, but very bitter to the taste : it requires no gum. PURPLES. — Take eight ounces of logwood, a pint of rain-water, and an ounce of alum ; infuse it well over a slow fire, in a well glazed pan or pipkin, for about twenty-four hours; add a quarter of an ounce of gum-arabic; let it stand for a week; strain it through a piece of fine cloth. Keep it close, or it will mould. Or you may make a redder purple, by adding to one ounce of the above, four ounces of Brasil-wood, and a pint of stale beer, boiling it till the liquor is as strong as you desire. It may be made darker, by adding more log- wood. The richest purple is made, by blending carmine and Prussian- blue, or indigo, to what shade you please. BLUES. — Ultramarine is the best and brightest blue. Prepare it by beating six ounces of the lapis- lazuli till it is red ; cool it in strong vinegar ; grind it with a stone and muller to an impalpable powder; then make a composition of bees- wax, resin, linseed- oil, and turpentine, of each three ounces; incorpo- rate the whole together over a slow fire, till it is near boiling ; pour them into a pan well glazed. This is called the paste of ultramarine. The lapis-lazuli being prepared, add to it an equal quantity of the pastil, or paste; mix them together thoroughly. 10 ART OF PAINTING and let them remain twelve hours. To extract the ultramarine from the paste, pour clear water upon it, pressing the paste with your hands, the ultramarine will come out; for its reception, place a glass tumbler under your hand ; let it settle in this water till the ultramarine sinks to the bottom. If the colour seems foul, cleanse it thus : dissolve some tartar in water ; add as much of it to the ultra- marine as will cover it; let it stand twelve hours; wash it in warm water, and you will have your co- lour well clarified and perfectly clean. Let your ultramarine be of a high colour, and well ground. Next to ultramarine in beauty is Prussian Blue, when used in oil, though it will not stand so long, it not having the body of ultramarine. The Prussian blue does not grind kindly with water, on account of its oily substance. Blue Bice is a colour of a very good body, and flows very agreeably in the pencil; wash it according to the rules laid down for ultramarine. Blue Verditer is a very bright pleasant blue, of a good body, and works well when ground with gum- water. It is a little inclinable to, and makes a very good, green, when ground with gamboge or French berries. This blue is mostly used for a sky, or a garment. Saunders’ Blue is extremely serviceable in the shading of ultramarine, where no very dark shades appear; when they do, you may add a little indigo to it. Litmose is a very agreeable blue. To prepare it. take a quart of small beer wort, in which boil two ounces of litmose, till the colour is as strong as yon require; pour the liquor into a glazed pipkin, and il will soon congeal. Indigo is the darkest blue, is a soft free colour and runs very warm in the pencil ; it requires to b( well washed and ground; and may be made darkei or lighter, by the addition of more or less gum- water Care is required in the using this colour ; for as wt IN WATER-COLOURS. 11 before hinted, its running so free may be a means of deceiving the student, and prove too dark for the completion of his desires. Mr. Boyle has given us the following directions for making a very fine colour of the blue leaves of rue, by pressing, bruising, and infusing, both leaves and juice in pure water, for a fortnight, washing them every day, incorporating them and the water till they become a pulp, letting them dry gradually. These will produce an excellent blue for shading, which runs free in the pencil: put into it the powder of gum-arabic, which will be a means of making it keep : add of the gum as much as you would have it more or less stiff in working. A fine transparent blue, (from the preceding author,) equal to a tint of ultramarine : — The flower from which the blue is extracted, is the cyanus, or blue cornbottle, which is possessed of two blues, the outer leaves being light, and the inner dark ; the latter is held in preference ; pick both from the but- tons and cases in which they grow, the same day they were gathered. Having prepared a quantity of the middle leaves, press out as much juice as possible; with the addition of a little alum, you will be pos- sessed of a fine, durable, transparent blue, little inferior to ultramarine. The procuring of the flowers, and the pressure of the juice, should be done with all possible expedition, lest the flowers should lose their perfection. It has been thought by some, if the leaves of these flowers were cured as those of saffron, there would proceed from them a much greater quan- tity of colour from which might be pressed more tinc- ture than when fresh from the field. In curing of each it would appear, that each time the cake was turned, the flowers would be darker, till they become a dark blue. Great care is required in this operation, ! that the tire be kept very constant and gentle, that j the flowers may not be scorched, which will be an incontestible way of bringing the flowers to perfec- ! tion. Therefore, to put this operation into execution, 12 ART OF PAINTING a kiln must be procured, as for cutting saffron ; the top of which is to be covered with hair-cloth ; upon this lay several sheets of paper; afterwards a parcel of the inner leaves of the flowers, two or three inches thick, pressing them close, and sprinkling them with gum-water; after which a small charcoal-fire must be made in tlie kiln, so as to communicate the heat to the top. Cover the cake with a few sheets of paper, and a board, with a small weight upon it ; after a few minutes, the cake is to be turned; when it is placed, take off the upper paper, sprinkle the cake again with gum-water, lay on the board a weight, as before, for a few minutes; and so repeat the turning and sprinkling several times, till the cake is united, and of the thickness of a cake of saffron. BLACKS. — The proper blacks for water-colours are as follow : — Ivory-black, which is prepared in the following manner : Let the ivory black be thoroughly ground, and there will naturally proceed from it a liquor of an oily substance ; mix as much of it as will make it work freely in the pencil. It has a fine gloss, and is extremely serviceable in painting of shining objects. There is another very agreeable and useful black, called Keating’s black, and may be had at most colour-shops ready prepared. Indian ink is a very good black, and of great ser- vice, as it may be laid on to any shade, and will always shade itself ; on which account it is often used for drawings. GREENS. — Sap green is a colour extremely ser- viceable, and the best green for water-colours our age affords, being of a gummy substance, and diluting easily in water. It produces an endless variety of tints, and has the advantage of shading itself. In the purchasing this colour, remember to observe that it looks very black and bright. A sea, or artificial, green is made by mixing indigo and sap-green, which may be made darker or lighter, IN WATER COLOURS. 13 by adding more or less indigo; it is a very serviceable colour, easily worked, and productive of many tints. This colour, as well as sap-green, shades itself. The indigo must be ground before you mix it. Another is made with indigo and gamboge, well ground together, extremely useful in painting of trees, grass, vegetables, &c. With the addition of sap- green, it is very serviceable in flowers, and shading of garments. A transparent green is made by mixing verdigrise and yellow to various tints, by leaving either predo- minant. BROWNS. — Burnt and unburnt terra de sienna, the warmest browns for front grounds, dead leaves, &c. works very free, and of general use. Bistre is a good and serviceable colour; the best sort is very bright and close : as it is a colour difficult to work of itself, mix a little Spanish licorice with it, that will mellow and take off its harshness. It must be well ground, and the higher it is gummed, the better for use. Spanish licorice is allowed, by the best masters, to be productive of a great variety of brown tints, of a very agreeable colour; it will not shade itself, but works as free as any gum colours, by diluting it in fair water. A brown mixture is made by incorporating sap- green and carmine, which is of an extraordinary soft nature; it is a colour extremely serviceable, as you will find hereafter, in a description of painting flow- ers in w'ater- colours. Another, by blending vermilion and bistre tho- roughly : the bistre must be extremely well ground before you incorporate it with the vermilion, and it will produce a brown worthy of your estimation. c 14 ART OF PAINTING Directions for preparing the following mixed Colours . Ash Colour. — Ceruse, Keating’s black, and white, shaded with cherry-stone black. Bay. — Lake and flake- w bite, shaded with carmine ; bistre and vermilion, shaded with black. Changeable Silk. — Red-lead and masticot- water, shaded with sap-green and verdigrise. Another. — Lake and yellow, shaded with lake and Prussian blue. Cloud Colour. — Light masticot, or lake and white, shaded with blue verditer. Another. — Constant white, and Indian ink, with a little vermilion. Another. — White, with a little lake and blue ver- diter, makes a very agreeable cloud-colour for that part next the horizon. Crimson. — Lake and white, with a little vermilion, shaded with lake and carmine. Flame Colour . — V ermilion and orpiinent, heightened with white. Another . — Gamboge, shaded with minium and red- lead. Flesh Colour. — Ceruse, red-lead, and lake; for a swarthy complexion, and yellow-ochre. Another . — Constant white and a little carmine, shaded w ith Spanish licorice, washed with carmine. French Green. — Light pink and Dutch bice, shaded with green pink. Glass Grey. — Ceruse, with a little blue of any kind. Hair Colour . — Masticot, ochre, umber, ceruse, and cherry-stone black. Lead Colour. — Indigo and white. Light Blue. — Blue bice heightened with flake- white. Another. — Blue verditer, and white of any sort, well ground. IN WATER-COLOURS. 15 Light Green. — Pink, smalt, and white. Another . — Blue verditer and gamboge. Another. — Gamboge and verdigrise. The chief use of this green is to lay the ground-colours for trees, fields, &c. Lion Taiuny. — Bed-lead and masticot, shaded with umber. Murrey.— Lake and white-lead. Orange. — Red-lead and a little masticot, shaded with gall stone and lake. Orange Tawny. — Lake, light pink, a little masticot, shaded with gall-stone and lake. Pearl Colour. — Carmine, a little white, shaded with lake. Popinjay Green. — Green and masticot ; or pink and a little indigo, shaded with indigo. Purple — Indigo, Spanish brown, and white; or blue bice, red and white lead; or blue bice and lake. Russet. — Cherry-stone, black and white. Scarlet. — Red-lead and lake, with or without vermilion. Sea Green . — Bice, pink, and white, shaded with pink. Sky Colour. — Light masticot and white, for the lowest and lightest parts ; second, red-ink and white ; third, blue bice and white; fourth, blue bice alone. These are all to be softened into one another at the edges, so as not to appear harsh. Sky Colour for Drapery. — Blue bice and ceruse, or ultramarine and white, shaded with indigo. Straw Colour. — Masticot and a very little lake, shaded with Dutch pink. Violet Colour. — Indigo, white, and lake; or fine Dutch bice and lake, shaded with indigo or litmose, smalt, and bice; the latter most predominant. Water. — Blue and white, shaded with blue, and heightened with white. Another. — Blue verdigrise, shaded w ith indigo, and heightened with white. 16 ART OF PAINTING Directions for using the Colours . Your pencils must be fast in the quills, and sharp - pointed, (after you have drawn them through your mouth,) not apt to part in the middle. Before you begin, have all your colours ready, and a pallet for the conveniency of mixing them, a paper to lay your hand, as well as to try your colour upon; also a large brush called a fitch, to wipe off the dust from them. Being prepared according to the foregoing method, proceed in your painting, which, if a landscape, lay on first dead colours all over your piece, leaving no part uncovered ; and in this part of the performance there needs no great pains, but a masterly freedom is rather required; and the work, though • seemingly rough upon a close inspection, will have a good effect when placed at a distance. Let not the roughness of the work discourage you; for it is easily softened, by degrees, with the other shadows, observing only to sweeten, mellow, and heighten them, as the light falls. In some places lay on strong and masterly touches, and in those places bring up your work to an equal roundness and strength, tempering and sweetening your colours with a sharper pencil than the first, that no lumps and harsh edges be left, but that all your shadows may lay dispersed, soft, and smooth, gliding gently into one another. You are not to finish any one part first, but work up every part gradually alike, till you see nothing wanting to complete your piece. Having laid your dead coloifrs, begin next with the lightest parts, as the sky, sun-beams, &c. ; theft the yellowish beams, with masticot and white; next the blueness of the sky, with blue verditer alone : for purple clouds, mix only lake and white, making your colours deeper, as they go upwards from the IN WATER-COLOURS. 17 horizon, except in tempestuous skies. The tops of distant mountains must be worked so faint, that they may seem to lose themselves in the air. Bring your colours forward as your distance de- creases ; painting your first ground next the horizon, downwards, of a bluish sea-green; and, as you ad- vance forward, of a darker green, till you come to the fore-ground itself, which, as it is the darkest part of all, with dark green, worked in such a manner as to give the appearance of shrubbery, &c. In painting of trees, having first laid a verdigrise- green for a dead colour, proceed with working it, so as to give a leafy appearance ; seeming to hang free and natural, especially towards the edges, where you may touch a few leaves close to the tree, which will i give your performance a masterly effect. Bring some of your leaves forward with masticot and white; for the trunk, work the brown with sap-green ; if you should introduce oak-trees, lay on some touches to express leaves of ivy twined about it. All distant objects are to be made imperfect, as they appear to the eye. These rules are adapted to general appearances; but the student may deviate from them, as nature shall dictate. The Method of Colouring Naked Figures . W E shall begin with the naked figures of women and children; and though the life is to be principally fol- lowed, we think it necessary to give some directions to prepare the colours seen in nature. Take flake- white and a little lake, blend them together, and with that lay the ground-colour ; then shade with red- ochre, cherry-stone black, and a little lake, mixed together; touching the lips, cheeks, &c. with a tint of carmine, and heighten the flesh with white and a little carmine. Remember that you are never to heighten it with a pure white, which will rather give it the appearance of fish than flesh. C 3 18 ART OF PAINTING Old Women. — Vermilion, white, and brown-ochre, for the ground-colours, shaded with red-ochre, and cherry-stone black; to put a little bloom in their faces, use lake and vermilion, heightened as before. Young Women and Children deceased. — Brown, white, and a little vermilion, shaded with cherry- stone black ; to old women, you must add more brown- ochre, shaded as before. Young Men. — Add more brown-ochre, shaded with Keating’s black and brown-ochre, touching the lips and cheeks with carmine and lake. Dead Men. — Brown, a little white and vermilion, shaded with black. The Method of Colouring Hair . Young Women and Children . — Brown-ochre alone, heightened with masticot; or brown-ochre and white, heightened with the same ; or light-ochre, darkened with brown-ochre, and heightened with masticot. Old Women’s Hair. — Brown-ochre and black mix- ed, heightened with brown-ochre and white. In grey hair, use more black than white ; heighten with pure white, or ceruse. These colours may be applied to the hair of men, making them darker or lighter, as occasion requires. The Method of Colouring Beasts . Chesnut- Brown Horses. — Red-ochre and black mix- ed together, shaded with black, heightened with red- ochre and white. Ash-Grey Horses. — Black and white mixed, shaded with black, heightened w ith white. White Horses . — Black and white mixed, shaded with black, white, and bistre; heightened with pure water. Black Horses. — Black, lightly laid on, shaded with Keating’s black. IN WATER-COLOURS. 19 Spotted Horses. — Are to be variegated according to nature, and the discretion of the artist. Sheep. — White, shaded with Spanish licorice. Hogs . — Brown-ochre, shaded with Keating’s black and bistre, heightened with masticot; the bristles, strong brown-ochre ; the eyes, dark masticot, shaded with vermilion; the mouth, indigo, darkened with Indian ink ; touch likewise black sparks among the hairs : the inside of the mouth, vermilion, shaded with lake. Lions. — Colour much the same manner as hogs, adding lake in the ground-colour. Bears. — Brown-ochre, red-ochre, and hlack, mix- ed; shaded with bistre and ivory-black. Leopards. — Brown and light-ochre, darkened with ivory-black ; the spots red-ochre and black, shaded with black. Wolves . — Spanish licorice and black, shaded with black. Grey Wolves. — Black, white, and brown, shaded with black ; the eyes chesnut-colour. Asses. — Black and white, mixed; or add a little brown-ochre, shaded with black. Elephants. — Black and white, and Spanish licorice^ mixed, shaded with black and bistre ; the inner part of the nose, vermilion and white, shaded with black. Rats and Mice . — To be coloured the same as the former. Apes , Monkeys , fyc. — Dutch pink and black, heightened with masticot and white; the face black and bistre mixed ; as also their feet and below their bellies, shaded with black and pink, mixed with a little brown-ochre. Stags. — Brown-ochre, shaded with bistre towards the back ; the neck and belly white, the mouth and ears inclining to red, the hoofs black, and legs shaded with black. Hares. — Brown-ochre, the belly white, and the back shaded with bistre. 20 ART OF PAINTING Rabbits. — Black and white, the belly white, sha- ded with black. The Method of Colouring Birds . Eagles. — Black and brown, shaded with indigo; the feathers heightened with brown. ochre and white ; the beak and claws saffron, shaded with bistre ; the eyes with vermilion, heightened with masticot, or saffron shaded with vermilion. Falcons. — Brown-ochre, black and white, mixed, shaded with black ; the feathers describe by strokes of black; the breast sprinkle with black; the eyes and talons the same as the eagles ; the beak grey. Turkeys. — Both male and female, the back black and white, mixed gradually, shaded off to a white under the belly, sprinkled and shaded with black; the legs indigo, shaded with the same; the beak and eyes blue, heightened with white; the red skin hang- ing over the bill, vermilion shaded with lake. Swans. — White, shaded with black ; the legs and hills black; the eyes yellow, a ball in the midst. Geese. — Ceruse, shaded with black; the legs black, the bill red. Pheasants. — White and black mixed; the eyes like tlio£e of the falcon; the legs Dutch pink, shaded with black. Owls. — Ochre mixed w r ith white in different shades ; the legs yellow- ochre. The Method of Colouring Frail . Apples . — Thin masticot mixed with verdigrise, shaded with brown- ochre ; give them a bloom with lake, heightened with masticot and white. Pears. — Masticot, deepened and mellowed with brown-ochre; the bloom the same as the apple. Cherries. — Vermilion and lake, shaded with car- mine, heightened w ith vermilion and white. IN WATER-COLOURS. 21 Spanish Cherries. — The middle vermilion, lake, and white, mixed, softened off towards the extre- mities ; the bloom lake, heightened with white. Mulberries. — Carmine and black, in such manner as between the stalk and berries there may appear red, according to nature. Strawberries. — White ; draw it over with vermilion and lake, shaded with fine lake, heightened with red-lead and masticot mixed, and after with white : stipple them with white and thin lake only. Blue Grapes. — Dark purple, shaded with blue; the bloom, bice. White Grapes . — A mixture of verdigrise and mas- ticot, shaded with thin verdigrise, heightened with masticot and white. Peaches. — Thin masticot shaded with brown-ochre y the bloom, lake, heightened with white. White Plums. — Are coloured according to the for- mer directions. Blue Plums. — Purple, shaded with bice ; softened into a green towards the stalk. Green Walnuts. — Verdigrise and sap-green mixed, shaded with sap-green ; those without husks, brown- ochre, shaded with bistre. The Method of Colouring Vegetables . Radishes — White, shaded with lake ; near the top softened into a blooming purple; in some places green ; the leaves verdigrise, shaded with sap-green. White Cabbages. — Gamboge and a very little verdi- grise, shaded with sap-green; touched in some places with a little brown-ochre, heightened with white. Red Cabbages. — Lake and a little Prussian blue, mixed, shaded with lake and indigo; the veins lake and white. Cucumbers. — Yellow for the ground-colour, washed over with verdigrise, shaded with sap-green. 22 ART OF PAINTING Yellow Pompions. — Yellow, shaded with brown- ochre, and the veins a stronger brown-ochre. Green Pompions. — Sap-green, verdigrise, and in- digo, mixed ; shaded with indigo and sap-green* Turnips. — White shaded with verdigrise, touched with brown ; the leaves verdigrise, touched with sap- green, heightened with masticot. The Method of Colouring Flowers. Auriculas. — Nature, together with the art of the botanist, has rendered auriculas productive of such variety of colours, as to enter upon a particular de- scription would carry us beyond the limits of this treatise; we shall therefore describe two only, and give the following directions: — A tender wash of gamboge, shaded with sap-green and carmine blend- ed together ; round the centre leave a broad white space, which shade with Indian ink and sap-green mixed; stipple the gamboge with a purple extracted from logwood; the cup in the inside strong yellow, shaded with Dutch pink or gall-stone; stipple it with white, darkening the white gradually with In- dian ink, as the shade increases. The stalk and leaves green, made of ceruse, indigo, and sap-green, darkening it as the shade requires. Another Method. — A light wash of purple extracted from logwood, shaded with a stronger extract of the same; in the darkest parts, carmine and indigo mixt ; the white circle shaded with sap-green, the inner part purple, the seed gamboge . The leaves and stalks sap-green, shaded with that and indigo mixed. Single Anemones. — Anemones are enriched with the most variegated colours, which are laid on so deli- cately fine, and blended with such matchless skill, that, in painting them, we would recommend the student to pay great attention to nature ; but not being willing to leave him quite destitute of direc- IN WATER-COLOURS. 23 tions to colour these beautiful flowers, we shall in- sert the following: — A thin wash of gamboge, shaded with bistre, or carmine and sap-green blended' to- gether; the stripes carmine, shaded with the same; indigo in the darkest parts, or stipple with it; the leaves sap-green, shaded with indigo and French berries; the stalk brown. Belsilvia Anemones. — Stripe with a mixture of liquid purple and carmine, shaded with liquid purple; wash and shade the heart or apple with sap-green ; stipple it with white; the seeds gamboge. The leaves and stalks sap-green, mixed with a little indigo. Althea Frutexes. — The pod, gamboge and sap- green mixed; shade the dark side with a mixture of sap-green and Indian ink ; hatch round the outside with liquid purple and carmine; shade the white leaves with Indian ink only ; stipple the flower with Indian ink and indigo. The leaves begin and finish with sap-green, and make the stalk to imitate wood. Almond Blossoms — A tender wash of carmine, shaded with carmine and Prussian blue, mixed to the required colour; the buttons masticot, shaded with gamboge; the stem bistre, shaded with Keat- ing’s black; the footstalks and cups pale green. While these flowers are in bloom, only a few leaves appear, which begin to shoot out from the branches, and are of a pleasant green. Double Almond Blossoms. — These flowers are dar- ker than the former; add more Prussian blue to the carmine, and carefully blend white in the light parts. The stalks, leaves, &c. as single almond blossoms. Aconites. — Gamboge, shaded with gall-stone or Dutch pink; the leaves strong green, made of indigo and gamboge; the stalks a mixture of verditer, gam- boge, and white lead, shaded towards the flower with bistre. Cyclamens. — \Tkite, shaded w ith a mixture of In- dian ink and sap-green; the pod, same manner; 24 ART OF PAINTING from the pod there is a fine shade of 'crimson, done with carmine, carefully worked in the shades of the leaves. The stalk and back of the leaves begin and finish with carmine and sap-green mixed. Colchicums. — A tender wash of carmine, and a little of the purple of logwood, mixed; stipple it with carmine only. The stalks and leaves as the cy- clamens. Yellow Crown Imperials. — A thin wash of gamboge ; upon that, another of washed red-lead ; shaded with carmine ; the leaves sap-green, shaded with indigo and French berries. Orange Crown Imperials . — A thin wash of red-lead ; the light shades carmine; the dark, vermilion and bistre mixed ; the seed the same as the flower. The leaves and stalks as the preceding. Another Method. — A pale tint of gamboge; the light parts shaded with gall-stone ; the darker, car- mine and sap-green, mixed. The stalks and leaves as scarlet lychnises. Convolvoluses. — Light royal smalt mixed, well ground and gummed, the rays excepted, shaded with Prussian blue alone; the buds the same: the rays white, shaded with Indian ink and sap-green mixed, next the cup ; the inside rays hatch with a mixture of white and gamboge. The leaves and stalks as French marigolds. Convolvolus Major . — Wash with carmine, deepen with the same, till you have brought it to its proper roundness; shade the rays with sap-green, Indian ink, and a little indigo blended together. The leaves and stalks as the preceding. Carnations. — These flowers, as well as many others, afford a variety that makes them past description : in one we see the ruby, with its bleeding radiance ; in another the sapphire, with its sky-tinctured blue; and, in all, such an exquisite richness of dyes, as no other sort of paintings can boast. With what a masterly skill is every varying tint disposed, whilst IN WATER-COLOURS. 25 they seem to be thrown on with an easy dash of security and freedom, and adjusted by the nicest and most judicious touches of art and accuracy ! Shade in the same manner as the striped rose ; put in red stripes, stipple it in different parts with carmine. The leaves and stalks verdigrise, shaded with the same. Double China Asters. — These flowers are very much variegated in their colours; some are white, others crimson, and some are tinged with a bluish purple. The centres of the flowers are yellow, the leaves are of a strong green; the stalks bistre, shaded with the same; the darkest parts touched with Indian ink. Double Crowfoots. — A tender wash of gamboge, shaded with the same ; the darkest parts touched w ith , gall-stone. The leaves and stalks a very pale green, tinged with red towards the bottom. Crocusscs. — Of these flowers there are two colours; ; the one purple, the other saffron. W ash the purple one with Prussian blue and carmine mixed, shaded with the same; but the readiest way is to colour with purple of logwood ; wash over lightly ; proceed to darken, renewing the shade with a darker tint of the same; mix a little Prussian blue (if need be) with your darker shades. Yellow crocusses work upon the same principle as jonquilles; the stalk and leaves as martagons. There is another sort, though not so common, white striped with purple. Daffodils. — The same as jonquilles, excepting the middle leaves being much lighter. Daisies — Of these flowers there are three colours, — red, white, and others striped with red and white. The leaves are of a pleasant green, the stalks of a light green, tinged with red towards the bottom. Hen and Chicken Daisies.— The hen, or principal flower, round which the small ones, called chickens, grow, is beautifully mottled with red and white; those which inclose it are almost all white. For the first, flake white stippled with carmine; and in the same D 26 ART OF PAINTING manner for the smaller ones, only using less red. The leaves and stalks as the preceding. Fritillaries. — Purple, composed (Xf indigo, carmine, and a little vermilion, adding so much of each as will give it the appearance of a dull reddish purple; stipple it w ith a darker shade of the same, or Dutch pink. The stalks Prussian blue and sap-green mixed, adding indigo for the darkest shades ; the leaves to be done with the same. Chequerecl Fritillaries. — Carmine, shaded with pur- ple, and the purple extracted from logwood ; che- quered with Indian Ink. The leaves verdigrise and gamboge; for the shade add thereto a little indigo. Gladiolas. — Carmine, shaded with the same and Prussian blue, blended together; the bottom of the flower white, shaded with sap-green, darkened with Indian ink ; but great care is required in this part of the performance, that the colours may appear soft, and lose themselves in each other. The leaves and stalks carmine and sap-green; the bottom sap-green, and a small quantity of Prussian blue, shaded with the same colour, darkened with indigo and French berries mixed. Geraniums. — A vast variety, but the principal one is the same as scarlet crown imperials. Hellebores. — White; the base of each petal stain with crimson; the button yellow, the same as other roses. The leaves indigo and French berries; the stalk paler green, stippled with crimson. Single Hollyhocks. — A thin wash of gamboge ; a deeper of the same; the darker shades gall-stone, finished with gall-stone and sap-green. The pod, leaves, and stalks, begin and finish with sap-green. Double Hollyhocks. — A slight wash of carmine, pre- serving the white paper for heightening; hatch w ith carmine; the darker shades sap-green; the bloom pale liquid purple ; but in the buds make no use of purple. The stalks and leaves begin and finish with sap-green. Heart's Ease. — The blossom consists of fine leaves IN WATER-COLOURS. 27 or petals, the two upper of which are beautiful pur- ple ; for which, carmine and liquid purple mixed, shaded with the same; the other three, light yellow or straw-colour, edged with purple ; the base tinge with deep purple, imperceptibly blending itself with the straw-colour; from which place tive or six lines delicately extend themselves over each petiJ* The stalks and leaves begin and finish with sap-green. Double Hypaticas. — Prussian blue, shaded with that and indigo mixed ; the darkest parts indigo alone. The leaves indigo and gamboge, or French berries ; the stalk pale green, tinged with red towards the root. Another. — Lake, shaded with the same, the under part of the leaf white. Honey -Suckles. — The inside of the petals white, shaded with sap-green ; or masticot, shaded with sap-green; or gamboge and bistre; which insides are to be shewn by curling the leaves back at the ends, or splitting them ; the on j des, a thin wash of carmine and lake mixed, shaded with carmine ; indigo for the darkest shades. It is to be observed, that some of the flowers, growing on the same stalk, are inclin- able to purple, others to carmine ; the style and but- tons seen at the ends of the flower are of a faint green. The stalks sap-green and carmine ; the leaves sap-green, shaded with indigo and French berries. Blue Bell Hyacynths. — Ultramarine, or verditer ; be careful to put in your first hatches very free and soft; shaded with Prussian blue in the same manner ; for the* darkest, indigo. The leaves and stalks as orange- lilies. Double Hyacynths. — White, shaded with indigo, Indian ink, and a very little sap-green; for those with a crimson blush, wash a faint tinge of carmine, leaving in the white towards the top, strengthening it towards the bottom. The leaves and stalks Prus- sian bhie and sap-green, shaded with sap-green and Indigo. 28 ART OF PAINTING Irises . — The three upright petals white, tinged with gamboge : at the base of each, the white to be done the same as the narcissus ; the other three are purple, with a vein of yellow, which begins in the middle, and so widens till it comes to the base. The leaves and stalks the same as wall-flowers. Jessamines. — White, shaded with Indian ink and sap-green blended together, and worked extremely soft; for the darkest shades add more Indian ink; may also, in a* few places, add some soft tints of French berries, at the backs of some of the flowers, and others entirely yellow. The leaves and stalks, mix sap-green, verdigrise. and a little indigo, adding more indigo for the darkest shades. Jonquilles .- — Nature, ever ambitious of shewing us what she is capable of performing, hath in these flowers given us an indisputable proof of her air and delicacy; and, therefore, in order to preserve them in painting, let the first tint of gamboge be very ten- der; wash the cup likewise; proceed with another wash over the first ; the leaves shaded with vermilion and bistre mixed ; let this be done so soft, that the colours may seem to glide gently into each other ; shade the cup with gall-stone, mixed with a little bistre, or carmine and sap-green ; but in all be care- ful to preserve a softness. The leaves and stalks Prussian blue and sap-green mixed, shaded with the same. Scarlet Lychnises . — W ash very tenderly with car- mine and vermilion, mixed ; finish with carmine, used with strong alum-water ; put in the light with w'hite, tinged with gamboge. The leaves and stalks as single hollyhocks. Lychinideas .■ — Pale red, with a purplish tinge. The leaves the same colour as the former; the stalk green near the flower, but grows brown towards the base. Lark-Spurs —Nearly the same as China-asters. — Page 25. IN WATER-COLOURS. 29 Lilies. — White lilies in the same manner as white hyacinths.— Orange lilies the same as nasturtians. Guernsey Lilies.— Strong gamboge ; wash that (ex- cept the lightest parts) with minium ; the darker parts vermilion, finished with carmine. The leaves indigo, Prussian blue, and French berries, mixed; the stalk green, tinged with red towards the bottom. Mezereons. — Pale crimson, the outside darker. Those leaves which appear while the flowers are in bloom are of a pleasant green: the stem brown. When the flowers are off, they bear a scarlet berry. Jfrican Marigolds. — The same as orange-lilies. The leaves and stalks begin and finish with sap-green. French Marigolds . — The flowers demand great at- tention to colour them well; the edges of the leaves gamboge; the inside leaves red-lead, shaded with carmine ; the deeper shades bistre. Marvel of Peru. — A thin wash of carmine ; proceed to a deeper shade of the same ; finished with carmine and sap-green, mixed. The leaves gamboge and green, finished with indigo and French berries ; the stalks light green, tinged with brown towards the base. Martagons , or Turk's Caps — A soft wash of gam- boge, shaded with gall-stone, that with bistre, or sap-green and carmine, mixed. There are others of a rich scarlet. First, use a lay of red lead thorqugh- iy prepared, shaded with carmine ; adding thereto, for the darkest parts, a small quantity of indigo, the style and buttons gamboge, shaded with red-lead, and that with carmine. The stalks and leaves begin with sap-green and Prussian blue, finished with the addition of indigo. Nasturtians. — The orange-colour with which these flowers are adorned is so rich as to make it past con- ception; the colour which comes the nearest is orange- colour ; the method of compounding which is given in the directions for preparing water-colours. On the D 3 ART OF FAINTING 30 two largest petals, draw seven or eight lines, the same colour and manner as heart’s ease. Double Nasturtians . — These are to be coloured according to the foregoing directions, only with this exception, the two large petals in that, are obliterated in this. Polyanthoses .-*- These flowers, like many others of different sizes and colours, are so variegated, that nature seems to have taken a pride in shewing how far she can exercise herself. But we would not ad- vise the student to look on them with an eye of con- tempt, nor think it condescension to copy the works of unerring nature ; since in them there are so many various beauties, as to give auriculas very little, if any, preference. This which we describe is mottled with purple and white, the edges and cup pure gam- boge, shaded with gall-stone ; marble the leaves with Prussian blue and carmine, mixed ; wash the flower at the back with carmine and a little lake, shaded with carmine and sap-green. Another Method . — In the centre of the cup is a small spot, which, with the cup, paint straw-colour ; the spot must remain, the cup shaded with vermilion and bistre, mixed ; some space round the cup hatch with straw-colour, in the shape of the flower; the outside edges white: proceed with carmine, preserving the inside white circle. Pi&nies .— Deep carmine, darkening with the same; as the shades grow darker, add indigo to the car- mine ; the stalk sap green and carmine; the leaves sap-green, shaded with indigo and French berries ; the under parts not so dark. Passion Flowers . — The petals white, shaded with sap green and Indian Ink, mixed; the treads are rar ged in such order as to form three circles, each of a different colour ; the first or outer one, is blue ver- diter, shaded with Prussian blue; the second, white, to be expressed by carrying on the stroke with flake white; the space between the strokes, indigo and IN WATER-COLOURS. 31 Indian ink ; the third circle reddish purple, by blend- ing carmine and Prussian blue together. The inside of the five buttons, (which parts are chiefly seen.) yellow, as the centre of the flower ; the other parts, which project from the centre, are light green, those three from the top excepted, which are bluish purple. The leaves French berries and indigo ; for the shades, add a little Indian ink ; the tendrils and stalks, sap- green and carmine. Pasque Flowers. — Rich purple, somewhat inclin- ing to a blue, by mixing carmine and ultramarine. The stalks whitish green, tending to a purple towards the base; the leaves and stalks white, gamboge, and a little indigo, mixed together; the footstalks livid red. Pomgranate Blossoms. — Red -lead, shaded with carmine ; the stalks and leaves green. Sweet-scented Peas. — The blossoms are composed of red and purple leaves ; the red begun and finished as the mundi rose; for purple ones, a thin wash of liquid purple ; for the darker shades, a mixture of carmine and Prussian blue, finished with indigo. The leaves and stalks, a little white and sap-green, shaded with sap-green alone. Ranunculuses. — There are a great variety of these flowers. The student will have a delightful pastime in studying from nature ; and as his eye will be agree- ably entertained with a diversity of colours, so will he find himself improved by painting from them. We should recommend him, therefore, carefully to observe and peruse with attention the rules of nature, and the following: A fine wash of red-lead, striped with carmine, finished with carmine and sap-green, mixed; the seeds indigo or Indian ink, stippled with white. The leaves and stalks as fritillaries. Another Method.— White, the upper parts striped with red; the white leaves shaded with sap green and Indian ink, the sap predominant; stripe the outside of the leaves with carmine. 32 ART OF PAINTING Roses. — “ No flower that blows is like the rose.” When we consider their noble and majestic appear- ance, it is no wonder we see them so often intro- duced in wreaths and baskets of flowers. The near- est directions we can give for imitating this king of flowers, are the following:— A light tint of pure car- mine, over which another equally light of Prussian blue, which will give the flowers a tint of that bloom which appears in nature; proceed with darker shades of carmine of the best sort; in the darkest parts of the flower add a little indigo, which will give a roundness and body to your work ; if the seeds are seen, lay on some gamboge, shaded with gall- stone; the upper side of the leaves sap-green, shaded with indigo and French berries, mixed; the under part white, indigo, and sap green, mixed, shaded with the same. The stalks brown, made of sap- green and carmine shaded w ith indigo, Rose-Buds — We shall not here undertake to de- scribe the different colours and various tints with which nature has furnished us. A pale wash of carmine, shaded with a stronger wash of the same; let the hatchings be extremely tender, preserving that transparency and sweetness the flower has by nature. The stalks and leaves begin and finish with sap green, after which a slight wash of carmine. Guelder Roses. — Flake-white, shaded with Indian ink and sap-green, mixed, keeping a proper grada- tion of shades. The leaves as crown imperials; the stalk bistre, shaded with Indian ink, so as to ex- press wood. Mundi Roses. — A slight wash of carmine, height- ened with white, shaded with Indian ink and sap- green, mixed, adding more Indian ink for the darker shades ; striped as hollyhocks. The leaves and stalks sap-green, adding a little indigo for the darker shades. Sun-Flowers . — There are only two sorts, the com- mon sun-flower, and the same improved; for the first, IN WATER-COLOURS. 33 a slight wash of carmine, deepen that with another; shaded with vermilion, carmine, and bistre, mixed ; finish the deepest shades with the same, being care- ful to relieve the flower, making it look round ; the seeds shade the same as the flower, the darkest much deeper; the seeds on the light side heighten, stippling them with flake-white, washed over with gamboge very lightly ; the lights in the same manner. The leaves and stalks sap-green and gamboge, mixed, finish with sap-green alone. Snow Drops. — Flake- white, the inner petals edged green. The leaves and stalks Prussian blue and yellow berries, mixed, the first most predominant; shaded with indigo and gamboge mixed. Single Stocks . — A thin wash of carmine, proceed with a stronger layer of the same; finish with sap- green and carmine, mixed; shade round the seeds sap green. The leaves and stalks gamboge, white, and sap-green ; shaded with a tint of indigo, finished with a darker of the same. Double Stocks . — There are of these flowers different colours ; some are a purplish crimson only, others mottled with crimson and white, and some are all white. For the crimson, a little Prussian blue and carmine, mixed ; for the mottled ones use the same colour, stipple them with flake-white; the white sort shade with Indian ink and sap-green mixed. The leaves and stalks pleasant green, inclining to a white. Sweet Williams , — Some of these flowers are en- dowed with an agreeable variety, some are stippled by nature, and others possess one colour only ; we shall endeavour to shew how to colour two, and leave matchless nature to direct the pupil in his fur- ther studies. In working the first, wash with car- mine till it is a rich crimson; finish with carmine and sap-green. The other, a pale tint of carmine, shaded with the same, very dark; stipple round the fibre with flake- white; the fibres in the middle, In- dian ink. The leaves and stalks begin and finish with sap-green; touched with pale carmine. 34 ART OF PAINTING St. John's Wort. — Gamboge, shaded with bistre ; or carmine and sap-green, mixed. The leaves as Guernsey lilies. Tulips. — These flowers are justly admired for their gaiety and multiplicity of colours. What a profu- sion of dyes arrays their painted cups ; their tinges are glowing, their contrasts strong, and the arrange- ment of them both elegant and artful. Nature has, in the tulip, diverted the eye with an agreeable and enchanting variety. Begin by striping with white, well blended with carmine ; add some very tender stripes with gamboge, heightened with carmine ; for the darkest shades, a little sap-green mixed with it; shade the yellow stripes with the same mixture: the darkest shades vermilion and bistre. Another Method. — Begin by striping with gamboge ; proceed with purple stripes; in doing of which be careful to preserve the white ones, which will give an agreeable effect ; the darker shades liquid purple, to which (if requisite) add a little Prussian blue. The leaves and stalks sap-green, sliaded with the same. Parrot Tulips. — These flowers derive their name from the uncommon appearances at the back of each petal, which very much resembles the beak of a parrot; the edges of these tulips are jagged, and much unlike the other tulips in shade, though not in colour. Double Violets. — The ground as the former; the inner petals tinged with purple ; the stalks, which are green, tinge the same as the petals towards the bottom. Wall- Flowers. — For the common sort, gamboge, shaded with gall-stone. But that sort most esteemed by the florist is called the bloody-wall. The outer petals gamboge, tinged with a little of the purple of logwood; the inner petals red-lead, finished with carmine; the cup purplish brown. The leaves and stalks bluish green; to be worked as those of the flowers of the same colour. IN WATER-COLOURS. 35 Double White Narcissus. — Flake- white; the first shade sap-green, and a little Indian ink, adding more Indian ink in the darker shades; tinge the bot- tom of each petal green; the narrow edge that sur- rounds a tuft of small petals in the centre, carmine. The stalks and leaves the same as Irises. The sheath at the bottom pale brown. (jdT Wherever white occurs , it is always better to leave the paper to represent that colour. Some excellent Receipts for those who paint in Water-Colours . Boil two ounces of the best and clearest glue, with one pint of pure water, and half an ounce of the finest roche-alum, till dissolved. This is a very serviceable liquor, with which you may temper those colours intended for sky, as it will prevent them from cracking. To make a Solution of Gum . — Dissolve an ounce of the best white gum-arabic, and half an ounce of double-refined sugar, in a quart of spring water; strain it through a piece of muslin ; then bottle it oil' for use, keeping it free from dust. Another Method. — Take the whitest sort of gum- arabic ; bruise and tie it in a piece of woollen-cloth ; steep it in spring-water till dissolved. If too stiff, which is known by the shining of the colours, add more water; if too weak, more gum. VYith this water you may temper most of your colours, using such a quantity of it, that the colours, when dry, being touched, will not come olf. To make Size for Candle-light Pieces. — See page 3. To keep the Flies from your Work. — Having pre- pared your gum-water according to either of th» preceding directions, add a little coloquintida, which. 34 ART OF PAINTING St. John's Wort. — Gamboge, shaded with bistre ; or carmine and sap-green, mixed. The leaves as Guernsey lilies. Tulips. — These flowers are justly admired for their gaiety and multiplicity of colours. What a profu- sion of dyes arrays their painted cups ; their tinges are glowing, their contrasts strong, and the arrange- ment of them both elegant and artful. Nature has, in the tulip, diverted the eye with an agreeable and enchanting variety. Begin by striping with white, well blended with carmine ; add some very tender stripes w ith gamboge, heightened with carmine ; for the darkest shades, a little sap-green mixed with it; shade the yellow stripes with the same mixture: the darkest shades vermilion and bistre. Another Method. — Begin by striping with gamboge ; proceed with purple stripes; in doing of which be careful to preserve the white ones, which will give an agreeable effect ; the darker shades liquid purple, to which (if requisite) add a little Prussian blue. The leaves and stalks sap-green, sliaded with the same. Parrot Tulips. — These flowers derive their name from the uncommon appearances at the back of each petal, which very much resembles the beak of a parrot; the edges of these tulips are jagged, and much unlike the other tulips in shade, though not in colour. Double Violets . — The ground as the former; the inner petals tinged with purple ; the stalks, which are green, tinge the same as the petals towards the bottom. Wall- Flowers. — For the common sort, gamboge, shaded with gall-stone. But that sort most esteemed by the florist is called the bloody-wall. The outer petals gamboge, tinged with a little of the purple of logwood; the inner petals red-lead, finished with carmine; the cup purplish brown. The leaves and stalks bluish green; to be worked as those of the flowers of the same colour. IN WATER-COLOURS. 35 Double White Narcissus. — Flake- white; the first shade sap-green, and a little Indian ink, adding more Indian ink in the darker shades; tinge the bot- tom of each petal green; the narrow edge that sur- rounds a tuft of small petals in the centre, carmine. The stalks and leaves the same as Irises. The sheath at the bottom pale brown. (jdT Wherever white occurs , it is always better to leave the paper to represent that colour . Some excellent Receipts for those who paint in Water-Colours. Boil two ounces of the best and clearest glue, with one pint of pure water, and half an ounce of the finest rocke-alum, till dissolved. This is a very serviceable liquor, with which you may temper those colours intended for sky, as it will prevent them from cracking. To make a Solution of Gum . — Dissolve an ounce of the best white gum-arabic, and half an ounce of double-refined sugar, in a quart of spring water; strain it through a piece of muslin ; then bottle it off for use, keeping it free from dust. Another Method . — Take the whitest sort of gum- arabic; bruise and tie it in a piece of woollen-cloth; steep it in spring-water till dissolved. If too stiff’, which is known by the shining of the colours, add more water; if too weak, more gum. YYith this water you may temper most of your colours, using such a quantity of it, that the colours, when dry, being touched, will not come off. To make Size for Candle-light Pieces . — See page 3. To keep the Flies from your Work . — Having pre- pared your gum-water according to either of the preceding directions, add a little coloquintida, which. 36 ART OF PAINTING if your performance should be exposed, will keep it from being damaged by the flies. To prepare Alum water. — Take four ounces of roche- alum, and a pint of pure spring-water ; boil it till the alum is thoroughly dissolved ; filter it through blot- ting paper, and it is fit for use. Before you lay on the colours, take some of this water, hot, and with a sponge wet the back of the paper, which, if not good, must be wetted three or four times. This will not only prevent the sinking of the colours, but will also keep them from fading, and give an additional beauty and lustre. Remem- ber that the paper must be dried each time before you wet it again. To make Lime-water. — Put some unslacked lime in a well-glazed pan; cover it with pure water, one inch above the lime ; let it remain so for one day, then strain off the water, and keep it for use. By the means of this water, you may change sap-green into blue. To make a Lixivium of Pearl-Ashes. — Steep half an ounce of pearl ashes in clear water for one day; strain off the water as clear as possible: this iufusion will prove extremely serviceable in many colours, particularly Brazil wood, to which it will give an ad- ditional beauty and lustre. To recover decayed Colours. — Take double -distilled rosemary- water, or pure essence of rosemary, and with a few drops temper your colours, which, how- ever dead and faded, will recover their primitive brilliancy. This essence will prevent the bubbles which are troublesome in grinding white and umber. To prepare a Liquid Gold for Vellum- Painting ^ Fans , #c. — Having procured some of the finest leal- gold, grind it with strong gum-water, adding more gum-water as you see requisite; when thoroughly ground, temper it with a small quantity of mercury - sublimate, binding it in the shell with a little dissolved gum ; spread it equally over the shell, and use it with fair water only. IN WATER-COLOURS. 37 A Liquid Silver . for the same Use. — The manner of making this is the same as that of liquid gold, only remembering to temper it with the glaire of eggs, and not water. To make the Glaire of Eggs. — Beat the whites with a spoon till they rise in a foam ; let them stand twelve hours, and they will be clarified into good glaire. To recover Liquid Silver that has contracted Rust.— If your silver becomes rusty, cover that part of the performance with the juice of garlic, which will re- cover it effectually. To make a single Ground to lay Silver or Gold upon . — Take the new shreds of parchment, (they being preferable to glove-leatlier,) boil them in a quart of spring- water, till consumed to a pint; strain the size from the shreds, and put it into a well-glazed pan; use it before it is cold. Be careful, when you lay on your silver or gold, that your size is not too moist, nor too dry, for in either case you will be in danger of impairing your performance. To take the Impression of the Wings of a Butterfly , in all their Colours. — Kill it without spoiling, cut off the body close to the wings, w hich contrive to spread in a flying position ; then take a piece of w hite paper, wash part of it with thick gum- water ; when dry, lay it on a smooth board, with the wings on the gum- water; lay another part over that, press both very hard, let them remain under pressure for an hour ; afterwards take off the wings of the butterfly, and you will find a perfect impression of them, with alj their various colours, remaining on the paper. Draw between the wings the impression of the body of the butterfly, and colour it afterlife. To take the Impression of a Leaf of any Tree.— Gently rub the leaf on the under side, with a piece of ivory, or such-like substance, so as to bruise the veins a little; wet the same side gently with linseed- oil, and press it hard upon a piece of white paper, and you will have the perfect figure of the leaf, with every vein justly expressed ; then colour it, and it will appear a correct and beautiful imitation of nature. 38 ART OF PAINTING OF PAINTING ON GLASS. Painting on glass is an art which has been es- teemed, by the generality of mankind, an amusement attended with many difficulties ; yet nothing can af- ford a more splendid and magnificent representation of nature, than a painting well executed in this man- ner; there being no outlines or shadings required, those in the print answering that end. Metzotinto prints are generally used for this pur- pose, the shades and lines not being so harsh and ab- rupt as those of engravings, as they are blended in each other, and have the appearance of a drawing in Indian Ink. Having procured such metzotinto prints as you in- tend to paint, cut off the margins, and get a piece of the best crown glass, the size of the print, free from knots and scratches ; clean it well with whiting; lay on one side some Venice turpentine, with a hog’s* hair brush, as thin and smooth as possible; lay the print flat in water, and let it remain on the surface till it sinks; take it carefully out with its face down- wards, and dab it between some papers till no water appears, yet so as the paper remains damp. Afterwards lay the damp print on its back, upon a fiat table; hold the glass over it without touching the turpentine, till it is exactly even with the print; then letting the glass fall gently on it, carefully press it down with your fingers, in different parts, so that the turpentine may stick to the print;, then taking it up, hold the glass towards you, pressing the print from the centre towards the edges, till no blisters remain. Next wet the back of your print with a sponge, till the paper will rub off with your fingers: rub it gently, and the white paper will come off*, leaving a very plain impression on the glass; when dry, wet it all over with a camel’s-hair pencil dipt in turpentine- oil, and it will be perfectly transparent, and fit foy painting. ON GLASS. 39 Colours for Painting on Glass. The colours fit for painting on glass are ground in oil, and tied up in small bladders, which are to be had at the colour-shops. Whites. Flake White Spodiuin Blacks. Lamp-Black Ivory-Black Browns. Spanish Brown Timber Reds. Rose Pink Vermilion Red-lead Indian Red Lake Cinnabar Blues. Blue Bice Prussian Blue Indigo Saunder’s Blue Smalt Greens. Verdigris Green Verditer Terra Verte Yellows. English Pink Dutch Pink Masticot Orpiment English Ochre Spruce Ochre The reasons for not mentioning the carmine, (for red,) and the ultramarine, (for blue,) in the above list, is on account of its being best to purchase and keep them in powder, as they are liable to be lost; as a small touch of these will give the painting an enliven- ing cast, what you require for present use mix with a few drops of nut-oil, upon your pallet, with yotir pallet-knife. The pallet and pallet-knives may be had at the colour-shops. Prick a small hole at the side of each bladder you want to get the colour out of, and press out no more upon your pallet than you intend for immediate use, as the colours are apt to dry and skin over. 40 ART OF PAINTING Then laying a sheet of white paper on the table, set the glass rather sloping against two small sticks, fixed perpendicular, about twelve inches asunder, which will be a sufficient support, and the outlines and tints will appear on the glass. Hold your pallet on your left hand, and proceed to decorate as follows: The Manner of working the Colours . As the lights and shades are dispersed on the pic- ture, be careful of disposing of the colours accord- ingly; lay on the light colours on the lightest parts of the print, and the darker over the shaded ; the brighter colours being laid on properly, it is not of any ma- terial consequoce if the darker ones should by acci- dent run over them ; for the upper colour cannot be seen through that which was laid on first ; for in- stance : — GREENS. — First, lay on some verdigris, mix that with Dutch pink for the next ; this may be made darker or lighter by adding more or less- Dutch pink. BLUES. — The lights, ultramarine or blue bice; the first shade, Saunder’s blue ; the darkest, indigo. REDS-. — The first minium, or redr-lead, (thorough- ly ground,) shaded with lake ; in the highest parts, touch with carmine, which will enliven your paint- ing, and set it off to great advantage. YELLOWS. — The lightest, yellow masticot, shaded with Dutch pink. Any of these colours may be darkened, by add- ing to them a darker shade of the same colour on your pallet; or lightened, by mixing, them with white. If the colours are too thick, make them thinner by mixing with a few drops of turpentine-oil; for they ON GLASS. 41 must never be used thick, as you will be in danger of spoiling tlie piece. Have a pencil for each colour; never put a brush which you have used for one colour into any other, before you have washed your brush well in turpentine- oil, particularly green, as that colour will appear predominant when dry. Observe, when you have done using your brushes, they are to be thoroughly washed in the oil of tur- pentine. The glass being painted, let it remain three or four days, free from dust, and it is fit for framing. *** All Sorts of Met zot, into Prints , proper for paint- ing on Glass , may be had at R. H. Laurie’s, No. 53 , Fleet Street . To make a convenient Box to hold Colours , Let the size be two feet six inches long, one foot four inches wide, and five inches deep, with partitions. A. Turpentine-Oil for washing Pencils. B. . C. to receive the Leavings of Colours. D. For Bottles of Oil and the Knife. E. For Colours in Bladders and the Pallet. F. For dry Colours. G. For Pencils and Sticks. A. A box lined with tin, fixed in the great box, to contain turpentine-oil for washing the pencils after they have been used, before they are laid by. E 3 42 ART OF PAINTING Between A and G, upon the tin, at B, is the place for pressing the colour out of the brush, after being dipped in the oil of turpentine to clean it. The co- lours which fall intothe box C, will, with their oils, make a very good size for gold. The partition D is lined with tin, as it is to inclose the bottles of nut and burnt oili, (which you should never be without,) also the oils of turpentine and linseed; which, if not lined, the frequent taking the bottles out would grease and stain the wood ; whereas the tin will preserve it free from any stain. The partition E, in the middle of the box, is also made of tin, to take out whenever it is required, as that is to contain the bladders of oil-colours. Over these lay the pallet, which clean as soon as done with, with turpentine-oil ; or else lay it in water sufficient to cover the colours, which will keep the colours till the next occasion, preventing a very great waste. Rub the pallet with a clean cloth, and linseed or nut- oil, till it is quite dry ; it will be neat, and fit for the reception of the colours. The box F is divided into several parts, for keeping the dry colours distinct, and from spoil- ing each other; in the same place keep the ultramarine and carmine. The box G is for the reception of the pencils after they are cleaned, where they will he ready whenever they are wanted. Observe, that some of the pencils are to be used in laying on the colours, while others are of white hair, for the softening and blending them in each other, as soon as laid on, that if the student should leave off' harsh and abruptly, the place may not be distinguishable. The professor in this polite art should not have less than two or three dozen camelsVhair pencils, of va- rious sizes, with sticks ta each, of about ten or tw elve inches long, made of cedar. If there is occasion to grind the colours, pro- vide a stpne, which may be made of a pebble or IN CRAYONS. 43 fine marble, thoroughly polished, to be had at a,ny stone-mason’s. If there be a large quantity of colour to grind, the oil must be in proportion, and never overpower it with a superfluous quantity : The colour must be ground perfectly smooth ; dip a piece of bladder in warm water, to molify and make it more pliable ; this done, immediately tie up the colour in it, and it will be fit for use when required. But though you take all the care possible, when the colours are exposed to the air, and used in small quantities, there will be a thick hard skin over them in a very short time, which, though it may be taken off with a pallet-knife, will occasion a great decrease of colour. After the skin is taken off, the remainder will, in all probability, prove too thick for use, with- out a drop or two of nut-oil, which must be well tempered with the pallet-knife. Once more let us caution the artist to keep his brushes to their separate colours; for the mixing of them is attended with many ill consequences, and will greatly endanger the whole of his per- formance. Pencils and Colours, proper for Artists , Sfc. are sold at the Shops of Mr . Scott , in the Strand ; Mr. Inwood, in the Strand ; Mr. Ackermann , in the Strand ; Mr. Newman, Soho Square; Reeves and Woodyer , Holborn Bridge ; and Mr. Blackman , No. 362 , Oxford Street. OF PAINTING IN CRAYONS. The best pastils or crayons are those imported from Switzerland, which are to be had at the colour- shops ; but being more expensive than those made here, they are now manufactured nearly as fine in 44 ART OF PAINTING London. The sorts are as follow: — white, black, yellow, orange, purple, red, blue, green, and brown; each of which may be used in shading, the two first excepted. Directions for using the same . — Rough Venice pa- per is used on this occasion, which is of a whited - brown colour, the stiffer the better; but there is a sort much preferable, called cap-paper, as it distri- butes the colours to the best advantage. By crayons, figures may be represented in their proper colours, as appearing to the eye, because the colours can be matched with the crayons, which, being dry, will not fade; whereas colours, when wet, seem deeper than when dry, which perplexes a young beginner. Provide also some thick smooth light- blue or other paper, getting a straining-frame from a frame-maker: strain a piece of Scotch or Irish cloth over it, which may be done by drawing and fastening it with small tacks round the edges, till quite smooth ; damp your paper with a sponge dipt in water, paste it, laying it on a cloth, being particular that it is even with the straining-frame ; place a piece of white paper upon the table ; put the straining-frame, with the blue pa- per, downwards upon it, keeping it steady with one hand, rub the cloth gently to the paper with the other; then turning the frame, with a piece of white paper in your hand, rub close the edges. When it is dry, set it on an easel, (which may be had at the colour- shops,) and proceed as follows : — With charcoal sketch your rough draught, and with black, white, or red-chalk, correct your faults. Having thus out-lined your object completely, the crayons may be rubbed in; but care is required con- cerning the proper colours ; then soften or blend them together with your finger or fitch. When you prepare the crayons for use, remember to cut the points from the bottom upwards, and take care they are not made too sharp, the red-ochre, char- coal, and white chalk, excepted. IN CRAYONS. 45 As it is difficult to g,et crayons that arc really good, we think it no way superfluous to give the student the method of preparing them. Directions for making Crayons. WHITES. — No other is required than the best aud softest French or Italian white-chalk, cut into pieces about two inches long, and a quarter of an inch in thickness; with your pen-knife round off the cor- ners, and point them as directed before. Of these it will be expedient that the artist should have a great number, as they are of continual use, and must be kept separate from the rest, or they will otherwise be much discoloured, YELLOWS. — As yellows are next to be treat- ed of, we shall divide them into seven different shades. First, Take flower of brimstone and grounds of starch ; with the pallet- knife incorporate them upon a polished marble : it will make an agreeable straw- colour; bring it to the consistency of a paste, with milk or pale ale-wort; with a pallet-knife spread it on a piece of smooth cloth, till it is in thickness about one-third of an inch ; let it remain so till half-dry ; with a sharp knife reduce it into pieces of about two inches long, and one-third of an inch wide; roll it between your hands, or two pieces of board, till round as the stem of a tobacco-pipe, and not much thicker; point it as directed for the chalk. Or, if most convenient, use ground chalk instead of the grounds of starch, as that will work near the same effect. Second, Yellow-oclire, well ground upon a stone with a muller, in fair water. Dry and beat it, by mixing such a quantity of ground chalk, or grounds of starch, as will render it a little darker than the above, mixing with it as much milk as will make it a paste, forming it into crayons as the preceding. A little sugar- candy may be dissolved in the milk. 46 ART OF FAINTING Third, Grind yellow-ochre and water; when dry, beat it well, mix it with a very little ground chalk, to be darker than the former; add to it pale ale-wort or size ; make into crayons as before. For the method of preparing the size, we refer the reader to those use- ful receipts published at the end of the directions for painting in water-colours. Fourth, Grind English pink with water as the for- mer; when dry, beat it in the same manner; mix it with a little of the grounds of the best white chalk, that it may be darker than the former colour; incor- porate with as much pale ale-wort as will bring it to a paste ; prepare and reduce it into crayons as before directed. Fifth, Mix English pink with pale ale-wort. After being ground with pure spring-water, reduce it into crayons according to the afore-mentionedj di- rections. Sixth, Dutch pink prepared as the former. Seventh, Orpiment, mixed with a little ground chalk, or grounds of starch well incorporated, and brought to the consistency of a paste w ith pale ale- wort, in which must be dissolved some gum. dragon ; then roll it into crayons according to the first direc- tions. ORANGE-COLOUR. — First, Grind orpiment, and make, it into crayons from the foregoing direc- tions. Second, Grind red-lead with pure water very fine; when dry, beat it with ground orpiment; mix a small quantity of red-lead, that is, so much as w ill make it a shade darker than the preceding ; dissolve gum-dragon in milk or ale-wort, and it will temper your colours; roll it into crayons as before. Third, Grind English pink with pure water; mix it with as much vermilion as will make it agreeable to your design ; boil ale-wort till it becomes glutinous, with which bring your colour to a paste ; then cut it into lengths ; roll it as before. IN CRAYONS. 47 Fourth, Prepare English pink and red-lead as be- fore ; mix as much of them together as will make it a shade darker than the former. Mix these with ale- wort prepared as above, and so into crayons. Fifth, Mix as much Dutch pink, finely ground with red*lead, as will bring it to the shade required, and proceed as before. Re careful, in the compounding these colours, to make as many shades as possible. REDS.-— First, Grind red-lead very fine with pure water; when dry, beat it as fine as possible, heighten it with white chalk finely ground : dissolve some gum- dragon in ale- wort; make your composition into paste ; cut and roll il into crayons. Of this compo- sition you may make different shades, by adding more or less white. Second, The best red-lead ground; proceed as be- fore directed. Third, Prepare red-ochre in the same manner as white- chalk. Fourth, Fine white-chalk, or white-lead, well pulverized ; with it mix some vermilion, ground to the state of an impalpable powder ; divide them into three or four shades ; make each of them into paste with ale-wort boiled; cut and roll them as before. Fifth, Grind vermilion very fine w ith a stone and muller : mix it with pale ale-wort, as before direct- ed ; roll it into crayons. Sixth, Lake of the best sort well-ground with water; when dry, beat it to an impalpable powder; divide it into three or four separate parcels; add more or less white to each, as will give them different shades ; work each parcel into paste with ale- wort, afterwards into crayons. Seventh, Reduce pure lake to as fine a powder as possible with clear water; after it is dry, reduce it to as fine a powder as before; mix it with milk or ale- wort, and bring it into crayons according to the first directions. 48 ART OF PAINTING Eighth, Indian lake; prepare it as the former. This alone will be a very strong colour ; but make three different shades at least, by the addition of more or less white. Ninth, Cut rose-pink into the shape of crayons : they will be fit for use without any further pre- paration. Carmine will come very expensive, as a shilling’s worth will make but a very small crayon. BLUES. — First, Blue bice, well-ground with pure water; when dry, reduce it to a powder again, add- ing to it white-chalk, finely powdered ; divide it into parcels, put to each more or less chalk, so as to pro- duce various shades. Bring these to the consistency of a paste with ale-wort, mixed with a little size, made according to the former directions; proceed with making them into crayons. Second, Blue bice alone, finely ground, and pre- pared as the preceding. Third, Grind verditer with water ; let it dry; after which, beat it to a powder, so fine that no lumps can be seen; divide it into four or five parcels, to all of which, except one, add such different proportions of white chalk as will make them shades for each other; make these into paste with pale ale-wort, wherein gum-dragon has been dissolved; and that blue with which no white has been mixed, make into paste with pale ale-wort and a little size, into crayons, as before. Fourth, Prussian blue ; be very careful that it is thoroughly ground ; make it into paste with pale ale- wort boiled and thickened with size, so into crayons, in pursuance of the first directions. To make lighter shades, Prussian blue; after you have ground it well by itself, and dried it, divide it into two or three par- cels, to each of which add white -chalk in proportion as you would have the shades lighter or darker ; make these into paste with ale- wort boiled, into crayons, as the former. IN CRAYONS. 49 Fifth, Rock-indigo well ground in pure water; dry it; reduce it to a very fine powder ; divide it into se- veral parcels, to which add white-chalk in different proportions; mix these with pale ale-wort boiled; have at least four shades of them ; for the darkest use indigo, made into paste as the rest, and into crayons, according to the directions. PURPLES. — First, Rose-pink ; grind it as fine as possible; when dry, powder it, mix it well with a little Saunder’s blue, till it appears of the colour you desire; then bring it to a paste; proceed as before. Second, Lake, finely ground and washed ; add to it as much blue bice as will make it of an agreeable reddish purple ; make this of two or three different degrees, each lighter than the other, and into the lighter parts put white-chalk, or grounds of the best white starch; make them into paste with ale- wort, boiled, and mixed with size, and then into crayons as before. Third, Grind lake with pure water ; add as much Prussian blue to it as will make it of the purple you desire; mix these well together in several places, making some more inclining to blue, others to red; to the faintest add as much white chalk as you see necessary; make the separate parcels into paste with ale-wort boiled till it becomes glutinous, then into crayons, the same manner as before. BLACKS. — First, The black which is generally used for crayons is charcoal ; cut it into pieces about two inches long, and a quarter of an inch wide; the softest and best are those made of willows. Have of these at. least one dozen, because the contrasts black and white are most wanted. Second, Grind ivory-black as fine as possible with pure water, adding to it, in the grinding, a small quantity of indigo, which will very much enliven the black, and relieve it from that deadness which attends F 50 ART OF PAINTING it when used by itself; make it into paste with boiled ale-wort, into crayons as before. BROWNS. — First, Fullers’ earth, of the best and purest sort; grind it well with water; add to it some ground chalk, in different quantities, that you may have three or four different shades ; mix each of these up with pale ale-wort, boil it till it becomes glutinous, and roll it into crayons. Second, Spanish brown, ground well with water ; add in the grinding some fuller’s earth, which will very much enlighten it, the Spanish brown being of itself a very dark colour ; when dry, beat it into powder again, divide it into four different parcels, to three of which put grounds of starch, in different degrees, so that you may preserve several shades of colour. Mix each of these separately into paste, with a little size or isinglass, or pale ale-wort boiled, or thick water-gruel, wherein gum-dragon has been dis- solved ; make it into crayons according to the former directions. Third, Indian ink and Spanish brown, well ground together; mix them with ale-wort till they are as stiff as paste. Of this colour you may make different shades, by adding more or less white. GREEN S. — First, Distilled verdigrise,well ground with strong vinegar ; wash it well with water, as fol- lows: — Put the verdigrise into water, let it remain there about a minute ; pour the water off into a cup, let it settle ; then pour that from it, wash it again in the same manner; when dry, make it into crayons of different shades, with ground white-chalk. Second, Boil the best verdigrise with sharp vinegar; while boiling, add to it a little powdered tartar, which, being of so sharp a nature, will soon dissolve the ver- digrise ; then you will have a liquor of a very fine co- lour, somewhat inclinable to blue; set the liquor in small gallipots, exposed to the air, which will soon be congealed, and become hard, mix it with as much aie-w'ort as w ill bring it to a paste, and crayons, as before directed. IN CRAYONS. 61 Third, Verdigrise prepared after the last manner; reduce and divide it into several parcels ; add Prus- sian blue in different proportions, as you would have them lighter or darker; to the lightest parts add a , little white chalk, or a little straw-colour, to varie- gate the shades as much as possible. Mix all these with pale ale-wort, boiled, as before directed. Fourth, Grind blue bice very fine; in the grinding add’ to it some of the best Dutch pink ; divide it into several parts; make different shades with white- chalk ; bring them to a paste with ale-wort, boiled, then into crayons. Fifth, Grind rock-indigo very fine with pure-water ; dry it, reduce it to a powder, divide it into four par- cels at least; add to it some Dutch pink, to others Dutch pink and brimstone ; for the lightest, flour of brimstone only ; after you have made as many shades as you desire, bring them into a paste with pale ale- wort, mixed with size, made according to that re- ceipt prescribed at the end of the directions for Painting in Water-Colours; cut them into lengths, roll them into crayons, as at first directed. Sixth, Grind rock-indigo with water; divide it into parcels, more or less, as you think proper; add Dutch pink in such different quantities as will pro- duce several shades; after these are well incorporated make them into paste with.boiled ale-wort, roll them into crayons, according to the former directions. The artist will find these crayons far preferable to those generally bought at shops, which being fre- quently tempered so high with gum-water, renders them so stiff and obdurate that they will too often rather scratch than give any appearance of colour upon your paper ; on the contrary, those which we have recommended may be used with all the ease and freedom imaginable, and will express the diver- sity of colours as pleasant and agreeable as can be desired. When the student is desirous of making a drawing in crayons, either from nature, or from a correct imi- 52 ART OF PAINTING, &C. tation of nature, he should be careful, before he begins, that he has every colour that is in bis origi- nal, as he cannot here, as in a painting either in water or oil-colours, prepare a colour at a minute’s warn- ing; which consideration it was that induced us to direct so many shades to be made from each colour. The artist, in order to keep his colours separate, (for, if they mix, it will, on account of their soft- ness, be very prejudicial to them,) should be pre- pared with a box, which contains as many partitions as will keep each shade by itself. FINIS. Just Published , SMITH’S ART of HOUSE-PAINTING; improved by W. Butcher : and including every particular relating to that use- ful Art, with the best and most approved Rules for prepar- ing, mixing, and working, Oil-Colours, Oil-Cloth Varnish and Colour, Milk-Paint, &c. The whole adapted to the meanest Capacity, so as to enable any Person to paint and grain, in Oil-Colours, all sorts of Timber or Iron-work, in Houses or Ships; as Gates, Doors, Posts, Pails, Palisadoes, and every thing that requires Paint, whether for Beauty or for Preservation from the Influence of the Weather; with the Manner of Painting Window-transparencies, and other useful Recipes. Price Two Shillings. Printed by Weed and Rider, Little Britain, London. < ^)P4J3-t.vSL 4 THE GETTY CENTER LIBRARY (2?oow